I was in London at the weekend and not for the first time I found myself walking past the St Martin's Theatre - but that's all I've ever done... walked past it. Above the entrance there's a giant neon sign with "60th Year" flashing away. Opening in 1952 and running continuously for over 25,000 performances it is the longest running production of the modern era.
St Martin's Theatre, May 2013
For over 60 years the mystery of who killed Maureen Lyon was a West End secret but now The Mousetrap has embarked on it's first ever UK tour in celebration of it's Diamond Anniversary.
The Wolverhampton Grand Theatre is always a suitable host for drama, but none seemed more fitting on it's stage than this. The beautiful set is the wood-panelled sitting room of Monkswell Manor which I'm told is almost identical to the London production. The manor house, left by an aunt, opens as a guest house ran by Giles and Mollie Ralston (Bruno Langley and Jemma Walker). A murder is announced on the radio and as with all Christie plays, one by one the guests are revealed as potential culprits.
There is every type of character in The Mousetrap, partly what keeps audience interest. The play is wonderfully structured and first to enter is the camp, energetic and slightly sinister schizophrenic architect Christopher Wren (Steven France). France is responsible for bringing most of the humour which is always necessary in a play that has a lot of explanation going on. Bruno Langley (Todd from Coronation Street) is charming in the role of Giles and Eastenders' Jemma Walker is evermore captivating as Mollie as the mystery progresses. Bob Saul as Detective Sergeant Trotter and Elizabeth Power as the battle-axe Mrs Boyle give other amusing and stand-out performances.
What The Mousetrap isn't is the most dark and gruesome story. What it is, is rather a lighthearted and amusing attempt at discovering a killer with a twist ending that falls neatly into place. Traditionally audiences are told at the end that they become partners in crime and to keep the secret to themselves. If you want to know, you'll just have to go. Thoroughly enjoyable and completely worth a visit whilst it's at your local theatre - London prices are perhaps a little too costly and regional prices are a much better deal.
The Mousetrap runs at the Wolverhampton Grand Theatre until Saturday 1st June before continuing on a tour of the UK long into 2014. Book tickets for Wolverhampton here.
This is where Michael Peavoy Productions comes into play. Producer Michael Peavoy recently finished playing Tony in Billy Elliot at the Victoria Palace and has since become a leader of the musical theatre revolution. Teaming up with theatre impresario of unknown identity - West End Producer (WEP) Peavoy's Search For A Twitter Composer sets out to actively search for new talent and showcase it in the limelight it deserves, and hopefully getting a production off the ground.
The admissions process was simple - the applicants (all of whom use social networking as a launch platform) uploaded their entries to SoundCloud and YouTube. 99 entrants uploaded 219 new songs which after a week of voting resulted in 14 semi-finalists chosen by 9,957 online voters.
Ushers: The Front Of House Musical
The first 7 semi-finalists performed yesterday at the sold-out Soho Theatre. James Oban and Yiannis G. Kotsakos' musical Ushers: The Front Of House Musical was first up. The great thing about this musical is the fact that many London theatre ushers are performers themselves so it combines both sides of theatre and is humorous in recognition of pricey programmes, picture brochures, ice creams and the rule of having to pour all drinks into plastic glasses. It's completely true and only ten minutes before the competition began I had witnessed a woman having to pour a whole bottle of wine into about 5 separate cups before she could go in! You can listen to the opening number 'Welcome!' below...
Ushers: The Front Of House Musical was performed by Adam Colbeck-Dunn, Ciaran O Driscoll, Kirsty Marie Ayres, Lydia Grant and Nathan Lodge.
Flora Leo's The Lightning Road was second up - a musical drama set during World War II. Played passionately by Leo 'When Lightning Strikes' is sung by Harper Vickery.
Fantaticalwas the next musical, by composer Matt Board. The musical started life back in 2006 and is set at a Sci-Fi convention and is about what it means to be a fan. We're all fans of something and Andra's song 'You Should See Her Fly' explains her idolisation for her favourite TV character. There wasn't one entry that I didn't like but there was something about Fanatical that won the audience over more so than others - Gillian Ford and Oliver Jones surely made us a fan of this musical! You Should See Her Fly is sung by Matt Board in the version below.
Uncommon Sense by Gavin Kayner and Adrian Colbourne is a musical based on the life of Thomas Paine. A score for extremely strong vocal the performances were delivered by Jordan Lee Davis and Catherine Mort with the chance for beautiful harmony in There Is A Flower.
Laura Tisdall's The Inbetween had previously launched a concept album which featured West End performers such as Daniel Boys, Julie Atherton, Hadley Fraser and Liam Tamne. Sung yesterday by Thomas Sutcliffe and Jessie May 'Beyond The Door' and 'Someone You'd Be Proud Of' were both strong performances. Trapped between parallel worlds the musical is the story of Flick Wimple who faces tough decisions about journeying to another world.
Doctor Who Peter Davison's American companion Peri -Nicola Bryant presented her musical You Belong To Me. Sung by Bindy Baker and Hanna Molloy 'My Heart' was a great female duet (and a really catchy tune!)
The final entry was from Ashley Walsh and Daniel Cartwright with Schindler The Musical, currently in the writing process and production at UCLan. Impressive out-of-London students, and an impressive composition, great effort with presentation as well as arrangement. A bold yet haunting sound.
The judges were director Raz Shaw, Theatre critic Mark Shenton, Choreographer Drew McOnie, Musical Theatre Star (Wicked) Gina Beck, Musical Theatre Network representative Caroline Routh and Perfect Pitch representative Andy Barnes. The judges vote was unanimous and their chosen finalist was Matt Board's Fanatical. Our audience vote went to James Oban and Yiannis G. Kotsakos' Ushers: The Front Of House Musical.
It's really important that we keep encouraging new writing, so follow @MPeaProductions and @WestEndProducer to keep up to date. For tickets to the second semi-final or the actual final visit West End Producer's website, dear...
Hairspray - the musical with big heart (and even bigger hair) returns to Birmingham as part of it's second national tour. Following teen culture and the race segregation of 1962 Baltimore, tubby teenager Tracy Turnblad takes it upon herself to make big change.
Despite all odds, when larger than life Tracy is picked to be the new dancer on The Corny Collins Show there's suddenly no stopping her from fighting for what's right. With the help of her friends, Tracy's determination brings everyone together in a fight against TV executives to integrate everybody of all colours and sizes.
At only 22 and fresh from training Freya Sutton leads as Tracy. Appearing in most of the shows big dance numbers there's little time to rest once the curtain goes up yet energy is in an abundance throughout. An impressive professional debut from Sutton who manages to sing incredibly well too despite Tracy's constant excitable jumping and high energy routines. Also making his professional theatre debut is X Factor finalist Marcus Collins as Seaweed J Stubbs. Whoever said that reality show contestants do not belong in musical theatre are wrong here. This is no "stunt cast" - sure it looks great on the posters but on stage he more than lives up to (and exceeds) expectations.
Whilst he may not posses similar vocal talents as London's original Michael Ball, Mark Benton as Tracy's mother Edna Turnblad is a delight. Hilarious in the role, the already humorous character is taken up to a different level, particularly when paired with Paul Rider as husband Wilbur. Their rendition of 'Timeless To Me' brought the house to concert-like applause.
Owing to the indisposition of Lucy Benjamin, the role of Velma Von Tussle is played by Wendy Somerville - who is suitably mean and scary. Also standing in at this performance was Piers Bate, replacing Josh Piterman as TV show host Corny Collins. Bate proved to be at ease in the role and gave a smooth performance.
What is great about Hairspray is not only does the show have a great message about acceptance and equal opportunities - the lead cast are given exactly that, equal time to shine. Lauren Hood impresses as Tracy's ditzy friend Penny Pingleton as does Gemma Sutton as Amber Von Tussle - both giving incredible vocal performances. Luke Striffler as heartthrob Link Larkin lives up to the Zac Efron image and surely melts hearts. Gabrielle Brooks shines as little Inez.
There is one particular song which rises above and beyond all of the others, and the lucky person who gets to sing it is the powerhouse that is Sandra Marvin. I Know Where I've Been is the moment in which all of the comedy and dancing comes to halt and Hairspray's message is well and truly delivered. Maybelle is feisty, she talks in rhyme and wins the audience over with humour, warmth and exceptional vocals. Marvin's performance alone is worth much of the ticket price.
Hairspray is a joyous celebration of how far society has come. You leave feeling educated, enthralled and entertained. You certainly can't stop the beat long after you've left the theatre.
Tickets for Hairspray at the Birmingham Hippodrome are selling fast and you can book yours here. Playing until Saturday 1st June.
You can listen to audience reactions from Birmingham's press night on the podcast below!
You can also listen to the Hippodrome podcast which features interviews with the cast!
Cast List: Mark Benton, Lucy Benjamin, Marcus Collins, Freya Sutton, Luke Striffler, Sandra Marvin, Josh Piterman, Paul Rider, Gemma Sutton, Lauren Hood, Wendy Somerville, Daniel Stockton, Gabrielle Brooks, Amelia Adams-Pearce, Jocasta Almgill, Lori Barker, Piers Bate, Arun Blair-Mangat, Sophie Brown, Andrew Bryant, Georgia Carling, Rhiannon Chesterman, Francesca Hoffman, Samantha Hull, Claudia Kariuki, Lewis Kirk, Sam Lathwood, Fela Lufadeju, Simone Mistry Palmer, Nikki Pocklington, Nathaniel Morrison, David Ribi, Noel Samuels and Laura Thorogood.
It's 1605 and the Catholics are not happy. The oppressive rule of King James I has left them hungry for rebellion and they need a figurehead to lead them out of the pub and onwards to freedom. Guido Fawkes is the man they have been waiting for: he just doesn't know it yet!
Guido! is written by Daniel Henry Kaes and composed by David Ferris. Directed by Midlands-born Cambridge University student Matt Lim, the show premiered at the ADC Theatre in June 2012. A privilege to launch during the final academic week - May Week - the show received an enthusiastic response. The show has been revised for the Fringe and represents the original writing of the Cambridge students in a musical comedy adventure. The production brings together life events and characters from a notorious era in English history in a mock-epic as grand as Pirates of The Caribbean with the musical theatre attitude of Jerry Springer: The Opera.
Guido! transfers from Cambridge to the C Too Main House at this years Edinburgh Fringe Festival and is likely to be one of the most fun, ridiculous and brilliantly playful shows you will see at the year's Fringe.
1 - 26 August 2013 at 15:50 daily.
Tickets prices are £8.50 and £6.50 concessions.
To book tickets and for venue information, click here.
Based on the movie of the same name, 9 To 5 is the stage musical creation of Dolly Parton. The show opened on Broadway in April 2009 and sadly closed 5 months later. It has since toured the US and a new production premiered at the Manchester Opera House in October 2012. The revised production is now touring to theatres across the UK and is bigger and better than ever.
Girl power is most definitely back in this fantastically fun adventure of three female office workers who show their sexist, egotistical, bigoted, chauvinist male boss that they are not to be messed around - turning the office from bland and characterless to the most dynamic Dollywood palace with high energy dance numbers and plenty of pink glitter.
We're greeted by Dolly herself as the large clock suddenly becomes a portal into Dolly's Hollywood office. She acts as a narrator to the story, similarly to Blood Brothers but without the creepiness. Jackie Clune stars as widow Violet and shines in 'One Of The Boys'. Amy Lennox is the Parton of the show - the busty and blonde Doralee Rhodes. In the role originated by Miss Dolly herself, Lennox is a perfect tribute yet sustains a strong and individual character. Her 'Backwoods Barbie' is one of the more beautiful and serene moments. Perhaps the shiniest gem is Natalie Casey as Judy Bernley. The comical yet vulnerable character has the audience at many times in hysterics and as with any good story of empowerment and overcoming, 'Get Out And Stay Out' is definitely one of the show's highlights.
The Bill's Ben Richards couldn't be further from his recent stage appearance as Tick in Priscilla Queen Of The Desert. Here he is the big bad boss, Mr Hart and is commanding of the stage - until that is the girls tie him up and dangle him above the bed with a garage door mechanism. Unfortunately the climax of act 1 where he is launched into the air failed to happen as he wasn't clipped in properly and had to finish the number on the bed with the ropes swinging around him. It's a very technical show but ran smoothly besides. Returning to the show this week after time off for filming, Richards rejoins the show effortlessly. One of the most hilarious moments 'Heart to Hart' involves a passionate dance between Mr Hart and his assistant Roz Keith played hilariously by Anita Louise Combe who recently replaced Bonnie Langford.
Whilst 9 To 5 might not be the most original or groundbreaking musical out there, what it is, is a fun and feel-good night out with tonnes of talent and a high production value. Thoroughly entertaining and listening to Dolly Parton say "Thank-you Wolverhampton!" was something I never thought I'd hear. There is still some good availability for tickets at the Wolverhampton Grand Theatre where the show plays until Saturday 18th May! Book here.
View the shows trailer below!
Cast List: Jackie Clune, Amy Lennox, Natalie Casey, Ben Richards, Anita Louise Combe, Mark Willshire, Marlon Moore, Tom Andrew Hargreaves, Philip Bertioli, Lori Haley Fox, Gemma Maclean, Lisa Bridge, Peter McPherson, Andrew Waldron, Lauren Stroud, Nyroy Dixon, Sasi Strallen, Ashley Andrews, Sinead Kenny, Persephone Fitzpatrick and James Lacey.
Touring Musical Theatre consortium Music & Lyrics production of the Cole Porter musical High Society plays at the Birmingham Hippodrome this week. The show which has already played at 13 of the consortiums venues including Wolverhampton (review), Dublin, Cardiff and Newcastle runs in Birmingham until Saturday 18th May.
Music & Lyrics is an award winning, nationwide consortium comprised of the UK's major leading presenting venues. It aims to champion music theatre in all its forms and provide extended life to productions created by the UK's major producing theatres. After the success of 2012's The King & I, High Society is currently touring and a new production of Fiddler On The Roof directed by Craig Revel Horwood is to launch later this year.
This production of High Society stars Michael Praed as Dexter Haven, Sophie Bould as Tracy Lord and Any Dream Will Do contestant and star of Avenue Q Daniel Boys as Mike Connor. Birmingham Hippodrome's Ben Wooldridge interviewed Daniel ahead of the production. "I've always wanted to be a performer since my parents took me to London to see Starlight Express..." You can read the full article on the Hippodrome Blog by clicking here.
Daniel Boys
Hippodrome video interviews with Michael Praed, Sophie Bould and Daniel Boys can be viewed on the theatre's YouTube account where the cast discuss the show and their own swell parties! Watch them here.
Prepare yourself for a night of vintage Hollywood glamour at Birmingham's spectacular Hippodrome. For more information and to book tickets visit the website here. If you're following the Hippodrome theatre conversation on Twitter, be sure to use the hashtag #BHSwellParty.
Hear audience reactions from the show's opening night in Birmingham!
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#BHBigHair The Hippodrome's other "May Musical" is Hairspray, playing from 21st May - 1st June. You can read my interviews with Mark Benton, Lucy Benjamin and Marcus Collins and listen to the theatres Hairspray podcast here. Book your tickets for Hairspray here.
Almost 30 years after the TV series was first broadcast and following three successful seasons in the West End, the stage play of Yes, Prime Minister is now into the latter venues of a UK tour.
The play by Antony Jay and Jonathan Lynn is up to date and mirrors the current political situation with PM Jim Hacker as head of the coalition. The scenario however remains much the same, with Hacker as ever reliant upon Sir Humphrey Appleby - Cabinet Secretary and ridiculously long-winded speaker.
Michael Fenton Stevens is fascinating in the title role. His frustration and uncertainty is worrying but most humorous. Superbly acted, the man who is supposedly in charge - tirelessly seeking the help of his advisors who's plans progress further than any of his own. Interestingly, the cast keep a believable approach to a scenario that is perhaps slightly ludicrous - go and find three illegal immigrant call girls (who we can easily deport afterwards) for the Kumranistan foreign Minister Mr Artikeev, so he will agree to a 10 trillion dollar loan... Farcical at times, but cleverly reigned back in avoid cheapening the humour. Farcical maybe in reality, who knows what goes on behind the closed doors of number 10, or indeed Chequers, the country residence where we find ourselves for this play.
The setting of Chequers makes for a lavish set, designed by Simon Higlett. With beautiful autumn tress outside of the window in which rain trickles down, bookshelves aplenty with hidden doors and a clever use of television screens at various heights on the proscenium. The interview news broadcast is filmed live on stage and shown on the screens as it would appear in your home.
Crispin Redman and Michael Matus as Sir Humphrey and Bernard Woolley work the space well, with frantic movement and comical presence to keep this from becoming the static and dialogue-heavy play that it is initially. There is plenty of guffawing from an audience of a reminiscent age.
In office at the Wolverhampton Grand Theatre until Saturday 11th May - book here.
Sutra, taken literally is a rope or thread that holds things together. Also a term given to the collection of original thoughts, you find that Sutra stirs your thoughts as you discover and piece together threads within the movement's narrative.
You would be forgiven for thinking that the cast you were watching were fully trained, professional contemporary dancers but in fact, Sutra is performed by warrior monks of the Shaolin Temple. Their movement is based on a belief in the supernatural power of Chan Buddhism and is a major form of expression.
At first we see Ali Thabet in the role that director and choreographer Sidi Larbi Cherkaoui originally performed who is with a young monk (aged only 9) sitting with a pile of wooden blocks. What seems like a game of chess, or horizontal Jenga soon replicates in human-sized scale behind them. Within each wooden box is a monk that almost tortoise-like drags around their shelter on their backs. But are these boxes shelter? Are they more like coffins? Did the monks create what looked like IKEA wooden bookshelves or were they indeed bunk-beds that they later occupied? At times the boxes were safety, like barriers and at other times they were dangerous falling dominoes - metaphorical perhaps of God or another force controlling life as if it is just a game.
Even with the simplicity of the white stage space and plain wooden boxes the monks ensure that this visual treat is as powerful a performance and insight into the mind of a monk. Pushing bodies to the limit, falling from heights and literally defying gravity, Sutra is a stunningly expressive and poetic piece that has the ability to make an audience of thousands come away with a unique and individual perspective of the same performance - the narrative, you discover for yourself.
The Dance Consortium is passionate about sharing the work of international dance companies across the UK. Sutra is the latest tour that has only one performance left at the Birmingham Hippodrome on WEDNESDAY 8TH MAY 2013 - book here.
Wendy Mae Brown is currently starring as the coincidently named Oda Mae Brown on the UK touring production of Ghost The Musical, the role originated by Whoopi Goldberg in the film and by Sharon D. Clarke on stage. Wendy has recently starred as Hattie in Kiss Me Kate at the Old Vic and Chichester whilst other credits include Little Shop Of Horrors, Mamma Mia! and Porgy And Bess.
"We've only just started the tour but the Welsh audiences have been great actually, apparently they can be quite critical but they're loving it! The Wales Millennium Centre has been a great place to open the show, it's such a technical production and they've had the workshop space to make any changes where needed. The rest of the tour is quite exciting, we get to perform at some great venues like Wimbledon and Wolverhampton which I haven't performed in for years!"
"The show is quite technical and that side of the production has been improved for the tour. We have a few members of the cast who were in the London production who say things work a lot slicker now. Unfortunately I never got to see the show when it was at the Piccadilly Theatre, but the film I must have lost count how many times I've seen that. Oda Mae Brown was always one of those characters that I'd watch and think "oooh, I'd love to do that role". As a black actress there are only certain roles you can do, this being a great one, but of course there was never the opportunity - I never thought they'd make a musical out of it! I missed out on auditioning for the original production but when the tour came around I just had to go for it - and here I am, Wendy Mae Brown playing Oda Mae Brown - there must be someone up there making it happen for me!"
Wendy as Oda Mae with Karlene Wray (Clara) and Keisha Atwell (Louise)
"Not all the critics were so kind to Ghost in London and I think the show has a better place on tour. People in London experience theatre quite differently and with a different attitude and I think the regional audience will just enjoy it."
"I'm having the best time on stage. Oda Mae steals all of the laughs, she's comedy character which believe me is needed because at times it's quite depressing, with all the death... My favourite part of the show has to be my song I'm Outta Here. I look utterly ridiculous but everyone just has so much fun in that number. It's quite difficult though, not only have I got a giant bird on my head, but I've got sunglasses on, a fur coat and I'm climbing over boxes - I'm constantly trying to avoid falling over!"
"That's not the only difficulty I've found... what else is quite a challenge is the fact that Oda Mae can't see Sam (Stewart Clarke), she can only hear him and so I have to try not to look at him. I remember in one the first shows I was just gawping right at him for quite some time thinking "gosh he's gorgeous!" and then I realised I can't see him!"
Get tickets to see Wendy as Oda Mae Brown in Ghost The Musical, now touring across the UK. Ghost haunts Wolverhampton at the Grand Theatre from 4th - 15th June. Get tickets here.
Blood Brothers, the show that started it's life in school halls opened in the West End in 1983 and won that year's Olivier Award for Best New Musical. The production played more than 10,000 performances before closing in London at the Phoenix Theatre in November 2012. The UK tour however seems to be on the road incessantly.
Some of the cast from the 2012 UK Tour remain with the production whilst members of previous and final West End cast now reprise their roles.
Maureen Nolan (Mrs. Johnstone) and Sean Jones (Mickey)
If you've seen Blood Brothers before the chances are you've seen a Nolan sister in the role of Mrs. Johnstone. Maureen, who had previously spent two years in the role at the Phoenix Theatre joins the 2013 tour as the superstitious mother of nine... that is of course, until she gives one away. Nolan gives a heart-wrenching performance who's evident sorrow is equalled in the harsh, coldheartedness of Tracy Spencer's Mrs. Lyons. The lonely housewife who cannot have children of her own convinces Mrs. Johnstone to give one of the twins to her. But you know what they say about twins secretly parted... if ever they find out the truth, they shall both immediately die.
Sean Jones is Mickey and Mark Hutchinson is Eddie and has played the role in the West End, on tour, in Toronto and on Broadway for which he won the Drama Desk Award for Best Featured Actor in a Musical. What we have here are seasoned performers who understand every phase of the brothers' lives with initial humour and later desperation. Jones in particular wins audience affection with his "I wish I was our Sammy" speech. In the meatier role of Mickey, Jones is also able to show his diversity through Mickey's adulthood decline into depression.
Owing to the indisposition of Warwick Evans, the role of the Narrator is currently played by Tim Churchill who is the show's one man Greek chorus. He presents the themes of fate and superstition as he powerfully sings through Willy Russell's music and lyrics. Olivia Sloyan stands out as Mickey's girlfriend and eventual wife Linda as does Daniel Taylor who's presence is scarily commanding of the stage in the role of the aggressive and threatening Sammy.
As far as stage productions go, Blood Brothers is perhaps a dated production, but the themes and in particular, the song Just Another Sign Of The Times are unfortunately all too familiar and relevant today. Even though the eventual outcome has been set out from the start it doesn't stop your heart from beating tenfold as Mickey's gun shoots in the direction of his brother and childhood best friend. Better than a evening at Nymphomaniac Nights and Swedish Au-Pairs, a full standing ovation and applause long after the cast's third curtain-call, it's still like a first night.
On until Saturday 4th May at the Wolverhampton Grand Theatre, you can book tickets here.
After it's world premiere at the Manchester Opera House in 2011, Ghost The Musical has since wowed audiences in the West End and on Broadway. The original London staging will be sent across the globe for use on the Korean production due to open later this year. For the UK tour, a complete re-design (which is no way a scale down) travels the length and breadth of the country in 10 articulated lorries.
A team of over 110 riggers, engineers, electricians, carpenters, crew, prop makers, costume and wig staff, designers and production supervisors worked in shifts over 96 consecutive hours prior to the technical rehearsals at the tours opening venue - The Wales Millennium Centre. The get-in for the show takes approximately 50 hours just to set everything up in each venue and 10 hours to get back out.
A ghost's eye view! Image: Ghost The Musical
The truss suspended from the venue's grid can be seen on the photo above and weighs just over 21 tonnes. There are 86 intelligent lights in the rig which by the time of Oda Mae Brown's song I'm Outta Here are lowered into full view of the audience and blast out in every imaginable colour.
Just as the set did in the original production, the tour features LED video screen walls that make up a significant part of the shows set. There are 7 automated video walls that are made up of 172,176 LED pixels in total. 17 computers control all of the set, lighting, sound and effects. Monitor screens backstage show the stage in black and white, colour and from all angles to ensure that the illusions can be successfully executed - there is very little margin for error.
The stage is through there... somewhere!
In addition to all of that there are 5 projectors that are rigged front of house. Images of Sam and Molly are projected all over the stage area and every possible lead performer and understudy combination of Sams and Mollys have to be photographed and filmed together. Even the finest details on the show are carefully considered. All of the driving licenses and passports, record files have photos of the actual cast member playing the role on them, and change with each understudy. All of the sheets of paper in the show are American sized and all of the props were sourced and brought over from America. The vending machine in the Subway scene is full of authentic American candy. Props such as the polystyrene coffee cups are filled with expanding foam to make them last the duration of the tour.
There are a total of 58 wigs used during the show that are washed, set and maintained by 3 members of the wig department. There are 65 quick costume changes and most of these take place in a Wardrobe Quick Change area at the back of the stage. In this area costumes such as Oda Mae's hideous pink leopard print suit are hung and ready to be fitted - the skirt is hung inside out for speed. The fastest quick change is only 6 seconds! The wigs table is carefully laid out in this area too and includes Sisters Clara and Louise, the Subway Ghost and many of the period costumed ghosts. In total there are 217 costumes in the show and 112 pairs of shoes.
The view from the wings of downstage right.
As big as the production may be, the stage performance area is actually quite intimate and a purple floor surface is laid down over the existing stage. The stage floor features tracks in which pallets move across with pieces of set on, such as desks and sofas. In the London production there were moving conveyer-belt tracks and pieces of set that came up through the stage floor, but for the tour it's all reconfigured to come on seamlessly from above or from the wings.
Combining every element of the show, it is clear to see the enormity of the production's scale. It is quite possible that Ghost The Musical is the most technically complex production to ever tour the United Kingdom.
Just one final image, if you thought the wires at the back of your TV were complicated....
It's 1962, the 50's are out and change is in the air in Baltimore! Hairspray, the show with big heart, big songs and big wigs is now into it's second national tour of the UK and Ireland. Part of an incredibly talented and energetic cast of over 30 - Waterloo Road's Mark Benton leads as the loveable Edna Turnblad, Eastenders' Lucy Benjamin is the scheming TV show producer Velma Von Tussle and X Factor finalist Marcus Collins is Seaweed J Stubbs.
MARK BENTON
Mark Benton as Edna Turnblad (Luke Striffler as Link Larkin)
Known to many for his roles in Early Doors, Northern Lights, Waterloo Road and in films such as The Imaginarium Of Doctor Parnassus, screen favourite Mark Benton returns to the stage and for the first time in a musical. "I trained at RADA, primarily for stage and I absolutely loved my time there, I had a really mixed and interesting year group and I learnt a lot. I did a lot of theatre, plays, this is my first musical but I've done a lot of TV work now and I couldn't say which I preferred. Once I'd finished Waterloo Road I really wanted to get back in the theatre, but I know that once Hairspray's over I shall want to go and do some TV work again."
So, what's it like rehearsing for something like Hairspray? "Rehearsing Hairspray was completely different to anything I'd ever done before. On TV you barely get a rehearsal, you just go with your first instinct and most of the time that's right - and that's what can be annoying about stage rehearsals... You can go with your first instinct in a play, or musical like this, try a million other ways and then more often than not go back to how you did it originally! Something like Hairspray though is set already, it's been done all over the world and they know what they're doing - things move really quickly. The show moves really quickly too, you learn to pace yourself... although we've just had a week off so it's been a shock getting back into the swing of things."
Also a shock to Mark at first was the perils of working in a female fat suit. "It's not particularly heavy, it's just very hot. I'm not looking forward to spending a summer in that. Especially in the big dance numbers like Welcome To The 60's and You Can't Stop The Beat - it gets very sweaty!" During the show Edna and Tracy undergo makeovers, each of them having a little over 30 seconds to completely transform: "It should be one of the hardest parts of the show, but for me I just stand still. I run off stage and have four dressers who manage to change my dress, shoes and wig and get me back on stage to finish the song - I love Welcome To The 60's, it's a great part of the show and really gets the audience going, especially after the reveal. Edna really blossoms after the makeover, she's a good woman and I see her like a bit like a butterfly, she develops into something beautiful from something quite drab. She's insecure at first and I play her quite masculine and become more feminine as the show goes on to chart her change of character."
"I hadn't seen the show when it was on in the West End and I haven't really seen the film properly - the kids have got it, so I've seen bits but I wanted to put my own spin on what is such an iconic role as opposed to just copying John Travolta. Apart from Welcome To The 60's my other favourite moment has to be singing Timeless To Me with Paul Rider who is Edna's husband Wilbur. I've worked with Paul a few times and we understand each other, so we have a great laugh singing together and we love working with Freya (Tracy) too! She's fresh out of drama school, bright eyed and enthusiastic and has so much talent!"
LUCY BENJAMIN
Lucy Benjamin as Velma Von Tussle (Sandra Marvin as Motormouth Maybelle)
Lucy Benjamin is having a lot of fun playing Velma on the tour but she couldn't be more unlike her horrid character. "I'm having so much fun playing Velma, she's the best character to play. She's stuck in her ways, she's not at all ashamed of her racism, which of course makes her a horrid person, but so much fun to play. I sometimes get booed, but that's great - because I know I've done my job properly! It's a good job I love it because I struggle to escape the world of Hairspray - my children love the show, they're always watching the film and if they're not doing that they've got the CD on... constantly!"
"I remember seeing the show in the West End and I loved it but I enjoy being in it much more. I watched the film before I auditioned to familiarise myself with the role but I didn't want to get too bogged down in someone else's interpretation. I've put my own spin on a character who is essentially an evil Disney princess. Her dresses are like Belle's, I love being a princess! When I'm not being a princess I love to watch Marcus Collins do his thing - he is a delight! Marcus just raises the roof, the audience love him and his song Run And Tell That is one of my favourite parts of the show... apart from when I get to sing of course! I love doing Miss Baltimore Crabs but my favourite bit to do is Velma's Revenge where I'm dragged backwards on a platform by the boys and all the smoke blows of out it - evil!
MARCUS COLLINS
Marcus Collins as Seaweed J Stubbs (Freya Sutton as Tracy Turnblad)
Marcus Collins rose to fame and won the hearts of the nation, finishing second on the 2011 series of The X Factor and after touring the UK with the show's concert tour this tour of Hairspray marks his professional theatre debut. "The tour's going great, everyone's enjoying it and nice to be travelling to different parts of the country and seeing different cities. I'm excited about Liverpool because that's my home crowd, I'll have loads of friends and family in, but after that we've got Birmingham and I'm really looking forward to performing at the Hippodrome. I wanted to try something new after X Factor, and performing in theatres is great. I did a lot of musical theatre when I was younger but I've always wanted to do something that was a bit more commercially rewarding, and X Factor gave me the chance to be heard and get a single and album out. I'm still in the studio, recording new stuff whilst I'm on tour with Hairspray. It's two completely different worlds though, here people are coming because they're interested in a story and the characters, they're not just coming to listen to someone sing and they're not watching me - they're watching Seaweed. With Seaweed I've tried my best to tone my accent down, I've always had a broad Scouse accent and I think people are surprised when they hear me."
"For those who haven't seen the show, Hairspray is one of the most feel good shows you will ever see and it takes you back in time. The score is beautiful and at the end of the show you'll be on your feet, dancing in the isles! For me, Hairspray is a celebration of the fact that nowadays we have the freedom to live as we do, to be who we are and who we want to be, mixing with people of all different backgrounds. The 60's wasn't that long ago, and I'm amazed at how far society has come."
"I'd never seen the show before doing it and so I got to create my own version of the character based on the script and what his song is about. Although, after I did go back and have a look on the internet to see what other Seaweed's out there had done, just being nosey really...!"
Being a hairdresser before entering into X Factor, you could say Hairspray is the perfect show for Marcus... "It's great, Hairspray amongst all other things is about great hair, and there's some fabulous wigs in the show. For me, being a hairdresser has been a vital part of the experience, I get a real buzz out of seeing the different styles and colours going on. I style my own hair, everyone else goes to the wig department to have theirs fitted, but no, I sit here and do my own!"
"There are three bits of the show that I absolutely love, obviously my song, getting to sing Run And Tell That is great, but my stage mum Sandra Marvin singing I Know Where I've Been, I love that. I remember sitting in the cinema watching Queen Latifah sing it in the movie and it really moved me to tears - such a great song about strength and how far we've come. My other favourite bit is the end, You Can't Stop The Beat, you get the integration between black and white people and the stage is just full of colour, the costumes are great, everyone's up on their feet dancing and just having an amazing time!"
Hairspray also stars Freya Sutton as Tracy Turnblad, Paul Rider as Wilbur Turnblad, Lauren Hood as Penny Pingleton, Sandra Marvin as Motormouth Maybelle, Luke Striffler as Link Larkin, Josh Piterman as Corny Collins and Gemma Sutton as Amber Von Tussle.
Hairspray plays at the Birmingham Hippodrome from 21st May - 1st June 2013, and you can book ticketshere.
You can listen to the Birmingham Hippodrome Podcast for Hairspray below!
You can also download and listen to the latest Birmingham Hippodrome podcasts for free on iTunes here.
Priscilla Queen Of The Desert is the film turned musical and story of three Australian drag queens who travel across the Australian Outback from Sydney to Alice Springs on a tour bus named Priscilla. Tick (or Mitzi), Bernadette and Adam (Felicia) enlist the help of mechanic Bob en route to help their battered bus survive the journey.
Australian actor Jason Donovan who originated the role of Tick/Mitzi in the West End production is only touring with the show in the earlier venues (with Hearsay's Noel Sullivan taking over later) but Donovan has pre-arranged days off from the production, two of which are in Birmingham. At this performance to the delight of the local crowd - Birmingham boy Wayne Fitzsimmons steps into his shoes... heels of course. First making headlines in the 2010/11 pantomime Dick Whittington at the Birmingham Hippodrome Fitzsimmons took over the role of Queen Rat from Hollywood actress Joan Collins when she was taken ill with flu.
With ease he wins over the crowd, mastering MacArthur Park which with four large green cupcake dancers is one of the highlights of the show. There is a sweet connection between Fitzsimmons and Coventry schoolboy Oscar Francisco who plays Tick's son Benji that warms the heart. Richard Grieve adds sophistication to proceedings as post-op transexual Bernadette. No stranger to the show Grieve played the role of Tick in the West End production and having seen him in both roles this is where he shines most brightly. The third of the trio is Graham Weaver (Save The Last Dance For Me) as Felicia. Understudy to Oliver Thornton in the London production Weaver is more than experienced in the role. The youngest and more carefree of the girls, Weaver has fun from start to finish, hotting things up with Venus and Hot Stuff - mincing around in hot pants and leathers his serious talent is shown in the Kylie medley bringing the house to rapturous applause with a powerful Confide In Me.
Also worthy of such applause are the incredible divas. Emma Kingston, Ellie Leah and Laura Mansell descend from the sky (at least now they do, unlike Birmingham opening night) and belt the dance floor classics. Regan Shepherd hilariously goes full out as Farrah with monstrous eyelashes and is a convincing and most glamorous Young Bernadette. Alan Hunter wins early attention as Miss Understanding and Frances Mayli McCann works the crowd as mail order bride Cynthia in Pop Muzik popping ping-pong balls.
A new addition for the tour was a ticker tape screen that was there throughout the show and told us where each scene was taking place, such as "BOB'S KITCHEN". Unnecessary I thought, it seemed a little like they were suggesting we couldn't work it out for ourselves.
The limitations of touring often work to the shows disadvantage and unfortunately the West End production of the show was always too ambitious for the road. The bus which was a star in it's own right of the London show is replaced by majority a framework with video screens for windows. It works, and for those who hadn't seen the London production it was probably rather exciting, but it's hard not to compare and this was a little underwhelming. Timing issues with sound effects and the various roadkill lost the impact of one of the shows funniest visual gags. The famous "shoe" was replaced with what looked like a life guards chair and again lost the impact that the London show had by which it came out on a platform above the audience. Follow-spot operators on makeshift platforms balancing on seats at the back of the circle were clunking around which was distracting, far worse than sweet wrapper crinkling. There were noisy set changes behind curtains that could clearly be heard over dialogue. The running of the show just isn't as slick as the near perfect London production.
In no way though does any of this stop Priscilla Queen Of The Desert from being the flamboyant, fun and feel-good night out. The talented cast could no doubt pull off the show without any scenery and it still be a hit. Well worth a visit when the bus stays for a pit-stop in your town. Venues and tickets here.
Coricopat is the male of the twins in the musical Cats. Heshares very similar make-up and costume to the female - Tantomile. Throughout the show as the psychic cats Coricopat and Tantomile are always the first to hear and react to everything and when they do they move in perfect sync. Not only do they have a difficult job on stage but their make up is one of the most complicated too...
The show goes up at 7:30pm each night and I joined Richard Astbury in his dressing room a whole three hours before the show to begin make up at 4:30pm!
Richard begins applying the first base, an Oriental paint stick, which looks rather like a dodgy fake tan. Sponging it everywhere but his mouth area which he then fills in white. Coricopat's wig is quite high and the costume neck quite low so Richard has the most to paint including his ears and down to the bottom of his neck. After each different section or colour, powder is applied and brushed in to keep the colours dry and stop them smudging. During the show this also helps the make-up in its battle against sweat.
The first detailed part are the eyes and Richard begins with the black detail. It takes extreme concentration, particularly to match the left side with the right. In the very beginning Make Up Supervisor Maria Cave provided each member of the cast with the original designs, she would paint one half of their face and they would have to copy it on the other side. Each member of the cast has to do their own make up and some of them, including Richard are understudies for other cats and have to learn their make up too! Richard covers for Rum Tum Tugger, Macavity and Skimbleshanks.
Once the black flecks above the eye are done, white and brown is then added in, flicking it upwards. Richard's eye design differs very slightly to the original design, the flecks are slightly bigger so that it matches Tantomile's (who has a smaller forehead) and the eye make up meets the wig which sits quite high. Even at this far into the process after half an hour, there is still no one else in make up. There's no else even around yet, apart from Barry... making a cup of tea. He's a swing, he covers the older male Cats and wasn't on that night.
Next are whiskers, and luckily these aren't symmetrical. First they're painted on white and later black is added to accentuate them. The first black paint added to the mouth area is to create a nose, painting the underside around the nostrils, a black line down the the philtrum and then out across the lips. At this point it's important to put the powder on immediately to stop the black upper lip and white lower lip from merging and becoming grey when you close your mouth.
Once the black detail around the whiskers has been finished it's time to head into the wig department. Richard's wig cap is fitted by the deputy wigs mistress Jess Bishop. All of the cast come here to get their wigs and to have them fitted but first Richard has to take his back to the dressing room for the next stage of the make-up. The colours in Coricopat's wig are the same as the make up, but have to line up on the face so the fusion between hair and paint isn't obvious from the stage.
The neck is painted black, all down the sides, into the hairline and completely covers the back of the neck. Flecks of black extend from the back of the neck into the orange colour at the front. Other flecks of white and brown are added too.
After 90 minutes it's time for physical and vocal warm up. For the cast who have all now begun their transformations there is still a lot to do afterwards. The wig room is very busy after warm up, microphones are fed through the wig caps and fixed into place at the top of the head. For Richard, once his wig is secured there are a final bits of make up to touch up on before costume. The amount of powder required dulls the colours of the make up and so this is the time to make it all stand out again by going over the bits that have faded.
As Mister Mistoffelees would say - "PRESTO!" the make up is complete. It's now only 15 minutes until showtime, and Richard is ready for costume. Shoes, tails and accessories are kept together in individual boxes for each character, after collecting these and putting them together with the catsuit itself.... we have Coricopat!
You can watch a time-lapse of Richard's lengthy transformation in under 3 minutes... If only it really took that long!
Richard is one of a 28 strong cast for the UK/Europe Tour of Cats so his lengthy transformation is actually only a very small part of the overall daily preparation for the show. Here is a little glimpse at what else goes on behind the scenes at Cats! (As with all of the pictures, click on them to view them larger)
Joanna Ampil who plays Grizabella first appears on stage for the opening as a kitten, her make up looks like this until she later adds the tears and wrinkles required for the ex-Glamour Cat Grizabella. (Production photography by Alessandro Pinna).
Cameron Ball plays Admetus at the beginning of the show (left) but transforms mid show into Macavity (right) which requires some alterations.
Will Lucas begins his make up for Bill Bailey and James Darch uses a close up mirror to add the finishing touches to Alonzo.
The wigs on one of the tables include Skimbleshanks, Old Deuteronomy, Munkustrap and Gus (left), Lily Frazer's Demeter wig and Dawn Williams' Jemima sit on the top shelf (right) and the costumes are all stored together and brought up to the dressing rooms to put them on.
There are some extra backstage pictures taken during the get in for the show on the Wolverhampton Grand Theatre's blog which you can read here.
Cats continues in Wolverhampton until Saturday 30th March and tours the UK and Europe for 14 months through into 2014 - more details of the tour can be found on the official website.
