Regional theatre – Page 19

Review: Priscilla, Queen of the Desert at the Orchard Theatre

Published on April 26, 2016April 26, 2016 by Liz2 Comments

If there was ever a movie crying out to be turned into a musical, it’s 1994 Aussie hit, Priscilla. The addition of disco classics to this fabulously flamboyant tale of three friends on a road trip through the desert feels like the most natural thing in the world, and the resulting show is an infectiously joyful cocktail, which is guaranteed to brighten up even the dreariest Monday.

Tick (a.k.a. Mitzi), a disillusioned drag queen, invites his friends Adam (a.k.a. Felicia) and Bernadette (formerly Ralph) to join him in a new act in Alice Springs, but doesn’t tell them he has his own reason for going. So, hopping aboard their very own party bus, Priscilla, the three set off from Sydney on a journey of self-discovery that will bring arguments, revelations and a bucketload of innuendo.

Blue’s Duncan James seems totally at ease with both his male and female personas, not to mention an increasingly outrageous wardrobe, and gives a strong performance as the conflicted Tick. He’s joined by Simon Green, as Bernadette, a sophisticated lady who just happens to have once been a man, and who lives in fear that her best days – and her chances of finding Mr Right – are behind her. Her scathing one-liners are usually directed at Felicia, played by a deliciously camp Adam Bailey. Unlike Tick, he’s completely comfortable with who he is, and demonstrates it by being fabulously over the top, but not always showing the sensitivity to others that he expects for himself.

This show is a lot more just its stars, though, and has three unsung heroes (if you’ll pardon the pun) in the Divas. With the main characters’ act consisting of them lip syncing to pop songs, someone has to provide the soundtrack, and Lisa-Marie Holmes, Laura Mansell and Catherine Mort deliver a sensational performance. (This is all the more impressive considering they’re suspended from the roof by wires for most of the show.) There’s a brilliantly unhinged turn from Julie Yammanee as Cynthia, Philip Childs is a loveable hero as Bob – and the whole cast exude so much energy throughout that it’s impossible to resist the urge to get up and join in for the final medley.

And while we’re talking about unsung heroes, a quick word for the incredible wardrobe department, led by Suzanne Runciman. The outfits are not only visually stunning but also seemingly limitless; I don’t think I’ve ever seen a show with so many lightning-fast costume changes, and yet there’s not a wig out of place.

Priscilla is a camp extravaganza – quirky, cheeky and endlessly entertaining, with a fantastic disco soundtrack featuring the likes of I Will Survive, Venus and Hot Stuff. But the show’s not just about glitterballs and glamour; it has a serious point to make too about the importance of both accepting ourselves for who we are, and allowing others to be themselves too.

Bit cheesy? Absolutely. But when you’re having this much fun, who cares…

Priscilla, Queen of the Desert is at the Orchard Theatre, Dartford until 30th April.

Review: A Midsummer Night’s Dream at the Marlowe Theatre

Published on April 20, 2016 by Liz4 Comments

In case anyone’s missed it, this year is the 400th anniversary of Shakespeare’s death. To mark the life and achievements of one of our greatest Britons, the RSC has embarked on a massive and daunting task: a new production of A Midsummer Night’s Dream, bringing together an ethnically diverse cast made up of professionals and amateurs to celebrate the universal scope of not only Shakespeare, but theatre in general.

It’s a risky project, fraught with challenges and potential pitfalls, but there’s no sign of nerves from the cast at the Marlowe, which includes members of local group the Canterbury Players and children from King Ethelbert School in Birchington. It seems unfair to label the newcomers ‘amateurs’, though; all take to the stage with such aplomb – in particular Lisa Nightingale, who almost steals the whole show as the RSC’s first ever female Bottom – that you’d think they’ve been performing with the company all their lives.

Director Erica Whyman has set the familiar tale in a crumbling, post-war Britain, a time of hardship but also of hope for a brighter future. As the nation prepares for a royal wedding, four lovers escape into the woods, and a band of amateur actors meet to rehearse a play. But little do they all know they’re entering a world of fairy magic and mischief, and that after this night, their lives will never be the same again. A Midsummer Night’s Dream is one of Shakespeare’s more accessible plays – there’s a reason we all studied it at school – and there’s plenty to enjoy for young and old audience members alike in this chaotic and colourful version.

In an excellent cast, Lucy Ellinson shines with her spiky-haired Puck. Clearly enjoying doing her master’s bidding and causing as much chaos as she can, she covers every inch of Tom Piper’s versatile set (and beyond) with seemingly limitless energy. There’s great physical comedy from the four lovers (Mercy Ojelade, Laura Riseborough, Chris Nayak and Jack Holden) as the men threaten violence and the women actually attempt it – and as Oberon and Titania, Chu Omambala and Ayesha Dharker bring a vibrant party atmosphere to their fairy realm.

A Midsummer Night’s Dream is a timeless and irresistible story about love, and the things we’re willing to do for it. Whether it’s romantic love, parental love or simply a love for our art, it can lead us into madness – but it can also inspire us to greatness. It’s fair to say there’s more than a hint of madness about the RSC’s epic scheme to create a Play for the Nation… but there’s plenty of greatness too – not just for those of us who already love Shakespeare but, more importantly, for the next generation of theatre lovers. Here’s to another 400 years!

A Midsummer Night’s Dream is at the Marlowe Theatre, Canterbury, until 23rd April.

Review: Into The Hoods: Remixed at the Orchard Theatre

Published on March 9, 2016March 9, 2016 by Liz1 Comment

Think you don’t like hip hop? Think again…

When one of my friends told me I had to go and see ZooNation, I was a bit sceptical, to say the least – it’s really not my sort of thing. But I’m always happy to be proved wrong (where theatre’s concerned, anyway), so when I heard the company were coming back to the Orchard, I figured I’d give them a try. And I’m really glad I did.

Into The Hoods was ZooNation’s first full-length show back in 2006. Since then it’s become the West End’s first hip hop dance show, won What’s On Stage and Olivier Awards, and formed part of Nelson Mandela’s 90th birthday celebrations. Into The Hoods: Remixed is, as you might expect, a new, revamped version of the hit show; it follows two children on an adventure in the Ruff Endz Estate, where they must collect various items from a host of familiar characters… with a twist. Spinderella longs to be a DJ, if she can only get away from her ugly sisters. Singer Lil Red gets tricked into signing with Wolf, who runs Big Teef Records. Rap-on-Zel is kept locked up by her father, the landlord of Beanstalk Towers. And then there’s Jaxx, who lives in the basement (get it?).

As a company, ZooNation, led by director Kate Prince, aims to make hip hop accessible to a wider audience, and there’s no doubt from the enthusiastic crowd response that Into The Hoods does exactly that. Musical director DJ Walde’s soundtrack has something for everyone, covering decades and countless different styles; there’s even a Charleston segment at one point. Rewriting fairy tales for a new generation – the items the children are looking for include ‘an iPhone as white as milk and a hoodie as red as blood’ – the show skilfully intertwines them into a story that has romance, drama and plenty of humour (the retirement home routine is particularly brilliant) yet always remains completely family friendly. And the cast, who range in age from just 16 to 37, are not only incredibly talented, but have an irresistible energy that seems to have no limits. You get the feeling they could cheerfully go on all night – as could the audience.

There’s a fantastic family atmosphere up on stage; everyone gets their moment in the spotlight, and no one performer outshines anyone else. The ensemble numbers too are genuinely a joy to watch – there’s nothing better than sitting back and watching a company who work together so well. In the same way, the lighting, set and video backdrop all combine perfectly with the choreography to create a seamless, polished production that’s easy to follow and really great to look at.

I officially stand corrected; Into The Hoods is a fantastic show, whether or not you think of yourself as a hip hop fan. And ZooNation’s company ethos is also to be admired – they believe passionately in investing in young people, and run various projects specifically aimed at nurturing young talent. If the brilliant performers on stage tonight are anything to go by, they’re definitely doing something right.

Into The Hoods: Remixed is at the Orchard Theatre until 9th March.

Review: Chicago at the Orchard Theatre

Published on March 1, 2016 by LizLeave a comment

Yesterday evening, as my train ground to a halt somewhere outside Lewisham, I sent a little prayer to the train gods (a.k.a. Southeastern) to please sort it out and get me to the theatre on time. Quite apart from the fact that I hate being late for anything – especially the theatre – I was on my way to see Chicago, and I think most people would agree that if you miss the opening number of Chicago, you’ve missed one of the best bits.

Fortunately, the train gods were in a good mood for a change, so I made it to the Orchard in time to sit back, relax and enjoy Kander and Ebb’s classic musical about “murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts”. Set in the 1920s, Chicago is a darkly satirical story based on a play by Maurine Watkins (which in turn was inspired by real events). Wannabe star Roxie Hart murders her lover and ends up in prison alongside singer Velma Kelly, accused of killing her husband and sister. But when they both hire slick lawyer Billy Flynn, the women soon realise that innocence and guilt mean very little in the courts of Chicago, and that it’s the media, not the jury, that they need to win over.

With a minimalist set – the only props are a few chairs and a couple of ladders – and no need for any significant costume changes, all our attention is focused on the cast and their performances, and they don’t disappoint. This particular revival, the latest of many, features a star turn from Hayley Tamaddon as Roxie, while Sophie Carmen-Jones – who doesn’t get her name on the posters, but really should – razzle dazzles as queen bee Velma. Sam Bailey also stands out as Mama Morton; she’s a convincing figure of authority, but with a note of genuine affection for the women in her charge – and . And John Partridge is all charm and fancy footwork as Billy Flynn – though his vocals are noticeably less strong than those of his co-stars, this didn’t seem to dent the audience’s enthusiasm at the end of each number.

This could be because what makes Chicago such a fantastic show is the music – provided by Ben Atkinson’s enthusiastic orchestra, who are on stage throughout – and the Fosse-inspired choreography from Anne Reinking. These are the kinds of spectacular numbers that would glaringly expose any mistakes, but the cast don’t put a foot wrong; they’re perfectly in sync and working as one throughout – never more so than in the Press Conference Rag, which, along with All That Jazz, is one of the highlights of the show. That said, I really can’t pick a favourite song; they’re all so infectious and it’s no wonder the entire cast look like they’re having the time of their lives.

There’s a reason Chicago’s been a hit with audiences since its premiere in 1975: it’s slick, sexy (did I mention the ridiculously attractive cast?) and oh so stylish, with a satirical humour that makes for some great one-liners, but also makes a serious – and still relevant – point about the damaging and seemingly limitless power of the media to influence public opinion. Add to that the timeless score and slick choreography, and I’ve no doubt this show will be entertaining us for many years to come.

Chicago is at the Orchard Theatre until Saturday 5th March.

Review: Footloose at the Orchard Theatre

Published on February 10, 2016February 11, 2016 by LizLeave a comment

Footloose, as most people above a certain age will know, was the 1984 movie starring a young Kevin Bacon as teenager Ren McCormack. Forced to leave Chicago and move to the small town of Bomont, Ren discovers that dancing’s been banned by the town council, and immediately sets about trying to change their minds. It’s based on a true story about Elmore City, Oklahoma, and touches on issues of religion, loss, prejudice and gender roles.

Now adapted for the stage by the movie’s original creator Dean Pitchford, and directed by Racky Plews, Footloose is a toe-tapping triumph of a show in which the multi-talented cast are also the band; they may not always be allowed to dance but they can still express themselves through music, playing everything from the electric guitar to the oboe. This gives the show a very collaborative feel, reminiscent of the brilliant Once (although in every other respect the two couldn’t be more different).

Luke Baker as Ren and the cast of Footloose. Photo Credit Matt Martin — Photo credit: Matt Martin

It might surprise some people to learn that the show’s big name star, Gareth Gates, doesn’t play the central role of Ren. That honour goes to Luke Baker, who gives an impressive, layered performance as the tortured teen. Gates, meanwhile, plays Ren’s friend Willard, in what turns out to be a perfect piece of casting. He’s a bit awkward, nervous around girls and far too attached to his mama, but with a twinkly charm and impeccable comic timing that’s guaranteed to win over anyone who still thinks of him as just that guy from Pop Idol. And his performance is memorable for another reason… but I won’t ruin the surprise.

Maureen Nolan – no stranger to emotional roles after recently reprising her role as Mrs Johnstone in Blood Brothers – plays Vi Moore, the preacher’s wife torn between loyalty to her husband (Nigel Lister) and concern about the rebellious behaviour of their daughter, Ariel (Hannah Price, who makes her professional debut in style). But it would be wrong to single out any one cast member; this is very much a team effort, and a fantastic one at that.

Choreographer Matthew Cole has captured the freedom of dance that’s so key to the story; though it may not all be particularly elegant, it’s full of energy and an irresistible joy to watch. The cast also make the line dancing routines look very easy, which I know from brutal experience they really aren’t. (I went to a line dancing class the other day. Let’s move on.)

And finally there’s the music, some of which was written specially for the musical by Tom Snow – but the tunes that really get the audience bopping in their seats are the classic hits from the movie, which include I Need A Hero, Let’s Hear It For The Boy and, of course, the title track. It’s a perfect piece of 80s nostalgia, for those of us old enough to remember that far back; for everyone else it’s just great fun.

Footloose is at the Orchard Theatre, Dartford, until Saturday 13th February.