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Review: The Wedding Singer at the Orchard Theatre

Published on March 22, 2017March 22, 2017 by LizLeave a comment

The Wedding Singer‘s first show at the Orchard Theatre had the ultimate happy ending last night, when a member of the audience got down on one knee and proposed to his girlfriend live on stage. Still, even without that added bonus, you’d have to be a pretty hardened cynic not to come away from this show feeling a little bit in love with love. (And this from someone who by the interval was identifying most with the song about how rubbish it is to be single at a wedding.)

Based on the movie starring Adam Sandler and Drew Barrymore, this is the story of Robbie Hart (Jon Robyns), a wedding singer who loves helping happy couples celebrate their big day. But then his own fiancée Linda (Tara Verloop) jilts him at the altar and suddenly Robbie’s not so keen on romance any more – until he becomes friends with, and inevitably falls for, waitress Julia (Cassie Compton). The only problem is, Julia’s just got engaged to sleazy Wall Street banker Glen (Ray Quinn), while her cousin Holly (Roxanne Pallett) has her eye on Robbie. A brief spell in a dumpster, a trip to Vegas and one wildly inappropriate granny dance later, can true love win out?

Fans of the movie won’t be disappointed, as the musical is pretty faithful to Tim Herlihy’s story, with just a bit of a tweak at the end – and it even includes a couple of original songs sung by Adam Sandler in the film, though the majority of the musical numbers are new, written by Matthew Sklar and Chad Beguelin for the stage. It’s a catchy score, with a good balance of big dance numbers and soaring ballads, a smattering of so-bad-they’re-fabulous lyrics (“oh Linda you make me feel… like a furtrapper clubbing a seal”) and enough of an 80s flavour to help us over any disappointment at not hearing all the classic tunes from the movie.

And it’s not just the music; 80s-inspired set, costume and script mean this is very much a nostalgia trip in every way for those of us old enough to remember that far back. After enjoying clips from retro movies before the show, a brief ride in the DeLorean transports us back to 1985 and a world of big hair and even bigger mobile phones, where Starbucks is just thinking about going national and the height of ambition for any musician is to work with the same guys as Bon Jovi.

Jon Robyns leads an impressive cast (and a particularly hard-working ensemble) with a performance so engaging he has the audience half in love with him within minutes, so that when he gets his heart broken and goes to the dark side, his self-pity is endearing rather than annoying. Ray Quinn is suitably obnoxious as Robbie’s love rival Glen, really coming into his own in Act 2 with a show-stealing dance number that’s just one example of Nick Winston’s brilliant choreography. Cassie Compton’s Julia is sweetness personified, and both she and Roxanne Pallett as Holly impress with their powerful vocals, while Ruth Madoc – who the 80s kids among us will remember from Hi-de-Hi! – makes a welcome but all-too-brief appearance as Robbie’s grandma Rosie.

There’s so much to enjoy about The Wedding Singer – it’s funny, with a great cast (shout-out also to Ashley Emerson and Samuel Holmes as Robbie’s bandmates), toe-tapping tunes, engaging characters and a classic rom-com storyline that means you’re pretty much guaranteed to leave with a smile on your face – even if you don’t get to witness a marriage proposal – and reminiscing fondly about the good old days.

The Wedding Singer is at the Orchard Theatre until 25th March.

Interview: Tobias Oliver, Miss Nightingale

Published on March 17, 2017March 17, 2017 by LizLeave a comment

Since its premiere in 2011, Matthew Bugg’s Miss Nightingale has toured five times, earned numerous five-star reviews, been named one of the Guardian’s Top 50 Shows of 2016 and been voted into BritishTheatre.com’s Top 100 Greatest Musicals of All Time. And now it’s finally coming back to London, with a two-month run at The Vaults from 30th March.

“Miss Nightingale is not your usual musical theatre show,” explains co-producer (with writer and composer Matthew Bugg), Tobias Oliver. “It’s set in World War Two London and challenges you to stand up for yourself, to fight for what you believe in and to resist prejudice in all forms. But it does this whilst entertaining the socks off you with a gripping narrative, tender love story and a load of absolutely brilliant songs, some of which are very, very naughty! One of my favourite reviews on our last tour said it was like, ‘Cabaret – as if written by Victoria Wood.’ I really love that description.”

It’s a long-awaited return to London for Miss Nightingale. “We’ve wanted to bring the show back to London for several years and have had a number of offers but they never felt quite right,” says Tobias. “We aren’t your typical West End show and we wanted to find the right venue. When the opportunity of transferring to The Vaults came up we jumped at it. It’s just perfect and almost feels as if it were made for Miss Nightingale, particularly as all the action in the show takes place in London. And I grew up in London and it’s where I started going to and falling in love with theatre, so performing the show here is always going to be extra special for me.”

What is it that makes The Vaults an ideal venue for the show? “It’s one of the most exciting venues in the capital right now,” says Tobias. “The fact that it feels like a cross between a theatre, an illegal drinking den, a subterranean jazz club and an air-raid shelter really couldn’t be better. Miss Nightingale is set in 1942 and much of the action centres around a smoky, underground cabaret club in the heart of war-torn London. The Vaults is absolutely the perfect fit for us – and the fact that you can hear the rumble of trains and other sounds of city life sets the scene perfectly of life carrying on regardless.”

The show’s changed a lot since it was first performed six years ago: “The 2011 production was a small-scale, chamber version of the show with a cast of just three. The response was fantastic, we were the best-selling late night show at the King’s Head and the show went on to tour the UK five times. However, back in 2011 as soon as we started performing the show in front of an audience we knew there were things we wanted to change and creases to be ironed out. There’s always a missing link in making theatre until you get it in front of an audience. This is why all big-budget shows have extensive development periods, a number of workshops, lengthy previews and out-of-town runs to smooth out the glitches and fix any problems.

“So we did some fairly hefty re-writes and added several new songs before we presented the show again in a full-scale production that toured in 2013. And we’ve continued to refine the show for each new outing. I guess anyone who saw the show back in 2011 is in for a bit of a surprise when they come to watch it at The Vaults, and it will be fascinating to see their reaction.”

In addition to his co-producing responsibilities, Tobias also has a small role in the show as well as playing double bass – and he has nothing but praise for his fellow cast members. “Our cast are seriously talented. Not only do they act, sing and dance, but they also play all the musical instruments! And there is something that is incredibly exciting about working with actor-musicians who are at the very top of their game. We spend a lot of time looking out for and casting the right people. Our two leading men, Conor O’Kane and Nicholas Coutu-Langmead have such great chemistry on-stage and it’s really beautiful watching them fall in love every night.

“We also have a couple of new cast members, including the wonderful, award-winning singer-songwriter Tamar Broadbent making her musical theatre debut as ‘Miss Nightingale’. If you’ve ever been lucky enough to see her perform her comedy shows then you know she’s a star in the making.”

Though described in one of its many rave reviews as “raucously funny”, the show also has a serious point to make. “If anything the show seems more relevant than ever in 2017 what with recent events both in the UK and overseas,” says Tobias. “We don’t know what will happen to LGBT people’s rights after Brexit because much of the protection we have gained against discrimination came from the EU. The far right is on the rise across Europe with a particularly regressive, homophobic platform. Then there’s the frankly terrifying, virulently anti-LGBT agenda of the Trump government in the United States. It’s truly frightening. Now more than ever the arts and performance – satire in particular – seem to be powerful ways to offer an alternative to these messages of hate and division.”

Finally, what’s one thing Tobias wants audiences to know before we see the show – and one word he’d like us to use to describe it afterwards? “Blimey, that’s a tricky question to end with! I want people to know that Miss Nightingale has absolutely nothing to do with Florence Nightingale – it’s set in World War Two, not the Crimean War! And I’d like them to describe the show as ‘life-affirming’. Does a hyphenated word count?”

Miss Nightingale is at The Vaults from 30th March to 20th May.

Interview: Catherine Lomax, Gordon Craig Theatre

Published on February 22, 2017 by LizLeave a comment

It’s nearly Easter, and at the Gordon Craig Theatre in Stevenage that means one thing: a new family musical. This year, it’s a fresh take on classic fairy tale Rapunzel, featuring original songs and brand new characters created by Catherine Lomax, Phil Dennis and Khiley Williams – and it’s proved so popular that extra dates have already been added for later in the year.

“Rapunzel was one of my favourite stories when I was a little girl, so following the success of last year’s Easter Musical, Alice in Wonderland, we knew we wanted to select another literary classic or fairy tale, and Rapunzel instantly came to mind,” says Catherine, who’s also directing the show.

“Everyone knows the basic story of Rapunzel but Phil, Khiley and myself loved the idea that we would have freedom to create a whole host of characters to develop the story. We all read as many different versions of the fairy tale as we possibly could and then discussed what we loved the most; we were really keen on creating a production that appealed to children but also entertained parents and adults, and I don’t doubt that’s what we have created. The story may be a classic fairy tale, but we’ve created characters with lots of one liners for the parents so that they can enjoy their trip to the theatre just as much as their children!”

The show tells the story of Sophia and Karl, who are desperate for a child of their own. “One night Karl breaks into Gothel’s garden looking for a herb that will help his wife fall pregnant,” explains Catherine. “Gothel discovers Karl and agrees to help him but on one condition – Gothel must be given the child when she turns sixteen years old! Desperate Karl agrees to the demand and so on his daughter’s sixteenth birthday, when Gothel arrives to stake her claim, Karl and Sophia are powerless to defeat her.

“Two years pass with Rapunzel locked away in a tower, with only a bird, Viktor, for company. Despite using her imagination to create adventures in her head, Rapunzel longs to be outside having adventures of her own. Fortunately Prince Freddie overhears her singing and discovers her trapped in her tower, but can he – and true love – save the day?”

Catherine’s loved joining forces with Phil Dennis and Khiley Williams again: “We’ve all worked together as creative teams on various musicals and pantos over the last five years. It’s quite a privilege to work with your best friends and create something you are truly proud of.”

She’s also more than a little excited to be working with the show’s recently announced cast. “Samantha Noel will be playing Rapunzel; she has a fantastic voice and a real warmth and friendliness that definitely comes across on stage. She is the perfect Rapunzel and we all fell in love with her at the audition. Craig Armstrong and Cameron Leigh are two of the most versatile performers who have both worked at the GCT before, they’re back for Rapunzel and I don’t doubt that their larger than life characters will make this show sensational!”

Catherine’s been resident director and producer at the Gordon Craig for seven years, having moved into the role after running her own touring production company. “I think the Gordon Craig is unbelievably special because of the people who work here. Our backstage crew are fantastic, they will explore every option possible to make sure all of our shows are the very best they can be. The FOH teams, Box Office, Marketing department and all of the teams really get behind all our projects.

“And we’re only 20 minutes from Kings Cross, which does mean audiences can just as easily travel to shows in the West End – but it also means we get some fabulous stars who discover the Gordon Craig is really commutable.”

The Easter run of Rapunzel at the Gordon Craig Theatre has already sold out, but tickets are now on sale for additional dates 27th-30th July. Get them while you can…

Review: Joseph and the Amazing Technicolor Dreamcoat at the Orchard Theatre

Published on February 8, 2017February 8, 2017 by LizLeave a comment

When I was 10, my parents took me to see Joseph at the London Palladium. To say I was excited is something of an understatement; for reasons I won’t go into, I was a little bit in love with the star, Phillip Schofield, and it was also – as far as I can remember – my first ever West End show. Ever since, my mum’s enjoyed reminiscing about how I was entranced from start to finish, and so began a lifelong obsession with theatre that led eventually to this very blog.

So it’s fair to say Joseph is a show that holds a pretty special place in my heart. Any chance I’ve had to see it again since has brought back those memories of childlike glee – and Bill Kenwright’s touring production, starring X Factor winner Joe McElderry, is no exception. By the time the curtain rose at the Orchard last night, I was practically bouncing up and down in my seat like the excited ten-year-old of 25 years ago, much to my sister’s amusement. (I wasn’t the only die-hard fan in the audience, either; partway through I noticed someone in the front row with pom-poms.)

For those not familiar with the show, it’s based on the biblical story of Joseph and his 11 jealous brothers. When their dad Jacob surprises his favourite son with a fancy new coat, his brothers beat him up and sell him into slavery (as you do). After various ups and downs, Joseph’s talent for interpreting dreams brings him fame and fortune, and leads him eventually to an emotional reunion with his father and guilt-stricken brothers.

Once the show got underway, it all came flooding back: Andrew Lloyd Webber’s familiar tunes that take us on a world tour of musical styles; Tim Rice’s witty lyrics, including jokes that I’m fairly sure I wouldn’t have understood the first time around; the big, colourful sets with charmingly basic props that put you in mind of a (very) high-budget school play (in the absence of the much-loved turntable from previous productions, Jacob’s inflatable sheep were probably my favourite bit, not least because they needed a bit of help from the cast to stand upright). It also turns out I still know all the words to every song, including the 29 colours of Joseph’s coat, in order – I dazzled my sister with this piece of useless trivia before the show started, and she did a very good job of looking impressed.

Speaking of being impressed, I’d heard good reports of Joe McElderry’s Joseph, and he didn’t disappoint, with powerful vocals and an easy charm. He’s said in interviews that Close Every Door is one of his favourite moments, and it shows – his version is up there with the best I’ve heard. Britain’s Got Talent star Lucy Kay makes a confident musical theatre debut as the Narrator, and Ben James-Ellis has us all rocking and rolling as the Pharaoh; as always, I wished we could have seen more of him.

Knowing a show inside and out can have its disadvantages, and ironically being a super fan probably made me more critical than most… but even so my complaints are few and far between. A couple of the musical numbers, including the one that closes the first act, feel like they’ve been cut short – an odd decision given it’s not a very long show anyway. Act 2 has, for me, lost a little bit of its humour, and one or two of the best one-liners (“it takes a man who knows no fear to wrestle… with a goat” still makes me giggle every time) were drowned out by the music and I suspect anyone who didn’t know the lyric would have missed it.

But I’m nitpicking. Joseph is, as ever, a fun, colourful and brilliantly bonkers night out for the whole family. It may be 25 years since I first saw it, and incredibly almost 50 since it was written, but one thing’s for sure – this is a show that will never really get old, and I have no doubt I’ll still be bouncing excitedly in my seat and embarrassing family members another two decades from now. Here’s hoping, anyway.

Joseph and the Amazing Technicolor Dreamcoat is at the Orchard Theatre until 11th February.

Review: Ghost the Musical at the Orchard Theatre

Published on January 17, 2017January 18, 2017 by LizLeave a comment

When thinking back on classic movies from my youth, Ghost is one that I always tend to forget about. I blame Dirty Dancing for this, mostly; for some unfathomable reason, that particular Patrick Swayze movie always takes first place in my mind.

Which is a shame, actually, because Ghost is a great story, with a bit of everything: tears, laughter, life after death and good old-fashioned murder. And now it also has songs, thanks to Dave Stewart and Glen Ballard, who along with the movie’s screenwriter Bruce Joel Rubin adapted it for the stage back in 2011. Tonight was my second visit, having previously seen Ghost during its West End run a few years back – so how did Bill Kenwright’s new touring production compare?

On the whole, the show is pretty faithful to the movie, though a couple of big events get slightly rewritten to make them work on stage. A quick recap for anyone who doesn’t know the plot: Sam and his girlfriend Molly are building the perfect life together, until they’re attacked one night and Sam is fatally shot. Unable to leave while Molly’s still in danger, Sam enlists the help of the only living person who can hear him, fraudulent psychic Oda Mae Brown, to bring his killer to justice and say a final farewell to the woman he loves.

Tonight’s show in Dartford saw the debut of Carolyn Maitland in the role of Molly – and it’s fair to say she smashed it, with spot on vocals and a genuinely heartbreaking performance as Sam’s bereaved girlfriend (and she also remembers not to look at him when he’s standing right in front of her, which I imagine must be a pretty difficult thing to adjust to). Andy Moss, continuing in his role as Sam, has a slight tendency to overact during his musical numbers, and his vocals don’t always live up to those of his co-star – but the chemistry between the pair is touchingly believable, especially for the first night of a new partnership.

Oda Mae Brown is an absolute gift of a part, and West End star Jacqui Dubois seizes it with both hands. Like Whoopi Goldberg before her, there’s no doubt she gets all the best lines, and they’re delivered with perfect comic timing and a fabulously sassy attitude; it’s a shame we have to wait till well into Act 1 for her first appearance.

The score is actually better than I remember, and includes some really quite beautiful numbers, with Molly’s spine-tingling solo, With You, the absolute highlight for me. And of course no production of Ghost would be complete without Unchained Melody, which makes several appearances (and yes, they brought the potter’s wheel with them).

Where this production slightly falls down compared to its West End predecessor is in the special effects. Last time, I remember being left open-mouthed when Sam walked through closed doors, or someone who I just saw drop dead on one side of the stage suddenly appeared on the other, and I vowed to pay more attention next time to see how they did it. Apparently, in this production those mind-boggling effects have been stripped back so we can all focus more on the love story, and sadly what’s left is not as impressive. Don’t get me wrong, there’s still some pretty cool stuff going on – but let’s just say this time I could see the strings, and it slightly took the shine off.

That said, Ghost is still a great show and well worth a visit, especially if you love the movie. Get ready to laugh, cry, tap your foot and, best of all, join in with the cheesy dialogue (all together now: “Ditto…”) – then head home and curl up on the sofa for a Swayze double bill.

Ghost the Musical is at the Orchard Theatre until 21st January.