musical – Page 9 – Theatre Things

Review: Paper Hearts at Upstairs at the Gatehouse

Published on May 13, 2017January 6, 2018 by Liz1 Comment

You know in The BFG (stay with me) how he makes dreams for people by taking all the different elements and blending them together? Well, this is essentially what Liam O’Rafferty, Daniel Jarvis and Tania Azevedo have done in Paper Hearts. Musical? Check. Books? Check. Love story? Check. Folksy score performed live on stage by actor-musicians with gorgeous harmonies and catchy choruses? Check, check, check, check, check. Long story short – this is my dream show, and I’m a little bit in love.

After proving a hit at last year’s Edinburgh Fringe, the show’s been developed into a full-length musical set in The Final Chapter bookshop, where aspiring writer Atticus (Adam Small) is trying to finish his epic novel of romance and betrayal in Stalin’s Russia. When the shop’s threatened with closure at the hands of a large online retailer, Atticus finds himself with only one option – finish the novel in time for the upcoming young writers competition, win top prize, save the bookshop. Simple, right? Well no, actually, because his girlfriend (Sinéad Wall) could hardly be less supportive, he’s got history to work out with his dad (Alasdair Baker) and he’s just met a girl (Gabriella Margulies), who may just be his soulmate – but for one fairly major complication…

Fact and fiction are effortlessly interwoven as we slip into the snowy Russia of Atticus’ main characters Yanna and Isaak, and follow their story – which seems to bear some striking parallels to their creator’s own life. And as the characters develop, it becomes clear they’re shaping his destiny just as much as he is theirs.

Liam O’Rafferty was inspired to write Paper Hearts by his passion for bookshops, and the show overflows from the start with that love for the written word. From Anna Driftmier’s set – built largely from books, and full of delightful details like the floating book light (which is something I never knew I wanted until I saw it, and now it’s all I can think about) – to the brilliant “book-off” where Atticus and new shop manager Lilly challenge each other’s literary knowledge, it’s a thrill for anyone who loves to read.

The cast of actor-musicians are sensational and work seamlessly as an ensemble to bring the score to life. And what a score it is, taking in a range of genres but always feeling very natural, like it’s just a bunch of friends getting together to play – and did I mention the gorgeous harmonies? There are some really beautiful songs here, with two of many highlights the heart-wrenching duet Stand Up and the title number Paper Hearts, which closes the show on a soaring high.

Perhaps one of my favourite things about the show is, despite its frequent forays into Stalin’s Russia, how very British it is; you can totally imagine it on screen as a Richard Curtis rom-com in the vein of Notting Hill. The dusty old bookshop is quintessentially British, the script has a wry, self-deprecating humour – particularly from Matthew Atkins’ gloriously camp shop owner Norman – and when things go wrong, everyone’s immediate response is to put the kettle on. This gives the production a very cosy, homely feel, and makes the characters and everything that happens to them incredibly relatable.

The show does get a bit dark and tense at times (gun alert) and there’s no shortage of emotion either. But overall Paper Hearts is uplifting, heartwarming and basically just a joy from start to finish. It’s got everything you could want from a West End show at a fraction of the ticket price – so see it now before it gets snapped up for a transfer. And then go again, because it’s worth it.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: La Cage Aux Folles at the Orchard Theatre

Published on May 11, 2017August 6, 2017 by LizLeave a comment

There are some shows that just make you feel good about life. La Cage Aux Folles is one such show. Setting the stage for more recent hits like Priscilla Queen of the Desert and Kinky Boots, Jerry Herman and Harvey Fierstein’s award-winning musical is a feel-good extravaganza that looks stunning, sounds fabulous and features a sensational starring performance from John Partridge.

Based in St Tropez, La Cage Aux Folles is the story of nightclub owner Georges (Adrian Zmed) and his partner Albin (John Partridge), the popular star of the club’s drag act. But then Georges’ son Jean-Michele (Dougie Carter) announces his engagement to the daughter of an infamous right wing politician, and hilarious chaos ensues as the couple attempt to tone down their flamboyant lifestyle and “act normal”.

Act 1 in director Martin Connor’s production acts largely as an opportunity to set the scene and show off Albin’s jaw-dropping array of glittering gowns; “it’s like Black Friday at Primark back there,” he confides after yet another lightning-fast costume change. Perhaps inevitably given this frenetic backstage activity, parts of the first act – particularly during the title number – start to feel a bit like they’re only there to fill time while we wait for the next big reveal. Having said that, it does give us plenty of time to admire Gary McCann’s drop dead gorgeous set, and features one of the highlights of the evening as the distraught Albin, having learned he’s to be excluded from the meeting with Jean-Michele’s new in-laws, brings the house and curtain down with a heart-felt performance of I Am What I Am.

This, by the way, was the only song I knew from the show beforehand, but it turns out to be part of a fabulous, catchy score that’s hard to get out of your head, even 24 hours later. Song on the Sand, With You on My Arm and The Best of Times are just a few of the tunes that get the feet tapping and simultaneously pull on the heart-strings.

After the interval, there’s more action and fewer costume changes, so the comedy can begin in earnest as we head towards a somewhat predictable but still heart-warming conclusion; I’m not ashamed to admit I welled up at one point, and spontaneously cheered at another. As light-hearted as the show is, it still has an important message about accepting others and ourselves, and Dindon the homophobic politician (Paul F. Monaghan) unfortunately feels just as real in 2017 as he was when the musical was written in the 1980s.

As Albin, John Partridge is exquisite – and not just in appearance, though he does look amazing in every outfit he puts on. Vocally, emotionally, comically, he pitches his performance exactly right, and his relationship with Adrian Zmed as Georges is both believable and touching. But while, much like his character, Partridge is undoubtedly the star of the show, the rest of the cast are by no means in his shadow. Zmed is easily likeable and a natural comedian, Marti Webb (literally) steals the limelight during her all too rare appearances as restaurant owner Jacqueline, and Samson Ajewole is particularly fun as the sassy maid/butler Jacob.

La Cage Aux Folles may not be one of the best known musicals for British audiences, but that deserves to change. A treat for the eyes, ears and heart, this dazzling production of a hugely entertaining and uplifting show is well worth a visit. If it doesn’t brighten your day, then I really don’t know what will.

La Cage Aux Folles is at the Orchard Theatre until 13th May.

Review: Made in Dagenham at the Orchard Theatre

Published on April 28, 2017 by LizLeave a comment

Made in Dagenham is based on the true story of the Ford sewing machinists’ strike of 1968, which became key to the passing of the Equal Pay Act two years later. Not surprisingly given the subject matter, it’s a feel-good show with some rousing musical numbers and a finale that simultaneously reminds us how far we’ve come and unashamedly commands us to get on our feet and face up to the challenges still ahead.

The Dartford Amateur Operatic and Dramatic Society (DAODS) are one of the first amateur groups in the South East to get the rights to perform Made in Dagenham, which closed in the West End in 2015 after a well-received but relatively short run starring Gemma Arterton. And they’ve proved themselves more than worthy of the honour by producing another excellent show, with director Alex Campbell making her Orchard directorial debut in swinging 60s style.

The story follows Rita O’Grady (Stephanie Trott), a Ford machinist who finds herself the unwitting leader of the strike after a dispute over pay scales turns into something much bigger. Facing off against the male-dominated unions, the might of Ford – represented by one very unpleasant American – and the disapproval of her husband Eddie (Alex Freeman), Rita and her girls take their struggle all the way to the top, rubbing shoulders with prime minister Harold Wilson (John Woodley) and Employment Secretary Barbara Castle (Julia Bull) on their way to winning over the TUC conference with an impassioned plea for equality.

Let’s be clear about one thing: this is not a serious or, I suspect, hugely accurate depiction of the events surrounding the strike. Nor is it particularly balanced – the opening number says it all: “If you want something done, ask a busy woman… cos you’re wasting your time asking a man.” Later, when he forgets their 10th wedding anniversary, Eddie offers as an explanation: “I’m just a man with a foolish brain.” The show at times tiptoes very close to the line between cheering for women and putting down men, but is always good humoured enough to pull it back at the last minute.

Leading lady Stephanie Trott is an experienced musical theatre performer, and it shows; she’s perfectly at ease and totally genuine both as the bubbly wife, mother and friend, and as the feisty activist – we could easily have been watching her on a West End stage. Alex Freeman, a DAODS veteran of over 10 years, offers great support as husband Eddie, really coming into his own in Act 2 with a heartfelt rendition of The Letter. And there are great – if surreal – comic performances from John Woodley as Harold Wilson, unflatteringly portrayed as a sort of man-child who’s terrified of women (and indeed any kind of responsibility) and Alex Tyrrell, who’s brilliantly bitchy as the cowboy American boss flown in to put down the revolt. Most importantly for a show that’s about solidarity, the whole cast has great chemistry and the big ensemble numbers are real highlights in an already brilliant show.

From the moment the curtain rises, there’s no doubt what era we’re in; the set and costumes are right on the money and transport us instantly to the swinging 60s. My only minor gripe about the production is that there are occasional sound issues; in the factory scenes the background chatter becomes slightly overpowering, and a few of the lyrics get lost when the band’s in full swing.

Made in Dagenham is a slightly bonkers little show in many ways, but that’s not necessarily a bad thing. The show has some catchy tunes and a cheeky, self-deprecating sense of humour, and it makes us realise how lucky we are to have had battles like this fought for us long before we were even born, even as we understand there’s still work to do. Best of all: the show may have been made in Dagenham – but DAODS was made in Dartford, and they’ve done us proud.

Made in Dagenham is at the Orchard Theatre until 29th April.

Review: Miss Nightingale at The Vaults

Published on April 6, 2017January 6, 2018 by Liz1 Comment

Matthew Bugg’s acclaimed WW2 musical Miss Nightingale may just have found its spiritual home at The Vaults. Entering the warren of dimly lit underground tunnels, we’re handed a chocolate bar and a programme designed to look like a ration book before stepping into the auditorium, which could very easily be an air raid shelter. As trains rumble in and out of Waterloo Station above our heads, it’s not a huge stretch to imagine what we’re actually hearing is bombs falling, and it’s almost a surprise to emerge into Launcelot Street and find all the buildings intact and ourselves back in the 21st century.

Miss Nightingale does many things all at once. It’s a touching story of forbidden love, a social commentary on gay and women’s rights, and a feel-good (and really quite naughty) musical. By rights it probably should feel like a bit of a jumble, and it’s true that some elements of the plot end up a little sketchy through sheer lack of time – yet it’s impossible not to get swept up in the charm and sheer joy of it all.

It’s 1942, and war hero Sir Frank Worthington-Blythe (Nicholas Coutu-Langmead) hires Maggie Brown (Tamar Broadbent), a feisty nurse from oop north, to perform in his new club. The two quickly grow close, but Maggie’s already in a relationship with dodgy wheeler-dealer Tom (Niall Kerrigan) – and besides, it’s her friend and songwriter George (Conor O’Kane), a Polish Jew still in mourning for both his lost family and his beloved Berlin, who’s secretly captured Frank’s heart.

Forced by the law and social expectations to keep their illicit love affair under wraps, the two men end up embroiling both themselves and Maggie in a complex tangle of broken hearts and false hopes – all the while maintaining a facade of determined jollity in order to keep up morale. This is Britain, after all, and the show must go on, whatever dramas may be unfolding behind the scenes.

And there’s no doubt Miss Nightingale‘s outrageous comedy numbers know how to lift the spirits. Laden with every innuendo you can think of – and a few that you might not – they provide welcome light relief from the intensity of Frank and George’s tempestuous love affair, and particularly from the disturbing realisation that less than 100 years ago, gay couples still risked social ruin or even prison just for the chance to be together. (And worse – there’s a moment in Act 2 when George reflects on the unfairness of being persecuted in the country he came to seeking refuge; as recent events have shown all too clearly, these words could just as easily be spoken today.)

The whole cast of actor-musicians are clearly in their element during the rude bits (and let’s be honest, who wouldn’t get a bit of a buzz out of a song whose main lyric is, “You’ve got to get your sausage where you can”?) but Matthew Bugg’s score demands a softer side too, particularly from the show’s three main stars, all of whom impress with their powerful vocals. Though best known as a comedian, Tamar Broadbent reveals she can do serious just as successfully, while Nicholas Coutu-Langmead and Conor O’Kane maintain an ideal balance in their blossoming on-stage relationship, with Frank’s timidity and stiff upper lip perfectly countered by George’s volatility and flamboyance.

This is the fifth production of Miss Nightingale, and it’s not hard to see why the show keeps returning – it really is the best of British, in more ways than one. Yes, it’s a huge amount of fun, but there’s a more serious point to all this. We might not be at war any more, but that doesn’t mean there aren’t still battles to be fought – and in an increasingly troubled world, this show reminds us that it’s as important as ever to stand up and be counted.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Interview: Alex Campbell, DAODS Made in Dagenham

Published on April 3, 2017April 3, 2017 by LizLeave a comment

The Dartford Amateur Operatic & Dramatic Society was founded in 1906, when three residents decided to form a local operatic society to offset “the perceived lack of facilities for entertainment” in Dartford. Though we no longer have that problem, with a thriving local theatre that attracts some of the UK’s top touring shows, DAODS are still going strong – and proving with each production that they’re more than capable of holding their own alongside the visiting talent.

And later this month DAODS will be back at the Orchard Theatre with their production of Made in Dagenham. They’re one of the first amateur groups in the South East to perform the show, and director Alex Campbell is looking forward to bringing a little bit of Essex to our Dartford shores.

“It’s very exciting to be one of the first groups to do the show in this area,” she says. “It feels so close to home – just across the bridge! – so we know that the people of Dartford will really enjoy it. Within our company, there are many who remember and were directly affected by the events that inspired Made in Dagenham, and we hope it will bring back memories for lots of people.”

The show’s based on the true story of the women who worked in the Ford factory at Dagenham during the late 60s. “After their jobs as machinists were deemed ‘unskilled’ and upon the realisation that they were paid 87% of the wage of their male counterparts, the women went on strike,” explains Alex. “They gained the backing of the Trade Unions, which forced Ford to adopt an equal pay policy. As a direct result, the Equal Pay Act was signed into legislation in 1970 and formed the basis of much of our equal rights policy in this country.”

This particular strike may have ended in victory, but Alex believes women’s rights still have a long way to go: “Although we have come very far, gender inequality is still not resolved in this country and the show really highlights all the work we have left to do. Feminism is certainly having a resurgence at the moment and I think Made in Dagenham is an excellent reminder of how recently things have actually begun to change for women, and in some ways, how much they have yet to change at all.”

The show brings together a cast of over 40 talented local performers. “I am so thrilled by our fantastic cast,” says Alex. “Our leading lady Rita O’Grady is played by Stephanie Trott, who’s previously worked professionally in the West End, and she’s joined by Alex Freeman, who’s played many fantastic roles for DAODS, as her husband Eddie. The two were last seen as Sweeney and Mrs Lovett in our production of Sweeney Todd last year. We also have two brilliant local young people, Joseph and Elouise, who join us to play their children. There is a fantastic mixture of old and new members in the show, with many DAODS leading actors returning to take up principal roles.”

Alex has been a member of DAODS for over 15 years, having joined the society as a member of the youth group at age 9. “Since then it’s been a huge part of my life and has helped me gain skills and experience that have allowed me to pursue a professional career in the theatre world,” she says. “It may sound cliché, but DAODS is really like a huge family and I am so grateful for their encouragement and support over the past few months.

“I’m thrilled to be directing my first Orchard production, having previously directed Hair for the society which was performed at our hall. I’ve always wanted to direct an Orchard show and one of the most exciting things is the huge scale of the production and the potential to create amazing things with a large cast. We are so lucky to have the support of the Orchard staff, who are so incredible at their jobs and have been a great support to the process.”

For anyone inspired to join DAODS, there are some great opportunities ahead over the coming months. “We have many exciting things coming up next, including our Disney revue Dream which will be at Heathfields Hall in July, and then our next Orchard production will be the iconic Singin’ In The Rain in October. As always, we are looking for new members for our group and our next society auditions will be after Dagenham – so do get in touch and join us. You will not regret it!”

Don’t miss DAODS’ Made in Dagenham at the Orchard Theatre from 26th-29th April. And to find out more about DAODS, visit the website.