Les Miserables, Queen's Theatre

I consider it a sin that I have never before seen Les Miserables, arguably the most famous and popular musical of all time. Walking down Shaftesbury Avenue regularly, it has always irritated me that Les Mis is one I have never ticked off my ‘to see’ list, and as an extreme musical theatre lover, it is just not acceptable! I remember so clearly, in my first ever singing lesson at seven years old how I sang ‘Castle in a Cloud’, the little girl Cosette's number, and I have since sung many of the other ensemble pieces in various performances.

Finally the opportunity arose to see this musical - my friend Fra Fee joined the London cast in the role of Marius (the young and strapping hero). Most of the time he performs a smaller part in the show, but occasionally he gets the chance to shine as Marius, and I had to be at one of those performances. Armed with presumptious flowers, I went along with a fellow singer to watch our boy take to the stage. Seated in the £12 seats (severely restricted view, you will have to lean forward), I beamed with pride and excitement.

The show is as epic as you’d expect: grand revolving set, glorious period costumes and an exceptional band in the pit. Where Les Mis really stuns is with the vocal expertise and virtuoso of the two older male leads, there is nothing like it in any other musical. You need a rare talent to be cast in Les Mis, the ability to bridge classical and popular styles of singing; and currently on stage are the best in this field, Ramin Karimloo as reformed criminal, Jean Valjean and Hadley Fraser as the stern police officer, Javert. Both men are astounding, rich strong voices that easily resonate through the great theatre, yet succeed in remaining hugely affecting and sensitive. I particularly loved Karimloo’s rendition of ‘Bring Him Home’ sung almost entirely in his upper register - it is perfectly in tune, simple and beautiful. Fra is spectacular as Marius, just as expected he would be, bringing just the right mix of innocence and maturity to the part. His voice is effortlessly lovely with a unique and gorgeous tone.

Les Miserables is a spectacular show that has enjoyed many years in the West End, but seeing it somehow evaded me. To see Fra passionately perform such a vital role in the show made the experience very special. Still receiving a rapturous standing ovation after every show just proves how magical and memorable this show is, and now I can tick it off my long ‘to see’ list, at last.

Visit the website to book here.

Matilda the Musical, Cambridge Theatre

Everyone is talking about Matilda the Musical… Tim Minchin and Dennis Kelly’s hit show has just been awarded the prestigious ‘Best Musical’ prize at the Evening Standard Theatre Awards 2011, and quite rightly so. Matilda has successfully transferred to the Cambridge Theatre after a sensational run at the Courtyard Theatre in Stratford-upon-Avon, and is delighting the London audience, young and old. I saw the show in its original home and the move to the West End has not altered its intimacy and magic, just added West End glitz.

The audience are buried beneath the tumbling books of Rob Howell’s awesome set, it is a far cry from the sultry black setting of Chicago, the previous show at the Cambridge. Roald Dahl’s 1988 novel tells the story of an extraordinary little girl, who against all odds overcomes the hatred of her uncaring, ignorant parents and nasty headmistress using her supernatural powers to help herself and her friends. Director Matthew Warchus' vision is original and inventive - there is a particularly beautiful sequence with children on swings in the second half, that made several audience members around me gasp. My little sister beside me looked up to the stage enviously, and the second we got home she looked up the audition specifications, even I left wanting to be in the Matilda gang, it all looks like so much fun!

The whole cast are fantastic, and work together beautifully presenting a well paced, polished performance. The children are most impressive, with unbelievable confidence and self assurance, they are mesmerising - acting, singing and dancing perfectly. There are four Matildas who alternate playing the exhausting title role, I saw little Kerry Ingram, who is a sensation. She has a quirky character that she brings to the role, certainly not your usual stage school kid - she is an individual girl with star quality. Her classmates are brilliant too, Zachary Harris as Bruce has a smashing, soulful voice, and Ruby Bridle as Lavender is hilarious and feisty. It wouldn’t be possible to write a review of this show and not mention Bertie Carvel who rules the roost, giving a hysterical portrayal of cruel headmistress Miss Trunchbull… his mannerisms and tone of voice made me giggle nonstop, though he could also be pretty terrifying.

Tim Minchin is a genius, and has succeeded in capturing the imagination of Roald Dahl in a show that will makes people both laugh and cry. The music has sharp wit paired with an affecting sensitivity, that is sure to result in a few tears, and the memorable tunes, like ‘When I Grow Up’ are sure to increase the popularity of this musical.

Matilda the Musical is a magical and moving production that will thrill the whole family, it is the only show you HAVE to see this Christmas.

MATILDA continues until 21 October 2012, book here.

Secondary Characters, Battersea Barge

Four bright, young musical theatre graduates and a small boat on the Thames... the combination could be disastrous, but it was quite the opposite for the Secondary Characters showcase last week.

The Battersea Barge is a characterful little venue, and is well worth visiting despite the tedious trek from Vauxhall station... it was one of my (very occasional) "wearing wedges" days and I was really feeling the strain. But as is often the case, a little bit of theatrical jollity can alleviate all signs of weariness and leave you feeling upbeat and positive.

Dom Hodson, Helen Woolf, Michelle Whitney and Andrew Dyer are recent graduates from the prestigious Royal Academy Musical Theatre course and together presented a cabaret evening of show tunes. The performance was just as polished as I'd expected - it’s clear these singers would be brilliant performing just about anywhere and I think the audience on the Battersea Barge felt privileged to be witnessing their talent before they go off to wow on bigger stages.

It was a well balanced programme, each of the musicians performing several solo numbers as well as a variety of duets and ensembles. I was struck by how well chosen the pieces were, each singer choosing songs to highlight their individual talents and selling points.

They opened and closed with full company numbers: a punchy rendition of ‘Something’s Coming’ (Sondheim) to start; ‘Let’s Do It’ finishing the show, wasn’t quite as energetic or exciting, and I was glad they gave an encore of the Sondheim. There were comical tunes and melancholy ballads… I found Michelle particularly funny with her nuanced performance of ‘Climbing Uphill’ from The Last Five Years, a brilliant one-act musical by Jason Robert Brown that I recently saw at The Tabard Theatre. Andrew sung a beautiful rendition of Rain from Harps and Angels, a song I’d never heard before. Helen is the belter of the group with a powerful leading lady voice, effortlessly making her way through epic tunes like ‘The Wizard and I’ from Wicked. Dom has the ability to make a whole room smile with his cheeky attitude and versatile voice, he plays every character like the part was written for him.

This group of singers certainly rocked the boat, and showed the Battersea Barge crew a good time. Watch this space, I’m sure there is a lot more to come from these talented individuals.

Crazy for You, Novello Theatre

Productions like Crazy for You confirm my love of musical theatre and make me remember why I dreamt for so long of making my career in this artform. The music, the dancing, the laughing, the lights... when a musical is done well, it is instantly uplifting, the smiles are contagious. This production of Crazy for You exemplifies this, it is perfection from start to finish.

Having moved from the unreliable stage at Regent's Park Open Air Theatre, the Novello Theatre is a much more suitable home for this Gershwin classic. Every aspect is adjusted to provide a completely mesmerising performance. Peter McKintosh has done a magnificent job with the set and costume design. The outfits are to die for: glitzy and glamorous and super fun. The numerous costume changes make the show a real spectacle and the clever evolving set provides swift clean switches between the two settings: New York City and Deadrock, Nevada. Music is provided by a brilliant band, led by Stephen Ridley on the keyboard in the pit.

The choreography by movement genius Stephen Mears is jaw-droppingly good; it is impossible to see this show and not be amazed by the fancy footwork, stunning routines, magnetic ensemble work, and sharp comic innuendo. The talent and stamina the choreographer and performers must possess to do these steps justice is a marvel in itself, but to sing and act too is incredible. Not a toe out of place, not a tap out of time, the energy, pace and togetherness make the moves in Crazy for You quite frankly astonishing; the main group of dancing girls must be highly commended on their sublime performance.

It is an all star cast, carefully cast and well rehearsed - they run a tight ship. The leads, Sean Palmer as Bobby and Clare Foster as Polly are your typical triple threat performers: singing, dancing and acting, excelling at all three disciplines. Sean Palmer is charming and blessed with smouldering good looks, he oozes charisma and works beautifully with his onstage sweetheart, Polly. I was amazed throughout by his naturalness and ability to balance the serious and comic needs of the role, I particularly loved his drunken duet with Bela Zangler (David Burt) which set the audience off in hysterics! Clare Foster is fabulously feisty as Polly the country girl desperate to save her father’s theatre, she sings and dances with energy and character. I was delighted to hear her sing my favourite song, ‘Someone to Watch Over Me’, a song I have been singing myself for many years, it was wonderful to see it performed in its intended context.

When friends say to me "what is the one show you recommend in London that has it all?" My current answer will be Crazy for You. This classic Gershwin musical has been off the London stage for far too long; this joyful production is unmissable. I believe there is a serious lack of vintage musicals on nowadays - this production illustrates what makes a classic. Crazy for You has an endless list of hit songs, a great narrative and the opportunity for lots of great dancing - in fact I think it has just become my new favourite musical.

Crazy for You continues until 28 July 2012, book here.

Sondheim's 'Road Show' at The Menier Chocolate Factory

I have never visited the Menier Chocolate Factory Theatre before, but their current European premiere of Stephen Sondheim’s musical ‘Road Show’ was reason enough for me to swallow my pride and buy a pair of extortionately priced tickets... how this tiny independent theatre can justify selling seats, STARTING from £29.50, I do not know; but credit to them, they still frequently manage to sell out. Well, I marched in feeling rather bitter; very few theatre trips are worth £60.

Road Show has been reworked several times by Sondheim and writer John Weidman, and settles now at a ninety-five minute long piece that packs in a hell of a lot of narrative. Based on the real life story of the Mizner brothers, Road Show spans forty years and represents two very different aspects of America. Addison is a hard-working, honest gay man; Wilson is a selfish, cheating womaniser - both are desperate to make money but take very different roads to do so. Despite their contrasting opinions and personalities, the two brothers find themselves regularly reunited. The famous ‘Carpe Diem’ quote seems to linger – the boys are warned by their father, before he dies, that they must seize the day, find their way, and make a decent living to support their mother.

The two brothers, Michael Jibson as Addison and David Bedella as Wilson, both show impressive commitment to their roles and give developed, nuanced portrayals - I found the pair of them thoroughly engaging. It was only afterwards that I realised I had seen David Bedella playing the extravagant role of Frank’N’Furter in the Rocky Horror show a year before, and was amazed by the transformation seen here. Phil Wrigley is sweet as the doe-eyed posh boy Horris Bessemer, befriended by Addison as his patron. Though I thought Gillian Bevan was a little weak as Mama Mizner: she has a quiet singing voice that couldn’t carry even in this small theatre and was disappointingly lacklustre throughout.

The music is characteristically Sondheim-esque, which you either love or hate. I enjoyed the rhythmic riffs and jazz progressions, but did find the music a tad repetitive. Towards the end however, there are a few tender moments between Addy and his lover as they sing ‘The Best Thing That Has Ever Happened,’ a gorgeously melodic song. I was delighted to be sitting right next to the enthusiastic band who gave a hearty and secure rendition of this tricky Sondheim score.

Director John Doyle makes the production surprisingly evocative with clever use of the transverse stage and quirky props, including handfuls of hundred dollar notes that are scattered over the stage and audience during the show.

Road Show continues until 17 September, book here.

Betty Blue Eyes at The Novello Theatre

The critics are having a great time cracking the porcine punchlines for new musical ‘Betty Blue Eyes’, which stars a gorgeous furry animatronic pig. This is Cameron Mackintosh’s first new musical venture in a decade, and with a whopping budget of £2.5 million, I was expecting something magical.

Betty Blue Eyes is set in a Yorkshire town and is based around a plot to “pignap” an animal illegally raised by businessmen who hope to serve her up at a special party to celebrate the marriage of Princess Elizabeth and Prince Philip. It is a witty adaptation of 1984 film ‘A Private Function,’ a bizarre and unlikely subject for a musical, but one that works surprisingly well. Thanks to talented writers, Ron Cowen and Daniel Lipman, the original story is kept intact with some hilarious additions.

It is no secret that I appreciate an enthusiastic feel-good production, but even I am a little tired of dreamworld musicals that envelop you in absurd utopian escapism. Betty Blue Eyes delights through a more realistic narrative; an ordinary couple and the struggles of frugal 1940s Britain, amidst ration hell.

The characters are endearing and here we see an impressively strong cast. The lead couple are both naturally brilliant on stage; Sarah Lancashire as social climbing Joyce Chilvers has a superbly strong voice and charming presence, her kind-hearted husband, Gilbert is played by Reece Shearsmith who pulls at the heartstrings with his optimism and has fantastic comic timing.

The villainous meat inspector was rather a caricature and reminded me of the dastardly baddies from children's literature. He is a strange character who has a penchant for painting; every confiscated piece of meat is passionately brushed with bright green paint. Though Adrian Scarborough was suitably vile, I found the role a little odd in comparison with the rest of the cast, and it occasionally broke my belief in the situation.

The adorable pig, Betty, is cooed at on every entrance, shipped from Australia specially, and with three understudies, she is quite the diva, flashing beautiful blue eyes and fluttering her eyelashes at every opportunity. Kylie Minogue’s voice has a fleeting role at the curtain call, though apparently it is not Miss Minogue that provides the creature’s funny farting and burping noises!

The music and movement is exceptional. Songs composed by George Stiles and Anthony Drewe complement the narrative perfectly, catchy tunes with sharp funny lyrics and just the right sprinkling of sentiment. Highlights are ‘Magic Fingers’ and ‘Nobody,’ a showbiz number sung by Mrs Chilvers who dreams of higher social status. Stephen Mears’ choreography is snappy, which is particularly evident towards the end of the show when the chorus take part in a spectacularly complex routine.

It is not often a new musical succeeds; shows like Wicked are certainly in the minority... but with our own royal wedding just around the corner hopefully the British public will go and see Betty Blue Eyes even if just for the sake of a happy coincidence.

Betty Blue Eyes continues until 22 October, book here.

The Umbrellas of Cherbourg at The Geilgud Theatre

Based on the 1964 Jacques Demy classic film, ‘The Umbrellas of Cherbourg’ in a new stage version is currently showing at the Gielgud Theatre, presented by Kneehigh Company. Emma Rice’s adaptation is close to the original with the addition of a few extra characters. Essentially it is a doomed love story, but the narrative is weak, lacking any oomph or depth. A garage mechanic, Guy falls in love with young Genevieve, who works begrudgingly in her mother’s umbrella shop. They are inseparable, but when Guy is sent to fight in Algeria for two years, Genevieve must decide whether to wait for his return or to accept the marriage proposal from a rich local merchant.

I felt sorry for cabaret artist Meow Meow as the maitresse, she had the difficult role of pre-show warm up but even after an impressive climb through the stalls failed to get the audience going. After this cringeworthy introduction was over, she improved immensely, and later performed a stunningly dark rendition of "Sans Toi," so alluring that it became my evening's highlight.

Michael Legrand’s romantic score works triumphantly well, and the large live band drive the show. ‘I Will Wait For You’ stands out as a particularly weepie central song, an emotional lilting melody that returns again and again throughout the drama. It is a shame that much of the singing cannot match the calibre of the music, sounding rather feeble, especially when harmonising is required. Lez Brotherston’s set is fantastic, with numerous imaginative touches, and thankfully where the plot lacks interest the delightful stage design compensates.

Carly Bawden is lovely as pretty Genevieve, innocent but confident with a shining smile, Andrew Durand’s portrayal Guy looks a little pathetic beside his strident lover. I enjoyed watching Joanna Riding as the smart Madame Emery, (mother of Genevieve) and thought her both convincing and amusing. A chorus of matelots prance about in cliché striped outfits assisting the main players by physically moving them around, it is a strange concept but one that adds fluidity to the action and reveals some nicely choreographed steps.

The theatre was pitifully empty when I visited with several angry viewers leaving at half time protesting that: "this show has no story". The American couple next to me giggled rudely throughout and when leaving I overheard several groups disappointedly comment that they hadn't realised the show is a musical, completely sung from beginning to end. So sadly, it seems that this sentimental French tale is lost on us Londoners, perhaps Meow Meow was right when she joked at the start that we were a typically English audience, keeping our feelings hidden away under our bowler hats.

Continues until 1 October 2011, book here.

Company at The Southwark Playhouse

Endless wrong turnings meant the two minute walk from London Bridge station to the Southwark Playhouse took an agonising forty-five, resulting finally in a rather desperate taxi trip. I have never been to the theatre before and was confused by a strange (and infuriating) trail of signs directing us, quite literally, in the opposite direction. Note to all S.P. first timers: turn RIGHT out of London Bridge Station, not left and your journey should be quick painless.

When we eventually arrived at the Playhouse I was delighted by the building's stature and general appearance, impressively established-looking for a fringe theatre. The interior is rather dark and damp, much like a warehouse, though oddly comfortable with stools and sofas, and an accessible bar selling drinks and snacks. We made our way to the theatre space quickly, with unreserved seating you have to get in there fast!

Company is one of Stephen Sondheim’s more familiar musicals; with memorable melodies and repetitive choruses, it is easy to enjoy. The songs are catchy and fun and have become popular as audition pieces, unsurprisingly considering how the different solo numbers evoke individual character’s personalities. This production has a little band accompanying; I was a little disappointed that I couldn’t see them anywhere, perhaps they are tucked away due to lack of space. A charismatic Oli Jackson (I could just see him on the screen) leads the group of musicians in a tight and together performance - thanks to effective amplification one can hear the music sharp and loud and it energises the whole show.

I was engrossed by the singers thrilling approach to the first chorus. Their concentration and power makes the music immediately gripping, and made me want to sit up and listen. Paul Wills’ staging is simple and flexible, easily transforming into the necessary New York backdrops. For me it was a little bare though, a few extra props or motifs could have represented the couples and given the actors more to play with on stage.

Bobby is a 35 year old single guy left stranded amongst his coupled up friends. The musical is a study in marriage and relationships as Bobby struggles to figure out what it all means. We are introduced to the different couples, each with their own ‘kind’ of love. The advantages and disadvantages of their lifestyles are contrasted with Bobby’s life of parties and freedom. The action revolves around Bobby’s 35^thbirthday celebrations.

A dashing Rupert Young plays the enigma that is Bobby. He sports a dishevelled look, and is definitely more of an actor than a singer. His life seems to be a mad whirlwind of alcohol, drugs and women, which are all he seems interested in. That’s okay, but this 21^st century spin on Sondheim makes him seem a little out of place next to his set of ordinary middle-aged friends. I noticed early on that I recognised Young and after much brain racking I realised I had in fact been directed by him ten years back in W11 Children’s Opera.

Bobby’s single girlfriends are great, full of girly angst. Katie Brayben, the air hostess has brilliant comic timing in her main scene with Bobby. And Michelle Bishop heroically conquers the complex song ‘Another Hundred People’ without slipping.

Of the couples, there are some performers that stand out more than others. Siobhan McCarthy storms the stage as the sour and sultry older woman, Joanne... she gets the best song ‘Ladies who lunch’ which she screams at us with venom and vigour. But my favourite role is Amy – the manic girl who gets cold feet on her wedding day. A highly accomplished singer, who has come from a part in West End hit Avenue Q, she delivers the hysterically fast ‘Not Getting Married Today’ with precision and strength, it is a marvel. Her husband to be, Greg Castiglioni as Paul is a quiet role, but has a stunning voice when he gets his chance to sing: lyrical and strong with a rich tone.

A fresh if slightly odd interpretation of a Sondheim hit, vocally this production is a real winner. I thoroughly enjoyed it despite its shortcomings.

Company continues until 12 March 2011, book tickets here.

Matilda the Musical

Matilda is the brand new musical creation from Aussie comedian and musician Tim Minchin, with a marvellous script from Dennis Kelly. The run is taking place at The Courtyard Theatre, part of the Royal Shakespeare Company in Stratford upon Avon. Once again I found myself amongst a gaggle of children, all clutching their Roald Dahl colouring pads and consuming copious sugary bribes from their parents.

It took us a while to drive there, especially with the distinct lack of signposts, surprising considering the importance of this theatre to Stratford. Eventually we found it, parked and wandered through the picturesque town to the venue. The 1000 plus seat Courtyard Theatre was not intended to be permanent, but merely a temporary home during the company’s Transformation project. Those who see Matilda in this building will, I’m sure, agree that it works perfectly for this piece.

Matilda is yet another example of the super kids that seem to be taking over stages everywhere; think of Billy Elliot and Oliver! Just as the little girl’s thoughts rule Dahl’s book, the tiny actress playing Matilda dominates this production and is on stage most of the time. There are ten children in the musical, and three casts, allowing them to alternate regularly. I saw brave and bold Josie Griffiths take to stage as the lead, and she was faultless, giving a performance that would put many adults to shame. I sat gawping at the tiny star, wondering how on earth she managed to learn all those lines, songs, and complicated dance moves. The other kids are brilliant too, and just as talented, I soon forgot they were children - the acting is so impressive.

Director Matthew Warchus has taken a terrific story and made it into an irresistible show. The choreography is beyond imaginative, with fun rebellions and punchy gym routines. For a first show, the Minchin – Kelly duo have written an unbeatable piece, surpassing all expectations. The songs are thoughtful and catchy, with words that sizzle. The story captures Dahl’s magical world, with a clever twist that gives the characters a real sense of depth.

The terrifyingly fabulous Miss Trunchbull is played by Bertie Carvel making his debut at the RSC with Matilda. He marches about spitting orders with sadistic glory. There is a wonderful scene when the headmistress forces poor Bruce to eat a giant chocolate cake, gleefully rubbing her chubby paws together in delight. The ghastly Wormwood parents are played by thrillingly grotesque pair Josie Walker and Paul Kaye, the cruel opposite to Matilda’s intelligence.

I’m afraid I can’t find a bad word to say about this show; there is nothing to criticise and is much more fun than I expected. And I am not the only one raving about it - Matilda has received five star reviews from everyone who’s anyone. I have all my fingers and toes crossed that this show will transfer to a London stage soon, I am desperate to see it again.

Matilda is on until 30 January 2011 at The Courtyard Theatre.

Fela! at The Olivier Theatre at The National

I have mixed feelings about Fela!, the new musical that is currently showing at the National Theatre, on the Olivier stage. This vibrant show is all passion and politics and tells the life of Fela Kuti, Nigerian musician, human rights activist and political maverick.

The show is unlike anything I’ve ever seen at the National before. It is an explosion of colour and noise, the whole theatre is adorned with pictures, lights and projections. As the audience walk in, the exuberant band is already jamming away on stage, it is like walking into another country, and has a carnival-like atmosphere. The high level of energy and spirit continue right through the three hour show, which eventually became quite exhausting to watch. I would like to have seen a little more variation of tone; it would have perhaps made the intensity a little more manageable.

The action takes place at the Shrine, in Lagos, 1978 where Fela is giving his final concert. This musical feast tries to cram in the entire span of this revolutionary’s fascinating life. His upbringing in London, and then his return to Nigeria where he strives to make a difference with his music. We see the impact of the dreadful death of his mother, which haunts him throughout the story and are also made aware of his infamous womanising. I felt the narrative to be a little muddled and the incessant dancing (as brilliant as it is) slightly takes over the story. The show is long, and by the two hour mark I started to get restless and a little bored.

The star of the show is Sahr Ngaujah who gives the performance of his life as Fela. Nagaujah comes straight from playing the role in the original Broadway production. He really is as extraordinary as the legend himself, singing and dancing across the stage, playing the trumpet and sax phenomenally and even joking with the audience with an alarming ease and charisma. During the performance he gets the audience up on to their feet to sing, dance and join in with the Clock pelvic thrusts – it was hilarious to see the National crowd attempting this move! Nagaujah is supported on stage by Melanie Marshall as his sweet voiced mother, and Paulette Ivory as the American girl who wins his heart. The rest of the company is equally energetic, and it is exciting to see the players having such a good time, even if that is running amongst the audience screaming at the top of their voices. The band is spectacular, how they played continuously for such a length of time is a marvel to me.

Fela! continues at The Olivier Theatre until 23 January 2011, book tickets here.

End of the Rainbow

Tracie Bennett deserves every one of the five stars she has been receiving for her rendition of Judy Garland in End of the Rainbow, however the play does not. This bio-play relives the final sad days of Garland’s life when she struggled through a five week season at the Talk of the Town in London. The storyline is flimsy with no explanation of how Garland got to this disastrous stage in her life, and no mention of the dreadful ordeal child stars of her era went through. In fact the play consists mostly of ferocious arguments and is, as a result, rather grim to watch.

I have never been to the Trafalgar Studios before; it is a one tiered theatre, that for the audience is a bit like looking in on a shoebox. The stage is nicely decorated as Garland’s London hotel room, although with no set changes throughout, it looks stale by the end. The band are cleverly located behind the back wall of the stage, and are revealed for musical numbers.

Bennett truly is a tour de force, belting out Judy’s most famous songs with power and yet a unique vulnerability, that makes you want to listen. She manages to conquer even the trickiest of Garland’s songs: ‘The Trolley Man’ and ‘The Man That Got Away’, with real power and emotional intensity that must be hard to sustain on stage for two hours. Occasionally Quilter’s play allows for a little humour, and Bennett masters this too, most memorably when she realises she has swallowed drugs intended for a Cocker-Spaniel and starts to do hilarious canine impressions.

Starring alongside the diva are her fifth husband-to-be, Mickey Deans (Stephen Hagan) and her sympathetic gay pianist, Anthony (Hilton McRae). McRae is faultless, and is a pleasure to watch with Bennett, he also proves to be a very accomplished pianist, playing alongside her live on stage. I felt sorry for Hagan whose role in the play is not particularly meaty, but he does what he can with the part.

End of the Rainbow continues at The Trafalgar Studios until 5 March 2011. Book here.

It's all about DRAG: Rocky Horror Show at Richmond Theatre

The Rocky Horror Show is an enduring cult classic, something of which I was unaware until my experience a few nights ago at Richmond Theatre. This darling little venue, located on Richmond Green always has an assorted menu of shows from which to choose. I am so glad I chose to see Rocky Horror, I absolutely loved it. It is no wonder Richard O’Brien’s musical has a loyal fan base. It has been selling out to audiences for the last thirty years.

When I walked in I was stunned to see so many fully costumed audience members; an ecstatic hysteria surrounded me. I love dressing up – why did no-one tell me? As the show kicked off I realised audience participation went far and beyond just wacky outfits. This show relies on the screaming audience’s enthusiasm, and my audience had enthusiasm aplenty. The call and response between viewers and actors was so impressive I began to think it was staged, as the show went on it got rowdier and more improvised, it was absolutely thrilling to be part of it. Even before the famous ‘Time Warp’ song began, the audience were on their feet ready to boogie, soon after the rest of us were following suit and joining in.

Ainsley Harriott features as the fabulous narrator, and is side-splittingly funny, bouncing off the audience interjections with wit and charisma. And he isn’t afraid to let his hair down, joining in energetically with the chorus numbers and dancing about the stage. I cannot fault the rest of the cast, they are all outstanding. David Bedella, who returns to the role of Frank’n’Furter, owns the stage and commands attention, not just because of his daring sequined costume. Vocally the cast is brilliant, not a note is out of place, and the amplification helps make the sound more electrifying, competing with the lively band.

As I left I wondered about the phenomenon of Rocky Horror and why such a crazy show could be so popular and even relevant to people of all ages (the audience were hugely diverse). Perhaps because it acts as a form of escapism that viewers can participate in and feel part of. Or maybe it is a way of dealing with homophobia, poking fun at those hostile prejudices. Whatever it is, London’s West End seems to be all about drag at the moment with Priscilla Queen of the Desert continuing to excite audiences and shows like La Cage aux Folles running well in London, it seems we can’t get enough of it.

It is no secret that I love watching drag, I find it addictive even. And just like Priscilla I feel I could happily see Rocky Horror every week and still love it as much as the first time. Now I’ve lost my ‘Rocky Horror virginity’ I’m looking forward to watching this show for a second and third time.

Rocky Horror continues until Saturday 27 November, book here.

Waving goodbye to Oliver!

A few nights ago I went to see Oliver! It has been on my ‘to see’ list ever since the Andrew Lloyd Webber programme went in search of the perfect Nancy. Oliver closes on 8^thJanuary 2011 after a fantastic two year run, and tickets are selling out fast. I didn’t realise the scale of this show before I went – the theatre is massive and very grand and the stage constantly changes, with ever more fabulous backdrops for each successive scene. But by far the most epic aspect of this musical is the huge cast, predominantly made up of very talented young children.

The show currently stars entertainer Russ Abbot as the loveable rogue Fagin (although I saw understudy Tim Laurenti in the role) and Kerry Ellis as Nancy. Laurenti is a devilish Fagin, he makes the character suitably sinister but still manages to be utterly comical; thanks also to the clever script. Ellis is clearly very capable, as is evident from her impressive resume, but for me she didn’t sparkle as much as I hoped she would, a shame considering how superb the rest of the cast are.

Gwion Wyn Jones (Oliver) and Ben Wilson (Artful Dodger) are the real stars of the night. I can’t believe how capable and confident they are on stage, singing, dancing and acting with startling maturity and swagger. I love the sequence right at the start of the show when all the kids come on stage to sing ‘Food Glorious Food.’ They are fantastically choreographed by Matthew Bourne who must have rehearsed them half to death to achieve this standard. I couldn’t help coo-ing, but also felt a twinge of jealousy and wanted to be up there myself joining in. How such young kids remember two hours worth of material and pull it off so convincingly is beyond me.

I am so glad I made an effort to see this before it disappears from the West End. Oliver! is an example of showbiz at its very best.

Book tickets here.

Flashdance at The Shaftesbury Theatre

It’s always exciting to see a musical for the first time. Flashdance has just opened at The Shaftesbury Theatre and after hearing all the hype I was looking forward to seeing it. Unfortunately it didn’t live up to my expectations, and definitely didn’t live up to Hairspray (the last musical I saw at The Shaftesbury).

I booked tickets for a Saturday 3 o’clock matinee... which seemed like a good idea – tickets tend to be slightly cheaper and it is less likely that I will fall asleep from exhaustion (as I increasingly do at evening shows!) When we arrived I was delighted to find that our (cheap, Grand Circle) tickets, had been upgraded to top price Stalls tickets. I was initially ultra smug about this, before realising that in fact this meant the show was likely to not be selling very well, hence all the empty seats. This was the first suggestion that the show may not be as fabulous as I hoped.

It starts with a bang, of light, music and movement. No-one can deny this production has overwhelming energy throughout. I enjoyed the electrifying atmosphere initially, but as the show went on and continued to grow more and more deafeningly loud, I began to feel like I was in a nightclub, and one with bad music at that! (Druggy criminals and skimpy outfits included.) It isn’t all bad, there is the odd recognisable song, ‘What a Feeling’ and ‘She’s a Mania’, both quite enjoyable, and sung well.

Arlene Phillips should be commended, she really is a wonder with her choreography; it is quite astounding when you think that Phillips, who is now 67 years old, can still think up routines as contemporary and complex as those seen in Flashdance. Strictly Come Dancing were silly to let her go, her judging was their biggest asset. The dancers are good in Flashdance, some are very good, but the narrative is dull and this makes even the dancing boring after a while. In fact the plot is very similar to Billy Elliot – the heroine Alex Owens works in a Pittsburgh steel mill by day and as a dancer in a showbar at night, with the ambition of becoming a professional ballet dancer.

Alex Owens was played by Twinnielee Moore, although the part is normally taken on by Victoria Hamilton-Barritt. Moore is a competent enough dancer, but the sentimental acting sort of ruins her part for me. Also in the cast is Matt Willis (from boy band Busted), who I’m sure will excite the younger girls in the audience!

The feel-good ending is rushed and insincere, leaving the audience with a bitter aftertaste; I left feeling a bit cheated. Flashdance is similar to Dirty Dancing and Fame, and the dancing talent definitely compares to these shows, but unfortunately the direction and songs do not, and I predict this will shorten its run in the West End.

Book tickets here.

My favourite musical: GREASE

I am very enthusiastic about many musicals, but in terms of the long standing favourite, GREASE is the always the winner. I saw this retro musical for the third time this week. It is as fabulous as ever, with all the rock’n’roll numbers everyone remembers from the film, and dance routines that are as brilliant as expected from choreographer Arlene Phillips. The cast has recently changed and now features Matthew Goodgame (Channel 4 Musicality, Chicago) as the leader of the T-birds, Danny Zuko and Lauren Samuels (BBC1 ‘Over the Rainbow’ finalist) making her West End debut as Sandy.

Grease tackles some controversial social issues like teenage pregnancy and gang violence, subjects that make the film gritty and sexy. For me, this production is a little too tame and nice to live up to the exciting film, but this could also be because of the lack of John Travolta. I think the geeky characters are the best on stage: Faye Brookes as an adorable Frenchie, and Hayley Gallivan as a fantastic Jan. All the guys look great but their voices aren’t quite as sparkling. Lauren Samuels also impressed me, the role of Sandy is probably the least exciting part to play in Grease, but she grabs the audience’s attention with her strong voice and obvious stage presence.

Despite not being entirely convinced by this production, I still recommend it as a fun night out, catch it before it goes off on tour in Spring 2011.

Other retro musicals to see in London:

- Flashdance: new to the West End stage it tells the tale of 18 year old Alex, welder by day, ‘flashdancer’ by night who hopes to be given a place at the Shipley Dance Academy.

- Dreamboats and Petticoats: a sweet song-writing love story that features many classic songs.

- Dirty Dancing: brought to the stage after the hit 1987 film, features rebellion, growing up pains and above all, the power of dance!

- Sweet Charity: the story of a dancer-for-hire at a Times Square dance-hall who finds love at last (hurry it ends 6^th November).

If you really want to get into the vintage musical mood, pick up a snazzy t-shirt at Grease or Flashdance. I got a Rydell High tee in grey and red, that I love.

The Roaring success of The Lion King

The roaring success of The Lion King is even evident on the streets outside the theatre. I felt a bit bewildered as I waited to collect my tickets, this production is epic in every sense of the word. The Lyceum itself is massive and takes up half of Covent Garden, and the interior of the theatre looks more like a rock concert stadium.

I have seen The Lion King once before when I was much younger; the show seemed largely unchanged. Although perhaps overly sentimental, this show is a masterpiece in every other respect, and it is no wonder it has done so well. The visuals are stunning with life-like animals and colourful moving sets evolving into the different animal habitats. I love the way the action surrounds the audience: pretend birds flying across the crowds on wire and percussionists sitting almost amongst us. The show definitely feels all inclusive.

The two children who play young Simba and young Nala must be having the time of their lives jumping about the Lyceum stage; I was certainly envious. I’m not sure which of the children performed on the night I went – I was too far away to recognise their faces from the selection in the programme. Timon (Nick Mercer) and Pumbaa (Keith Bookman) are great too and even more hilarious than I remembered, as the musical's two comedians. Brown Lindiwe Mkhize is a sensational Rafiki, filling the whole auditorium with her soulful voice.

The music in The Lion King is written by Elton John & Tim Rice and is relentlessly energetic throughout. I prefer the chorus numbers, they generate an electrifying sound with the huge cast and band that you can’t help but be affected by. Some of the solo songs are a little weak, I was a bit disappointed with Adult Nala’s (Narran McLean) voice and she seems to struggle a bit despite the amplification.

By the end I was exhausted from all the excitement, and it feels slightly bizarre to be unable to find a real criticism. I often overhear people chatting about The Lion King and their individual experiences of the show are all positive. It is a musical for everyone; it is happy but not kitsch and the message is one most can relate to. More than any other show I have seen, I think The Lion King is universally appealing.

Book here.

WICKED the Musical

I have heard so many great things about Wicked. Named by the Independent on Sunday in 2008 as ‘the West End’s most successful new musical’. It seems this production can do no wrong; in fact I still can’t believe it took me this long to see it. I have sung various songs from the show, ‘One Short Day’ in particular brings back wonderful memories of the BACK TO BROADWAY show we did annually at University. And I am still in no doubt that Stephen Schwartz’s music is by far the best thing about this production. With driving melodies, addictive rhythms and hummable harmonies, there is nothing not to like.

From the outside the Apollo Victoria Theatre is hostile and industrial looking, strange compared to Billy Elliot’s lively facade (the other big theatre in this area). The art deco cum gothic interior however quite suits the witchy tale of Wicked. My clever date managed to buy brilliant tickets relatively cheaply: £30 for Stalls is a good deal. Here is a tip – always phone up the theatre to get the best deals... I often ask for front row Stalls, restricted view, as I know these are a fraction of the price but thrillingly close to the action.

Wicked is based on Gregory Maguire’s acclaimed 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West, re-imagining the land of Oz, and creating a parallel universe to the familiar story written by L. Frank Baum and first published as The Wonderful Wizard of Oz in 1900. It is a story of an outsider, and of difference, and most importantly it offers an explanation to some of Baum’s unanswered questions from his fairytale book.

The set glows in green splendour, and the large dragon at the top of the stage certainly sparked excitement among the audience. The chorus and monkeys (!) flood onto the stage and the whole theatre comes alive. We meet Glinda (Louise Dearman) and Elphaba (Rachel Tucker) the two students desperate to study Sorcery; it seems Elphaba has a bit more natural talent. They couldn’t be more different, in looks and personality, and they instantly loathe each other. An unlikely turn of events brings them closer together and eventually to be the best of friends. I have to say I found the character of Glinda a little annoying but that is the part rather than the actress so can’t blame Dearman. Rachel Tucker was fun to watch as the green Elephaba, and I was amused to find out that she has previously played the role of Dorothy in a production of The Wizard of Oz in Belfast. I found her performance got better as the night went on, initially her voice was a little weak.

The current celeb in Wicked is the angelic looking Lee Mead, winner of Andrew Lloyd Webber’s Joseph TV programme. He seems to have made his way through most of the leading West End musicals, so it’s no surprise to find him now in Wicked. He is sweet as the fairytale prince, and definitely looks the part with his dark curly locks. I enjoyed the performance too from Clive Carter as the Wonderful Wizard of Oz, he is a brilliant actor who I have previously seen as Bob in Priscilla Queen of the Desert.

I expected more from the performers in Wicked, but I can’t fault the show itself. I love all the clever connections with The Wizard of Oz, the way it explains everything, from the flying houses to the shortcomings of the Scarecrow, Tin man and Lion. This is a unique fairytale with a twist, and while you are sprinkled with bubbles, confetti and lights, the underlying message too is worth hearing.

Book tickets here.

Dreamboats and Petticoats

I can’t believe that I had never heard of Dreamboats and Petticoats before I went to see it last night. And so I’m guessing perhaps lots of other people haven’t either. The show is full of classic 1960s hits, sure to get you tapping your feet. And despite being born twenty years later I still recognised nearly all the songs as if they had been in the charts yesterday. Just goes to show pop music was definitely more catchy back then.

The narrative is very predictable and exists to thread around the songs, there is little imaginative about it. The acting too lacks sparkle. The reason for going to see this show is the music. As we sat down we found that we were, BY FAR, the youngest, in fact almost everyone around us was over 60. They all loved it and it seemed to be the oldest audience members that were first up on their feet to dance!

Now is the time to see Dreamboats and Petticoats as currently Tony Christie stars in the show as Phil and 'Older Bobby'. Christie is very entertaining and has a surprisingly powerful and in tune voice. The daft song that made him famous, ‘Is This the Way to Amarillo?’, is featured towards the end of the show. The audience went wild for it! I guarantee there will be at least one song that you recognise, some of my favourites were: Shakin’ All Over, Teenager In Love, Let’s Twist Again, At The Hop and wonderfully lyrical Roy Orbison songs that act as a small motif throughout. I couldn’t help singing along, which I’m sure annoyed the people either side of me.

Bad boy Norman is played by Ben James-Ellis who I have previously seen in 'Hairspray' as suave Link Larkin. Lorna Want is sweet as Laura, and is by far the most convincing character on stage. The story follows her quest to win over the boy (Bobby) and win the National Youth Songwriting competition with him. This is an energetic, light-hearted show, with nearly forty songs played live with a band. Dreamboats and Petticoats has a silly story and bad puns, but I still found it fun to see and dance along to.

Book tickets here.

Sondheim's Into the Woods at Regents Park Open Air Theatre

This year marks Stephen Sondheim’s 80^th Birthday. Regent’s Park Open Air Theatre are celebrating with their tremendous production of a Sondheim favourite, Into the Woods. I have seen this musical once before at St Paul’s Girls School and was impressed with it then, so was excited to see it again.

Into the Woods, with music and lyrics by Sondheim is based on a book by James Lapine. The story intertwines the plots of several Brothers Grimm fairy tales and follows them further to explore the consequences of the characters' wishes and quests. The main characters are taken from the stories of Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, and Cinderella, tied together by a more original story involving a baker and his wife and their quest to begin a family, most likely taken from the original story of Rapunzel. It also includes references to several other well-known tales. The first half introduces us to all the characters and we accompany them as they explore the woods. The second half feels like a completely different show, half the characters are killed off or transformed, and the general atmosphere is much more sinister. Various moral themes emerge, for example the importance of love over material things and the repercussions of unpleasant greed.

The cast is brilliant, and big, so I will only mention my favourites. Little Red Riding Hood comes top of my list: a delightful smiling girl played by Beverly Rudd she acts and sings charmingly. Ben Stott as Jack is also memorable. The two strutting self-absorbed princes (Simon Thomas and Michael Xavier) provide some comic entertainment with their hilarious duet, ‘Agony’. Not all the vocals are great though and I noticed some faltering particularly from the Baker, but on the whole this cast tackles the tricky Sondheim score well. A special mention also to the adorable cow, Milky White, scarily lifelike, despite only being a puppet, it reminded me of War Horse.

An outdoor theatre is, of course, the ideal setting for a musical about the woods. The large wooden structure is set up beautifully and used so creatively throughout the show. Hidden away around every corner are clever little gadgets, and swings, and even wires to lift the characters high into the sky. The creative team have thought of everything, and the multi-levelled platforms continue to surprise right until the end. The orchestra too, lurk behind the woody backdrop producing the most enchanting music to accompany the drama.

I love this production, but much prefer the first half to the second. The show starts at 8 pm and so by 9.30, when the interval comes, I was pretty exhausted. Also, be warned the seats are quite uncomfortable and it gets bloody freezing towards the end of the night, I luckily came prepared with my lovely checked Brora blanket to snuggle under. Visually absolutely stunning, musically brilliant, Into the Woods is always a great show to see, but Regents Park gives it a little bit extra that for me makes it a breathtakingly magical production to see.