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Chicago, a Must-See show for its new cast ! On 16th June 2003, Ruthie Henshall returned to Chicago as Velma Kelly which she played on Broadway for 6 months in 1998, but never on the West End. Her performance as Roxie Hart 6 years ago at the Adelphi was stunning and unforgettable, but her Velma Kelly is even more successful and breathtaking! Compared to Roxie, the role of Velma requires the full Song and Dance musical actor skills, and Ruthie is just perfect as Velma and it is really hard to believe that she had a baby only a few months ago! The audience was delighted to see Ruthie back on stage and the atmosphere was amazing! THANK
YOU FOR THE MUSIC SALLY
ANN TRIPLETT ~
HANNAH WADDINGHAM
~ SIMON
BOWMAN
~
DEAN COLLINSON The
Iceland Symphony Orchestra
conducted by Martin Yates Elektravox:
Louise Marshall,
Holly Lambert,
Anna Lowe
Elektramania:
Jon Ólafsson,
Guðmunder Pétursson,
Gunnlaugur Briem, Richard Korn,
Roland Hartwell In
the last five years West End International has built up a reputation in
Iceland that has local people flocking to their concerts.
Ticket demand for the two nights of the ABBA concert this May was
so high that the venue had to be changed to a larger one and still sold
out with lots of disappointed people unable to get tickets. According to the local paper (kindly translated for me by
Joachim at the Baldasbrá Guest house) ‘everyone is going with everyone
of all ages because Abba music forms a bond between the generations.’
So what makes these concerts so special? Martin Yates seems to have found the perfect formula: it is quite simply the magic combination of world class symphony orchestra, dynamic rock band, an excellent backing group and four supremely talented soloists, together with the right choice of popular music and great orchestrations. This is absolutely not yet another look a like, sound a like Abba tribute group but a classy and unique reinterpretation of Abba music - a celebration indeed! The concert started with a lively overture – a clever juxtaposition of tunes each of which melted seamlessly into the next one. This was followed by the very atmospheric opening bars of Super Trouper and with the first lines sung off stage it created the same kind of thrilling ‘butterflies in your stomach’ anticipation as the sound of the helicopter at the beginning of Miss Saigon. The four performers, stylishly dressed in white suits and white trilby hats, continued the song on stage amidst thunderous applause from a very appreciative audience. There were a further twenty one songs, some of Abba’s best known hits as well as a few lesser known songs, some sung as solos or duets, some with three or all four of them together. It was a captivating mix, as a lively fun song such as Honey, Honey (Hannah, Simon) was followed by an enchanting ballad I Have a Dream, sung beautifully by Hannah and Sally Ann, who both looked stunning and have powerful and expressive voices. Two of my favourite songs, Chiquitita and The Winner Takes it All were sung as male duets by Simon and Dean, both of whom have superb voices and the ability to wring every ounce of emotion out of a song. Eagle, a song I hadn’t previously known, was sung as a spellbinding solo by Simon and allowed a free rein for his extraordinary vocal range. The concert ended on a further high note
appropriately with Thank You For The Music.
With everyone on their feet, the deafening applause and foot
stomping were rewarded by a tremendous, rollicking encore with a fun
medley of all the songs. This
concert really zings and the whole audience was buzzing with the feel of a
good night out and if the drinks are dearer in Iceland then the tickets
are about half the price of London’s West End.
And to be honest I enjoyed it a lot more than anything I’ve seen
in London recently. Iceland
is a ravishing country to visit and what better way to end a great day
than to visit a fantastic concert. So
all that remains is to say to all those concerned: ‘Thank
you - for the music!’
Margaret Vermette Jesus Christ Superstar! (West End International's Scandinavian tour) I have to say I was so looking forward to seeing JCS over in Sweden with five stagestars involved but I was so disappointed! Firstly the set, sound and stage lighting where amazing ... and the orchestra and rock band played magnificently ... But the story telling was quite poor. Simon Bowman played Judas and although this seemed out of his range somewhat he did at least move around the scaffolding set, which is more I can say for about David Shannon. Again he sung it beautifully but I thought I was actually watching a cardboard cut out as he was so flat and motionless on stage. I really enjoyed Dean Collinson's attempt at Simon, but perhaps a John Bon Jovi vocal performance was a little OTT for the show as no-one else (except Jim Graeme) had stage presence. Charlotte Nilsson again played Mary a little like a pop singer but was pleasant to hear. Herod was a joke! Some piggy Swede TV presenter who had no idea how to tell a story. That just leaves me with James Graeme who was phenomenal, even if he was a little camply dressed. Who directed it? I don't know, but it might have been a good idea to understand the story and the stresses of the different relationships involved ... especially between Judas and Jesus. This is my favourite musical rock score yet I've never seen it played rocky once. Afterall it is supposed to be 'Superstar'. Not being picky but David (I am a fan honest) but when you receive your 39 lashes you could have shown some emotion or even twitched a little .... as it really does help to tell the story. I enjoyed Gothenborg though ... thanks to Ryanair.com and their cheap flights! Great singing and music playing but terrible story telling! 4/10 Ms Maria Paollo, Home Counties Jesus
Christ Super show David! (West
End International's Scandinavian tour) Linda, Stockholm Sweden Zipp! (Duchess theatre, london) Oh my God! How can these cheap skate producers be allowed to get away with this? Zipp won the best musical award at the Edinburgh festival but that doesn't mean you can put it in the West End at West End prices and have a bloody pianist on stage as the only accompaniment (apart from an old hammond organ beatbox and pre synth backing track to a Lloyd Webber finale) While the idea of a show was not too grating the set, costumes, and grand piano were so cheap, if I'd have paid I would have demanded my money back! This show should be on the fringe or a Sunday Cabaret venue not in the heart of the west end! If you get a freebee or a cheapy go and see it cos the comedy value is fun and the cast are energetic but don't pay anymore than £8-£10 as you would be better spending your hard earned cash on something like Tripple Expresso , which I have to say is very American, but Very slick and funny. One day soon we will be pushed too far until we say 'Enough is enough!' only then will this dying form of entertainment be saved from extinction. Dean@stagestar Sweet Charity! Sheffield Crucible Theatre. (Playing until Sat 25th Jan 2003) I had the pleasure of seeing this show whilst in Sheffield this Christmas and anyone who has the chance to see it before it closes should try and do so, I very much enjoyed this production. Directed by Timothy Sheader, this production of Cy Coleman and Dorothy Fields' 'Sweet Charity' is bright, humorous and very entertaining. The set is effective and has specific highlights such as a huge ornate bed that is flown in from above. Also the physicality of the space is used to good effect, particularly when Charity is thrown into a lake, twice!!What makes this show so enjoyable is, however, the excellent cast. Charity is played brilliantly by Anna-Jane Casey someone whom I had heard much about but had never seen perform her natural charm brings much to the character, and her beautiful voice and comic timing only add to fantastic songs such as 'If My Friends Could See Me Now'. The ensemble is fantastic, bringing immense life and vitality to such songs as 'Big Spender' and 'The Rhythm of Life'. Nikki Belsher and Nina French are highly enjoyable as Charity's loud but well-meaning friends showing the sensitive sides of the tacky ballroom dancers they portray. David Bedella as Big Daddy is entertaining, and is only aided by his amusing costume and enthralled 'worshippers'.This is a highly entertaining show and proves how a new look at an old show can sometimes not be a bad thing. Claire@stagestar RENT! Prince of Wales Theatre, London - NB this review is based on three viewings since the beginning of this current (and allegedly last) London run. Much of the cast has returned from 2001's successful UK tour and the show is once again directed by Paul Kerryson. Damien Flood and Debbie Kurup return to the roles of Roger and Mimi, the tortured lovers who can't quite admit their true feelings for each other. Jason Pennycooke returns as Benny, the penny-pinching landlord and ex-friend! Wendy Mae Brown is once again in the role of Joanne, the tough lawyer who puts up with more than is necessary from both her high-maintenance girlfriend and her nagging parents. And, mercifully, the entire proceeding is still under the watchful eye and guidance of the fantastic Mykal Rand as Collins (and choreographer!!). However, this time he has a new Angel, a wonderfully talented man all the way from Australia called Mig Ayesa. Mig brings a whole new life to the part of Angel, his performance is relaxed and easy and extremely believable, he's far sassier than past Angels, bitchier at times and incredibly funny. Also new to the production are much of the ensemble, particular credit should be given to Carys Gray who is an extremely reliable performer and has a lovely voice. Rohan Reckord, as Mr Jefferson and others, brings new life to his selection of characters. Also Julian Essex-Spurrier (last seen taking his clothes off nightly as Buddy 'Keno' Walsh in The Full Monty!) is extremely poignant as Gordon, the Life Support member who has become disillusioned with the 'forget regret' mentality of the HIV/Aids support group that Mark witnesses. At this production you may also be lucky enough to see Krysten Cummings return to the role of Mimi, the role she played to critical acclaim in both the Toronto and London original productions and later played on Broadway. The programme lists her as playing Mimi 'at certain productions' and it seems that you just have to turn up and hope if you're hoping to see her. I was lucky enough to see her first performance of Mimi in nearly 3½ years and it seems that for Krysten, the role of Mimi is pretty much like riding a bike; you never forget how to do it. The whole dynamic of the show changed around her and certain members of the cast played their roles far better than I'd ever seen them before. Debbie Kurup is very good in this role, but Krysten is something very special. Now you may have noted that up until now I have tactfully skirted around the subject of Maureen, or more to the point Caprice's performance as Maureen. This is due to the fact that I find myself incapable of saying anything nice about her performance. She has no singing voice to speak of and her 'acting' (and I use the term loosely) is wooden at best and completely lacking at worst. And, for someone who has made their living in the world of high fashion, she seems completely devoid of grace in her movements. Her performance is laughable, but never amusing or entertaining, and it seems unfathomable why she's even in the theatre. I apologise for being so harsh but this is everything I hate about the concept of 'celebrity', someone cast entirely on his or her press appeal. However I can't imagine that many people are being drawn to the show purely on her involvement, she just doesn't have the ability to perform in a show which is otherwise still a very enjoyable evening out. I personally feel that she's making a mockery of any statements that have been made to the contrary. However, Rent is still a fantastic show, if you can see past the rather major casting flaw. And if you happen to see it on an evening when Caprice is absent, then I feel that the rest of the very talented cast will finally be allowed to pull of the kind of show they so richly deserve. Clair@stagestar.co.uk Romeo & Juliet (the musical) Dear friends, first of all, I would like to say - I'm not really optimistic in fact that Romeo & Juliet will survive on the west end. I'm sorry, I didn't see the English version, but if you think that French was better (DVD is not live performance!) - it's not! British reviews found Notre Dame de Paris so stupid, but in fact it has a few good tunes and quite simple plot with some signs of drama and sentimental characters. In the score you can find more theatrical points than in R&J (remember Frollo - he's the moving act of most scenes). The R&J is only pop-show and only God knows, why do they call it musical which is based on the famous Shakespear's play. I dont know why Romeo finds Juliet so attractive. Who knows, why Juliet fell in love with such a stupid guy, because Benvolio is more man than sweetie-honey Romeo?). Why do they want to get married? Is it important what do they act or is more easier write a few hits in show and after find some famous play to put together? On the other hand, the songs are very catchy and the audience will like it. But this is the same problem just like in NDP - on the CD, DVD it is very easy to listen, but if you'll buy tickets you want something more. This is only very fashionable show where all artists look like covers from Elle, Vogue or Cosmopolitan, but it's boring to see alive, and terrible to hear their singing. I hope you could find NDP more interesting show than R&J. In France all started with NDP and some projects are very good (some of them are bad, of course) and there is a few new shows like Le Petit prince and this is really good one. Patrick Fridrichovsky Macbeth I was given two free tickets to go and see Sean Bean in Macbeth. I'd never seen a Shakespeare play before, infact until I saw Baz Lurman's Romeo and Juliet, I couldn't really understand what all the fuss was, especially everyone talking in a language that is so incomprehensible. Before I tell you what I thought of the show I read the Evening Standard review, and all I can say is that idiot journalist is a (excuse my French) ... a LYING B*****D! He seemed more interested in who was at the party then who was in the show. Not that I've ever taken much notice of the bitter queeny Standard reviews before, but how he can lie about Mr Bean not going to the party because of him 'fratrenising' in a pub with the witches is misleading and pathetic! ... Sorry back to the show .... Well I did have problems with the language, but I was trying hard, promise! I was surrounded by what looked to me as 'proper theatre goers' but half way through the 1st act I had to turn to my left and ask the older gentle- man next to me if Macbeth had actually killed the King. He very politely replied 'I haven't got a clue and the titter of the question being asked rippled the isle until a very sweet lady tapped me on the shoulder and said yes. For my first live Shakespeare it wasn't too bad but I did feel the direction, and most of all the costumes were a trifle confusing. Sean had
charisma but his broad northern 'Sharpe' accent that got on my nerves. I
don't actually think he is particularly comfortable talking in a language
that even he as an actor fully understands. Samantha Bond (Miss Moneypenny)
was excellent as was Julian Glover, who played King Duncan and the Porter.
I think when you have this caliber of actor they could speak in Swahili
and you would understand them. Ian Pirie played Macbeth's bodyguard and
McDuffs family murderer. The last time I saw him was as the Hunchback in
that strange French Production of Notre Dame, so it was nice to see him
doing real drama. The costumes were very strange and confusing. Most of
the time it was modern wartime costumes but at the beginning it seemed
more like Highlander the Movie than Macbeth. Then suddenly James Herriot
seemed to step onstage as the Doctor in his 1950s costume. Then the
funniest part was when Sean walked out in a Marks 'n' Sparks catalogue
dressing gown. All a bit weird. The make up dept did a remarkable job. The
blood, sick and beautiful wigs were very convincing as was the two wax
bloody heads that get put on a stake. I don't think I'll be rushing out to
see old Bill's other works but as a none expert in a silly frilly language
it wasn't too bad an experience. Peter Lawson (Highgate) Romeo & Juliet (the musical) Having won the competition to see R&J, I promised Dean that I would provide
a review of the performance that I saw - So here it is! Dance of the Vampires (Broadway) I saw "Dance of The Vampires" last night and really enjoyed it. I'd recommend it to any musical theatre lover. But you've got to have an open mind in order to enjoy it, because it is not in the main stream of musical theatre - it breaks rules and takes chances. Read on, though, because my review isn't all this positive. It is a huge show, and they obviously spent a great deal of money putting it together. The sets, costumes, lighting, and make-up are spectacular. The choreography is quirky and high energy. The cast, with Michael Crawford in the lead, is mega-talented and can handle the standard type of songs as well as the rock vocals. Michael's performance was outstanding and his voice was perfect. He is still hitting those high notes and holding them forever. The actors have all worked hard on character development and have come up with some really charming choices. Rene Auberjenois, as the vampire-hunting professor, gave a "best supporting actor" performance. There's a lot of humor in this musical about vampires and death - it is really quite funny. And knowing that Michael Crawford has a comedic background, it was great seeing him in something light-hearted and campy, even though it sounds as though it would be dark. He is very very funny. There are similarities between this character and the Phantom, but this is a lot more playful. Unfortunately, the book, music and lyrics do not live up to expectations. The show could have been one of those classics that runs forever, but I don't think that will be the case, especially now with so many great Broadway hits playing - "La Boheme," "Hairspray," "Man of La Mancha" all are highly-acclaimed. Perhaps Michael's name will keep it going for awhile. There are very awkward moments, and the talented cast does their best to rise to the occasion and try to make more of less. The lyrics of Michael's "big number" were numbingly simplistic and the music boringly repetitive (similar to some things you hear in the top 40 but not good enough for Broadway). He tried so hard to make more of this song than it really was; I think when an actor is given poor material they are sometimes forced to over-compensate for what is lacking. That happens with all of the cast in this show. I think Jim Steinman would be wise to enlist a strong writing partner with years of musical theatre experience for his next venture - a la "Whistle Down the Wind," which was great. Steinman's hit recorded by Bonnie Tyler in the 80's, "Total Eclipse of the Heart," was utilized in this show to great effect and was repeated as a theme throughout, but when it was first introduced in the show it was done so in such an awkward manner that much of the audience was snickering in an embarrassed way. Very sad to witness this happening to Michael Crawford. By the way, reports of Michael Crawford's weight gain have been highly exaggerated. He has put on a few pounds but does not come near Pavarotti proportions. He's still got those same slim legs but has packed on a few pounds in the tummy area. Well, haven't we all???? I wish the critics would give the guy a break! Anyway, he looks great and his fans will still find him handsome and charming although SLIGHTLY more plump. Who cares? He can invite me for lunch anytime. Anyway, to summarize, if you want to see a show and have a lot of fun, go see "Dance of the Vampires" and stay light. Irene, USA Our House! I had the pleasure of seeing "Our House", the new show based around the music of Madness, twice during the previews period. I think I probably enjoyed it because I don't have much knowledge of Madness songs, I only know the famous songs - Our House, It Must Be Love etc - and so a lot of the music was new to me and felt right for the story. As is the unfortunate nature of previews there were a couple of technical difficulties, mainly to do with the sound quality. However I feel that when watching a new show for the first time you should try and look past an technical problems and view the show on it's own merits. I felt that with "Our House" this wasn't hard to do at all. To start with the book is fantastic - i thought it was a clever, intelligent story and i found myself really caring about the characters and wanting them to resolve their problems. Also the script is, at times, hilarious. There are several sarcastic nods towards certain other musicals and other pop culture references which are particularly amusing. I really loved the simple set, particularly the graffiti style which has been used around the windows. I must admit that to begin with it felt a bit bland, but once the action started around it, it totally made sense. Also there is a large amount of projection work used to wonderful effect, really clever, filling the space and developing environments outside of the simple set. At one particular point I really thought I was falling out of the balcony, the visual illusion was so strong, I won't say where, you'll have to go see it, it'll spoil it too much if you're expecting it. I thought on the whole it had been very well cast - particularly Michael Jibson who plays Joe Casey (the lead), his continual energy and sparkle is infectious. Also he has taken on a role which requires more quick changes than any sensible person should safely attempt! It is a lovely young cast, with lots of energy and exuberance about it. They look to be really enjoying themselves and with such a fun story this was much appreciated. Ian Reddington who plays Joe's dead father (as a ghost) could probably be slated for not being a particularly strong singer - but I felt he was a strong actor and played his part well. He looked right and played the part with a lot of compassion, maybe a stronger singer would have been even better but for me it didn't detract from the overall effect. I personally thought the choreography was great, there were lots of hints to Madness and their distinctive style of dancing - I particularly loved the scene set in a school room, very clever and full of energy. However, what I left the theatre really loving was the illusion work, it was so clever, some changes I never saw, and will go again to watch out for them more closely - I spent a lot of the show debating whether actually there was two of Michael Jibson! On the
whole, "Our House" is a good show, you don't need to be a fan to
enjoy it, as with me you don't even have to know the music to enjoy it. Clair@Stagestar.co.uk Taboo Mr D Davenport (W. Hampstead) We Will
Rock You! Mr D Davenport (W. Hampstead) CABARET
IN THE HOUSE (Starring
Cathy McManomon & Dean Collinson) Mrs Janet Howler (Crouch End) FAME Mr D Davenport (W. Hampstead) Vagina
Monologues Anon NOTRE DAME de PARIS The worst Musical ever performed in the West End? Paul Levene, London |
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