WHENEVER I review ‘Tread The Boards’ at their gloriously bijou Attic Theatre home in Stratford, I wonder why I have left it so long again between visits.

After all, I always come away elated having witnessed some pure and inclusive theatre.

Last night was no exception as the company performed an adaption by Jonas Cemm of Bernard Shaw’s Pygmalion with all the gusto of the ‘Charge of the Light Brigade’.

Shaw named his play Pygmalion after a Greek mythological chap. He was apparently a Cypriot sculptor who strove for perfection and when he finally created his perfect stone woman, he fell in love with her.

It is actually a very clever title and one, which aptly describes Prof Henry Higgins and his relationship with Eliza Doolittle. Her

transformation from urchin flower girl to lady of distinction has fascinated generations since it premiered in Vienna back in 1913.

John-Robert Partridge directs this show and also plays Higgins. He does the later with all the ego and narcissism of that obnoxious spoilt resident of Toad Hall. It’s beep-beep, poop-poop full throttle all the way and a delight to wallow in.

His ‘partner in cloning’ Colonel Pickering is played at completely the opposite end of the spectrum by Phil Jennings. His voice is as rich as his smile and he is as warm as Higgins is cold – they make for the perfect duo.

Emmy Coates as Eliza is the complete package as she transforms from whining fishwife to elegance personified. Quite simply Coates is the best Ms. Doolittle I have ever seen – and I’ve seen a lot over the years.

Lesley Wilcox plays Henry’s Mum – she sounds as elegant as he looks. Wilcox’s voice is like enjoying a cup of hot rich chocolate, which is to be savored every time she is on stage.

William Hayes is a suitably roguish Alfred Doolittle, Lucas Albion a likable buffoon as Freddy Eynsford Hill with Dawn Bush doubling as Freddy’s mum and Mrs Pearce, the long-suffering Professor Higgins’s housekeeper.

Cerys Evans as Clara Eynsford Hill completes the company and makes the most of her few lines.

They are a well-drilled talented bunch that never stop sharing across the curtain line, which is why I started by saying this is ‘inclusive theatre’.

The fourth wall twixt audience and cast is shattered into a thousand pieces – Joyous stuff indeed.

There are just a few performances left of Pygmalion, which is being performed in tandem with ‘The Importance of Being Earnest’.

After that come A Midsummer Nights Dream and The Three Musketeers.

Treat yourselves to a day or night out watching the Midlands’ finest fringe theatre company. Loads of choices of eateries nearby and you can enjoy a drink of cleansing ale by the river in Cox’s Yard and chat with the swans pre-show.

The show runs until Sunday, July 31. Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews

DUE TO A positive test for Covid, I was a little late to see this show, which had been high on my priority-reviewing agenda, and so it was my first trip out after getting the non-contagious all clear.

It was certainly worth the wait and I only hope that with just a few performances remaining, I can encourage as many of you as possible to experience this Crescent near masterpiece.

Bruce Norris wrote Clybourne Park in 2009 for which he won both a Tony and a coveted Pullizer in America, plus an Olivier when it opened in London a little later.

In truth it is not really a groundbreaking piece of theatre – controversial – yes – dealing as it does with racism and all the other ‘isms’ you can think of, but it’s in the clever storytelling of how balances have shifted over the decades that sets it apart.

Norris is a master of his craft, a weaver of plots and purveyor of blistering scandalmongering caustic dialogue, which is an actor’s box of delights.

Joy of joys the company also get to double as the play is divided into two acts with different characters linked by a common theme namely the said Clybourne Park property, which changes from an all white neighbourhood in the 1950/60s to run down black ghetto period and back to President Obama time when it was set to become multiracial and chic again.

Director Stewart Snape always impresses with his attention to detail and once again it is the little things that gets his stamp – let’s call it ‘Snapeness’. One example is the intricacy he has directed his actors to show in something as simple as moving a trunk.

He gets players to point up its significance verbally in conversation and with guarded aside glances before we see it. We hear it thump before we see it too and when we do, he lets us know it’s heavy then teases us as to what’s inside.

That trunk effectively became as important as any of the cast, and as memorable as the bone-throwing opener to Kubricks ‘2001 A Space Odyssey’.

Besides ‘the trunk’ there are also other outstanding performances.

Liz Plumpton as apple-pie, white liberal with a small ‘l’ mum, Bev, which she contrasts with feminist lawyer Kathy in Act 2.

Then there’s Shemeica Rawlins as Bev’s compliant maid and token black buddy Francine in Act 1 and modern gutsy ‘take-no-nonsense’ Lena in Act 2.

Rawlins is partnered in both acts by Papa Annoh Yentumi (what a wonderful name) – he’s her quiet respectful know-my-place afro-haired  husband Albert in Act 1 and loud successful ‘read my lips’ Kevin in Act 2.

Paul Forest reminded me of crooner Pat Boon in Act 1 where he plays ‘all teeth and smiles’ local white pastor Jim. Boon was also a pastor in gated community Palos Verdes LA, an area I knew well in the 70s.  Forest doubles this effectively as the methodical community group leader in act 2.

James David Knapp gives two powerhouse outings firstly as Karl, the angry white neighbour who doesn’t know or care that he is a rabid, raging, racist and the bigoted, foul-mouthed Steve who is more of the same but doesn’t admit it a few decades on.

Grace Cheatle partners Knapp, firstly as his pregnant, deaf wife Betsy who is an awe of her husband and secondly as Sfeve’s pregnant and possibly soon to be ex-wife Lindsey in Act two, as she reels in horror at his stomach churning diatribes.

Lastly comes the zenith  – a commanding contribution from Colin Simmonds as Russ, Bev’s husband in Act 1. Every twitch of the eyebrow, every rumble in the throat was a joyous addition to a mighty characterisation. His journey from smile to scowl and from control to explosion was spellbinding.

Simmonds bit part character in act 2, as Dan the clearing contractor, might well have been a scene-stealer if he hadn’t been amongst such talent.

Snape designed his own production frocks and like his direction the attention to detail is exemplary.

Colin Judges set was the stuff of a designer who doesn’t cut corners in meeting a challenge. His transformation from classy suburb to run down hood is nothing short of genius. I could happily have spent the interval watching it happen if we weren’t banned from observing the witchery.

This production is theatre at its finest – it deserves bigger audiences than just the Crescent faithful. The productions in the studio just keep getting better – catch it before it closes and book for whatever is coming next.

Clybourne Park runs at the Crescent until Saturday, July 16. Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews

IT HAS been 20 years since Ben Elton first wrote the book to accompany Queen’s songs and lyrics to create the musical ‘We will Rock You’.

To be honest when I saw it back then I thought the music was a sensational tribute but the book a little silly sci-fi which annoyed more than it entertained.

Picture by Johan Persson. s

Now this new version two decades on is a very different kettle of fish – whilst it is still a silly sci-fi, Elton has cleverly used world events and inventions to brush his old lamp and like Aladdin did – he’s released his genie and his genius. What was trite – now is witty and what rocked before – rocks louder.

Michael McKell as Cliff, Adam Strong as Khashoggi, Ian McIntosh as Galileo, Edward Leigh (standing in for David Michael Johnson) as Brit all rocked their socks off for us – whilst Martina Ciabatti Mennell, Elena Skye as Scaramouche and Jenny O’Leary as the Killer Queen were off the Richter Scale.

The band under the electronic baton of Zachary Flis are tight and feisty with a special shout out to guitarists James Barber and Simon Croft – oh hells bells let’s name them all they were so good, Matt Herbert on piano, Neil Murray on bass and David Cottrell on drums

If you think you know the show because you’ve seen it before – think again. Yes of course it’s still a jukebox musical but it’s now so much cleverer.

Picture by Johan Persson. s

In fact I’d describe it as a ’Pass the Parcel’ musical, as it unwraps it just keeps on giving even when we reach the walkdown where we think it’s all over – but it’s not!

Ben Elton with his director’s hat on has one big surprise left to give us. You’ll have to book a ticket to find out as my lips are sealed.

We Will Rock You runs at the Birmingham Hippodrome until July 30.

Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews

PRESS night of Michael Flatley’s ‘Lord Of The Dance 25’ at Birmingham’s packed Alexandra Theatre last night was actually a tick on my bucket list.

Before then, the nearest I had got was in New York a couple of decades ago when I had a note shoved under my hotel room door.

It read ‘Following your performance this evening I am calling you in for a 4am rehearsal. Do not be late – Michael Flatley.’ Obviously he had the wrong room but woe betide the dancer who didn’t get that message.

That episode should endorse everything you hear about the legend being the hardest dance taskmaster in the world – and why not?  After all he created this phenomenon – quite right he should guard it.

Unless you positively hate Irish dancing or the thought of long-legged nimble-footed boys and girls performing routines at near faster than the speed of light – then there is nothing in this show that’s not to like. For me was certainly worth the wait.

The show opens with wall-to-wall video chronicling the 25 years of continuous performance – save of course for those Covid years. Several troupes have wowed audiences in 56 countries from Estonia to Abu Dhabi  and always under his direction.

Fast forward to the end and it finishes with an ABBA style avatar performance where not one, not two but – three Michael Flatleys turn the clock back 25 years and give us a walkdown dance like nothing seen before.

In between comes dueling fiddles, beautiful singing, frame and bodhran drums, bone players, whistles and of course wave after wave of dancing feet.

Add to all this some amazing FX settings and you could be in Las Vegas not Birmingham.

Formulated it may be but it’s also a joy to let the Irish magician cast his spell. He is the Lord of the Dance say I!

The Lord of the Dance 25 runs at Birmingham’s Alexandra Theatre until Sunday, June 19. Click here for times, tickets and more information.

****

Review by Euan Rose

Euan Rose Reviews

CALYPSO music and a story set on an idyllic West Indian island seemed just the show to go to on a barmy summer evening in Birmingham.

A feeling which is compounded by a smile-inducing entrance to the auditorium – where the Rep’s cavernous stage had been transformed to a tropical paradise.

Palm trees surround two huge set pieces, which move together without a care in the world to form  ‘Peggy’s’ a Rum Bar, A place where you could blissfully spend the night.

This is the setting lovingly designed by Michael Taylor and lit in splendid Technicolor by Matt Eagland.

The ‘Playboy of the West Indies’ is a musical based upon the play of the same name  by Mustapha Matura – which in turn Matura wrote as a parody to JM Synge’s ‘Playboy of the Western World’.

Clement Ishmael and Dominque Le Gendre are the music composers and they plus others provide the lyrics for a mixed bag of songs. Some are joyous, a couple uplifting and some with so may words coming at you so fast that  I for one lost concentration on what was being sung about.

The same applies to the delivery of parts of the script where the accents and slang whilst being laughed at uproariously by some, others including me felt excluded from the party at times.

The plot is simple enough, in a village where nothing happens, a stranger comes to town and is hailed as some sort of anti-hero when he says he has killed his father in a fight and is on the run from the police.  Turns out his father survived and comes after him for a rematch. Our playboy is wooed by the women and booed by the men.

Durone Stokes turns in the complete performance as the stranger Ken.  He is charismatic, crystal clear and has a superb singing voice. If all the company had delivered like Stokes then this show could rise from good to triumphant.

Gleanne Purcell-Brown as Peggy and Angla Wynter as Mam Benin also turn out inclusive and carefully constructed performances.

From the programme it appears that the direction is a team effort – always a rocky road to go down – direction by committee oft ends in tears. I’m not saying this happens here because you still come out feeling happy and goodness knows that’s a rare treat in these dark days.

***

Review by Euan Rose.

Euan Rose Reviews

IT IS hard to believe the iconic ‘Singin’ In The Rain’ film on which this show is based, hit the silver screen exactly 70 years ago.

It was directed, choreographed and starred the equally iconic Gene Kelly plus screen legends Don Lockwood, Donald O’Connor, Debbie Reynolds and Jean Hagen.

The movie broke new ground in nearly every area from dance to FX and is regarded by ‘buffs’ as simply ‘the greatest musical film of all time’.

No small challenge then to bring the film to the stage – but one, which director Johnathan Church has done brilliantly. It is almost a carbon copy of the film brought spectacularly to life and that is a compliment not in any way a criticism.

Church transports us back to the 1920s and the world of big stars, big studios  and big egos as the era of silent movies gives way to the birth of the talkies.

The choreography by Andrew Wright mirrors Church’s direction in capturing all the memorable moments from the film and then ‘dips them in chocolate’ as the saying goes.

Costumery by designer Simon Higlett are a glorious technicolor collection of 20s chic and work in perfect harmony with his towering, grayish neutral set to create a fourth dimension in this stunning production.

An excellent on-stage band certainly let the toe-tapping rhythm rip under the baton of MD Grant Walsh. Barry Brewer the drummer deserves a special shout out for his hypnotic tom-tom work.

Sam Lips makes for the perfect Hollywood headliner, Don Lockwood,  Charlotte Gooch is as sassy as she is perfect-pitched as new kid on the block, Kathy Selden, Ross McLaren is alternatively endearing and hilarious as Cosmo Brown and Jenny Gayner gets my vote as the ace in the pack. Her bitchy, bawdy ‘not –so –dumb as she seems’ blonde Lina Lamont is a musical theatre tour-de-force.

A flawless ensemble supports these top-drawer principals.

Moving to ‘that song’ and ‘that dance’ – sorry to use the ‘I’ word again but frankly, nothing else but ‘Iconic’ will do.  Six thousand gallons of water pour down firstly on Sam Lips getting happily soaked to the skin as he is ‘Singing in the Rain’ and then we get a walkdown reprise with the whole company splashing up a triumph

The audience left buzzing and ‘do-be-do-doing!’ at the end of a long but wonderful evening.

I’d happily go back tonight,

Singing in the Rain runs at the Hippodrome until Sunday, June 11.

Click here for times, tickets and more information.

*****

Review by Euan Rose.

Euan Rose Reviews.

THERE  is an improvisation exercise used in drama classes called ‘Mirrors’ where actors, working in pairs, mirror image their partners every gesture and movement. The next stage – once harmony in movement is reached – is to add dialogue in turns, with the objective of two people playing one character.

I was reminded of this last night in the Crescent Theatre company production of Moira Buffini’s ‘Handbagged’  in the Ron Barber studio where the cast comprise two Prime Minister Margaret Thatchers and two Queen Elizabeth II’s. Director Claire Armstrong Mills has drilled her women to ‘mirroring’ perfection.

The ‘Thatchers’ comprise Angela Daniels as  ’T’ – the older Maggie in stiff, strained and stilted vocal and physical harmony with Isabel Swift as Maggie the younger. This is not parody or caricature – it is acting physicalisation at its finest – two people: one person.

Mills’s approach to the ‘Queens’ is different in that she has allowed more individuality and physical divergence between Maura Judges as a senior, reflective, calmer Queen and Annie Swift as the younger, inquisitive Liz. What they both share is an ever present sense of duty tempered with freedom of spirit.

The other characters are a clever device by the playwright to bring in two multi-tasking chaps who announce in an aside to the audience that they are jobbing actors in it for the money.

Niall Higgins and Toby Davis positively revel in playing everything from flunkies of the royal household to politicians of all shapes, sizes and political colours.

The play’s cleverness is in its story telling of the Thatcher years without being judgmental  – meaning whatever side you are on in that period of political history, there is little here to make you change your views or get hot under the collar about.

The focus is on the supposed clash of culture between Monarch and Minister – all supposition of course, as what goes in those weekly meetings is like the golfing adage “what goes on tour stays on tour”

It’s marvellous to wallow in handbag-jousting and diplomacy though and it all makes for another great night of theatre in this high quality studio season from the Crescent.

There is not a weak link here – the company has worked in concord with their director and each other. Whilst individual performances are all top-notch outings, for me Annie Swift is extraordinary – her Liz ranks alongside the big names that have played her in ‘The Crown’.

Handbagged runs at The Crescent until Saturday, June 4. Click here for times, tickets and more information.

 ****

Review by Euan Rose.

Euan Rose Reviews.

WITH dollops of doom and gloom every time we watch the news, what a tonic this is to review a show that not only brings a smile, but makes your stomach ache from belly laughing.

‘Magic Goes Wrong’ is collaboration between two dedicated producers of mirth, Mischief Theatre and Penn and Teller – individually they comprise Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields and Teller.

Magic is a word that not only applies to a conjuring trick but also to a wonderful experience – magic and magical can be applied to this show in all its senses.

The fun starts from the minute you enter the auditorium with pranks happening both on and off stage setting the scene for what’s to come.

Without giving away too much detail and thus spoiling the experience for those of you that are already booked or planning to get tickets, suffice it to say there are tricks that work which astound and confuse and there are tricks that don’t which delight and amuse.

The high-energy company comprises Daniel Anthony, Valerie Cutko, Sam Hill, Kiefer Moriarty, Rory Fairbairn, Jocelyn Prah and Chloe Tannennaum.

Individually they shine and collectively they sparkle.

Adam Meggido directs with the skill of making a two-hour show disappear as if we had been but ten minutes in the auditorium. Will Bowen has designed a Las Vegas set and Ben Hart, the magic consultant, has made sure there is a liberal sprinkling of sorcery.

For those of us old enough to remember the late Tommy Cooper – the comedic magician who also had his tricks go wrong – this show is a nod to his genius. There is even a guest appearance from master illusionist himself Derren Brown.

Magic goes Wrong is a show that goes just right. I’m still reliving and smiling at much of it today – it’s a magical fun-filled feast.

I’d say Mischief and Penn and Teller have really pulled the rabbit out of the hat with this one – whoops!

Magic Goes Wrong runs at the Birmingham Hippodrome until May 29.

You really are missing a trick if you don’t grab yourself tickets.

Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews.

WRITTEN and performed by Paul Hunter, this is an evening of fact and fun that every Aston Villa fan (and those of us who are not) will enjoy.

Birmingham is a three-team city, which over the years has had a sparseness of silverware in their trophy cabinets. Undoubtedly the greatest ever achievement was Villa’s European Cup win back in 1982 – a feat that was achieved against all the odds.

That historic game where Villa conjured up a 1-0 victory against German giants Bayern Munich  at the De Kulp stadium in Rotterdam, is the hook around which Hunter has woven a tribute to his deceased, chain-smoking, Villa megafan father. He also makes it a tribute to underdogs everywhere.

Hunter does this via a mash-up, of acting, dancing. puppetry, chanting, ball skills, mirth and a touch of general mayhem. For the most part it works – however there are some over-long pauses where the momentum is lost and occasional pieces of business that do not quite work. As with all premieres, this is work in progress and I am sure Hunter will tighten things up as he develops his show to the next stage.

He is supported by three hardworking performers in Lori Hopkins, Heather Lai and Kyll Thomas-Cole, who multi-role and multi-task. A special shout out to the puppet designer and maker Lyndie Wright.

Performed in REP’s smallest space The Door and with a claret and blue set by designer Sophia Clist, ‘Would You Bet Against Us’ is more snug then smug, for it’s never ever going to travel further than our City limits.

I’m sure Hunter was well aware of that when he conceived it. There is plenty of mileage out there though with just Brummie audiences and a myriad of sequels to come, no doubt.

Would You Bet Against Us? runs at the Rep until Saturday, May 28.

Click here for times, tickets and more information.

***

Review by Euan Rose.

Euan Rose Reviews.

REVIEW – Bournville Musical Theatre’s Wedding Singer at Birmingham’s Crescent is a show worth crooning about.

IT IS with a sigh of relief we are now seeing musical theatre companies – the backbone of community theatre – coming out of hibernation after the dreaded lockdown to perform the big shows again.

Picture by Beth Harden. s

Remarkably, Bournville Musical Theatre Company has been ‘treading the boards’ for a 100 years with this production of Chad Beguelin’s ‘The Wedding Singer’ marking its centenary.

Even Performing throughout the war, BMTC had not missed a year since debuting with ‘Pirates of Penzance’ back in 1922 – until that is when all theatres went dark in March 2020.

BMTC are back ‘Puttin’ on that Ritz’ with a real powerhouse of a show , which is not only rocking it – it is absolutely socking it to packed houses at the Crescent Theatre this week.

Sadie Turner’s choreography is quite simply not only the best but the most imaginative I’ve seen from an amateur company in a very long time.

Turner’s chorus shimmy, glide, boogie and sassy on in well drilled troupes according to the tempo set by MD Chris Corcoran and his belting big band.

Picture by Beth Harden. s

Turner has trained her guys and gals to move from fingertips to toenails. Hands up – my pet hate is watching a limp-limbed chorus line. Joy of joys -I did not see anyone putting a foot wrong all the way through to the walkdown.

My only gripe was with the sound cuing – far too often individual mics were not brought in on time. Sound cues should be learnt like a script and it is always better to be early than late.

The story of The Wedding Singer, is a take on the eternal star crossed lovers theme – in this case the incumbents are wedding singer Robbie, who gets dumped at the altar, and Julia, who is about to marry the Mr Rich and nasty – Glen.

There is bed-hopping, teeth-gnashing and soul searching a plenty – giving rise to some super songs and routines along the way to wedding bells and glitter balls.

Stuart McDiarmid is spot on the money as Robbie, charismatic and deft of voice, Chloe Turner makes a delightful Julia, sweetly spoken and smoothly sung.

Picture by Beth Harden. s

Liam McNally cuts the Versace pinstripe with all the panache of a lounge lizard as inside trader hotshot Glen.

All the principals galloped up to mark – that was Lewis Doley as Sammy, Lisa Calvin-Grieve as Holly, Robbie Love as George, Jill Hughes as Rosie and Sarah Frances McCarthy as Angie.

My stand-out tribute goes to Harriet Marsland as the sex kitten Linda. She’s the one that dumps Robbie at the altar.

The night before I reviewed ‘Waitress’, which contains one of the raunchiest numbers in it I have ever seen, then here we are the night after and here’s Marsland doing a routine to rival it in its naughtiness whilst making a magnificent job of singing ‘Let me Come Home’.

It is a bit like when we used to say: “We wait all day for a number 8 two come along at once”.

John Morrison has directed his show to flow seamlessly creating some memorable moments on the journey.

The talented BMTC are back doing what they do best -bringing joy to the theatre – at the curtain both the audience and the bar tills shared the love.

The Wedding Singer runs at Birmingham’s Crescent Theatre until Saturday, May 21. Click here for times, tickets and more information.

****

Review by Euan Rose

Euan Rose Reviews