Joe DiPietro – the writer and lyricist for ‘I Love You You’re Perfect Now Change’ – is, I admit, one of my writing heroes.

His pedigree is quite extraordinary with shows from the noir homage to the comic book anti-hero ‘The Toxic Avenger’ through to last year’s smash hit at the REP ‘What’s New Pussycat’. Indeed I confess to even liking his most slated show ‘Diana’ when I watched it being streamed during lockdown.

DiPietro is not just a risk taker but he’s a full on ‘in-your-face’ risk taker  – and so must the performing companies be.

Admittedly it doesn’t always come off, but happily this time it’s a damned good outing from the Crescent.

‘I Love You You’re Perfect Now Change’ is written as a four-hander, it’s also traditionally a minimalist set, props and costumes. Directors Neve Lawler and Mark Shaun Walsh have turned it into a six-hander and there are furniture, props and cossies galore. I’ll bet they had to fight for that in their budget!

Well hurrah for them  – I thought it added joyful layers that didn’t clutter the words. Yes of course it’s all about the text whether sung or spoken, but often Americanese (and this show is very American) can require the attentiveness of Shakespeare, so anything that aids the concentration is to be welcomed.

This cast of six are for the most part in total harmony, whether that’s dancing (presume the directors did the choreography too as there isn’t a programme credit), singing or acting in this fast moving satire on relationships.

Anya McCutcheon Wells and Luke Plimmer are consistently easy on the ear and eye, none more so than they duet ‘A Stud And A Babe’ early in Act One.

Prior to that we had the delightful Kimberley Maynard and an energetic Jack Kirby singing something we must have all thought at some time ‘We Had It All’  – that’s when for me, the evening took off.

Hannah Lyons gets my doffed cap of the evening for her poignant self-discovery monologue The Very First Dating Video of Rose Ritz.

As well as directing, Mark Shaun Walsh is the sixth performing member of the company and gives depth and adds modernity to the thoughtful number ‘Shouldn’t I Be Less In Love With You’.

There is excellent accompaniment from Chris Arnold on piano and Liz Toney on violin with a couple of real stand out moments that provided musical mirth.

Yes it’s not without its flaws. One of which is diction getting lost. An easy thing to happen when transferring from rehearsal room to stage – just remember you know the words inside and out – we don’t.

That niggle aside, this is yet another great piece of Crescent studio theatre. From smoochy to raunchy, there is a full hamper of delights offered by DiPietro and like his writing the company go at it full on – full in your face.

Wonderful to see a full house – hope the word is getting round what theatrical delights are to be enjoyed on Sheepcote street.

Recommended.

The show is being staged in The Ron Barber Studio at The Crescent Theatre in Birmingham until Saturday, September 24. Click here for times, tickets and more information.

****

Review by Euan Rose

Euan Rose Reviews

THE CHOSEN venue seemed surprisingly appropriate for Starbuck Theatre Company’s staging of ‘Nunsense’ – a musical about fund raising Nuns in a village hall.

The action begins from the moment you set foot in Hanbury Village Hall and get ticked off on the register by a box office Nun.

Turn to your left into the make shift auditorium  and there’s another Nun, the  bearded ‘Sister’ Gareth Price-Baghurst, smiling and playing jolly tunes on the keyboard. Indeed, this hard-working Sister not only accompanies the two act mayhem throughout but does not even stop for a break at the interval.

Dan Goggin wrote ‘Nunsense’ back in 1985 and directed it himself in an off- Broadway production in December of the same year. Originally booked for just a short run at the Cherry Lane Theatre, it was so successful that it moved to the larger Douglas Fairbanks Theatre where it ran for 10 years – making it the second longest running off-Broadway show in showbiz history. (In case you were wondering the longest by a theatrical mile is ‘The Fantasticks’)

The story concerns five nuns who, along with 14 others, are the sole survivors of the ‘Little Sisters of Hoboken’ missionary order. Apparently their cook Sister Julia had accidently killed off the other 52 Nuns with a deadly pot of her vichyssoise.

The lucky survivors were off playing bingo and so avoided the temptations of the lethal soup.

As there is not enough money in the kitty to bury the last four of their fallen chums, the incumbents are stored in a deep freeze whilst the ‘Famous Five’ nuns seek to raise burial funds at a concert to which we are all invited.

They comprise Ashley Aston as Sister Mary Regina who was a former circus performer before taking up the habit – she is also the Mother Superior. Her competitive number two nun is Sister Mary Hubert played by Lila Thompsonm Sarah Pavlovs is a streetwise nun, Sister Robert Anne, Louise Ford plays Sister Mary Amnesia who has a stop/start memory due to a crucifix falling on her head and Rosie Greenwood, completing the company as Sister Mary Leo who wants to be the world’s first ballerina Nun.

Together this gang of six held the audience to contented ransom as they provided an enchanting evening of mischievous fun.

Every number and sketch added a different dimension of merriment. but my stand out highlights were Sister Mary Amnesia accompanied by a foul-mouthed glove puppet singing ‘’So You Want To Be Nun’, Sister Mary Regina’s drug-fueled romp ‘Turn Off That Spotlight’ and the big gospel finale from Sister Mary Hubert where the whole habit-wearing ensemble had us all clapping and converted one-night-only Catholics with the awesome ‘Holier Than Thou’

Sarah Pavlovs also directed and choreographed in addition to playing Sister Robert. That’s a spot-on the money theatrical holy trinity from a very talented lady.

Starbuck put on this production as part of their drive to raise money for Endometriosis services in Worcestershire – an under-funded cause.

Hopefully more dates and venues to see Starbuck perform Nunsense will be announced soon and it comes highly recommended from me. Four stars for a show in a village hall – first time I’ve ever done that!

****

Review by Euan Rose

Euan Rose Reviews

I SAW this show earlier in this huge tour so knew what to expect – however my lips are sealed once again as Derren Brown gave us theatre reviewers strict instructions not to be giving away the content of what we have witnessed.

Fair play Mr. Showman the experience, which is as much a journey as a show, should be enjoyed with fresh eyes and ears every performance – so once again you won’t be getting any spoilers from me here.

This 250-night tour is entitled ‘Showman’ and this sums up Mr. Brown pretty well, I’d say.

He is a one-off original, a master of illusion and a mind-manipulating hypnotist whom, whilst appreciating his unique talents, I wouldn’t particularly welcome as a dinner guest.

No, I’m happy to enjoy a safe distance between stage and seat. That’s not true of most of the audience though, who once again, begged in their droves to be part of the onstage antics.

The seductive stage set is like we are guests in the huge parlour of a mysterious mansion, where extraordinary things happen.

Things, which will become in-car conversations on the way home and even seeing it twice I am none the wiser.

Brown enjoys a great rapport with the audience and whilst his dark brooding presence is indeed more showman than headmaster; everyone respectfully does what they are told.

Again without giving anything away but whetting the appetites – there are several story lines which tease and tantalize throughout the evening – all of which are cleverly resolved before we go home.

That’s all the background you’ll be getting from me – so onto the team responsible.

Firstly the script for the ‘Showman’ tour is collaboration between Brown himself plus Andy Nyman and Andrew O’Connor; who are in addition the shows directors.

Not surprisingly Nyman and O’Connor are also actors and magicians in their own right. Oh to be a fly on the wall at one of their threesome script meetings!

Brown also has a large production team of on and off-stage camera folk, technicians and chaperones who, judging by the programme notes, all appear to be one happy family.

The Alex was full right up the last seat in the Gods. Well done to the theatre staff who handled the large crowds faultlessly. Opening an extra entrance at the start was an excellent idea.

It’s probably house-full all week but do try and grab a return if you can – this is an experience like no other. While Derren Brown’s TV shows are legendary, watching him live is a very special experience.

You can see Derren Brown Showman at Birmingham’s Alexandra Theatre at 7.30pm until September 10, with an extra showing at 2.30pm on the final day.

Tickets start at £22.90.

Visit https://www.atgtickets.com/shows/derren-brown-showman/the-alexandra-theatre-birmingham/ to book tickets.

Four Stars 

Review By Euan Rose 

Euan Rose Reviews

YOU’VE got to hand it to Bill Kenwright and Laurie Mansfield – like gold rush pioneers they struck a rich vein of audience back in 2009 with their first ‘Dreamboats and Petticoats’ – a musical celebration of 1950s and 60s rock and pop.

Now they just repeat the process every few years.

Last night it was ‘Dreamboats and Petticoats 3’ or to give it its full title ‘Dreamboats and Petticoats – Bringing On Back the Good Times’ which was what the majority of the septuagenarians and beyond audience at Malvern were there to do.

The sparse book by Laurence Marks and Maurice Gran makes little attempt to tell a story but is merely a series of sound bites and lifted end-of-pier postcard jokes as a means of joining up the songs.  Such as mind numbing links like ‘Bobby and Laura look happy together’ – cue Bobby and Laura sing ‘Happy Together.’

I am trying to resist being churlish – as I said Kenwright and Mansfield know their market and so do not take any chances by asking their audiences to follow any form of plot except for boy gets girl – boy loses girl then boy gets girl back again!

Picture by Jack Merriman. s

So in this show we have a youth club rock group ‘The Conquests’ who get a gig at Butlins in Bognor Regis. Now that brought back some memories for me – at 13 years old, I won a singing competition whilst on holiday there – singing Johnny B Goode.

The house band was Rory Storm and the Hurricanes with a drummer destined to be a Beatle – one Ringo Starr.

I am sure the songbook evoked a veritable profusion of memories for all the patrons and there really are some classics here including Connie Francis’s ‘Lipstick On Your Collar’ and Eddie Cochran’s ‘C’mon Everybody’.

In addition to producing, Kenwright also directs – which he does with the affectionate touch of one who has obviously loved and lived in that halcyon era.

The choreography by Carole Todd is engaging and accurate – from the ‘Shadows’ dance steps of the guitarists to the hands in the air ‘Stop! In The Name of Love’ motions of the ensemble.

Kenwright is served by a 17-strong cast, who are all consummate multi-tasking professionals – they act, sing, dance and make their own music on brass, strings and percussion.

Mark Wynter, who at near 80 is one of a dwindling number of still working pop crooners from the late 50s, puts in a sprightly performance as talent agent Larry and gets to do a medley of his own numbers from half a century ago.

There is a stunning a cappella version of Blue Moon led by David Luke who plays Ray – it’s beautifully sung and the complete tranquillity contrasts perfectly with the real rockers like Hang On Sloopy and Mony Mony.

Picture by Jack Merriman. s

For me the highlight of the show was a Eurovision song contest section where our leads Laura (Elisabeth Carter) and Bobby (BBC Little Mix winner Jacob Fowler) singing as a duo are among three finalists to represent the UK.

Enter ‘The Kellys’  – a wondrous vignette featuring a parody of clean-cut 60s trio ‘The Bachelors.’ They spoof the very worst of Eurovision entries with a dreadful number called ‘Whizbang Gang’.

The title ‘Dreamboats and Petticoats’ comes from a nine CD series from Universal Music so as we are only at number 3. no doubt there will be more shows to come and why not indeed? Malvern gave it a rapturous roar at the walkdown last night – many that could, stood and others waved sticks and banged Zimmer frames approvingly.

In essence, this show features an excellent, well-directed cast and a superb songbook – so yes bring back the good times but with perhaps a less crude and lightweight script.

It didn’t help the cause that I had reviewed ‘Beautiful’ the Carole King musical the night before where the talented Douglas McGrath has written a book that is as sharp as it is crisp – lifting and complimenting the huge songbook.

Even so I’m sure the Dreamboats box office tills will continue to jingle-jangle regardless.

A final special shout out to audio man Chris Whybrow who delivered a pretty authentic 60s sound – Sheridan Lloyd for magnificent MD-ship and nimble fingered keys, plus my top man – Daniel Kofi Wealthyland – for being the most exciting drummer I’ve heard in a long while. He drove each number with a passion in every beat.

The show runs in Malvern until Saturday, September 3.

Click here for times, tickets and more information.

***

Review by Euan Rose.

Euan Rose Reviews.

I was bowled over by the premiere of this UK tour when I reviewed the opening night at Malvern back in May and thoroughly enjoyed seeing how it had matured after ‘four months on the road’ at the Hippodrome last night.

In 2013, the original show had mixed reactions on Broadway but this new version from Leicester’s exciting ‘Curve’ producing theatre is, as I predicted, running with much stronger legs and packing auditoria across the UK.

The action starts from the minute you enter the theatre. The rear of the stage is split into a recording studio control room and a drum booth where much is already happening. In front of these actors and musicians tune up, perform riffs and chat.

The stage is devoid of any curtaining front, back and above. Above it banks of lights gaze down like inquisitive eyes.

The lighting state changes and suddenly a grand piano is discovered, caught in an inverted pyramid of light from a spot way up in the Gods.

Everyone and everything else has disappeared like a conjuring trick and we are now in a giant concert hall circa 1971 where Carol King is introduced and we burst into spontaneous applause as she sings the first few bars of ‘So Far Away’.

Whilst we are still clapping the grand piano moves off and is replaced by a small upright in the 1958 home where a 15–year-old Carole is writing and singing encouraged by her mother.

In the blink of an eye we are transported again to Queen’s College in New York City where she meets her husband-to-be Gerry Goffin.

Carole is a mother at 16 and along with her husband, becomes a sort after songwriter by seventeen – and here we are barely a few minutes into the show, so fast does it all move.

Musically from ‘Oh Carol’ to ‘Natural Woman’ the hits just keep coming; after all she wrote and co-wrote over 120 of them, for a innumerable bevy of groups and solo artists until she turned the spotlight on herself.

‘Beautiful’ confines itself story wise to the earlier years of her life, up until a couple of years after her divorce from Goffin and her solo career as a performer heralds the next stage of her life.

Molly-Grace Cutler is simply sensational as Carole King, oozing charisma, credibility and vulnerability.

There are no passengers in this multi-talented cast; they all play a variety of instruments and multi-role as pop groups, solo artists, recording technicians and a myriad of others whilst moving the scenery to boot.

Tom Milner makes for a moody and tortured soul as Gerry Goffin; Jos Slovick piles on the Jewish humour as songwriter Barry Mann; Seren Sanham-Davies is a blonde bundle of talent as Barry’s wife and writing partner Cynthia Weil.

Garry Robson captures the madness of the 1960’s musical revolution as studio bigwig Donnie Kirshner.

Douglas McGrath’s book is sharp and crisp raising it above the common jukebox musical dialogue which is usually just a weak sandwich filling between the songs.

Nikolai Foster has directed with extraordinary passion and originality. Frankie Bradshaw’s stripped back, ever moving set is a triumphant clutter and Ben Cracknell’s lighting design cavernous and dazzling.

Understandably the first night sparkle wasn’t there this time around – nor was the unforgettable relief on the faces of the cast in the walkdown. They now just smile with the joy of another standing ovation.

‘Beautiful’ is beautiful both in name and practice; a joyous show not to be missed.

The show runs at the Hippodrome until Saturday, September 3.

Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews

DESPITE having some dear long standing friends who originate from Sri Lanka, I must confess to knowing very little about this small South Asian island.

As a young philatelist, I do remember that when it was formerly known as Ceylon it had some glorious stamps. Travel supplements also marvel at its beauty and offer it up as an on/off holiday destination – depending on what’s happening there politically and its many years of civil war which destabilised and isolated it .

Currently of course the latest Sri Lankan president has fled along with others, whilst locals apparently peacefully occupy his palace, taking turns to swim in his pool.

That being pretty much the sum of my knowledge, ‘Counting and Cracking’ at the REP was therefore a massive eye-opener on many levels.

This production has transferred straight from the Lyceum Theatre at the main Edinburgh Festival to be a major part of our own Birmingham 2022 Festival.

The play is semi-autobiographical and written by Sri Lankan/Australian S Shakthidharan who also associate directs alongside fellow Australian Eamon Flack.

Picture by Brett Boardman. s

Flack is Artistic Director at the renowned ‘Belvoir’ company in Sydney.

Counting and Cracking is more saga than a simple play – it follows four generations of one family over half a century from 1956 to 2004. It flits back and forth in time and place between Sydney, Australia and Colombo, Sri Lanka.

In fairness it could be said to be a bit of an endurance test too as it runs for three and a half hours – but in my opinion what it lacks in some judicious cutting, it more than makes up for in energy, as the talented cast from six different countries combine in one glorious company.

The pivotal character to the saga is Radha, the feisty grand-daughter of Apah, an important government minister. Radha is played magnificently by both the elder, Nadie Kammallaweera and Vaishnavi Suryaprakash as the younger woman.

Radha causes consternation in the family when she refuses an arranged marriage to another politician’s son, in order to follow her heart and marry his younger – and therefore less ‘important’ – brother

Prakash Belawadi plays Apah, with natural charisma and an air of dignity that is always compelling; especially so as we witness his authority falling apart in the final stages of the Tamil-Sinhalese disputes.

There are many layers and back stories but so cleverly are they entwined that it’s not a mind struggle to keep up.

The big contrast is between Radha’s life in Sri Lanka as a wealthy politician’s  daughter and as a pregnant refugee claiming asylum in Australia.

At the start of the play we meet her with her grown up son Siddhartha, (played with endearing vim and vigour by Shiv Palekar), as she coaxes him to perform a traditional sea ritual with his grandmother’s ashes.

Siddhartha lives a happy student life in Coogee, a beach town suburb of Sydney. Like us, he learns about his heritage piece-by-piece, when a phone call across continents brings history flooding back, culminating in meeting the father both he and his mother thought was long dead.

There is some imaginative lighting from Damien Cooper, which uses every available space both on and off stage at some point and a simple but effective set from Dale Ferguson that fits all places.

A trio plays an underscore in one corner of the stage throughout the show aiding the time and continent transformations – as does the incense clouds aroma that wafts across the stage intermittently.

Part of the reason for the length of the show is that it is in three languages at times, English, Tamil and Sinhalese.

Actors translate it at the sides of the stage acting like human subtitles and making us part of – rather than apart from – the action.

A line that constantly occurs from Apah is “Two languages, one country – one language, two countries.” That, it seems, is in essence what the blood has been tragically been spilt over in all these years.

I couldn’t help thinking that when this play finishes back in 2004, it was a time two decades ago when refugees were largely welcomed into Australia, unlike today when those that do make it are held in camps on remote islands out of public view.

In fact there are so many important topics covered in this ground-breaking piece of theatre that it deserves good audiences. Because of its curtain down time, late night public transport could be a problem; so my advice is not to be put off but drive or get someone to drive you, form a group or share a taxi.

I urge all theatre lovers to make the effort – this is a unique opportunity to be part of something very special – I feel wiser and quite empowered by the experience.

Counting and Cracking runs at Birmingham REP until Saturday, August 27. Click here for times, tickets and more information

*****

Review by Euan Rose

Euan Rose reviews

Les Misérables the musical is colloquially and affectionately known as Les Mis.  It is, of course, a legendary adaptation of Victor Hugo’s 1862 novel.

The original French musical by Claude–Michel Schönberg and Alain Boublil premiered in Paris in 1980 and the English-language adaptation by producer Cameron Mackintosh opened in London five years later.

Initially Mackintosh’s show seemed to be more folly than fabulous as it garnered dire reviews from critics who said it was a night of doom and gloom that would disappear without trace.  Seems it was a five turkeys – not stars.

However the theatre going Brits love an underdog and went in their droves, adoring its songs and tale of ‘woe is me’.

Defying the critics, it has become the longest running musical in the West End.

For the few of you who may not know the story, it is set in early nineteenth century France in the period of the revolution and concerns one mans quest for redemption.

Jean Valjean is a convict released in 1815 after serving 19 years in jail for stealing a loaf of bread. He starts life anew but Javert, a police inspector, pursues him relentlessly with a personal mission to send him back to prison.

It’s really a battle of morality between a man who believes we can all change given the opportunity and one who thinks ‘once a crim, always a crim.’

I have seen Les Mis’ countless times including the West End original but never have I enjoyed it as much as this new version which is adapted and directed by Laurence Connor and James Powell.

The best way I can describe it, is that this genius pair have lifted the show from musical theatre into a new form of grand opera merged with the kind of special effects you would find in a movie.

My first shout out is for Mick Potter who has produced the best sound design I have heard on stage anywhere. You hear the subtlest vocal like a pin dropping and become immersed in the battles with bullets literally whistling all around you. I’d say Potter is the ‘George Lucas’ of the stage.

Paule Constable has designed a lighting plot that for most of the time reflects the darkness of the back stories – when the odd happier vignette occurs, Constable lets the stage explode in a bath of Technicolor.

Matt Kinley has designed a wall-to-wall set that provides a multitude of spaces from a triple-decker of moving balconies packed with ensemble to intimate areas of solitude.

There are stunning projections realised by Finn Ross, which merge seamlessly into the overall production  – not jarring as stand alones.

Ben Fergusson from a visible podium conducts a mighty orchestra doing full justice to the now classic score.

Cameron Mackintosh is known for filling his musical casts with amazing voices not soap stars and this assembly contains a mix of seasoned performers and worthy new talent.

Ian Hughes and Helen Walsh are magnificently despicable as the thieving and conniving Thénardiers.

Nathania Ong brings poignancy to the antihero Éponine and there is girl next-door naivety to the role of Cosette from Paige Blankson.

As to the two leads – Dean Chisnall as Jean Valjean and Nic Greenshields as Javert – a bouquet of salutes and bravos! They capture the characters and take us bedazzled with them on their respective journeys.

If you’ve never seen ‘Les Mis’ before then you’re in for a treat; if you have prepare to see it reborn. This is a hair-raising, jaw-dropping, heart tugging, tear drenching and uplifting 180 minutes of theatrical brilliance.

Les Mis runs at the Birmingham Hippodrome until Saturday, August 27. Click here for times, tickets and more information.

*****

Review by Euan Rose

Euan Rose Reviews

‘The CHER Show’, with its  ‘A New Musical’ branding enjoyed a feverish reception from a packed house at the Birmingham Hippodrome press night.

Many were Cher fans,  there to pay homage to their diva-heroine as much as they were to see the show. Let’s face it – it’s been a long time coming as it closed on Broadway back in 2018 and hibernated through the Covid years.

Indeed it’s a glitzy business with a full throttle cast corralled to perfection by an all-star team of creatives.

Director Arlene Phillips combines with choreographer Oti Mabuse to raise the bar on the action, the neck hairs on the tunes and the sublime energy and downright raunchiness of the general bopping.

Add designer Tom Rogers imaginatively masterpiece of a set, equally the dazzling lighting by Ben Cracknell and wardrobe from Gabriella Slade and you have the ‘Avengers Assembled’.

Such is the awesomeness of the ‘Queen of Divas’ it takes three actors to fill her stilettos –  Debbie Kurrup, Danielle Steers and Millie O’ Connell each play Cher in three stages of her life, Babe (O’Connell), Lady (Steers) and Star (Kurrup). Each and every one of the trio are superb both individually and collectively.

Other principals include Lucas Rush as an endearing Sonny Bono and Jake Mitchell equally so as Bob Mackie. Sam Ferriday, multitasks as Greg Allman, Rob Camilletti, Phil Spector and John Southall.

A special shout out to Tori Scott as Georgia, Cher’s Mum.

There’s not a weak link in the hard working ‘entourage’ and the band under Rich Morris and soundman Dan Samson literally ‘Boom- Boom Shake The Room’.

Whilst everything about this show is high quality and high energy I found the book by Rick Elice a little lacking. That’s not to dispute his talents, after all this is the writer who gave us Jersey Boys and The Adams Family.

However In Jersey Boys he had the Mafia to boost the storyline – with the Addams Family it was awash with monsters, vampires and ghouls whilst Cher’s story is pretty ordinary really. Especially when people realise her first husband Sonny was quite a nice bloke and not to be confused with Tina’s wife beating husband Ike.

What Cher is all about apart from being an Icon with a capital I is a woman who wanted to do things on her own, not advised, cajoled or dictated to by men.

More empowerment seeking tweaks and less trivia in the script would add another layer  – after all unlike film, theatre is a continuous journey.

In fairness I believe this version to be far superior to the Broadway original and that the wonderful Arlene Phillips, has sprinkled her fairy dust all over it.

The walkdown is a party to which we were all invited and I left thinking not only could I watch this again – how delightful it would be to see the grand dame herself live! If she does another farewell tour – I’ll be there.

The Cher Show runs until Saturday, August 6. Click here for times, tickets and more information

****

Review by Euan Rose.

Euan Rose Reviews.

MY CHILDHOOD goes back to the days when we still were allowed cap guns and spent countless hours playing cowboys and Indians and cops and robbers when it was not frowned upon by the PC brigade.

It seems from the programme notes that Alan Parker devised his famous film ‘Bugsy Malone’ as a show his children could watch without being frightened or corrupted.

Instead of being a blood bath as bespoke suited-and-booted adult gangsters slaughter rivals with the rat-a-tat of bullets, Parker devised a scenario where kids play the gangsters and smother (rather than slaughter) each other with custard pie bombs and cream shooting tommy guns. When they get shot, they get up and wave goodbye ready to come back on and play again – ’til it’s last man standing.

Paul Williams makes a splendid job of providing a stage script and music to Parkers’ cinematic masterpiece and the REP along with Royal Bath and Kenny Wax have combined to produce something joyous in this latest set-to-tour production.

Gangland rivalry between Big Bosses Fat Sam and Dandy Dan in the prohibition 1920s speakeasy days, is the simple secret of the plot and gives a marvellous excuse for glittering dresses, feather boas and swanky dinner suits.

The music is steamy jazz, the vocals hitting the spot with a merry catalogue and the fact that it’s performed by a talented bunch of tots, teens and a few ensemble adults, makes it all the more magical.

There is a nice boxing back story and some boy meets girl schmultz  to break up the custard pie carnage.

On press night Bugsy was given lots of ‘cool-dudeness’ by Gabriel Payne and night club singer Blousey, by a joyous ingénue Mia Lakha.

On the creative front, director Sean Holmes has made it all pretty seamless, Jon Bausor produced a monochrome beauty of a set which provides the perfect backdrop for his ‘frock’ designs and Phil Bateman heads up the music.

Top marks go the creative talents of choreographer Drew McOnie and fight director Kate Waters.

With the wonderful bull from the Commonwealth Games billowing smoke approvingly outside the theatre doors and the city centre heaving with visitors, this production was given the perfect send off.

The REP’s Bugsy is a foot-tapping, rip-roaring, heartstring twanging, magical milk shake of a family musical.

Bugsy Malone runs at The REP until August 14.  Click here for times, tickets and more information.

****

Review by Euan Rose

Euan Rose Reviews

EDEN, a brand new psychological drama from the pen of fantasy horror writer Greg Stewart, received its’ premiere this week at the Crescent Theatre as part of Birmingham Fest.

It’s a tense 90-minute thriller in which a notorious self-help guru endeavours to hone his skills on a humble self-effacing attendee at a weekend retreat. All though is not as it seems as the protagonists reel between mind games of chess and snakes and ladders.

Clever stuff indeed – just when you think it’s about to be checkmate, a snake uses a common pawn to unseat the incumbent king – or words to that effect!

Tension hung over the near capacity studio auditorium as we breathed as quietly as possible, lest we missed the next twist.

Will it be suicide, assisted suicide or plain old murder most foul?

Stewart is served well by seasoned director Jonathan Legg who wisely keeps the action minimalistic and meaningful. No one moves without purpose allowing the plot to develop cerebrally, but when action happens – it explodes!

Legg himself has two superb actors to work with in Christopher Hampson as Edgar and Oliver Hume as Mark. Neither falters vocally or physically as they relish taking it in turns to be the cat or the mouse.

What I found particularly pleasing is there was no scriptwriting ‘cop out’ – unlike other new dramas I’ve seen recently both on stage and screen. Stewart gives us a beginning, middle and end so we leave feeling sated, not cheated.

Eden will no doubt go on from the Fest to other theatres – well worth watching out for.

****

Review by Euan Rose.

Euan Rose Reviews.