Theatrical reflections
~ 2017 ~
Ahh, New Year.
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A time for reflection, chocolate and a copious amount of ‘Top Ten’ posts filling Facebook and Twitter.
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I’ve been fortunate to experience some truly brilliant productions this year, all possessing great qualities and stand-out moments. With striking plays, uplifting musicals and beautiful ballet, the scope of theatre here in Plymouth continues to delight and inspire.
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We’ve seen Buddy the Elf on his journey to New York and Buddy Holly on his journey to fame. Pan fought Hook, Passepartout fought time, and the hapless cast of the Cornley Polytechnic Drama Society fought a rather dodgy set. Cinderella danced her way to the ball, whilst young Christopher Boone embarked on the biggest journey of his life…
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This year’s productions at the Theatre Royal, Plymouth have been exceptional; inspiring laughter, tears, reflection and hope. They’ve seen me through tough times and have been a continual reminder of the reasons I adore this art form and industry.
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And they have all been different.
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That’s why I’ve decided to refrain from the temptation of creating a ‘top ten’ list (or a ‘top 18’, in this case). Instead, I reflect on them all, choosing a small selection of my happiest memories from each production. My reflections below aren’t traditional reviews – I’ll keep the occasional negative opinion quiet, for each production has showcased just how incredible theatre can be and all deserve great recognition.
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I hope you enjoy reading my 2017 theatrical reflections.
Mamma Mia
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The year began with two visits to the hit touring production of ‘Mamma Mia’.
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Sometimes unfairly overlooked as a cheesy jukebox musical, I truly believe ‘Mamma Mia’ shines when confronting it’s underlying themes in songs such as ‘The Name of the Game’, ‘The Winner Takes it All’ and ‘One of Us’. The songs are endlessly uplifting, the characters joyful and the story very compelling.
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Plymouth was treated to a mid-run cast change, which introduced several new leads whilst others continued their contracts with the show. It was fascinating to witness the two different casts. Matinees saw Kay Milbourne play the role of Donna - her rendition of ‘One of Us’ blew me away, the power and conviction in her voice really touching.
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The tour has a delightful, fresh energy - at times rivalling the West End production. A truly enjoyable show with remarkable performances.
Mamma Mia through the ages – leaflets from the West End production and current UK tour.
Birmingham Royal Ballet
Cinderella and Aladdin
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Two glorious offerings from the BRB company this year – ‘Cinderella’ and ‘Aladdin’.
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Both were beautifully danced with compelling choreography. Rich set and costume designs complemented both productions, with ‘Aladdin’s’ set particularly striking.
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I simply adore Carl Davis’ music for ‘Aladdin’: a soaring, spine tingling score with impactful motifs throughout. Hints of great film scores such as ‘Back to the Future’ can be heard in the opening, providing swelling melodies.
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The choreography moved both stories forward appropriately, with one of the more memorable sequences appearing in 'Cinderella'. As the clock reached midnight (anyone lost a shoe?), it was left to the ensemble to create the domineering, ticking hands.
New Jersey Nights
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The hit West End production ‘Jersey Boys’, which arrives in Plymouth in April 2018, is one of my all-time favourite productions. So it was wonderful to catch ‘New Jersey Nights’ this year – a showcase of Frankie Valli and the Four Seasons’ hit songs in a fabulous concert staging.
Peppered with songs from other chart topping artistes from the same era, ‘New Jersey Nights’ drops the biographical story of ‘Jersey Boys’, concentrating solely on the band’s incredible hits.
The repertoire of songs here include some not heard in ‘Jersey Boys’, earning ‘New Jersey Nights’ a spot as a companion piece to the grittier, slick West End show.
I’d happily see both together every day of the year as they offer a different experience, both celebrating one of the world’s greatest bands!
The Buddy Holly Story
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A loving biographical homage to Buddy Holly, this show charts his rise to fame and the challenges faced in both his personal life and career, paying close attention to how his life inspired the song lyrics we all know and enjoy.
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His journey concludes with a lengthy, loud and rocking concert, featuring Buddy and his contemporaries, Richie Valens and J.P. Richardson (aka the ‘Big Bopper’.)
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Echoing the harsh realities of life, Buddy’s sudden death following the 1959 Winter Dance Party tour is marked with a shocking and chillingly sudden blackout; the glitz and bright lights of the concert now replaced with a radio announcement of the beloved singer’s passing. A powerful juxtaposition, placed memorably at the climax of the fully realised concert.
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The Commitments
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The West End production of ‘The Commitments’ played for two years at the glorious Palace Theatre and was often showcased during the ‘West End Live’ events. Over 20 classic soul songs feature in this fun production, providing an uplifting backing track to some of the grittier themes.
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Each scene was connected seamlessly with clever direction and moving set pieces, echoing the slick, sharp blocking adopted in musicals such as ‘Jersey Boys’. The audition scene, in which Jimmy Rabbitte begins to form his new band, is a particularly well staged sequence.
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The last part of the show treats audiences to a full concert, similar to the aforementioned ‘Buddy Holly’ fare. The insanely energetic cast gave their all, particularly Ben Morris in the demanding role of Deco.
The Curious Incident of the Dog in the Night-Time
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I can’t express my love for ‘Curious Incident’ enough. It is a sheer theatrical delight, with every technical and creative element blending into a coherent and powerful whole. Rarely has a stage design represented a character’s inner thoughts more ingeniously and creatively, with Bunny Christie’s set providing a nuanced, compassionate reflection of Christopher Boone’s mind.
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It was interesting to compare the touring production with the West End versions, having previously seen the show in both the Apollo and Gielgud Theatre’s in London’s Shaftesbury Avenue. The four different actor’s I’ve seen in the lead role have each brought a slightly different quality to Boone, with all four capturing his behaviour and characteristics beautifully.
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Subtle changes in the touring production include a restaging of the epic London Underground scene. Although altered to accommodate the breadth of theatre’s the show has visited, this visually striking scene retains the energy and immediacy of its London counterpart.
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I urge everyone to see this beautiful production – it really will change how you view the world and it’s incredibly varied population.
Sister Act
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‘Strictly Come Dancing’ judge and acclaimed choreographer Craig Revel Horwood directed this year’s touring production of ‘Sister Act’, casting talented actor-musicians in multiple roles. Understudy Joanna Francis played the role of Deloris, providing powerful vocals and sassy humour.
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I last saw ‘Sister Act’ here in 2012. It was interesting to compare both, particularly how the use of actor-musicians influenced this year’s production. I feel Revel Harwood focussed on the lighter, uplifting elements of the story, creating fabulous dance and music numbers. The evil Curtis and his gang were villainess, slimy entities in the 2012 show, whereas they became somewhat comical in this version. That certainly didn’t damage the heart rending scene as they intercept the peaceful church in an attempt to kill Deloris. These contrasting themes of dark and light only made the climax even more chilling, and ultimately, spectacular.
The Play that Goes Wrong
This ‘show within a show’ sees everything go wrong for the fictional amateur players. Yet the tour-de-force real life cast ensure everything goes wonderfully right (by being wrong!), treating us to a hilarious production filled to the brim with slapstick comedy and clever self-referential nods to the theatre industry.
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As a stage manager, my heart skipped a beat as the set collapsed and props go missing! For me, it is the more subtle, nuanced comedy which shines brightest – such as Max’s commitment to the performance by throwing his paper snow on cue despite the falling set. It’s a little moment, perhaps overshadowed by a collapsing wall, but a fine example of how each scene squeezes out every ounce of comedy potential.
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Mischief Theatre have created a trio of incredible productions. ‘The Play that Goes Wrong’ and ‘Peter Pan Goes Wrong’ have now both visited Devon. Their third treat, ‘A Comedy about a Bank Robbery’, is perhaps their best work, and makes its way to Plymouth in October next year. Packed with even more stunning slapstick comedy and the funniest puns you’re ever likely to hear, ‘Bank Robbery’ is definitely not to be missed!
Funny Girl
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Following the huge acclaim for the West End run, I was delighted see the Menier Chocolate Factory production of ‘Funny Girl’, starring Natasha J Barnes as Fanny Brice.
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From the first bar of the gorgeous overture, this show drips with sumptuous theatricality. The rich set was a treat to behold, and it was delightful to hear Jule Styne’s and Bob Merrill’s classic songs.
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‘Don’t Rain on my Parade’ is a powerhouse of a song and I relished the opportunity to see it performed live. The iconic image of Brice’s silhouette, arms spread in a streak of light, was a treat to behold as the curtain fell on act one.
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The Wedding Singer
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‘The Wedding Singer’ greets us with a pre-show cinema screen playing classic trailers of some of the greatest 80’s films. We are transported back to 1985 as the trailer for ‘Back to the Future’ melts into the set, giving way to a wedding in full swing. The opening number – ‘It’s Your Wedding Day’ - is a sheer delight, easily one of my favourite numbers of all the musicals I’ve seen this year. This became one of my most listened to playlists on Spotify, never failing to lift my spirits!
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‘The Wedding Singer’ is funny, heartfelt and uplifting, with energetic choreography and clever, compact sets. Wedding tables transform into the display units in a wedding dress shop and the tiered, central circular stage units are seen in different guises throughout most scenes.
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Jon Robyns and Cassie Compton were a delight, but, for me, it was Samuel Holmes as George who stole the show, maintaining a compelling stage presence throughout, dressed to the nines in his Boy George attire. He returns to Plymouth as Lord Farquaad in the UK tour of ‘Shrek’ next November - surely worth the ticket price alone!
Crazy for You
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Experiencing ‘Crazy for You’ feels like stepping back in time to a better world. That’s not to say this show is old fashioned. On the contrary: the actor-musicians bring the music of George and Ira Gerswin beautifully into the 21st Century. It’s encouraging to know that we live in a world where new, cutting edge productions sit comfortably with the spectacular shows which paved the way.
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Tom Chambers is a delight as Bobby, showcasing his stunning tap skills, strong voice and impeccable comic timing. A particularly enjoyable scene features Neil Ditt as a highly intoxicated Bela Zangler believing that Chambers – impersonating Zangler – is actually his reflection. Cue both actors imitating each other’s movements with comic perfection!
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Vocally, Charlotte Wakefield shines as Polly Baker and I relished the infamous musical numbers, stylishly performed by the actor-musician cast. Act one closer ‘I Got Rhythm’ is a joy to behold.
Around the World in 80 Days
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A strong advocate for how incredible theatre can be, ‘Around the World in 80 Days’ delighted with its endless creativity and invention. An epic journey across the globe was seamlessly presented, with the small cast flitting between roles at a terrific speed.
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This production was rightfully nominated for ‘Best Children’s Show’, although it is immensely enjoyable for all ages. Children will love Passepartout’s nuanced slapstick comedy whilst adults can marvel at the genius of Theresa Heskins’ direction.
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A real showcase for the wonders of theatre.
Grease
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‘Grease’, a lifelong personal favourite, returned to Plymouth this year.
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Stand out performances here included Danielle Hope as Sandy and Ryan Heenan as Doody. Little can beat the highly uplifting songs and dance numbers of this hit show. Visually, this production was a replica of the previous tour, a bright concoction of lush pinks and cool blues. The set and costumes successfully transport us back to the rocking 1950’s.
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Sitting amongst an excitable (and sometimes too loud) audience, it was clear that this show continues to be a real crowd pleaser. I look forward to its next visit to the West Country.
Private Lives
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Noel Coward’s witty and clever dialogue has always appealed to me, particularly after 2014’s rich and ravishing production of ‘Blithe Spirit’ in the West End. His comedies are innately theatrical and drip with opulence.
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London Classic Theatre’s tour of ‘Private Lives’ invited us back into Coward’s world, this time focussing on a divorced couple who, whilst honeymooning with their new spouses, discover that they are staying in adjacent rooms at the same hotel. Cue scintillating comedy, wry dialogue and an impending love affair…
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This production was a delight to take in, the four lead cast members clearly relishing Coward’s witty script. The balconies of a foreign hotel gave way to act two’s cosy and appropriately fashionable living room, home for the more physical comedy as tension rises between the two couples.
I hope the wait isn’t long until another Coward production reaches Plymouth again!
Three festive shows
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The festive season was welcomed by three Christmassy treats: big budget stage adaptions of hit films ‘Elf’ and ‘Nativity’, as well as the annual pantomime - this year, ‘Peter Pan’.
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Nativity – the Musical
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‘Nativity – the Musical’, currently playing in Leeds, delightfully captures the humour and adventure of the 2009 BBC film, employing the talents of stage veterans Simon Lipkin and Daniel Boys in the lead roles. Having cemented themselves as West End favourites, even working together in 2016’s ‘Miss Atomic Bomb’, their delivery of the quick-fire dialogue and musical numbers appropriately sparkles and shines.
There’s a strong ensemble of children, playing the excitable school kids of St. Bernadette’s Primary school, and a creative, Christmassy set. All topped off with an incredibly catchy score, including favourites from the film as well as inventive, story driven new numbers.
Elf – the Musical
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As one of my favourite Christmas films, ‘Elf’ was a production I was particularly eager to catch. Ben Forster’s triumphant portrayal of Buddy the Elf has been frequently praised by audiences and critics alike, and it’s clear to see why. The driving force of the show, Forster makes the role his own and is responsible for most of its humour.
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The 2003 film, starring Will Ferrell, really is a very different entity and it would be unfair to compare the stage show with the original, with both possessing their own enchanting moments. Although ending with a new song in place of ‘Santa Clause is Coming to Town’, the big man’s ultimate ascent to the skies is a tear jerker in both offerings.
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Peter Pan
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The local QDOS pantomime has been a favourite annual tradition for my family since 2000. ‘Peter Pan’ was last seen at the Theatre Royal in 2007 starring Paul Nicholas in the role of Captain Hook. Veteran soap star Phil Mitchell sails the Jolly Roger this year, with Andy Ford filling the comic role of Smee. The cast are vocally strong and each is given time to shine with a mixture of pop music, edited musical favourites (think Cell ‘Croc’ Tango) and specially written numbers for the panto.
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Joe Sleight as Peter has a hugely engaging stage presence and a strong voice, as does Rachel Spry, Mikaela Newton, Joelle Dyson and Isobel Hathaway in the roles of Mimi the magical Mermaid, Wendy, Tiger Lily and Tinkerbell respectively.
With an even bigger selection of phenomenal shows coming up in 2018, I cannot wait to return to the Theatre Royal, Plymouth. Here’s to the future! Happy New Year, I hope everyone has a brilliant and theatre filled 2018!