Saturday 6 October 2012

Shrek the Musical, Theatre Royal Drury Lane, 30/08/12 (evening)

Unfortunately closing in February, Shrek the Musical has won the hearts of many in what will have been a two-year run at the Theatre Royal Drury Lane come the winter. The conversion of one of DreamWorks' biggest silver screen hits to stage was always considered a risk but after a successful Broadway initiation, it moved across the pond to positive reviews. This West End production has seen many a cast change and I think it's the widespread view that this current cast, who will see the show to its close, are the best of the lot.

Dean Chisnall's performance of the eponymous title role is near-perfection. His vocals are crystal clear, smooth and effortless and I couldn't fault him. He plays Shrek perfectly; enough endearing vulnerability to get the audience onside but equally a spirit and determination that can inspire even the youngest watchers. It tells you how highly rated Dean's performance is, that he was actually first cover Shrek in the original London cast of the show (and who I saw in my first and only other visit to Shrek), before a promotion arising after original principal Nigel Lindsay left. By all accounts Dean does a wonderful job, has excellent chemistry with his Princess Fiona and will hopefully not be off a West End stage for too long after the end of this run.

As London's third official Princess Fiona, you might think that Carley Stenson had a lot to live up to. Following Britain's Got Talent judge (some irony there, perhaps?) Amanda Holden and Girls Aloud's Kimberley Walsh struggles with the role, she may also have had cause for concern. But luckily Carley's interpretation is streets ahead of anything that preceded it and in truth, only her understudy Alice Fearn gives her a run for her money. Vocally secure, she is a talented dancer, comedienne and this experience all shows. It's funny how casting a trained actress in a leading West End role seems to work, isn't it? She has all the comic and cue timing down to perfection and alongside Donkey and Farquaad, she is involved in some of the funniest moments of the show.

Speaking of the devil(s) - original cast member Richard Blackwood takes on the notoriously difficult task of putting Eddie Murphy's Donkey on a stage and ex-EastEnder Neil McDermott takes on the notoriously difficult task of spending two hours each night on his knees as pint-sized ruler of Duloc, Lord Farquaad. Both nail the comedic sides to their character and regularly have the audience in rapturous applause just thanks to their many spectacular entrances. Donkey's first in particular is very clever. Credit must also go to McDermott who can't have it easy in this show but he might as well have walked on his knees his whole life. The whole performance is effortless and some of his dancing brings tears to your eyes for its sheer outrageousness.

The only fault I can find with the principals lies, sadly, when Blackwood sings as Donkey. Having improved ten-fold since I first saw the show, to give him credit, he has clearly worked on tightening up his act. But there were far more flat notes than in tune ones and he almost spoils the end of Act One when he tries and sadly fails to harmonise with Dean and Carley in Who I'd Be, and the cringe-inducing verse that's left of Travel Song was difficult to listen to. On the whole, it just doesn't work. But in response, Richard would argue he is a comedian first and foremost and his talent in this area does show.

The sparkling jewel in Shrek's crown though, is Landi Oshinowo as the Dragon who has the most wonderfully powerful and emotive voice. The number Forever, towards the end of the first Act, is one of the show's real highlights and it is only a shame there are no more real opportunities for her to shine vocally other than in the curtain call. On the subject of Dragon, I'd like to also give the puppeteers a mention who do a wonderful job in bringing her to life. Visually, it's truly spectacular and they are clearly very skilled in what the y do, so bravo to Jonathan, Ste, Damien and Lee at this particular performance.

That seems a perfect segway to laud the ensemble in this production who are as magnificent and varied as they are bright and colourful. All the fairy tale creatures under the sun are brought to life by vivid costumes and clear characterisation. The group dance numbers are terrific; in particular I have to mention Freak Flag which acts as the flagship song for the whole production, and in which there is also a fantastic little aside to Les Miserables. Other highlights for me were Jonathan Stewart as Pinocchio who was uncanny, Joseph Prouse, in all his ensemble tracks and especially the Pied Piper, who lights up the stage when he walks on it and also Alice Fearn as the loveable and unfortunate Gingy. I've always wondered how she manages to keep that voice up for the whole show without hurting her throat or jeopardising her Fiona performances, so fair play to her for that! The Young Shreks and Fionas should also be commended for keeping their cools on the stage of such a massive theatre and turning in apt supporting performances.

It really is a great production that will put a smile on your face. As mentioned, the performances won't disappoint and it is one for the young and the old who will find different reasons to raise a smile or two. Open until Sunday 24th February, if you get a chance, then go and see it!


At this performance, the cast was:
Dean Chisnall (Shrek), Carley Stenson (Princess Fiona), Richard Blackwood (Donkey), Neil McDermott (Lord Farquaad), Landi Oshinowo (Dragon/Ugly Duckling), Jonathan Stewart (Pinocchio/Dragon Puppeteer), Stephanie Bron (Snow Queen), Ste Clough (Pig, Straw/Dragon Puppeteer), Ricardo Coke-Thomas (White Rabbit), Lucie Downer (Baby Bear/Blind Mouse), Oliver Eyre (Papa Ogre/Pig, Bricks/Thelonius/Knight), Alice Fearn (Gingy/Sugar Plum Fairy), Lucy Maria-Gill (Humpty Dumpty/Blind Mouse), Clare Halse (Tweedle Dee), Rosanna Hyland (Teen Fiona/Little Red Riding Hood), Aaron Lee Lambert (Pig, Sticks/Walter/Knight), Marc Leslie (Mad Hatter/Knight), Alastair Natkiel (Captain of the Guard/Wolf/Bishop), Damien Poole (Jack and the Beanstalk), Joseph Prouse (King Harold/Guard/Knight/Pied Piper), Ashley J Russell (Mama Ogre/Mama Bear), Lucy Tapp (Queen Lillian/Wicked Witch), Lee William-Davis (Wizard), Megan Manly (Young Shrek), Paris Price (Young Fiona/Dwarf)

Also in the cast are Jon Scott-Clark, Blaise Colangelo, Patrick George, Alexandra Grierson, Bradley Jaden, Grant Murphy, Karli Vale, Kerry Winter with Jaynie Awcock, Emily Carey, Orla Gidea, Hannah Gurling, Imogen Gurney and Skye Meade.

Tuesday 4 September 2012

Wicked, Apollo Victoria Theatre, 29/08/12 (evening)

The story of Wicked originates from a 1995 book by Gregory Maguire and has been long revered among theatre fans. The London production, now in its sixth year in the West End, seems to be the one show that just about everyone has something good to say about. In reality, I can't believe that it took me quite so long to see it, especially as I have walked past the theatre so many times on my way in to London and also that there have regularly been prestigious and well thought of actors in the principal roles - next to many fantastic reviews I have heard from family, friends and also online.

I was initially disappointed to find out that Rachel Tucker would not be performing at this particular show. More than any other role and any other production, this is one where I was desperate - if I was honest - not to see an understudy, particularly as she leaves the cast in October.

But.

Gemma Atkins as Elphaba was simply stunning. Normally just a member of the (extremely vast) ensemble, I was told beforehand that she hadn't performed the part for quite a while but it did not show whatsoever. The biggest compliment I can probably pay her is that her on-stage relationships with Matt Willis and Gina Beck were as if they performed together every night, not once every few months or so. The light and shade in her voice was incredible - she handled the subtleties of Elphaba's character very well and every word she sang carried such feeling and emotion. In particular I loved her take on The Wizard And I and the heartfelt, mellow I'm Not That Girl. As climaxes to first Acts go, Defying Gravity is probably the best I've ever seen. It is truly a spine-tingling moment as the pit ramp up the volume to match Elphaba's broom rising to the highest point of the stage, as she begins to take her stand against all that she perceives is wrong. Gemma's take on this iconic track was note-perfect and epitomised the rest of her performance. Regular visitors to the show around me said that she was just as good as Rachel, if not better. I would love to see her again and am thrilled she is staying on for another year - what a luxury to have someone like her as a first cover.

I thought Gina Beck as Glinda did a good job. I thoroughly enjoyed her characterisation of Glinda which must be such a fun part to play over and over again, and she has some fantastic one-liners which are delivered impeccably - with my particular favourite "it seems the artichoke is steamed!". Her performance in Popular in particular was hilarious and wonderfully sung. There's no doubt she has a fantastic voice but I felt a few of the moments in some of her songs weren't ideally suited to her range; indeed she seemed a little squeaky and strained throughout the first Act, in What Is This Feeling and One Short Day in particular. Equally, it could have just been a slight off show for her. That said, and as mentioned, her on-stage chemistry with Elphaba was entirely convincing and her range of entrances were spectacular.

As soon as I had booked, one of the things I was most immediately looking forward to was seeing how Matt Willis did as Fiyero. Having grown up with him featuring in my childhood on TV, on the radio and in magazines, it was great to see him finally in the flesh. He surpassed all my expectations, putting in an excellent acting display, being entirely unforced and natural. You could tell his voice is still quite 'poppy' but there was nothing wrong with it at all. Having confessed in interviews I've seen that he is not much of a dancer, I still loved his take on Dancing Through Life. He did not put a foot wrong throughout and also loved what he did in As Long As You're Mine with Gemma as Elphaba. Overall, I was very impressed and thought his body art also added something to his character.

Julie Legrand as Madame Morrible was everything she needed to be and more. Perfect characterisation and casting, wonderful make-up, excellent comic timing, and I just suspected from the start that Morrible was not quite what she seemed. Plus, she has a fantastic voice to top it all off.

The Wizard was played by recent addition to the cast Keith Bartlett. He was excellently cast and is an accomplished actor. Loved his strange accent and he brought across the caring side to the Wizard's character very well despite opposing our hero Elphaba's morals and ideals. That massive Wizard mask thing he operates is quite scary and amazingly loud! Also reminded me of some sort of mad TV-scientist from the mid-90's.

Elphaba's unfortunately disabled sister Nessarose is currently Lillie Flynn. I really felt the tragedy surrounding her character and that's testament to Lillie's acting from her chair. I found her explosions of emotion towards Elphaba convincing and her blissfully false connection with Boq very touching.

Adam Pettigrew as Boq made an excellent innocent, but annoying, munchkin. It's not too challenging a role vocally but he made it his own and blended well as mentioned above with Lillie as Nessa. Was also impressed by how quickly he managed to transform in to the tin man in the second Act - he has a wonderful walk!

Christopher Howell as Doctor Dillamond was actually one of my favourite characters in the whole show. I really felt for him throughout the first Act and he had no trouble conveying Dillamond's emotions through his mask. Again, a great voice too although I was sort of left wanting to hear a bit more (of course not his fault though). Would like to see his take on the Wizard as well.

The rest of the ensemble provide fantastic back-up to these main roles. Unfortunately due to the wonderful make-up and not knowing the cast well enough I can't comment on too many individual performances; however I did spot a wonderfully slick David Rudin a few times and Sean Parkins who made a lively Chistery. The sets, costumes, choreography and lighting were simply astonishing and all fitted perfectly, as we moved from Shiz to Oz and the Yellow Brick Road and back to the Emerald City. All completely different landscapes which you just had to admire. At times it seemed like there were hundreds of citizen or denizens or monkeys flying around but in reality it could have been no more than about twenty. Major props to the set and costume designer!

It is a show that I would revisit without a shadow of a doubt. I may well end up doing so before Rachel leaves on 27th October, along with most of the principal cast mentioned above. That is not to say the show will lose its appeal - the new cast will be equally as special I am sure and the wonderful messages carried throughout the show will surely continue to amaze and inspire theatre-goers for many years to come yet.


At this performance, the cast was:
Gemma Atkins (Elphaba), Gina Beck (Glinda), Matt Willis (Fiyero), Julie Legrand (Madame Morrible), Keith Bartlett (The Wizard), Lillie Flynn (Nessarose), Adam Pettigrew (Boq), Christopher Howell (Doctor Dillamond), Kieran Brown (Witch's Father), Soeli Parry (Witch's Mother), Jacqueline Hughes (Midwife), Sean Parkins (Chistery), with Ashley Andrews, Alex Louize Bird, Andrew Bryant, Sophie Carmen-Jones, Enobong Essien, Harry Francis, Chloe Hart, Robert Jones, Sophie Linder-Lee, Michelle Pentecost, David Rudin, Charlotte Scott, Lindsay Taylor, Sam Taylor and Oliver Watton as Monkeys, Students, Denizens of the Emerald City, Palace Guards and Other Citizens of Oz.

Also in the cast are Rachel Tucker, Nikki Davis-Jones, Chloe Taylor, Oliver Brenin, Nicholas Collier, Tania Mathurin, Paulo Teixeira, Hannah Toy and Matt Turner.

Saturday 11 August 2012

Ghost, Piccadilly Theatre, 10/08/12 (evening)

I had been desperate to see Ghost for quite some time after hearing about the brilliance of the Original London Cast featuring Richard Fleeshman and Caissie Levy (who have since transferred to the Broadway production) and the general air of positivity - ironically - that seemed to surround the show. And I was not disappointed. The score was beautiful beyond belief (with one bizarre exception) and there were some truly amazing "wow" moments that left me gawping in disbelief and in a state of wonder long after leaving the theatre. It is beyond tragic however, that both the London and Broadway productions will have closed in a couple of months' time; for I found the show a joy to watch and listen to, and I would have considered returning.

I was concerned whether Mark Evans and Siobhan Dillon would live up to the hype that surrounded their predecessors before the show but in reality I needn't have worried at all. Having played the roles for well over six months now I could tell they were clearly settled in together and I felt, despite being in the Grand Circle, that their chemistry and body language was completely believable. The one criticism I'd have of their relationship is through no fault of their own. Sam's death occurs quite soon after the show has started and so we don't know the characters particularly well by the time this happens; perhaps a slightly wider picture of their relationship and background (e.g. family/origin) could have been built up in an ideal world. That said, the very touching and perfectly delivered combination of Here Right Now and Three Little Words did pull on the right heart-strings and show Sam and Molly's love for what it really was.

I thought Mark had a great stage presence about him and his interpretation of Sam was sensible and easy to sympathise with. He managed with ease the potentially difficult ideal of portraying someone on stage in who isn't actually 'there' - I wondered beforehand if I would find this slightly irritating but Mark as Sam always added to the scene whenever he was on stage and his presence was never a distraction. I'd heard him sing a fair bit before and so knew what to expect: his vocals were crystal clear and I thought this role allowed him to show off his range a bit more. His voice blended fantastically with Siobhan and Andrew Langtree as Carl in the wonderful numbers that conclude the first Act, Suspend My Disbelief and I Had A Life. He was also able to show his voice off in the solos of Unchained Melody and I Can't Breathe but these are both fairly short numbers and I was left wanting to hear more - this I suppose isn't a bad thing!

I knew there were many powerful ballads in the show and I couldn't wait to hear what Siobhan as Molly did with them. Quite frankly, I was blown away by her vocal more than anyone else's, and that was right from the first note in Here Right Now which was probably one of my favourite numbers in the show. With You made me well up and the chorus was strangely extremely catchy (as I found out on the journey home), whilst Nothing Stops Another Day was less of a moving number but equally as impressive. I felt that her devastation during and after Sam's death was not forced at all and I was touched by her grieving; she brought across how strong the love between her and Sam was very well just on her own, let alone when they were on stage together. Overall, I was very impressed and loved her take on the role.

Now on to the show-stopper - step forward Sharon D. Clarke! I'd heard just how good she was as (initially) phoney psychic Oda Mae Brown but you have to see it to believe it. Yes, she is effectively a well played-upon stereotype but she got endless laughs and rightly so. Her comic timing was perfect and she delivered every one of her lines effortlessly. She can't half sing a bit too: the penultimate number of the show I'm Outta Here is when she really comes alive and you could tell she was in her element whilst belting out notes us mortals can only dream of. Her interaction with Mark was brilliant; in particular, their scene in the bank towards the end of Act two was hilarious and a particular piece of dialogue that sticks out, next to the wonderful "enter my body, Sam" scene which, if you've scene the show, you'll know what I mean instantly. I found the fact she swept aside all the ghosts waiting for her 'wisdom' for Sam as soon as he returned to see her in Act 2 particularly touching and showed a heartfelt side to an otherwise fairly carefree character that was surely made for Sharon. She provided fantastic comic relief where necessary and a perfect foil for Sam and Molly.

Resident bad-guy Carl Bruner is played by Andrew Langtree. Knowing the rough story of Ghost before seeing the show but not having seen the film, I suspected that there was something dodgy about him right from the off, and the fact he was a self-centred, dishonest and unlikeable character is probably a testament to how well Andrew played him accordingly. I particularly enjoyed his Life Turns On A Dime when he makes his ill-fated move on Molly; he sang very sensitively and in a well-measured manner, and as mentioned previously, fitted in very well in the bigger numbers with the other principals.

As for the other named parts, I was very impressed with understudy Jez Uniwn who made a very convincing and menacing Willie Lopez; another actor who made his character instantly unlikeable by means of physical actions and body language, not just words; with Sam's death scene and the two or three times when he was alone in his apartment as prime examples. Lisa Davina Phillip and Jenny Fitzpatrick as Clara and Louise respectively both have excellent voices and complement Oda Mae very well in Are You A Believer? Craig Stein was a fantastically loud and threatening Subway Ghost and he performed Focus brilliantly, a number I actually really enjoyed and a song that actually carries a heartening moral message! Ashley Knight did nothing wrong as the Hospital Ghost but I thought his part was poorly written and the song Ball of Wax a complete joke to be honest. It's completely out of keeping with the rest of the show and surely the point of it could be explained by a couple of lines of dialogue, in my opinion. The rest of the ensemble are mainly restricted to roles in the background and as dancers in breaks for scenery changes. They all did their jobs well but I felt some of the choreography was a bit cringe-worthy, out of sync and occasionally a little needless. I know the actors can only work with what they are given, though, and ensemble roles do often have to be fleshed out somewhat.

That said, the special effects were mind-blowing. How on earth they did some of the things I saw on the stage - I will probably have to take to the grave with me! I won't spoil it completely with too much detail but the various body merges and duplicates that just 'appeared' on stage; next to the flying and moving on the subway and supposedly, into hell, were unbelievable. The lighting was sublime and the animations well placed on the big screen, and I didn't think they were over-used at all. In fact, I'm sure the lighting was probably key to the majority of the on-stage illusions due to the constant reliance on light and shade splitting the stage - so fair play to the lighting team and designers for a fantastic job well done. It certainly left a lasting impression, and I should mention also the gut-wrenchingly sad final scenes, which did the same. Tearful stuff and beautifully acted by Mark, Siobhan and Sharon.

It was a show that lived up to my high expectations and I'm so glad that I got to see it. It was a real rollercoaster ride of emotions and I felt slightly drained after leaving the theatre, if only because of the wonderfully intense performances and the touching score. Like I said at the start, it is a real shame that this show is closing; especially when it is being replaced by the Spice Girls' Viva Forever world premiere which, although you can't judge until you've seen it, I certainly won't be rushing to. Unlike Ghost, which I most certainly would, given the chance.


At this performance, the cast was:
Mark Evans (Sam Wheat), Siobhan Dillon (Molly Jensen), Sharon D. Clarke (Oda Mae Brown), Andrew Langtree (Carl Bruner), Jez Unwin (Willie Lopez), Craig Stein (Subway Ghost), Ashley Knight (Hospital Ghost), Lisa Davina Phillip (Clara), Jenny Fitzpatrick (Louise), Paul Ayres, Darren Carnall, Samuel Edwards, Francesca Hoffman, Louise Lawson, Scott Maurice, Spencer O'Brien, Olivia Phillip, Amy Webb, Sally Whitehead

Also in the cast are Ivan De Freitas, Callum Francis, Jennifer Saayeng, Kirstie Skivington, Spencer Stafford and Rebecca Trehearn.

Thursday 26 July 2012

Les Miserables, Queen's Theatre, 25/07/12 (matinee)

My first visit to Les Miserables. And probably not my last.

A little cliched perhaps, but I was impressed from the off. The Queen's Theatre is situated about halfway down Shaftesbury Avenue, in the heart of London's West End - just about the perfect location for the second-longest running musical in the world. Surprisingly, for a Wednesday matinee, the house was full; indeed the queues snaked around the adjacent streets beforehand and it took us a while to finally be seated and settled. About three and a half hours later whilst walking out, I could completely understand why.

I was also lucky enough to witness a full cast on, with no covers. This current 2012/2013 ensemble had been going exactly five weeks when I saw it and it has certainly not taken the new cast members long to hit their straps.

Geronimo Rauch plays Jean Valjean after a lengthy run in the Spanish production. I expected great things after having heard Alfie Boe and Ramin Karimloo sing this part very well; I was not disappointed. His belt was incredible in his bigger numbers and the way he controlled his breathing and diction was astounding considering English is not his first language. He conveyed the emotion of the part particularly well and I found his scenes with Young Cosette particularly touching. His Bring Him Home is up there with the best of them too, although my favourite song of his was probably Who Am I, which got a massive cheer.

Tam Mutu is Javert and for me just about steals the show. I don't honestly know how anyone could have played that part any different, or any better. His emotional rollercoaster is certainly one for the audience as well and his death scene was as tragic as was necessary, but I thought executed very well (indeed perhaps the best 'death' I've seen on a stage). The pain of his moral trouble showed on his face right until the moment the light stopped shining on him, and as for his voice, well let's just say I fully understand how he managed to play the Phantom in Love Never Dies. Every time he sang was spine tingling.

Sierra Boggess plays Fantine. I thought she gave a good performance; I was thoroughly convinced by her acting and her death scene with Valjean was mesmeric - I couldn't bring myself to look away. I was only a little disappointed by her vocal in I Dreamed A Dream; she sang well but I thought there were moments where she was uncomfortable, in the higher and lower registers in particular. There were also times where I felt she could really have let go and gone for it a little more with her belt; but she brought individuality to the song at least.

Danielle Hope did not disappoint as Eponine either. Crystal clear, innocent vocals and her expressions made her character extremely likeable and understandable. Her death scene was very well handled and her 'nearly' relationship with Marius was believable, to the extent I began to feel extremely sorry for her every time he chased after Cosette! She couldn't really be further from Dorothy and the yellow brick road but her talent really shines through and I am glad she's started making a great name for herself (and in Les Mis of all shows).

Cameron Blakely and Katy Secombe are utterly brilliant as the devilish Thernardiers. If you want to know the definition of on-stage chemistry, they must surely be it. Classic comic timing where necessary and a perfect understanding of each other, next to a perfect vocal blend - they might as well be real-life husband and wife! It is of course as much down to the script as anything, but they provide just enough comic relief at the right times to ensure you are not too caught up or overwhelmed by the more tragic parts of the show. A pleasure to watch the pair of them. I kept thinking what a great Fagin Cameron would make; the make-up helps, if you see you'll know what I mean.

Samantha Dorsey plays Cosette, and especially as this is her first West End role, she was astounding. Fantastic vocal blend with Valjean and Marius towards the end; and her relationship with Valjean as it developed in Act 2 was tear-jearking. She was the one character on stage I was drawn towards in Valjean's death scene which tells you something; again, she seemed another one of those actors with clear, commanding and natural stage presence.

Liam Tamne as Enjolras was brilliant; again another part I can't really imagine having been played any other way. Crystal clear vocals and he was an obvious leader of the students and whilst on the barricades, probably as much down to his commanding physical presence as anything. The relationships between him and the others were strikingly believable and this made the deaths on the barricades even more tragic. I could have watched him all day; I reckon he's one to look out for in the future.

Craig Mather as Marius was an interesting one. The general consensus from regular Les Mis fans is that he is great and I can't really fault him in terms of fluffing lines or singing bad notes. I just never really warmed to him; there was nothing outstanding that made me glad Valjean had rescued him nor was I blown away by his vocal. Again, he did nothing wrong but unlike most of the other leads, there was no real "wow" moment for me. That said, his chemistry with Danielle Hope and Samantha Dorsey was believable and he handled Eponine's death well.

Special mention to the rest of the fantastic ensemble, and it is perhaps wrong to single out too many individuals, nor is there space. The group numbers of One Day More, Do You Hear the People Sing and Master of the House were real spine-tinglers. The sound created was incredible. But that said, particular stand-outs were Adam Linstead who was instantly recognisable in all of his parts and a fantastic consistently drunk Grantaire! Also to James Winter as Claquesous who was both menacing and scarily convincing as the 'pimp' and as a member of the Thernadiers' gang. A far cry from his wonderfully shy and understated Bob Gaudio in Jersey Boys.

So there you have it. I left the Queen's rather wishing I could go back in and book for the evening show. At nearly three hours it's perhaps not for the easily distracted but that said, it is extremely engrossing. I recommend it to the stout theatre-goer (if they haven't seen it) or a novice first-timer. The performances, as discussed, are brilliant. If I were to go again, I'd like to perhaps see a few covers on and be able to compare notes. I'm sure they'd take the show up to the same high level.

In the meantime, I'd best be off to search for a new set of adjectives for any more reviews...


At this performance, the cast was:
Geronimo Rauch (Jean Valjean), Tam Mutu (Javert), Sierra Boggess (Fantine), Danielle Hope (Eponine), Cameron Blakely (Thernardier), Katy Secombe (Mme Thernardier), Samantha Dorsey (Cosette), Liam Tamne (Enjolras), Craig Mather (Marius), AJ Callaghan (Old Woman), Mary Cormack (Crone), Andy Coxon (Montparnasse), Shaun Dalton (Foreman/Brujon), Dayle Hodge (Jean Provoire), Chris Holland (Courfeyrac), Sarah Lark (Whore), Adam Linstead (Bishop/Grantaire), Carl Mullaney (Bamatabois), Helen Owen (Whore), Jonny Purchase (Joly), Oliver Saville (Feuilly), Michael Storrs (Lesgles), Phoebe Street (Whore), Nicky Swift (Madame), Robert Vickers (Combeferre), James Winter (Claquesous), Tommy Rodger (Gavroche), Ashley Goldberg (Young Cosette), Georgia Pemberton (Young Eponine)

Also in the cast are James Charlton, Rhidian Marc, George Miller, Sarah O'Connor, Emma Westhead, Anya Evans, Christina Fray, Isabelle Methven, Madeleine Haynes, Ella Owens, Marcus Billany and Jack Costello.

Monday 25 June 2012

Jersey Boys, Prince Edward Theatre, 24/06/12 (matinee)

Jersey Boys is now in its fifth year in London's West End, at the Prince Edward Theatre, and shows no sign of relent. It focuses on the 'rags to riches' life story of Frankie Valli and the Four Seasons; charting their upbringing on the streets of New Jersey back in the 1950s up until their induction into the Rock and Roll Hall of Fame in the 1990s. It won a Tony on Broadway in 2006 for Best New Musical and an Olivier in 2009 for the award of the same title, and being a repeat viewer myself, I can easily see why.

Ryan Molloy has played Frankie Valli since the show began and continues to make probably the hardest sing in the West End look as effortless as ever. To have played a role for so long and to appear so fresh and lively every time I have seen him, really is a credit to himself. His vocal is stunning and in particular the iconic Frankie Valli falsetto is crystal clear; I've never heard the man sing a bad note. Probably the most important aspect of the character is his developing transition throughout the show from a lively teenager to an experienced, successful and iconic recording artist. Ryan manages to portray this again with ease - he really does tick all the boxes, from the highs of selling millions of copies of songs such as Sherry and Can't Take My Eyes Off You, to the traumatic lows of his broken marriage and the death of his daughter: he is key in engrossing the audience in to travelling on the same journey. Indeed, the real Frankie Valli's declaration of Ryan as "possibly the best Frankie ever" speaks for itself.

How to follow that? Well, as sidekicks go, Matt Wycliffe's Bob Gaudio is right up there. He brings a warmth and friendliness to the character, but he taps into the shyer, quieter and perceivably more geeky side of Bob very well. And what a voice! His Cry For Me is to die for; personally I think it is right up there with James Winter's as the best I've heard. This London production has had so many fantastic Bobs (honourable mentions here to Original Cast member Stephen Ashfield and also Chris Gardner, current first cover, too), they've almost been spoilt with talent. Matt and Ryan complement each other as the brains/voice combination in the second Act so very well and although of course it fits into the show's plot, I am always gutted when Bob leaves the group and they no longer sing together (until the finale as part of the Four Seasons at least). Now into his second year in the show, long may Matt stay!

Eugene McCoy's fantastically goofy Nick Massi is as good as ever, and always guaranteed to get a laugh or two. He certainly relies on a more comic side to Nick's character and his repeated deadpan delivery of "I really think I should start my own group" is probably the highlight; next to when he 'explodes' in the second Act in what is meant to be one of the more serious points of the show. His rich and booming bass vocal is dead on the money and as a key part of the vocal harmonies in the show, he is perfectly suited for the role.

Ben Wheeler played Tommy DeVito (instead of Jon Boydon, who always gives a sublime performance) at this particular show and he does a very good job at opening up and setting the scene for what is to follow. His Tommy is quite soft and less aggressive than Jon's but no less effective, and I feel his interaction with the audience is probably the best part of his portrayal. The fact he too has been in the production (as a Swing) since day one shows and he is clearly well experienced in the role and has built up a wonderful understanding with Ryan as Frankie in particular. His vocal is good, perhaps not as stand-out as Jon's, but I always enjoy seeing someone else's take on a role (and this was my second time seeing Ben and I certainly have no complaints).

And a quick line or two on each of the new members of the ensemble:

Howard Jones as Bob Crewe - other fans of the show were quite critical of Howard and after his two predecessors he certainly has a hard act to follow; but other than a couple of forced lines his portrayal was pretty much on the money and I didn't have much to complain about. I am sure he'll only get better in his run anyhow.

Dan Burton as Joe Pesci - reminded me so much of Jye Frasca's Pesci too; so hyper and manic that you can't help but laugh at him. Got all the lines out very well and excellent facial expressions. Interacted well with Ben Wheeler (Tommy) and in a quite limited role that's all you can ask. Have heard he's a fantastic Frankie too.

Tee Jaye as Barry Belson - very good to have him back! Whether it's the opening rap number as Yannick, as Hal Miller, as the 'love muffin' police officer or Davis the radio director, every single time he's on stage you're guaranteed to laugh or smile at his brilliance. One of the stand-outs from the ensemble for sure and a great voice.

Trina Hill as Francine - my new favourite Francine! My first time seeing her after being promoted from her Swing role and did not disappoint; My Boyfriend's Back is the only number where a Francine can really be tested and Trina's voice was amazing - not too shouty or loud and excellent diction.

Edd Post was on as Norm Waxman (second cover) and as a new Swing member it was great to see him on stage. He did a great job in one of his first times on in this track; he had all the moves including when Charlie Calello completely 'goes for it' with the wig et al in the second half of Act two and delivered all the lines where necessary. Would love to see his Gaudio.

Long-standing cast members Stuart Milligan and Mark Carroll were as good as ever in their portrayals of Gyp and Knuckles. I've seen them so much in those roles I cannot imagine them being played by anyone else! I was disappointed not to catch the new Mary, Nicola Brazil in action but Swing and understudy Lucinda Gill was on the money as ever. Like Ben as Tommy, Lucinda has been in the cast from the start and this definitely shows via her easy interaction with her on-stage husband Frankie. Charlie Bull still does a great job as Lorraine after two and a half years; I would love to hear more of her voice. Lastly, but by no means least comes Michael Conway who was on as Hank in place of Chris Gardner. By his own admission this is probably the easiest track in the show but he absolutely makes the best of it and he was clearly loving being on stage alongside Swing buddy Edd in the second Act which was great to watch. He's a fabulously talented (and extremely nice) guy who has now been on for Frankie - I think - eight times, the second of which I was lucky enough to see and the man was incredible. One to watch I think.

So there you have it. A ridiculously good show with a ridiculously talented cast that certainly does the original Frankie Valli and the Four Seasons very very proud. It's quite simple, if you haven't seen it - you must.


At this performance, the cast was:
Ryan Molloy (Frankie Valli), Matthew Wycliffe (Bob Gaudio), Ben Wheeler (Tommy DeVito), Eugene McCoy (Nick Massi), Charlie Bull (Lorraine), Dan Burton (Joe Pesci), Mark Carroll (Knuckles), Michael Conway (Hank Majewski), Lucinda Gill (Mary Delgado), Trina Hill (Francine), Tee Jaye (Barry Belson), Howard Jones (Bob Crewe), Stuart Milligan (Gyp DeCarlo), Edd Post (Norm Waxman)

Also in the cast are Jon Boydon, Jon Lee, Nicola Brazil, Chris Gardner, Jake Samuels, Mark Isherwood, Ben Jennings and Gemma Whitelam.