My 10-year-old son went to a drama camp over the summer holidays where, outnumbered almost 10 to 1 by the girls, he was relieved to learn a couple of scenes from Shrek the Musical having endured a little too much ‘Frozen’ for his liking. He came home from camp and spent several evenings on YouTube watching extracts from the show, so was delighted to see it was coming to the Wales Millennium Centre and asked if we could go.

The show started almost 15 minutes late with no explanation – which isn’t ideal for a long production aimed at children on a school night, but these things happen I guess.  In the opening scenes we learn a little about how our green heroes came to be living alone in a steamy swamp and a dragon-guarded tower respectively. This backstory adds credibility to the unlikely love story between a princess and an ogre and the ultimate moral of the story – not to judge a book by its cover! My son was delighted by the colourful costumes and humour of the displaced fairy-tale creatures that found themselves wandering unwelcome into ‘ogre territory’.  Worthy of note was the acrobatic Pinocchio whose dancing was far from ‘wooden’ and a Christmas elf/Gingerbread man with one of the best singing voices I think I’ve ever heard on stage.

We were quickly introduced to the other hero of the story – Donkey. This character is to my mind, one of the most memorable and humorous animated characters in the Disney/DreamWorks genre, so a pretty hard act to follow, but I’d say that Brandon Lee Sears did an admirable job. Looking somewhat like an animation himself with his energetic and exaggerated, sometimes discordant movement as well as a good approximation of Eddie Murphy’s voiceover as Donkey, Brandon was well cast. That said, one of the aspects of the show that I did find a little odd, was the strong American accents affected by most of the rest of the cast. Granted it would be hard to conceive of a convincing Shrek without his Scottish accent – but I did find the combination of that, with the microphone and the extremely loud music, made the lyrics of the opening songs a bit difficult to decipher. For other characters however, I am not sure why it was necessary to have such exaggerated American accents.

The sets and costumes were as colourful and high quality as you would expect from a high-budget, big-name show and made for the spectacle I had been hoping for, and the storyline was kept simple (though almost to the point where I thought they could have shaved off a couple of minutes to reduce the length of the show and the resultant squirming in the seat next to me towards the end!) The dancing rodents were lovely to watch, and the tap dancing a rare treat these days, but in all honesty, they didn’t add a great deal to the story.

It was good to see that the show didn’t rely on projection for the dragon, as could so easily have been the case, and I am sure that many of the audience will have delighted in both the puppetry skills and the vocal range of Cherece Richards – certainly the audience members around me did! 

For me Joanne Clifton stole the show somewhat as Princess Fiona.  Her vocals turn out to be almost as good as the dancing skills for which she is renowned but actually that brings me to the one thing I felt was missing slightly. It took me a while to figure out what for me, stopped the show from going from a good night out to a really memorable experience that I’d want to see again – and that is the lack of some catchy songs.  I read somewhere else that this musical lacks a really powerful soundtrack and I must agree.  It’s clear why the advertising only references ‘I’m a Believer’ because that really is still the best song of the show, and no others have had the stand-out qualities that mean they are heard outside the confines of the theatre unlike other kids musicals such as (love it or hate it) ‘Let it Go’ or ‘Defying Gravity’.  I did enjoy both the performance and the sentiment of ‘Freak Flag’ and the ‘sing-off’ between Shrek and Fiona in ‘I think I got you Beat’ but I didn’t come out of the theatre singing them in my head as I sometimes have from other performances. For me it’s definitely the sound that held the show back from getting a 5-star review. As with most things in live theatre and cinema these days –my son and I found the entire production a little too loud. At the start, the volume definitely prevented me from hearing the lyrics in Anthony Lawrence’s opening songs, and at times when the whole cast was singing together it felt a bit more like a fight to be heard than a cohesive harmony.  In reality I don’t think it made any real difference to the volume, but my son commented on there definitely being no need for the additional handheld microphones in the final number.  It does make me wonder if sound technicians really consider younger audience members when setting the volume of productions because it is a consistent complaint in our family that everything is just a tad too loud to be comfortable?

So, was it an enjoyable evening out?  Absolutely! Is the standard of performance that which you’d expect from a big-name show?  Totally! Is the storyline easy to follow and are the characters closely recognisable as their animated counterparts for younger fans of Shrek? Definitely!  So there was very little not to like – the cast can’t be held accountable for the lack of any really memorable songs, but they definitely weren’t afraid of delivering the songs they have, in big voice, and it was clear that many of the audience around me love the show and have seen it more than once.  How else do you get a capacity crowd on a Monday night in November?

(4 / 5)

Those who are familiar with the iconic 1992 movie will know that the movie is headlined by the incredible Whoopi Goldberg as the fugitive singer turned nun. As this is such a recognisable movie/character the pressure is on for anyone who not only spear heading the show by stepping into the role of the fabulous Dolores Van Cartier however Landi Oshinowo did not seem fazed in the slightest! Landi seemed to be most comfortable during the more vocally centered aspects of the role as her beautifully soulful voice suited the aspiring club singer character flawlessly. Their rendition of “Fabulous Baby” was crammed full of fabulousness and extravagance with the lead character balancing the comedic side of the song with vocal endurance wonderfully! 

What worked incredibly well about this production is that Lesley Joseph, who played the stuck in her ways and head of the Covent mother Superior was an almost total contrast to the Dolores in this production. Her powerfully moving rendition of “Here Between These Walls” was not only a treat for the ears but also explored the importance of community which will be forever a very important thing! This character could be considered as the stereotypical, caricature of how you would expect a nun to act/behave. This obviously clashes with the extravagance of Dolores and caused these two characters to have an instant conflict from the moment they stepped into the church.  This contrast was purposefully exaggerated in the enth degree which made the inevitable change of ways even more powerful.

The closing moments of the show sees Mother Superior come to her senses as she literally jumps in front of a bullet for the ‘thorn in her side’ and finally accepts Dolores as a certified sister. This moment was followed by the other nuns forming a human shield around Dolores hiding her from her gun wielding boyfriend which was very emotionally powerful to watch!

My favourite character by far in this musical production would have to be the clumsy yet lovable Lt. Eddie Souther (played in this production by the amazing Alfie Parker) whose sole responsibility is making sure that Dolores is safe from her murderous ex-boyfriend. However, this compassion and care for the singer doesn’t not just purely come from a place a professionalism as we discover that during their time in high school together Eddie had a crush on Dolores. This childhood bond means that Eddie has almost given up all hope of a potential relationship but there is still some hope left within the officer’s mind! My favourite sequence in the entire show came during the spectacular “I Could be That Guy” where Eddie talks about stepping up from this bumbling office to a serious crime fighter. The highlight of this song came with Eddie tore off his boring office outfit to reveal a sparkly disco-centric suit only to then tear this off to yet another plain office outfit! In the middle of this sequence dancers flooded the stage to launch into a spectacular dance routine that the audience absolutely went wild for! After all this had happened Eddie hilariously stumbled down from the table, he had scaled up to be the centre of attention (where he deserved to be) as the scene turned back to the day-to-day running’s inside a police centre which again had the audience in howls of laughter!

My personal highlight of the production was the fact that from the moment the ensemble stepped into the stage to the moment they left, every single one showcased the most outlandish and over-the-top characters I have ever seen! Raise your voice is the song where the nuns finally come together (under Delores’ supervision) and realise they can actually sing and out on a performance that isn’t a boring, old fashioned church hymn. This number builds itself in such a way that each character is allowed their own individual moment to flex their comedic muscles and shine, but it was the moments when the spotlight was not on them that really made the show for me. Whether it was facial reactions, hamming up the choreography or interacting with one another, it kept the world alive and made for a very exciting watch!

I thought that the church medley sequence was not only wonderfully staged but also exactly performed. As the nuns are performing their usual Sunday hymns (albeit of a higher quality than normal) they suddenly burst into a high energy medley of Dolores’ biggest hits! The physicalisation of each character in and out of the spotlight was amazing and meant that everywhere the audience looked there was something going on without it being too distracting from the main narrative. One of the greatest vocal performances in the number would have to be Lizzie Bea (who played the easily excitable sister Mary Roberts) during their rendition of the life I never had which was incredible. Every single audience member was instantly moved to tears as the character talked about missing out on the more rebellious moments in life due to be confined in the church. Even though I have never personality taking a vow of service, we all still have regrets that we wish we took and so seeing a character talk openly about these was very powerful to watch!

At an almost antithesis to the nuns, Dolores’ criminal ex-partner Curtis (played wonderfully by the talented Ian Gareth-Jones) and his gang of incompetent sidekicks. What is somewhat strange about these roles is that despite being a criminal gang, the majority of the numbers contain a massive amount of comedy which had the audience laughing alongside them. Their performance “when I find my baby” simultaneously talked about how Curtis is going to beat/kill/attack etc. Dolores when he finds her but also utilised a very love-struck musical motif. The intense violence and adoration contrasted beautifully and had the audience laughing as the number progressed! Throughout all of their performance the gang maintained the most over-the-top, cheesy grins known to man which again added the unusual comedy undertones of the role. Due to the criminals and nuns being so diametrically opposed, you knew that when they finally come through something spectacular would happen and that’s exactly what went down! The scene of criminals trying to intimidate and threaten the nuns obviously go as planned but the number was choreographed in such a perfect way! The nuns were able to overcome the invaders with very little physical force through a sequence of slapstick-esque rope moments so when Curtis entered armed with a gun the entire mood flipped upside down! This sudden and drastic change of mood only served to amplify the emotional moment preceding moments of the human shield!

Overall Sister Act the musical managed to capture the majority of the magic from the movie with a few minor tweaks for stage purposes. It was crammed full of hilarious comedy moments with numerous powerful and moving vocal performances. I do have to say that one of my least favourite scenes involved Dolores riding a bicycle taxi while being perused by the struggling criminals as it did look somewhat strange until the closing moments when two of the villains began rolling down the stage to show the bicycle was moving forward!

I would rate this production 4 out of 5 stars!

Photo credit: Danny Kaan

(5 / 5)

If ever there was a more perfect introduction to the work of Steven Sondheim, it is Old Friends. Carefully arranged by Cameron Mackintosh, the evening is a complete triumph, the spirit of Broadway and of the man himself lies in every note.

If I’m very much mistaken, most if not all of his shows are crammed into this spectacle. All his retrospection, the machine gun lyrical delivery, the tender phrasing and punchy musical gustro all frequent his heaven sent show. You really can’t belive your luck when sat there and seeing this career which spanned decades go by, we only lost Steven not long ago and even his last musical has just opened in New York.

I’ve less love for Into the Woods, though here Bernadette Peters made for a hilaroius Red Riding Hood, aside the sexed up Mr Wolfman from a marvellous Bradley Maden. Much billing has gone to Peters and I can see why. It is her innocnet and infecious voice that reels you in, a delight upon closer inspection. I did hear perhaps a voice crack or two, though these were during the big, ballsy nunmbers, though I have no complaints. I love her. Lets not forget her Send in the Clowns and Losing My Mind as well!

Lea Salonga, most famous as Kim in Miss Saigon, also gets meaty ballads and rowdy numbers all over the place. Her passion got the audience in a state of rapture. The familar face of Bonnie Langford also impressed with strident vocals and good comic timing. Janie Dee might just be my favourite persona on the night, her Ladies Who Lunch a total highlight, The Boy From… another thrill with a few refrences to Wales, which got me in a whooping mood, perhaps I was the only Welsh in on the night?

Clare Burt and Christine Allado were in fabulous company, more treats along the way. Gavin Lee getting heaps of solos and duets with quick wit and vocally well paced. Jason Pennycooke coming into his own with the frantic song Broadway Baby from Follies, another triumph leaving me quite dizzy. Joanna Riding and Damian Humbley were even more joys in the cast, their many musical moments spread out over the evening. A Funny Thing Happened on the Way to the Forum, his first musical as both composer and lyricist, got a piffy flutter though remains slightly overshadowed by what would follow. 

Photo credit: Danny Kaan 

Jeremy Secomb as Sweeny Todd faired well in the demands of the roll, perhaps the most operatic of Sondheim’s whole oeuvre. Time spent with Gypsy and Everything’s Coming Up Roses was affirmed and I am so glad they included it. Pickings from West Side Story and Dick Tracey also help up well, the later an Oscar winning turn. Merrily We Roll Along has found fame since its first flop, the title song of the show coming from his musical. Its remains the best moment in Merrily and used as an encore was perfection. Beyond catchy.

Sunday in the Park With George might be one of his best, used an a first act ender was finely poised. Company holds up, the Not Getting Married song was another outstanding corker Passion and The Mad Show I know less of and I note the lack of Assassins and Pacific Overtures too.

See it. My word, just see it.

It runs till 6th January 2024

Photo credits: Konrad Bartelski

National Youth Music Theatre can righty be proud over an alumni of star studded names over the year, who all passed through performing with them. In my first time seeing them and in the new Southwark Playhouse, I stumbled over to see them take on a Sondheim rarity.

Based on the play Geroge Kaufman and Moss Hart, this musical version of Merrily We Roll Along was a notorious flop on Broadway. Yet it has found some sliver of popularity with some cracking songs and with Sondheim, who passed last year, now is the time to go out and see his stuff. Expect clever songs, lighting quick delivery of lyrics (also by him), earworms galore and a refreshing twist on what a musical should be.

This story of Frank Sheppard and Charley Kringas, a composer and lyricists combo on the up, must have been quite cathartic for Sondhiem, looking back on work he did with Leonard Bernstien and Jule Styne. His role with them was purely the writer of lyricist and no doubt the former composer would have been a memorable working environment. Demons are let loose here, the leading lady Mary Flynn, the guys good friend and Frank’s wife later on. The show goes back in time, the lack of chornological order would have proved quite bold back in the 70s, no doubt. We see success, to flops, to their humble beginnings.

It is pretty dated in some respects. The orchestration, some cheap harpsichord keyboard riffs and outdated stereotypes/jokes go against the show. Though the quality of the songs are very high, they remain moving, funny and insightful. I’d pluck out Old Friends as a favourite, very catchy and a nice three hander about the trials and tribulations of friendship. The title song has some charm, though not really a flabergasting find. It’s a Hit, Our Time and Bobby and Jackie and Jack also stand out for various reasons, mostly their quick wit, topical nature and effective sound world.

I respecfully won’t mention this young cast by name, they are rising stars for sure (with a few from Wales to boot!). I was impressed by the very effective American accents aquire for these roles, sounding like the real thing. Humour and sad bits were demonstrated with a formidable punch. The leads had a good peppy attitude as well, the ensemble also quick and alive. Director Katherine Hare and crew should be proud with their efforts putting this on. Libby Todd on sets and costumes harked back to the era, uncluttered moments would lead to hefty scenes and the wide space was used effectively. Not an easy piece to slap on any stage, I’m sure. Side note I would have loved a much earlier start time. We didn’t get out of the theatre till 10:45pm and sorting out public transport in the big city at that time can prove grueling.

It may have its flaws but it’s a big, busy show for youngsters to do today.