Category Archives: Musical

Review, Sh*tfaced Showtime, London Wonderground, By Hannah Goslin

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(4 / 5)

The London Wonderground is always a favourite place of mine each Summer. It is a very versatile place full of comedy, cabaret and new and old exciting acts.

As the name suggest, Sh*tfaced showtime is going to be fuelled by alcohol, theatre and comedy. We are unsure what the ‘showtime’ part is going to be but this adds to all the fun and essence of surprise through the night.

The premise of the show is for a group of classically trained musical theatre performers to put on a 1 hour version of a production [in this case, Pirates of Penzance] while one performer is ridiculously drunk. The audience are invited to participate when we believe that the performer is becoming sober and this is where our host intervenes to give ‘one more drink’ for which we eagerly chant.

Watching a person on stage becoming hilariously drunk, you would think that this would be uncomfortable. It is not. It is full of hilarity, as we watch her attempt to keep to the performance but get distracted and all the frivolities we associate with intoxication. We as the audience find this all very comical as outsiders but we can all relate to this state. Despite this, her singing and performance ability at times is very accomplished and is evident her talent despite bringing a lot of comedy with her distractions.

The other sober performers are also very talented and skilled and in their own right, bring a fantastic version of Pirates of Penzance. There are times where the performance goes off course due to our drunk performer and they do well to bring it back to the narrative or to go along with the diversion. Their trust and interaction with one another is genius and makes you feel safe that despite the uncertainty of what could appear on stage [or even off stage].

Sh*tfaced Showtime is genius. To be brave enough to go ahead with such a concept is admirable and executed with sheer perfection and brilliant talent.

Review Chicago Wales Millenium Centre by Barbara Michaels

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CHICAGO

Music and lyrics: John Kander & Fred Ebb

Book: Fred Ebb & Bob Fosse

Choreographer:  Ann Reinking

Musical Director: Ben Atkinson

Reviewer: Barbara Michaels

(4 / 5)

Red-hot and sizzling, the multi-award winning musical Chicago, based on real life events in 1920s US, is back at the Wales Millennium Centre and judging by the bookings as popular as it was when it came here four years ago.  With its theme of greed and corruption, the contemporary relevance doesn’t need to be spelled out although the main action takes place on Death Row, where nightclub singer Roxie Hart is standing trial for shooting her lover and the feisty Velma Kelly is up for double murder.  Strong stuff indeed but the dark undercurrent of the story and plotline cannot be ignored, and neither should it be.

But – moving on – this is musical theatre, so let us not dwell on this.  The wonderful musical numbers, toe-tapping and fast, are what makes this show so popular, along with the fast-paced choreography. Chicago is above all a showcase for the original choreography of the legendary Bob Fosse.  The tunes come thick and fast, plunging straight into it with All That Jazz in Act I and never letting up, and the dancers amazing…

Chicago has been performed on stage countless times, plus the memorable film version starring Catherine Zeta-Jones, and every director understandably wants to put his or her own mark on it in terms of character portrayal.   Hayley Tamaddon is a low key Roxie with an air of fragility about her that belies the fact that this is one tough lady who will stoop as low as it takes to escape the death penalty.  Although Roxie’s story is pivotal, it is her opposite number Velma who is the strongest here and Sophie Carmen-Jones give the role her all in no uncertain manner, displaying a versatility and, in Act II, an acrobatic ability that is truly amazing.  While Carmen-Jones has the character to a T, Tamaddon’s Roxie is at times almost girl-next-door in her naivety.

Alternating in the role of Prison Matron Mama Morton, who believes in looking after ‘her girls’ – as long as her favours are reciprocated – are Gina Murray and Sam Bailey. Murray’s Mama threatened to bring the house down on press night as she belted out the iconic When You’re Good to Mama full throttle.  Great stuff!  A clever little cameo too by Francis Dee as ‘Not  guilty’Hunyak.  On the same evening, Kerry Spark took over the male lead in place of John Patrtridge, who was absent, in playing unscrupulous defence lawer Billy Flynn always on the lookout for number one and lining his pockets by defending about-to-be convicted murderers.  Amos, Neil Ditt is an experienced actor who ‘gets’ the role of Roxie’s husband, the pathetic, incompetent and ignored ‘Mr Cellophane’ (to use the title of his song) off pat.

The staging is atmospheric and costumes a delight for the eye with deftly wielded chorus line feather fans in one of the later scenes, while the  onstage orchestra under musical director Ben Atkinson, is superb, providing not only musical backing throughout but continuing to entertain after the show ends.

Runs until Saturday 30 July 2016