All posts by Patrick Downes

#BringtheNoise Disney fan, vlogger, Blogger, Radio presenter and former socialmedia nightmare. On a sunny day you can see forever #MyView
Musical, Theatre

Review: Book of Mormon – London – 25.8.23

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If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.

Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funny & cleverest musicals of the last decade.

In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.

Having seen the tour which came to Cardiff in 2021, and in London in 2017, the current cast of the Summer of 2023 are quite possibly my favourite by a long way.

Steven Webb shines as Elder Mckinley – which isn’t a major part but steals the show with his asides and quirks that he’s brought to the role. Ben Tyler and Connor Pierson, Elder Price and Elder Cunningham also remain a huge highlight, and the ensemble were also on point.

Overall – I believe, Book of Mormon, is much better than any golden plates!

Review: Patrick Downes

Musical, Theatre

Review: HAIRSPRAY 30.7.24 WALES MILLENIUM CENTRE Patrick Downes

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Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.

From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.

The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”.  Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year.  “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!

The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.

I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!

Patrick Downes

Theatre

Review: Nye – Wales Millennium Centre by Patrick Downes

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To see a world class performer at the height of his game is a wonderful thing to behold. 

To see Usain Bolt at London 2012, or Freddie Mercury at Live Aid are two moments such as this. 

The third is Michael Sheen as Aneurin Bevan in Nye the National Theatre/Wales Millennium Centre co-production currently playing at Wales Millennium Centre in Cardiff.

He delivers a masterful performance as Nye Bevan, the architect of the NHS. His portrayal captures Bevan’s passionate commitment to social justice, his fiery oratory skills, and the personal sacrifices he made for his vision. Sheen’s nuanced acting brings depth to Bevan’s character, portraying him not just as a historical figure but as a man driven by a profound sense of duty and compassion. This role showcases Sheen’s ability to inhabit complex characters and make them resonate powerfully with contemporary audiences.

The ensemble and staging are breath-taking as is the storytelling and how it’s portrayed. Granted at the start, a little confusing, but the beat of the narrative is soon at a pace where the viewer is able to tell different times.  The staging and direction effectively evoke the era, immersing the audience in the political and social challenges of the time. 

It will take you on an emotional rollercoaster and you’ll see historic references which in turn are as truthful today as they were then – maybe more so now with so much heart behind the story. 

Overall, “Nye” is an inspiring and poignant celebration of a pivotal figure in British (and Welsh) history.

Review: @ImPatrickDownes

⭐️⭐️⭐️⭐️⭐️

Musical, Theatre

REVIEW: I SHOULD BE SO LUCKY,WMC #Cardiff 28.11.23

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The wedding is OFF, but the honeymoon is ON!

In a world of AI, EDM and BPM*, one acronym from over thirty years ago still lasts the time. SAW (Stock Aitken Waterman) were a highly successful British songwriting and production trio in the late ’80s and early ’90s, creating numerous pop hits for artists like Kylie, Rick Astley, Bananarama, and Jason Donovan. Mike Stock, Matt Aitken, and Pete Waterman crafted a signature sound that dominated the charts, known for its catchy hooks and energetic beats, contributing significantly to the era’s pop music landscape. And in fairness back in the 80s/90s – their chart presence was sometimes mocked – but fast forward thirty years, how many jukebox musical have been made about The Smiths, New Order or Nirvana?

I Should Be So Lucky is about family, friends, love and great times. Ella and Nathan, a young couple, hopelessly in love, and about to take the biggest step of their lives – marriage. Until it all goes wrong. Will they be together forever, or will he make her cry and say goodbye?

To start, I need to declare I do love jukebox musicals. They’re not everyone’s cup of tea, but there’s space in musical theatre for something with a feel-good factor – not all musicals want to make you cry (Wicked/Les Mis). One of the most successful is of course Mamma Mia, so there’ll always be some kind of comparison. A common complaint can be that the songs are crowbarred in and don’t really follow the narrative of the story – I can’t say this wasn’t the case of I should be so lucky, but when the story is crafted by Debbie Issit (Nativity-The Musical, Christmas at Mistletoe Farm), there’s enough character for everyone to relate to. It does feel though that there’s just too much going on, and at times I felt instead of jumping back and forth each characters’ story arc, just concentrate of two sets of story, and make the others into a sequel? Just an idea?

Set wise, simple but effective and worked so well – touring productions must find it difficult to adapt to different venues in short spaces of time – but sound and lighting was also spot on.

Cast was on point – and actually looked like they were enjoying themselves – you do often see productions where for performers, it’s just a job. Kayla Carter’s reimagined version of Sonia’s you’ll Never Stop Me Loving You was the stand out moment of the night. As well as Dead or Alive’s you spin me around in a Turkish folk style. I need this soundtrack album in my life!

A proper feel good jukebox musical with so many classic (and yes I mean that sincerely) SAW songs. Even Donna Summer’s Breakaway from 1991.

Loved also seeing Pete Waterman doing selfies with people. A true British music legend, who at the time wasn’t regarded as cool. The man is the epitome of Britishness cool – and the back catalogue of him, Mike and Matt, provides the soundtrack to many a night out of the 80s and now.

If you want a real good, feel good night out in the theatre, I should be so lucky is definitely that. It’s all there especially for you.

Rating: ⭐️⭐️⭐️⭐️

Reviewer: Patrick Downes

PS.

  • AI – Artificial Intelligence
  • EDM – Electronic Dance Music
  • BPM – Beats Per Minute
Musical

REVIEW: GREATEST DAYS – 27.6.23 CARDIFF

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Back in 2018, four prime ministers ago, a new musical based on the music of Take That was born. It was called “The Band” and the BBC did the show “Let it Shine” to discover the next big boy band for it. They were called Five to Five.

Fast forward to 2023, Take That celebrate the 30th anniversary of their first number one Pray, and “The Band” becomes Greatest Days – The Official Take That Musical!

There has been another musical based on Take That – Never Forget – which by the way, premiered at Wales Millennium Centre in 2007!

So, to Greatest Days.

It’s Manchester 1992 and its based around five 16-year-old girls for who ‘the band’ is everything.  They then reunite 25 years later, and you see how life has taken each girl down a different road.

Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, its story is nostalgic and funny. The strength of a “Jukebox Musical” can sometimes be measured in how well it would stand without the music – Greatest Days does this so well. The nostalgia you feel could easily equate to how your own life has panned out in the last thirty-one years. There’s a warmth to each character, and something familiar that feels real.

Production wise it’s brilliant.

The “band” – well put together, but as I’ve previously said, their performances don’t drive the story forward. They provide the backing track, but the main story is carried by the performances of the main ensemble – the young and current versions of each. Going back to what I said about the warmth in each character, each performance was flawless. Sometimes with touring musicals, it’s about the one person being in it, granted Kym Marsh’s Rachel is fab, but each person took you on their own journey of nostalgia. There wasn’t one stand out moment – the story and performers are the stand outs of Greatest Days.

Back in 2018 when I reviewed “The Band” I did something a little bit cheesy and included some Take That song titles in recommending this musical.

But you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.

Did I love “Greatest Days”? Sure!

⭐ ⭐ ⭐ ⭐ 

REVIEW: @ImPatrickDownes

Musical

Review: Theatre Diner Café, London 23.10.22 by Patrick Downes

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The idea behind this brand-new diner in the middle of London’s Theatreland has its origins in the heart of New York’s theatreland. Based on Ellen’s Stardust Diner, theatre goers can now be fed and entertained just a stone’s throw from the beating heart of the West End.

For those who may fear the idea of being serenaded, I can dispel that fear straight away. You can be involved or want your own space as much as you’d like. Either way, you’ll feel comfortable here.

Food is standard American diner fayre, burgers, hot dogs, potato skins, onion rings – all with a musical theatre named slant (Show me the meaning of being loaded my personal favourite – potato skins with cheese and chive and bacon bits). Honestly didn’t think the food would be that great – quite surprised – full of flavour and cooked well. Okay, so you weren’t expecting a full dining review here I know, but what makes this diner special and worth the price you pay for food, is the entertainment.

Like Ellen’s Stardust Diner in NY, your server’s will at some point pick up the microphone and start belting out a West End anthem. Whilst we were there, we had two numbers from Six, Les Mis and You’ll be back from Hamilton.

This is where this diner becomes something special. Yes, you can have food at any of the other establishments along Shaftesbury Avenue, but I’m hazarding a guess the staff there aren’t as fun – or friendly, or talented too!

It’s possible on a sitting eating a Aaron Bur-ger, you could be witnessing some nugget of West End talent before their big break happens. This is one of the reason this diner exists. Not everyone can be working in musical theatre, and who knows that one lucky break could be a portion of fries away.

We do have footage of our time in the Diner with some of the talented people we witnessed, and I’m sure we’ll share this eventually. But for now, you’re only chance is if you book a table (walk ins not guaranteed), and as the song from Hamiliton goes, you’ll be Back!

Review: @ImPatrickDownes

Musical

Review: Back To The Future The Musical, London, 23.10.22 by Patrick Downes

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This was a musical we’d planned to see earlier this year, but the weather won and trains, buses and all manner of transport down the M4 stopped, so we waited, and on a bright Autumn day in London, we finally came to see the brilliance that is Back To The Future The Musical (herein known as BTTFM).

Prior to it’s West End debut, BTTFM was workshopped in Manchester and had a very short run before the world locked down and the pandemic closed theatres all around the UK and beyond. I’d heard about it then and wasn’t 100% on whether a musical on a film such as this would work. I’ve previously seen Titanic the musical, as well as Sister Act and Ghost, so know there’s two side to every film/musical cross over.

I don’t feel I need to explain the plot, but I’ll give it a go;

When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past and send himself… back to the future.

Add into the mix an incredible 80’s soundtrack and you have a musical, that when it hits 88, you’ll see some serious sh…. You know what.

New songs written by Glenn Ballard based on the script by Bob Gale and Robert Zemekis, this could feel like it’s trying too hard to be BTTF – but it doesn’t and I think that in itself is down to the cast of Ben Joyce (Marty Mcfly) and Roger Bart (Doc Brown), Oliver Nicholas (George Mcfly), Amber Davies (Lorraine Baines), Jordan Benjamin (Goldie Wilson / Marvin Berry), Sophie Naglik (Jennifer Parker) and Harry Jobson (Biff Tannen).

Roger Bart is musical theatre royalty, and in this performance you can see why. The ensemble pieces are amazing, as are the solos – although the songs aren’t quite as memorable as I’d like – I know as soon as I start listening to the cast recording in the car, it’ll all come flooding back to me.

I loved it, can’t say I didn’t, even contemplated doing a rush ticket for the next day’s performance. My only issue with BTTFM is that it relies too much on a that 80’s nostalgia. You find yourself completely immersed in something so familiar that it feels right. Maybe that’s just something I felt, and you won’t feel the same way, needless to say there is a moment when I felt myself get a bit emosh – not saying where, needless to say, Alan Silvestri’s composition is as part of the 80s as anything you’ll hear from John Williams.

The only thing that sets this production apart from anything else in the West End, is that Delorean!

What a machine! In terms of being in the moment, it’s up there with Elphaba’s Defying Gravity moment, Mary Poppins flying, and Cinderella’s rotating auditorium (what, do we not talk about Cinderella now?). It’s an incredible prop – and I realise calling it a prop does it a huge disservice, as it’s so much more than that! The car is literally the star!

Musicals are about escapism, fun, and feeling good, and BTTFM does this in bucketloads.

Your review is whatever you make it. So, make it a good one!

88 mph / 100

Review: @ImPatrickDownes

Musical

Review: & Juliet, London, 24.10.22 by Patrick Downes

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Having seen this earlier this year and not reviewing it, I thought it time I gave my reviewing fingers a go.

If you didn’t know;

& Juliet is the 2019 coming-of-age stage musical featuring the music of Swedish pop songwriter Max Martin, with a book by David West Read (Schitt’s Creek).

This is where I don’t want to say any further about the plot, as you may think you know, but trust me you don’t.

Max Martin’s songs are neatly interwoven into this tale of a “what if” scenario, where Juliet does not die at the end of Shakespeare’s Romeo and Juliet.

You’ll be watching, listening, and thinking “who sung this originally”. Just me? Okay, just me.

The script by David West Reid is perfectly pitched and interweaves the songs quite nicely. The pace feels familiar (as does the music), and you won’t feel the songs are shoehorned into the story as can sometimes happen with other jukebox musicals. Okay, this isn’t Mamma Mia, but it feels fresh and fun and is the perfect accompaniment to a good night out – do try and not sing along though as that can be a bit annoying!

As I’ve said I’ve seen this earlier this year with Keala Settle as Angelique (just amazing), and I think apart from a few other cast changes on the evening, the cast was the same.

Miriam-Teak Lee as Juliet is amazing, as is Cassidy Janson as Anne Hathaway – her version of Celine Dion’s “That’s the way it is”, is probably up there as my favourite Celine cover! There was a little bit of Fenella Fielding in her portrayal of Will Shakespeare’s wife – together with Karen Walker from Will & Grace! Just loved it. Oliver Tompsett as William Shakespeare is sublime and fun to watch in his other guises. You maybe getting the idea I liked this production, if you haven’t so far, we can’t really be friends, because I loved it!

My only concern is the shelf life of the music. Some of the songs are over 20 years old, and as anyone in radio knows, some songs burn out with being overplayed. & Juliet is finishing in the West End in March 2023, so that’s a good time to be able to rest it in it’s current guise (specially since the Shaftesbury Theatre will be undergoing a transformation), but I’m also guessing a UK tour will be on the cards. The Broadway version started on October 28th 2022, and I’m sure it’ll do amazingly across the pond, and in the UK a tour will bring new life (and fans) into this little piece of musical history.

Before I end, one thing of note – the story maybe called & Juliet, but like another musical named after a historical person (rhymes with Samilton), maybe this story too isn’t actually about the one female protagonist?

Rating, Two be, or not two be….? No – 9 / 10

Review: @ImPatrickDownes

Musical

Review: Everybody’s talking about Jamie – Wales MIllenium Centre #Cardiff 19.11.21

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Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation.

Based on the BBC3 Documentary Jamie:DragQueen at 16, this is a musical written with an original score of catchy pop tunes by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this brand-new musical will have everybody talking about Jamie for years to come.

You may have seen the recent film version on Amazon Prime (which should’ve been in the cinema but owing to covid – wasn’t) and maybe I’ll do a review of that – and then we can compare and contrast the two versions

Anyway, back to the performance at Wales Millennium Centre. For transparency we paid for our tickets – this is not a press review (if you’ve read my stuff before you’ll know this to be true)

With Layton Williams as Jamie and Shane Richie as Hugo it makes for a terrific pairing. Both have played the parts in the West End and this certainly shows. 

Might be wrong of me to say this, but Layton is my favourite Jamie (sorry Max). There was something a bit more real about his performance now this might be to do with the difference between film and stage.

Other mentions must go to Amy Ellen Richardson as Jamie’s mum. Her “My boy” was one of the “hair standing up on the back of the neck” moments of the performance as well as Sharan Phull’s performance of “Beautiful” – so simplistic but such a perfect version. 

The theatre version is a far more gritty realisation of the production. If anyone thought they’d be seeing a live version of the film – wrong! There’s reasons why things have changed in the film (Hugo’s back story for example) as there’s a bigger toy box to play in with more cinematic tricks – and it helps the pace. Oh and whilst on the subject of Hugo – love the Les Mis reference. The character is Hugo – he works in Victor’s Secrets – Hugo Victor – author of the original Les Mis novel.

The music is catchy without trying, and the stage production looked amazing. 

“Jamie” might not be your favourite ever musical but it deserves to be recognised for what it brings. Everybody’s talking about Jamie – and for good reason! There’s a lot of new contemporary musicals that have come out the past few years and Jamie’s storytelling and feel good theme keep it standing out from that crowd – no heels required!

Verdict: it’s a little bit of Glitter in the Grey!

Reviewer: Patrick Downes

Musical

Review: Book of Mormon 23.10.2021 @TheCentre @bookofmormonuk #Cardiff by Patrick Downes

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Originally due to play at Wales Millennium Centre in October 2020, the rescheduled Book of Mormon (BOM from herein) is just one of those musicals that you will either love or hate, there is no middle ground.

Having seen it in London in 2018, when tickets first went on sale for the Cardiff dates, I knew I wanted to see it again. Fast forward over two year later, I finally saw BOM on home territory – and it was also the first time back at WMC since January 2020 when Six was on tour there (25th January to be exact).

Having been to London over the last few weeks to see theatre again, and to have that feeling of live theatre, BOM was just the ticket!

If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.

Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funniest & clever musicals of the last decade.

In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.

Performance wise, I’ve seen many touring productions at Wales Millennium Centre, and this one would probably be one the best I’ve seen – not just in Cardiff, but London and New York also. Sometimes touring productions can’t embed into a theatre for obvious timing reasons, but this one, with the set design, audio and overall casting is nigh on perfection!

Robert Colvin as Elder Price gives as good a performance as I’ve seen Josh Gad give (on Youtube I’ll add!), and Jordan Lee Davies as Elder Cunningham is more than match for Andrew Rannells in the original Broadway production. Aviva Tulley’s voice is just amazing as Nabalungi, and the ensemble were also pretty damn on point.

I’ve not reviewed anything in a long while – for obvious reasons – but maybe able to tell I liked this, and liked it a lot. I’ve never given any production I’ve reviewed a full house previously, but this is the one to change that. Maybe it’s the lack of live theatre over the last 18 months, but Book of Mormon is one to most certainly catch on its current UK tour – it also returns to the West End on November 15th!

Overall – I believe, Book of Mormon, is much better than any golden plates!