Category Archives: Musical

Review Hamilton, Wales Millennium Centre by Tracey Robinson

 out of 5 stars (5 / 5)

As the lights dim and the first notes play, the audience is instantly pulled into a wave of energy and emotion. The room buzzes with anticipation, knowing this is more than a performance—it’s an experience. Hamilton isn’t just a musical, it’s a look at America’s evolving identity, its history, and legacy complexities.

The stage, simple yet full of movement, becomes a character itself. With purposeful choreography and smooth transitions, it reflects Hamilton’s fast-paced life and the revolution he sparked. As the cast moves with energy, the audience feels drawn in, no longer just watching history but experiencing the ambition, ideals, and struggles that built the nation.

Lin-Manuel Miranda breathes new life as a vibrant, modern story of Alexander Hamilton, a relatively overlooked Founding Father, crafting a narrative as bold and innovative as Hamilton himself. By blending hip-hop, R&B, and traditional Broadway, Miranda mixes history with a modern twist, creating an energetic retelling of America’s origins that feels both relevant and engaging, allowing audiences to connect with the story. Its true brilliance shines through its diverse cast, portraying America’s founders—a powerful reminder that history belongs to everyone. The lyrics are sharp, clever, and deeply emotional. Songs like “My Shot” and “The Room Where It Happens” delve into ambition and power, while “Burn” and “It’s Quiet Uptown” deliver raw, heart-wrenching moments.

The show is a feast for the eyes and the heart. The rotating stage adds depth and symbolism, representing the continuous flow and ever-changing perspectives of history. The performances grab you and don’t let go, Sam Oladieinde’s Burr keeps us hooked, making us question if he’s the villain or just tragically human.

Miranda’s Hamilton is a force of nature, leaving us breathless with his unstoppable energy. Billy Nevers steals every scene, switching from the flashy Jefferson to the lively Lafayette with effortless charm. King George III pops in now and then, stealing the show, with Daniel Boys nailing it in gloriously over-the-top camp style.

It’s rare to see a hip-hop musical with impressive choreography, rap battles, and locking, especially one done so well that it makes you want to get up and dance. It was great seeing Cardiff’s, Levi Tyrell Johnson performing in the ensemble.

Shaq Taylor was exceptional as Hamilton, bringing both strength and moments of humour to the role. His commanding stage presence was undeniable, but it never overshadowed the equally impressive cast. The audience’s applause and whoops of delight after every song reflected the high energy and joy the cast brought, showcasing their talent and strong camaraderie. Maya Britto’s portrayal of Eliza was powerful and emotional, especially in “Burn,” where she conveyed deep anger and betrayal. In the reprise of “Stay Alive,” she perfectly captured the heart-wrenching grief of a parent losing a child, leaving the audience profoundly moved.

The real magic of Hamilton goes beyond the performances and music—it’s how it makes us feel deeply connected to the characters and their struggles. We see our own ambitions in Hamilton’s relentless drive, our regrets in Burr’s hesitation, and our grief in Eliza’s heartache.

Hamilton is one of the best musicals I have ever seen. If you haven’t already got tickets run to get them now, you’ll be swept away!

Review Richard O’Brien’s Rocky Horror Show, New Theatre, Cardiff by Bethan England

 out of 5 stars (4 / 5)

Rocky Horror show is certainly a cult hit by this point, clearly evidenced by the masses of Franks, Riff Raffs and more in the New Theatre foyer area, along with an abundance of corsets, high heels and golden top hats. It’s always an experience attending a production of this show, even from the moment of stepping into the theatre! But after all these years, does the classic show still deserve its prominent status?

The show looks back to its classic roots but with a fresh new face, courtesy of direction from Christoper Luscombe and excellent synchronicity from choreographer, Nathan M Wright. The Phantoms and cast are slick, utilising the full stage and, surrounding, but never encroaching upon the main action. There is a freshness and a joy to the movements which I think I’ve missed in other productions of this show. The contrast between the bright, popping colours of the first scenes and the later darker, yet still fabulous interior of the castle is expertly designed by Hugh Durrant. The whole set is surrounded with a twisting film reel and the musicians sit above it all, looking down upon the action. Lighting makes the stage truly pop with disco balls, lasers, projections directly onto the stage and more, another layer to the craziness of the plot, designed by Nick Richings.

The music is iconic of course and is lavishly brought to life here by a talented Josh Sood and his band, Ollie Boorman (drums), Dan Humphreys (bass guitar), Liam Spencer-Smith (guitars) and Dave Webb (reeds). Having them onstage rather than below in a pit really makes them a part of the action and ensures that the music envelops the audience in those well-known musical numbers. The songs are performed with panache by the band; the stand outs are Sweet Tranvestite and, of course, the incredible, Time Warp, which had multiple members of the audience up on their feet and dancing along.

What truly made this show for me was the outstanding cast; each and every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. Lauren Chia and Connor Carson are lovable and clueless as our young lovebirds, Janet and Brad; I particularly enjoyed their rendition of Once in a While, beautifully harmonised, a tender moment in a somewhat manic and crazy show. Job Greuter, Natasha Hoeberigs and Jayne-Lee Zanoncelli are the life and soul of the party as Riff Raff, Magenta and Columbia. As the leading force behind Time Warp, they literally blow the roof off the New Theatre; the vocals and performances here are exceptional. I was also really impressed by Greuter’s vocal performance in Over at the Frankenstein Place. Edward Bullingham also delivers an excellent version of Hot Patootie, bursting onto the stage as Eddie and returning later as Dr Scott.

The Narrator must be an intimidating role to step into in this show, he is, after all, the victim of most of the heckling from the audience. However, Nathan Caton truly utilises his comic chops here, gives the audience as good (and sometimes as rude and crude!) as he gets, and his responses are so fast and witty that the hecklers need ice for his burns by the end of the show! He is effortlessly funny, bang up to date and owns the stage whenever he steps onto it. Frank N Furter is performed on 4th and 5th November by Stephen Webb, a veteran of the show who has played the role on multiple occasions. From the moment the doors open, and he appears, draped in his cape to perform Sweet Transvestite, to the final curtain call, Webb is a brilliant, loveable yet devilish Frank, strutting across the stage with so much poise, a twinkle in his eye and a phenomenal voice. His performance of I’m Going Home was such a poignant moment, proving he can show us the softer, more tender side of Frank too.

The show is truly a rollicking, fast paced, no holds barred production, and the finale has the audience up and dancing as one. The plot is insane, but it doesn’t matter; for two hours the audience laugh, heckle, clap, dance and even sing along in this bonkers yet full of heart production. Whether you’re a long-time attendee of the show or its your first time seeing it, there’s something for everyone here, but just make sure to leave your inhibitions well and truly at home!

Review Wicked the Musical, Wales Millennium Centre by Bethan England

 out of 5 stars (4 / 5)

The tale of the Witches of Oz flies back in the Wales Millennium Centre; the tale of what happened before Dorothy dropped into the land of Oz has been captivating audiences on Broadway since 2003 and in London since 2006. The West End’s 10th longest running musical has also toured extensively and is truly a well-loved musical if the sales of the five-week run at the Centre are anything to go by!

The opening number, ‘No One Mourns the Wicked’ is a familiar point from the classic, Wizard of Oz. The Wicked Witch of the West is dead, and the citizens of Oz are celebrating that the ‘enemy of all of us here in Oz’ is finally gone. I love the opening of the show, the flying monkeys winding open the Time Dragon Clock, the Time Dragon himself breathing smoke, eyes glowing, flaps his wings above the stage. The ensemble is electric, and the harmonies are tight. Sarah O’Connor, arriving by bubble (of course), soars in this number; her vocals and comic timing are excellent.

From there we move back to the first meeting of Elphaba and Galinda back in their university days at Shiz. Laura Pick sets a great tone as Elphaba, spiky and defensive with a distinct element of dorkiness; her characterisation here was a breath of fresh air into a character that I’ve seen portrayed on many occasions. Laura soars in ‘The Wizard and I,’ moving effortlessly from on guard Elphaba to one full of hope and dreams. I thoroughly enjoyed the way she explored her various sides; moving from this into a hilarious rendition of ‘What is This Feeling?’ with Sarah O’Connor.

The cast and ensemble bring pure joy to the Donald Gordon Theatre; Carl Man upsetting the calm of university life in ‘Dancing Through Life,’ Donna Berlin playing a delightfully loveable yet evil Morrible, Jed Berry is an adorable Boq, besotted with Galinda, Nessarose is sweet but with a simmering anger played ably by Megan Gardiner and Simeon Truby is truly the ‘goat’ of the piece, multi-roling as the bumbling but heartfelt Dr Dillamond and then hamming it up as the ‘wonderful’ Wizard of Oz. The emphasis on characterisation was appreciated. This is probably the most in depth I’ve seen the characters explored and it was satisfying to see them brought to life with such precision and thought.

It’s inevitable that a touring production is slimmed down from a London, resident production. However, all the key elements are here, and it was hard to find too much that was different from the production in the West End. I loved that the Time Dragon is proudly positioned above the stage; his eyes glowing red and his wings flapping at the opening but also at key moments in the show. Having read (and adored) the book, it’s lovely to see this element brought across from the page to the stage. The key moments from London are all recreated here, including the iconic flying in ‘Defying Gravity,’ Laura rising through the air to belt out those last notes of the iconic song.

All in all, this is a thrillifying production of the classic musical with a talented cast, staging, choreography, and direction (both acting and musical!). The show is one that can be enjoyed by all ages, something different being discovered by each audience member no matter how old or young. It was lovely to see a new interpretation of the show to prove that although it’s been wowing audiences since 2003, there is no sign of this musical going anywhere.

Wicked is a show that truly defies gravity, so make sure you dance through life down to Cardiff Bay and see Wicked before it flies out of town ‘for good’ on 23rd November!

 Lear by National Changgeuk Company of Korea at the Barbican centre, Review by Tanica Psalmist  

 The National Changgeuk Company of Korea, The National Dance Company of Korea, and The National Orchestra of Korea recreates a modern fusion of LEAR, expanding on poetical expression of creativity though music, dance & drama, entailing traditional sounds of theatrically rich & immersive storytelling, strongly anchored in Korean culture.

The creative team includes Director and Choreographer Jung Young-doo, Playwright, after Shakespeare Pai Sam-shik; with Lee Tae-sup’s as set designer creating an extraordinary level of awe reenacting an underworld of a vibrant watery abyss on the stage channeling ripple effects of energetic portals, projecting a universal power of humanity in the face of mother earth’s nature. Incorporating water that filled the stage was effective due to water shifts & intense bodily movement, which increased in great depth throughout.

The themes explored in Lear is life, family, relationships, power & trust. King Lear played by Kim Jun-su speaks volumes of how life is not linear, we deeply experience pain, distance, bondage, mental breakdowns, reconciliation & regret. Both Lear’s character and relationships especially with his daughter Cordelia, played by Min Eun-kyung  resonates deeply with us, where you inevitably reflect on the vulnerability & moments of pride that individuals allow to either make or break their dignity.

One of the effective elements within this production is the feature of Pansori (traditional Korean folk opera) with musical scores composed by Han Seung-seok, with additional music written by K-Pop producer Jung Jae-il (Parasite, Squid Game). Led by Pansori idol Kim Jun-su as Lear, additionally featuring a live orchestra, who were doing their magic in the wings; perfectly enriching moments of tension, harmony, serenity and electrical charges from start to finish.

This international premiere of Lear is enmeshed with exceptional vocal mastery, offering an unforgettable experience of a version of Shakespeare that is both refreshing and expansive with Korean aesthetics.

Review, Tit Swingers, Le Gasp! Productions, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

 out of 5 stars (4 / 5)

The best thing about the Fringe are the hidden gems. It’s often rare and difficult to find, when the “hidden gems” get critical acclaim and become the talk of the festival. However, this production was certainly one that should have been picked up as a real gem.

Tit Swingers is a punk concert meets unapologetic history re-telling of notorious pirates of yonder time. Anne Bonney, Mary Read and Calico Jack (though he is only the pretty male face in the background) tell us the tales of their seven seas and ambiguous sexuality and how they became feared pirate women of history.

The stories are told through a combination of original sea shanties, punk music and stand up/story telling, with electric guitars, bass and a live drum kit. The songs are catchy, they are engaging and every essence of Punk. Instantly, I knew this was my kind of show. It was one of those “musicals” that you want the CD afterwards (and saying CD shows my age, wait until I ask for a cassette…).

The interaction between the three characters is faultless, comical and with a sexual tension that could be cut with a knife. There is a real “girl power” element, with Calico Jack, part of the story, but in the position of arm candy; a serious change to the social norm. They are all fun, powerful and, while there is clearly some script or guidelines to the narrative, it feels much like we are included in a tale spoken on the spot, with the characters bouncing off one another, ad-libbing and engaging us. Sadly, the performance I went to only had a handful of audience members, and those who were not the most confident in engagement and so this led to the occasional awkward pause, changing the atmosphere. Not a fault of the performers or the content, but it sadly created drops at times that were not deserved.

The story is also very educational; while it wouldn’t be advised to bring kids, for the language and sexual references, it did deliver a element of learning that I feel many would enjoy history more if told in this media. It’s modernised, with current language and slang, and the way that the performers deliver it has you listening to every word. Names I had heard of, but not really engaged with, I came away with brand new knowledge and more love of history, and pirates.

Tit Swingers is a golden nugget of the Fringe; music, sex, comedy and pirates … I’m not sure what else you would want from a show. But you definitely come away with something extra special as well.

Review, A Jaffa Cake Musical, Gigglemug Theatre, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

An age old argument – is the beloved Jaffa Cake a biscuit or a cake? While 1991 saw the trial to determine this fact, it is still debated today, along with the pronunciation of scone. A typical British part of society.

Gigglemug take this story, and, with original songs, a dash of comedy and a whole bunch of silliness, create a musical. It has all the quirks of a musical: some subtle innuendo (enough for the adults, but discreet enough to go over the children’s head), choreographed dance and song and astounding vocals. It is clear that each of these performers are well versed in musicals and have a talent to translate this into a new and previously un-ventured territory as a Jaffa Cake tribunal.

To condense within 1 hour, we are sped through the origin story and the establishing of the relationships, and so, it can be forgiven that this seems to hold little room compared to the crux of the story. However, it felt a little like the relate-ability and an arch in the relationships was slightly missing, leaving these parts of the production to feel a little shoe-horned in. I imagine, a longer production could develop this more and we would then understand and identify with the competing solicitors more.

The original songs were well written and performed exceptionally – the hint of cheekiness, some funny comments, all helping to add to the story; they hit every element of what musicals provide to the audience in terms of narrative and entertainment.

The staging was clever – pieces of a Jaffa cake which were movable throughout and repurposed, there was certainly a theme of orange and brown and it was all very stylish, versatile and clever.

A Jaffa Cake Musical is silly and fun, with hummable tunes and is certainly at a point where it could be transferred to a bigger stage to fill out its potential.

Review, Swamplesque, Trigger Happy Productions, Assembly Main Hall, Ed Fringe, By Hannah Goslin

 out of 5 stars (5 / 5)

Rarely have I been in a situation when a review is hard to write because it is such perfection. 

I very much booked this on a whim; I saw plenty talking about this, from fringe contemporaries to general public and as a cabaret, burlesque obsessive and millenial who grew up with and watches Shrek on repeat for comfort, I also couldn’t resist. 

Most burlesque shows run for a couple of hours, with interval and presenters. But at Fringe, this isn’t an option and actually, the consistant pace the show is forced into just helps with keeping the laughter coming. Not that there is a problem with that in the first place. 

As the name suggests, this burlesque show is a satirical take, with drag, burlesque, rude jokes and phenominal singing of Shrek, condensed to one hour with highlight triggers. From pop culture references or if you have just seen Shrek an ungodly amount of time, you’re already speaking the words along with the audio; the surprises and their take on them are all the more funny with extensive knowledge and they have chosen something so brilliant to be creative and get the audience going. 

Transitions are smooth and we are thrown in from the start. Innuendo is writhe and the little details to create jokes are well planned and thought out. And the actual skill of the performers is a gold star – they are professional, having fun and extremley talented. I have probably never been to a show when, the next act comes on and i’m laughing at the sheer impressiveness of their choice and conduct or saying “No F***ing way!”. I was entirely engaged and so was every audience member, by the sounds of the cheers, the singing along, the laughter and clapping. It’s a wonder the Assembly Main Hall is still in tact. 

Swamplesque is everything I wanted it to be and more. Not a foot wrong, so extremely clever in execution, creation and thought, they were meticulous in their choices and artistic direction and I had THE BEST time. Now to go away and question all my thoughts and feelings…

Review, Kafka’s Metamorphosis: The Musical! With Puppets!, Pleasance Dome, Ed Fringe, by Hannah Goslin

 out of 5 stars (4 / 5)

If you grew up studying drama in the UK, you will well know Metamorphosis. A surreal tale, it was always a good catalyst for teenage kids to develop their drama devising talents. And we have all heard of Kafka; but here is the crux, I knew little else of him apart from his name and writing of this story.

A juxtaposition of Kafka’s life versus his story, we dip in and out of the two, seeing similarities and just how much he threw himself into his writing. What could be a deep and troubling tale, is somehow lightened and emotive in the way musicals are by turning it into one. There are times of deep ballads and almost standing ovation worthy crescendos, but then there is also a song noting “F*** my life”. There is the perfect balance of comedy and deep feelings.

Throw in some puppetry and we see a popular trend of musicals meeting puppetry since Avenue Q. This isn’t the old children’s puppetry show and something about that innocence when the puppet is shouting obscenities is silly but also well done.

The singing is brilliant. Un-faltered and reverberating in this enclosed space, it hits deep and almost is too much for such a small room (in a good way). The performers are every ounce professional, making eye contact, engaging with us either indirectly or directly and fantastic at picking up on unplanned engagement. They bounce off one another without a foot wrong and it is not only entertaining but fun.

Kafka’s Metamorphosis: The Musical! With Puppets! is yet another new way to take on the well know story, bringing humour and elements of heartbreak while easily jumping and perfecting different unlikely theatrical elements. And for those like me who knew little of Kafka, it is entirely a learning experience of his life.

Review, Heathers The Musical –Wales Millennium Centre, 13th August 2024 by Bethan England

 out of 5 stars (5 / 5)

Heathers certainly has a cult following if the red, green, yellow and blue costumes in the audience are anything to go by and judging by the overwhelming response to every single musical number in the show!

Based on the film of the same name released in 1989, Heathers has had a successful run of productions both on Broadway and in the West End. In fact, the most recent tour was 2023, so the show’s popularity is obvious. It has gone through various iterations and versions, with the most recent featuring new songs and replacements for others. ‘Blue’ is replaced with ‘You’re Welcome;’ Heather Duke gets a song in ‘Never Shut Up Again’ and we get the big, belt number, ‘I Say No’ for Veronica, originally created for Carrie Hope Fletcher when she played the role in the West End.

The story is a dark comedy, with particularly intense and difficult themes. Nothing is shied away from; we see bullying, teen suicide, sexual assault and school violence. Veronica longs to simply survive High School without being bullied and picked on every single day. She manages to convince the Heathers, a group of ultra popular, ‘teflon’ girls to accept her as one of their own, and chaos ensues. She meets the enigmatic and damaged new student JD, and inadvertently gets caught up in his desires to rid the world and their high school of anyone he deems unacceptable to the better society he envisions. The show embraces these tough subjects and never holds back. It grabs you by your coloured school blazer and refuses to let go until the very end.

The action bursts onto the stage with ‘Beautiful,’ introducing us to Veronica and Westerburg High in 1989. Jenna Innes returns to the role after the tour in 2023; she is a fantastic Veronica, the loveable nerd who just wishes High School could be different, that everyone could get along just like they did in Kindergarten. The song is a fantastic opener, introducing all the characters and setting the tone for the darkly comic nature of the show.

Jenna Innes is entirely believable as Veronica, with a powerful voice and exceptional delivery of both dramatic and comic lines. She is quickly corrupted by her involvement with the Heathers and the damaged JD. This is not an easy sing, (and she barely leaves the stage!), but she delivers the big numbers with absolute ease, and I particularly love her facial expressions and reactions to everything going on around her. My favourite number is ‘I Say No,’ but every song is delivered with poise and a belt to die for. Her character arc is expertly delivered, and this is clearly a role that Jenna adores and was born to play.

‘Beautiful’ also introduces us to the Heathers themselves, Heather McNamara, ‘the head cheerleader,’ Heather Duke, ‘no discernible personality but her mom paid for implants’ and of course, Heather Chandler who is a ‘mythic bitch.’ They work so well together as a group; ‘Candy Store’ is exceptional; harmonies and dancing are on point and the lyrics are entirely inappropriate and therefore, completely hilarious. Each Heather gives a great performance, each clearly have fantastic vocal chops and can dance to match. Esme Bowdler particularly comes into her own after her untimely demise, with her haunting of Veronica in turns hilarious and menacing. Sedona Sky as Heather Duke delivers one hell of a number in ‘I Will Never Shut Up Again’ and Daisy Twells as Heather McNamara is the loveable ‘dumb blonde’ until her rendition of ‘Lifeboat’ which paints her as much more than we first perceived and is a powerhouse vocal performance.

Other special mention to Amy Miles who makes her professional debut as Martha Dunnstock and who leaves the audience breathless with her performance of ‘Kindergarten Boyfriend;’ you could hear a pin drop in the silences of the song and Amy owns her second.

The ‘villain’ of the piece, JD fights his way into our hearts with a highly comedic ‘kicking of asses’ in ‘Fight for Me’ where he very slowly knocks out Kurt and Ram (very ably played by Iván Fernández González and Jason Battersby respectively, both exceptionally funny and fantastic movers!). JD is portrayed by Keelan McAuley, and I was in awe of his vocals, the way he can sustain that gruff belt over a considerable tour is impressive. Nothing is held back, especially in ‘Meant to Be Yours’ and ‘Freeze Your Brain.’ His character arc in the show is amazing; he goes from damaged teenager to all out murderer of his fellow students in his quest to make a ‘decent world for decent people.’ He makes this very believable, and his study of the character has clearly paid off.

There are so many moments of incredible singing and hilarious delivery of lines; Lucy Sinclair shines as Ms. Fleming and Veronica’s Mom, especially in Fleming’s ill judged TV campaign against teen suicide in ‘Shine a Light.’ Conor McFarlane (Ram’s Dad/Big Bud Dean/Coach Ripper) and Alexander Service (Kurt’s Dad/Veronica’s Dad/Principal Gowan) absolutely steal the show in ‘My Dead Gay Son’ with dancing and rainbows aplenty. The whole ensemble dance and sing their absolute socks off in every scene and the show is punchily delivered in every musical number.

All in all, I’ve seen this show once before, but this iteration was honestly well worth the standing ovation that the whole theatre delivered as soon as the cast came on for their bows. The show is full of difficult topics which still resonate today, 35 years after the show is set. To see so many young people in the audience, clearly loving every second and able to identify with some of the experiences on stage means that musical theatre will continue to thrive long into the future. To that end, Heathers deserves a place up there with some of the classics for, after all, ensuring that audiences continue to fill those theatre seats is ultimately the goal of all musicals and one that Heathers clearly does with ease.

Review: Book of Mormon – London – 25.8.23

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