Get the Chance are working with new theatre company YEAH YEAH to support audiences to attend a sharing of an in development piece of work and then discuss their thoughts. The sharing will take place at Chapter Arts Centre on Saturday the 13th July at 7.30pm.
YEAH YEAH are a new Cardiff theatre company developing uplifting gig theatre. A crossover for those that might enjoy a musical, tribute band, stand-up comedy, or a touch of ballet.
The work in development (working title) ‘Magical Place’ is free to attend.
Expect iconic songs you know and love plus drums, keytar, lycra, laughs, dance and the biggest pyrotechnics they can afford, Magical Place is a new work still in development and the company welcome your feedback
Please note, that this is a sharing of a work in progress, and therefore not the complete anticipated production. Sections of the work will be performed, with the aim to gather audience feedback. Audience members participating in feedback will earn two Tempo Time Credits for volunteering their time.
“Tori is here to perform a musical, Morgan is here to perform a rock show.
So expect iconic musical and rock songs you know and love; comedy, dance, live drums, keytar and lycra.”
Duration: 1hr (which will include optional audience feedback)
The latest film Directed by Danny Boyle and written by Richard Curtis is an interesting and very amusing ‘what if?’ idea about everyone in the world forgetting about the songs written by The Beatles, apart from one man.
That man is Jack Malik, aspiring musician, who’s tried to make it big for over ten years and failed. Now the key to success is in his hands, the ‘poison chalice’ of fame and money is offered to him, but is he ready to pay the price for it when the price is his integrity, his self-respect and his true love?
Of course he is!
What follows is a funny, charming and well-made film, which makes some good points about how art becomes ‘product’, and how success changes people. There’s also some touching moments that avoid overt sentimentality (just), while still being very moving. Including one scene towards the end that’ll make you misty-eyed, but more on that I cannot say. You’ll know it when you see it.
There’s also a nice running joke about other things that have disappeared along with Lennon & McCartney’s music, and a decent cameo from Ed Sheeran. You can’t say fairer than that.
Boyle shows a visual flair, enhancing a script that is polished Curtis, giving it a more universal feel than the usual middle-class London scene, and it’s all the better for it. But it does have flaws.
Hamesh Patel is endearing as Jack, even though his motivation seems muddled at times. While Lily James as his longtime friend/love interest doesn’t really have a lot to do. And her surprise visit to Jack in Liverpool is so confusing to him (and us) that it makes you sympathetic as to why Jack never realised her true feelings.
There’s a good supporting cast, such as Sanjeev Baskhar as Jack’s dad, but Kate McKinnon is wasted as the stereotypical greedy agent, whose sole aim seems to be to buy up all of Malibu. I’ve yet to see her in a role that does justice to her talent.
The ending is also a little odd, and a good cameo from Sarah Lancashire hints at an interesting plot line that is never developed.
However, despite promising more than it delivers, there’s plenty to enjoy here. The film has an innovative idea at its heart, and the real star of the show is the music of the Beatles. Seen in one go, so to speak, you realise just how wonderful the songs are. Who can blame Jack when he decides to ‘re-discover’ them?
A Night at the Musicals landed at the Wales Millennium Centre, it was a fun-filled evening where Broadway/West-End alumni performed a range of musical theatre songs. But for me, the highlight of this show was the Novello Orchestra. Unlike many of the other shows I have seen the Millennium this show had the orchestra perform on stage which I thought was really great as often the orchestra is forgotten about but this show made it extremely difficult to not appreciate them.
It was fantastic to see the skill and craftsmanship required to play in a musical orchestra and allowed the audience to appreciate them fully. This was only added to as the Conductor David Mahoney was also the compere for the evening. David was charismatic and hilarious throughout the show but he seemed to take full advantage of his charisma more so in the second act. This again was great to see as often times I know from experience that many conductors become awkward when acknowledged in the bows but for David to be so confident and charismatic was a nice change.
This show had a star-studded cast of musical theatre icons who each had fantastic songs to perform but also really interesting stories and connections to one another. They did however constantly pander to the audience and talked about how amazing the center is and how awesome Cardiff is which did become tedious after a while. The show opened with David Thaxton (of Phantom of the Opera, Only the Brave) who performed superstar from Jesus Christ Superstar. This was fantastic however it did take David a little while to warm up and the latter half of this show was incredible. This song choice was unexpected however as when songs from Jesus Christ Superstar was advertised I assumed it would be Gethsemane as that is the popular, often time show-stopping number, that many musical theatre fans adore but this selection allowed people to experience a song they probably never appreciated before.
My favorite performer in this production was John Owen-Jones (from Les Misérables, Phantom of the Opera, Tiger Bay The Musical) and as I had seen him in Tiger Bay I already had high expectations for his performing abilities and he managed to even surpass the already high standards I had set. His rendition of ‘Bring Him Home’ from Les Misérables was incredible and was definitely one of the best performances of the night. John also constantly promoted his albums which did become a running gag after a while and did cause a lot of laughter from the audience and the rest of the cast.
Kerry Ellis (of Les Misérables, Wicked) was out of this world. Her performance of ‘She Used To Be Mine’ rivalled that of London’s west end and ‘Anthem’ was an emotional performance that had many of the audience in tears. What made her performance even more incredible was that Kerry had lost a loved one on the day of the show but she still managed to perform at such a high standard. I know I personally would not be able to do this and Kerry remained professional. I would like to send my condolences to Kerry and her family at this difficult time.
Danielle Hope (of Wizard of Oz, Rock of Ages, winner of the BBC’s Over The Rainbow) completed the line-up and performed an excellent duet with John. Again her vocals were flawless.
This show used a children’s chorus who were incredibly talented and there is definitely many stars in that school who have a very big future ahead of them. There was however a few microphone issues that affected one of the solo singers but apart from this, they performed fantastically.
Overall, this show was a celebration of musical theatre performed by the highest quality musical theatre icons. The singing was incredible, the banter between cast members was fun to watch and the fact they support local school and area was the icing on the cake. I would rate this production 4 and a half stars and you should make sure you catch the next performance in Cardiff which is ‘Movie Mixtape: Songs from the Silver Screen’ on the 17th November 2019 which promises to have an even more star-studded cast that this show and so it is one not to miss!
Kinetic Theatre arts youth academy’s production of Into The Woods Jr was performed in the Atrium USW. Having seen many of Kinetic’s productions in the past, including many of their Jr shows, my expectations were already set very high. Kinetic always produce high quality and professional productions that receive the highest praise and Into The Woods is no different. In fact, I personally think that this is one of Kinetic’s Youth’s best performances. At first, I thought it was strange to perform this show as it is one of Disney’s more dark and mysterious stories but the children managed to execute the show perfectly. One of the best things about this production specifically was that you can see the enjoyment and passion that these children have for performing. You can see many of the children getting very involved and having a good time which is so nice from the audience’s perspective, especially if you are a parent of one of the cast members. The children managed to balance the sinister and dark nature of some scenes with the fun and happy aspects of others which is not an easy thing to do. The show opened with a dark song in which the children wore black capes and moved in a sinister fashion. This scheme was actually spooky for the audience which means both the directors and the cast did what they meant to do.
All of the cast clearly worked very hard with the ensemble always being in character and providing beautiful vocals when required. Each child knew their role within the story and performed it the best they could. One of my favorite performers in this show was Tilly Birch who played Milky White (the cow) while she was primarily there for ‘awh’ factor moments but also she was clearly trying her best and having loads of fun in the meantime. A highlight for this character was when they swallow all the items and have to ‘milk’ the cow, obviously as Tilly is a girl in a costume I was confused as to how they would do this. What they did was place the cup down and Tilly what I can only describe as the cutest little dance I have ever seen which had both awhhs and laughs from the audience. She appeared very confident on the stage and I believe that she is a star in the making. The baker and his wife, played by Sam Walter and FFion Morris, helped drive the entire narrative of the musical. The role of Baker in the film version was James Corden (who I was a little disappointed with) but Sam, in this performance, really made the character relatable and his wife acted with emotion which built a great sense of sympathy from the audience. The stand out in this show was Lexi Ricketts who played the witch. Lexi managed to own the stage every time she was on it and actually made the character very scary. Her acting and singing were both incredible and she clearly has a very bright future in the performing arts. Her rendition of Last Midnight was perfect and was definitely on a professional level. The narrator in this performance, played by Amelia Francis, also helped move the story along but also sounded fantastic while singing her songs. The princes and Jack, played by Theo Birch, Harry Smith and Ben Page were fun to watch and again were clearly enjoying their time on stage. The princes had great chemistry together and performed like a double act which caused many laughs from the audience. The wolf, played by Ben Cogan, had a jazz-esque manner (similar to the movie) and was also very entertaining to watch.
Overall, this is a family-friend show that shows the talent and skills of the young cast while creating atmosphere and emotion like a professional show. I would rate this performance 4 out of 5 stars and I would encourage you to watch this show to see the full potential of every child on display while at the same time supporting a local theatre company.
What you get it you cross a film from 2003, one of musical
theatreland’s legends plus add in a little piece of youthful magic – School of
Based on the 2003 film that starred Jack Black, overly enthusiastic guitarist Dewey Finn gets thrown out of his band and finds himself in desperate need of work. Posing as a substitute music teacher at an elite private elementary school, he exposes his students to the hard rock gods he idolizes and emulates — much to the consternation of the uptight principal. As he gets his privileged and precocious charges in touch with their inner rock ‘n’ roll animals, he imagines redemption at a local Battle of the Bands.
Set at the Gillian Lynne Theatre, the theatre has more a studio feel than an auditorium, but this brings everyone closer to the sound. I was fortunate enough to get the ticket lottery for the evening performance, meaning I paid £30 for a pair of tickets valued at £160 – and good seats too!
Craig Gallivan stars as Dewey (he was Stella’s son Luke in the Sky 1 show), and for those who weren’t aware, the boy can sing, plus has the Jack Black act to a tee. As for the kids, what can be said? Very talented musicians in their own right – plus having proud parents – one of which was sat in front of me!
Andrew Lloyd Webber and Julian Fellowes would not be the first two people I’d associate with a production like this, but underneath, every part of the production is polished. From the stage direction, the sound, and the performances.
Generally speaking, musicals based on films can be a little fractious with songs crowbarred in, but School Of Rock bucks this idea with having a plot and musical cues to suit.
It’s the perfect way to introduce children into the theatre, it’s entertaining with an all rounded quality cast and production. You’d be put into detention if you didn’t consider School of Rock as your next London musical adventure!
A little bit of Disney magic, one of musical theatres most loved lyricists & composers, and some of the most iconic musical sequences in animation history all add up to Aladdin the musical in London.
Nearing the end of it’s time at the Prince Edward Theatre, you still have a matter of weeks to catch this before 24th August 2019.
In the town of Agrabah, Princess Jasmine is feeling hemmed in by her father’s desire to find her a royal groom. Meanwhile, the Sultan’s right-hand man, Jafar, is plotting to take over the throne. When Jasmine sneaks out one evening, she forms an instant connection with Aladdin, a charming street urchin and reformed thief. After being discovered together, Aladdin is sentenced to death, but Jafar saves him by ordering him to fetch a lamp from the Cave of Wonders. There’s a lamp, and where there’s a Genie, and once Aladdin unwittingly lets this one out, anything can happen!
It’s everything you could expect from a Disney musical, although it took a few songs for the sound to flow through the theatre. There was a tendency for it to be a little bit panto at times, but generally speaking I was entertained all the way through.
Aladdin played by Matthew Croke might be a reformed thief, but Trevor Dion Nicholas as Genie, stole the show. The set pieces of Whole new world, Friend Like Me, and Prince Ali all make this one incredible production. The staging and the ensemble sounded brilliant, but only thing that stops me giving these five stars is some parts of the singing felt a little “screechy”. Maybe that’s just my opinion but it didn’t spoil what was a magical flight on a magic carpet ride.
It closes at the end of August to make way for the other Disney masterpiece that is Mary Poppins, so you’ve got limited time to enjoy some Arabian Nights.
Back in 2018 visiting New York for a few days I happened to chance upon
Waitress. The main reason for this being the theatre was 50 metres away from
our hotel (honesty being the best policy I believe). That aside, it also had an
extra bonus in that Sara Bareilles – the composer & lyricist was appearing
If you don’t know much about Waitress, it was a quirky little film from 2007, written by the late Adrienne Shelly and starred Keri Russell in the lead role. It was bought by Fox Searchlight pictures for about $6 million, and went on to make $16 million, winning plaudits along the way.
It tells the story of a young woman trapped in a little town, a loveless marriage and a dead-end job as a waitress, who falls into the next trap of an unwanted pregnancy. Escape beckons when she falls in love with her gynaecologist, but he hesitates to leave his practice and his wife.
It began in London earlier
this year with Katharine McPhee (American Idol runner up) in the starring role.
Staging wise it’s like nothing you’ll have seen before. There’re not the effects like Wicked, or Frozen, but in its own way, the Adelphi Theatre is a small venue and that adds to the cosiness of the musical. It’s a little piece of small town USA in the heart of London town (plus the smells of pie resonate throughout the foyer and bar areas).
Musically, it feels right – with lyrics written and performed by Sara Bareilles. It has a country contemporary feel that oozes emotion with each note. Before seeing it in NY, I’d not heard any of the score, but once was enough and it left me wanting more – so much so, upon arriving back in the UK I bought the original cast album and Sara’s album of songs from the musical. And since it’s been a regular playlist in my car.
It did start a little rusty, but within a few numbers, you could feel the production spring to life.
As the lead, Katherine McPhee brings to the role something special. I’d go as far and say that her “She used to be mine” is the best I’ve heard in any musical production.
Marisha Wallace as Becky (a role once taken by Keala Settle
– her that now is part of The Greatest Showman), together with Laura Baldwin as
Dawn provide the perfect harmony and backing to the main story, and both excel
with their own story arcs.
David Hunter as Dr Pomatter plays Jenna’s love interest with brilliant comic
timing and voice, as does Jack McBrayer as Ogie for Dawn. His “Never ever
getting rid of me” performance ranks as one of my favourite musical theatre
moments, plus he’s the voice of Fx It Felix from WreckIt Ralph!
After seeing the NY production I did question whether would this work
with UK audiences? The musical style is intrinsically American country – so
would audiences in the UK buy into it? Simple answer, yes!
If you’re a fan of Sara Bareilles, the film Waitress, or a beautifully written
musical that will send you away with a song in your heart, and the taste of pie
in your belly, this is for you.
Review: Joseph and the Amazing Technicolour® Dreamcoat – Wales Millennium Centre 14 May 2019
You’ll surely know the story of Joseph and the Amazing Technicolour® Dreamcoat. If not…. where’ve you been? It’s a retelling of the Biblical story of Joseph, his eleven brothers and the coat of many colours.
From its origins in the late 60s to its revival in 1991 with Jason Donovan (then Phillip Schofield), this new touring production of Joseph certainly stands the test of time. It’s been one of my favourite musicals and that was only through listening to the 1991 cast recording, over and over. So, that aside. How does this fair?
Jaymi Hensley as Joseph is certainly a little powerhouse of a vocalist which belies his pop background of XFactor and Union J.
Trina Hill as the Narrator guides the audience through with a voice of great stature for someone so diminutive, and Andrew Geater as Elvis, err, Pharaoh manages to steal the second act.
Special mention though to the other cast/ensemble as I can’t remember the previous tour in 2016 being so rounded like this, as for the children – on stage throughout both acts, just brilliant! There’s more to what you may know of Joseph and it’s certainly worth a few hours of your time seeing it on this current tour. A perfect entry into the world of musical theatre for anyone of ages 8 – 98
I think you should not “Close every door” and just “Go go go” see Joseph!
Musical fans often snub Joseph for being like a school production but I challenge any musical fan to watch Jaymi Hensley in the title role and not be blown away. This production of Joseph and The Amazing Technicolor Dreamcoat at the Wales Millennium starred Jaymi Hensley as Joseph and at first, I was apprehensive. Jaymi is famously known for being one of the members of the English pop band Union J and sometimes, in my opinion, they cast famous pop stars just for them to be a famous face and to sell more tickets. However, this was not the case. Jaymi excelled at this role and really helped elevate the show. His acting helped perfectly balance the campiness and seriousness of the show with his exaggerated facial reactions to the audience and emotional portrayal of being reunited with friends. His singing was flawless. He posses an operatic style voice which at first I thought would be distracting but it actually helped showcase Jaymi’s talented without being distracting. In fact, I would say that this show contained the greatest rendition of ‘Any Dream Will Do’ that I have ever heard. My only issue with his singing was that at the end of the performance there was a ‘sing-a-long’ section and because Jaymi was such a fantastic singer that it made it somewhat difficult to sing along but that is a minor detail. With Jaymi’s inclusion of riffs and high notes that I think were added just for him, it helped elevate this show from its school production roots (which was what Joseph was written for) to high quality, West End ready level.
One of the problems I had from the first time I saw Joseph last year was the almost nonsensical setting of this musical. In last year’s version, we jump from the Wild West with “One More Angel” to France with “Those Cannan Days” and while this was fun to watch it did confuse me somewhat. With this year’s production however the staging and lights were used to suggest a theme rather than a location. Rather than being set in France for “Those Cannan Days” there was simply a illuminated Eiffel Tower on the background of the stage , which obviously was not supposed to look like a real-life in-person version of the tower, which served as a reminder of a French theme rather than stating this is where they are. The other thing that confused me the first time I saw this show was the character of Pharaoh as he appeared to be an Elvis impersonator. It was only after this year that I realised it was a play on the moniker of “The King.”
This year the pharaoh, played by Andrew Geater, was amazing. He looked similar to Elvis, he had his mannerisms nailed down and his impression was fantastic. The brothers in this musical are a vital part of the narrative as without them Joseph would not have ended up in Egypt. Within the show, the brothers also added to the comedy and fun of the show but also had fantastic choreography especially in Potiphar’s song titled “Potiphar” where they performed an intricate dance routine with poles which they used to create key objects in the song which was great to watch. All of the brothers were excellent dancers who combined the seriousness and campiness of each number. However, during “Benjamin’s Calypso” the brothers dressed and performed as calypso dancers. Some of the dancers did look a little uncomfortable with this dance number but it was barely visible, apart from this, they were fantastic. They were hilarious and great to watch. Something that was really interesting to see was the portrayal of Potiphars wife. She appeared on stage dressed as a ‘flapper’ and danced accordingly which was a really nice touch as within the story she is supposed to be ‘free spirited.’ At the beginning of the production during “Jacob and Sons” there is supposed to be inflatable sheep on the top of the stage however they did not inflate as they were supposed to and the members of the production had to sort them out. This was a small distraction for the audience.
Overall, I think the choice of costumes and colours worked perfectly together with the narrator in black and silver (with stars across her top) and the brothers, for the majority of the show, plain block colours. The use of colour reached its climax in the iconic image where Joseph is stood with the multi-coloured coat spread out across the stage. The posters and advertising for this show reflected the use of colour by using the raining drops of the rainbow which encapsulated the drama, colour, and the fun of the show. The designers of the advertisements must have thought about this and should be applauded. The show blended the tradition and history of Joseph while at the same time making it modern and the best performance of Joseph I have ever seen. I rate this production at 4 and a half stars.
Hosting a monthly comedy act with niche and alternative themes – dipping into the historical with Mata Hari’s harem and Franco’s dictatorship – Hoodenanny is a small club that’s sure to leave a big impression.
Sticking loosely to the theme with Flora Wheeler’s performance as Mata Hari and Emily Smith’s Marlene Deitrich, we were ushered in from the cosy but characteristically costly pub (with event tickets themselves a bargain £3, or £6 for VIP gifts shown below) we were then ushered into a cutting and chaotic night of burlesque and comedy.
Aaron Hood, founder and MC, was impeccable at compering the night, managing to both steer and steal the show without taking away from any of his performers. Using the clown horn he was so besotted with, Hood ushered us in to the themes of debauchery, mental illness and dark humor that weaved through most of the performers on the night.
As much as his cynical wit landed with razor sharp precision, Hood deserves to be commended for his organisation and dedication. Not only is he a well established member of UEA’s own Headlights comedy club, but he’s fully comitted to his vision of alternative comedy.
“A safe and friendly space for edgeiness.”
At the time of reviewing, he’s also creating a Fringe showcase in Bury St Edmunds. This is a man with too much frantic talent to waste.
First up on the roster was Sussana T Jones, well known throughout Norwich as the singing comedian who’s appeared as up and coming talent on BBC Radio and Director of UEA’S side-splittingly Silly “Game of Thrones: The Pantomime.”
She started with her staple routine, singing a parody of teenage youtube musicians called “My eyeliner.”
Then she brought out a new song especially for the night – about dating as a nerd. Filled with zany puns and enough references to stuff a TARDIS, this was a great start to the night. It provided an odd proto-breather for the heavier – but slightly sharper material – to follow.
Second up was Helen of Norwich, who opened her set with some deadpan comments about her age.
Despite her self deprecation, she brought the audience immediately on board. She deployed her experience with the NHS and CBT – though not quite the type we were expecting, and thrived on a comedic style that was personally honest but full of comedic midirection.
Her nervousness was at times palpable – fitting for a set based on anxiety – but her minor struggle with confidence in no way undermined her as a performer. Her understated brand of subtle but sparkling dark humor held its own amongst much louder and more acerbic comedians. This proves she’s a comedian to watch out for.
Ciara Jack also based her set around mental illness, but expanded politically to joke about immigration on class. A lovably brash performer, she shone when using characters and impressions.
Pope Lonergan was a stand out of the night. A booming comedian with riotous jokes, he sealed and intensified the theme of dark humor. Again drawing on incredible personal anecdotes – how did he get to them, let alone survive the tale? – His anarchic sincerity was a real delight. He also posed a question that will now stay on Norwich’s lips forever.
“What would YOU do if you broke a woodlouse’s pregnancy sack?”
A night of big questions Indeed.
The evening ended on a high note with a burlesque performance by Zinnia Rose, who captivated the audience with sultry dance moves to Beyonce and Shakira’s beautiful night. Despite being referenced consistently, I felt this act might have felt more cohesive if the Mata Hari theme was expanded throughout the night.
However, the sacrifice of theme did nothing to hinder such a brilliant night – and the upcoming theme, “Austistic Anarchy” seems much more likely to be woven throughout the night. (With many of the club’s performers having autism themselves and referencing it in their sets.)
Overall this was a truly dynamic night and has established Hoodenanny as an almost unrivaled gem in Norwich’s comedy crown. With an inclusive and energetic vibe, performers with great careers ahead and all for less than a pint at the bar, I’d encourage everyone to make the trip down and have a hoot at Hoodenanny.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.