(4.5 / 5)

I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.

The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.

The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.

We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.

These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.

The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.

I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!

(5 / 5)

Come From Away has been called one of the ‘best new musicals of the century,’ which is high praise indeed when you consider the sheer choice and variation of shows and, in particular, musicals, when you consider attending the theatre. This assessment, however, is truly well deserved, proven by the instantaneous standing ovation at the end of the opening night of Come From Away at the Millennium Centre.

The plot focuses on the true-life story of the town of Gander. Once the biggest airport in the world, Gander International was at the forefront of aviation, perfectly placed for planes to land to refuel during their transatlantic flights. Since those glory days, however, there’s talk of tearing down the airport as planes can now make their journeys on a single tank. However, the peaceful lives of the residents of Gander are shattered as 38 planes were diverted there due to the airspace being closed after the catastrophic terrorist attack in America on 9/11.

Starting with the staging; there is no safety curtain as we take our seats; the stage is set simply with chairs and tables. The band is on stage alongside the action. The back wall is simple, but projections create all the atmosphere we need; starting with clouds and transitioning as the show progresses to show us various locations and occurrences, such as small lights as the residents gaze up at the numerous planes landing. The simple set means that nothing detracts from the stories being told here. The chairs are moved around to create Tim Hortons where the Mayor sips a Pepsi and ‘gets the lay of the land,’ the rows in the planes or the seats in the school buses that escort the fearful temporary residents of Gander to their impromptu homes on the island. Lighting is incredible, with several moving tableaus perfectly highlighted by the creative placement and tones.

The music is uplifting, joyous and the hooks are infectious. The musicians being on stage and sometimes involved in the action is the perfect way to ensure that the music is well and truly integral to the piece. The pace is non-stop, the harmonies are perfectly placed, the voices are excellent and so heartfelt. Particular favourites of mine were ‘Welcome to the Rock’ which is a rousing opener, ‘Prayer’ which shows the diversity of the passengers on those flights so perfectly, ‘Me and the Sky’ which is Beverley Bass’ homage to her journey to becoming a pilot, and the hilarious ‘Screech In.’

The cast was wonderful and it’s hard to pick out one member as this is such an ensemble piece where every actor is equally as important. However, special mention must be made to Kirsty Malpass, the resident co-director and choreographer, who stepped in to play ‘Bonnie and Others.’ It really shows the importance of understudies, covers, and swings and epitomises that the ‘show must go on.’ Every cast member play multiple parts; the residents of Gander initially, then numerous, various passengers and the pilots and crew on those 38 flights. Each transition is seamless. You are never in doubt of which character is speaking; the change in accents is impressive, as is the Brechtian technique of adding a hat, jacket, or similar, to show that we are now seeing the story of a new character.

What Come From Away does so well is these stories. You feel for every single person delivering their tales. The real characters are presented with sensitivity and truth. The fictional ones too, show what those people went through being so far from home, maybe alone, scared, wondering about their loved ones and appalled at the visions unfolding before them on television screens. It does not shy from showing us the difficult things; the fear and suspicion of the Muslim Egyptian passenger, the difficulty with understanding one another’s language and culture, the overcoming of those issues and coming together because, when it comes down to it, we all ‘come from away’ and all deserve to feel loved, for our stories to be heard, for someone to hold our hands when we feel isolated.

So, is Come From Away truly one of the ‘best new musicals of the century’? It more than earns this accolade, in every note, every story portrayed, the way that we can still learn from it, even over 20 years after that terrorist attack. If anything, we need this musical more than ever, as it shows us that even as we stand ‘on the edge of a moment,’ perhaps in need or feeling alone, there is someone ready to make you feel like you belong, whether that is one person, or a whole community.

Photo credit: Marc Brenner

(3 / 5)

I’ve wanted to see Hadestown for sometime. Anas Mitchell has whipped up a frenzy with this Greek myth inspired musical take on the tale. This being it’s West End premiere, can it live up to the hype?

Whilst it might work better as a concept album, it is Mitchell’s songs which are the pulling power of Hadestown. The familiar story has been on stage and screen in varying styles, yet its the lack of innovation which bores here. This is one of the most famous stories in Western literature, with a real opportunity do something interesting with it. Granted the New Orleans style jazz and hearty folk stylings do meld only to a certain degree. Its the former which is punchy and keeps toes tapping. They could have even pushed the jazz even more from this golden band,

My main gripe is that this story (presented as it is) does not fill 2 hours of a show, this is made clear in the second act when Hades stops and pauses as the Furies sing about his indecisions to free our young couple. Some press night jitters also saw a hanky nearly fall and a few instances of mic scratches. We let this slide, as this press and guest night performance had great energy. The ensemble for the show are very impressive in their energy, their diverse apperance another great thing. Musically, they have the least interesting songs, the Fates might just claim that crown.

As a cast they are top tier. A spirit of a bard, Dónal Finn is Orpheus with piercing falsetto and an all round Irish charm. His love: Eurydice is Grace Hodgett Young who is equally matching Finn in voice and atmosphere. Melaine La Barrie is the wise Hermes, the narrator guide who really loves to belt out numbers and use a novelty train whistle of the underworld. Zachary James is Hades in the vain of the comic baddie, not really songs for a singer, more acting songs. He looks a bit like Wesker from Resident Evil and Robotnik from the Sonic franchise. Not much to the depth of the part other then having some mercy for the couple leading to an atmospheric trial home scene. Gloria Onitiri is an easy favourite as Pesephone, of colour and spring lost to the underworld. Some blazing moments with her, really stirring powerhouse songs and good fun too. The Fates: Bella Brown, Madeline Charlemagne and Allie Daniel are analysing and wild sparks to the party, their harmonies a revelation. 

Rachel Chavkin could have done more with this show as director. Something about it not filling it’s true potential, yet the show has become a hit. Some costumes and set pieces might not have wowed as much as they should. Steam punk, art noveau and the Wild West all seem to be a part of this, though only in suggestion. If kept shorter this could have worked better, the songs though getting love and the all round gun-ho attitude is what makes this memorable.