(4.5 / 5)

As hearty and tasty as a piece of one of Jenna’s pies, Waitress celebrates its 10^th anniversary with a fresh new tour which is the perfect blend of ingredients, including an exceptional cast, an hilarious script and plenty of sincerity. Based on the 2007 film of the same name, the musical has gone from strength to strength with an initial run of four years on Broadway and a run in London’s Adelphi Theatre. In fact, it features one of musical theatre’s most well-known modern ballads; the beautiful She Used to be Mine.

The star attraction is West End leading lady and ever popular Youtuber, Carrie Hope Fletcher. She more than holds her own as the titular waitress, Jenna. Her vocals soar and particular highlights are her relationship with Sandra Marvin’s Becky and Evie Hoskin’s Dawn, and her burgeoning love affair with the endearing yet awkward Dr. Pomatter, played by Dan Partridge. Fletcher The moments were she finally meets her daughter, little Lulu are sensitively, beautifully portrayed and she is a delight to watch as Jenna; a worthy leading lady.

Her partners in crime, Becky and Dawn are truly wonderfully cast. Sandra Marvin delivers spades of sass as Becky and her rendition of I Didn’t Plan It truly raises the roof of the Donald Gordon Theatre. Delightfully quirky and with fantastic comedic chops is Evie Hoskins as Dawn. She immediately endears herself to the audience and her relationship with Ogie, portrayed by Mark Anderson is joyous. When He Sees Me and Never Ever Getting Rid of Me are wonderful moments of the production.

Dan Partridge is a loveable dorky Dr Pommater, with a fantastic way of blending comedy with heartfelt moments with Jenna. There are some really lovely moments between Partridge and Flecther, which cement them as firm favourites with the audience. Also excellent in role are Dan O’Brien as Cal, Mark Wilshire as Earl and cantankerous yet loveable Old Joe is played by stage and screen veteran, Les Dennis. Special mention to Ellie Ruiz Rodriguez as Nurse Norma who had the audience crying with laughter on multiple occasions and managed to steal every scene she burst into.

As sweet as a squirt of whipped cream on a perfectly baked pie, this brand-new tour of Waitress is truly a chef’s kiss. It’s a truly delightful evening of theatre, filled with comedy but also heart and the talented cast truly delivers.  

(4 / 5)

Once again, Rocky Horror returns to the New Theatre, and the staff and theatre have certainly gone all out this time, with costumes and top hats galore, and even themed cocktails for the show! This is perfectly matched by the enthusiastic dressing up of the audience members who do not disappoint with their commitment to imitating their favourite characters from the production. There are high heels, boas and sparkly hats galore which adds to the overall joy of the show.

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.

What truly made this show for me was the outstanding cast; every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. I adored the relationship between Janet and Brad, ably played by Hayley Flaherty and James Bisp. Their vocals are particularly wonderful, especially when they’re harmonising with one another. They also strike the comic elements perfectly, their wide eyed innocence descending into their inevitable descent into the lustful situations initiated by the delightfully naughty Frank.

Ryan Carter-Wilson, Laura Bird and Daisy Steere, as Riff Raff, Magenta/Usherette and Columbia respectively, also bring exceptional vocals to their roles. Time Warp in particular brings the audience to its feet mid show, and it’s really testament to their fantastic rendition of the classic song.
The Narrator is brought to life in this tour stop by Jackie Clune. Her dry wit and impeccable adlibbing, as well as excellent local references place her firmly amongst my favourites who have brought this role to life. She effortlessly moves from ambivalent observer to being directly involved in all the action. She ably handled all the heckling, and her sarcastic put downs were a highlight of the show.

Frank N Furter is played 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. There is so much confidence in his portrayal of Frank, and he is simply a joy to behold. I particularly loved the interactions with Brad and Janet in the opening of act two, which seemed even more heightened in this production!

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 crazed, and so reminiscent of the ‘double feature’ sci fi showings of the past, but we’re not really here for the plot. It’s all about the incredible talent on show and truly, this is one of the best casts and choruses I have seen for this show. They ensure that the audience have the best time and leave the theatre humming the songs and ‘pelvic thrusting’ back to their cars. It’s a classic production that returns time after time, but it’s a great one and a show that is going nowhere anytime soon.

(4.5 / 5)

With all the charm of a slightly chaotic, fun filled night at your local pub, The Choir of Man is truly unlike anything I’ve ever seen before on the Donald Gordon stage. The nine hugely talented cast members mingle with the crowd, handing out pints, beer mats and even getting crisps to audience members via slingshot! This is truly a love letter to the unspoken community of the local public house, uplifting but with very human moments of tenderness and even sadness.

Full of poignant moments, we are ably navigated through the various lives of the nine men by the Poet; his modern lyricism in turns humorous and hard hitting. The pace is fast and rousing; the action is non stop and the interaction with the audience continuous. Audience members are drafted as part of the action to be serenaded, assist with building pyramids of playing cards, and much more. The comedic moments because of these interactions are fantastic and the cast are literal wizards of adlibbing and responding to these moments.

The cast is a small but mighty one. Each have their own identifying personalities, and all have their moments in the spotlight. The voices in this cast are phenomenal; each different but complementing and blending with each other. The solos are divine; the group numbers stuffed full of harmonies are even more so. I particularly loved the a ‘Capella version of Sia’s Chandelier where it felt as though you could hear a pin drop. The solos are also excellent, sometimes upbeat, toe tapping numbers and sometimes utterly heartbreaking ballads.

The cast are not just triple but quadruple threats; they all play multiple instruments with huge skill. They are also incredible dancers! In particular, the dance skills of the Handyman (Jack Skelton) are mesmerising. He tap dances across the bar and table of The Jungle pub with truly breathtaking skill. However, every cast member more than holds their own in the dance numbers and have the audience clapping along in their seats and, sometimes, even on stage along with them!

Overall, I really was unsure of what to expect with The Choir of Man; I’d heard about the interaction, the free beer handed out to audience members, the modern jukebox musical feel and I’d even heard about the onstage bar being literally open for business. What I was not expecting was to laugh so loudly, to feel so deeply, to hold my breath and to feel such emotional connection that I felt the tears rolling down my cheeks. The feeling of community that permeates not just the cast, but the whole audience is truly special.

It’s not just about The Jungle or any pub across Britain; it’s about finding somewhere to find your voice, your tribe and to be yourself. Whether you joined them on stage or sang along from the audience, the whole theatre truly feels that sense of community too.

(4 / 5)

Part concert, part musical theatre, Buddy is a perfect blend for both young and old. It chronicles the Meteoric rise of Buddy Holly and his band, The Crickets. We witness the creation of all the top hits that he penned in his 18 months of stardom before his untimely end alongside his friends, The Big Bopper and
Ritchie Valens in 1959.

The story is bittersweet as we watch the hope and excitement of Buddy’s life, Knowing what is to come. It is a celebration of their lives, in particular, Buddy’s, and the joy is infectious
amongst the whole audience, particularly at the end with their final concert before their inevitable end.

The best part of the show by far is the incredibly talented cast, the singing is exceptional. Led by AJ Jenks as Buddy, who really captures the essence of the star. His mannerisms, accent and, of course, singing are all top notch; it’s like listening to Buddy himself on stage and the audience react accordingly. The whole cast have great voices. I particularly enjoyed the section with Tyrone Jones (played by Miguel Angel) and Marlena Madison (played by Laura-Dene Perryman), in the Apollo Theatre, Harlem. They brought the house down, particularly their rendition of Shout.

It’s a great show full of pathos, comedy and heart. It is definitely worth a visit whether you’re a Buddy Holly fan or not! The songs are classic and the delivery of them is excellent. The story is one we all know but it is delivered in a fresh way which is accessible to all. The audience were all up on their feet at
the end and it was a huge party atmosphere. Although it has a sad, inevitable ending, it’s a sheer celebration of the music and the man behind it. Its only there a short time so make sure you grab your tickets before it leaves.

(4 / 5)

If you’re looking for a high energy, even higher kicking, cast ensemble with costumes with more sparkle than the crown jewels, then grab a ride on Priscilla and get down to the Wales Millennium this week…just try not to get lost in the desert on the way!

With more hits than you can shake a stick at, it’s one floor filling classic after another in this non-stop, explosively colourful production. The hugely talented ensemble truly owns every musical number, with costumes to die for, designed by Vicky Gill. The choreography, by Matt Cole, (along with associate choreographer, Thomas Charles), is outstanding; you just don’t know where to look first! The sheer effort and passion from every single member of the chorus is fantastic and really makes the production pop.

The cast also pours their heart and soul into every moment. Bernadette, portrayed by Adele Anderson, is so quick of wit and positively dripping poison in her venomous comebacks. But she also brings a gentler, softer side later in act two, which shows her aching vulnerability too. Kevin Clifton as Tick/Mitzi is joyous to watch, especially during MacArthur Park which was a particular highlight. His Strictly dance skills really came into play as he pirouetted across the stage. Nick Hayes brings huge vocals to the role of Felicia/Adam. His clashes with Bernadette are hilariously catty and he struts across the stage, every inch the drag star. Special mention must also go to the Divas, sashaying across the scenes, resplendent in silver. The vocal performances from Leah Vassell, Bernadette Bangura and Jessie May were out of this world!

Although the show is clearly a spectacle, there’s also a lot of poignancy and heartfelt moments here. Tick’s epic journey across the desert to meet his estranged 9-year-old son, Benji, is delivered very well. The reunion scenes are softer moments in a show that is often incredibly high octane. Difficult subjects are not avoided, and we are reminded of the struggles beneath the sparkles in scenes such as the graffiti on the bus and when a night out on the town almost ends in tragedy. These fit in well with the otherwise buoyant dance and musical numbers.

Feather boas, glitter, sparkle, a bright pink cake left in the rain. For a night of sheer escapism, high class vocals, and dances to die for, make sure you catch Priscilla’s stop in Cardiff before she rolls out of town for good.

(4 / 5)

Barnum literally bursts onto the Donald Gordon Stage at the Wales Millennium Centre. After an almost ten-year absence for the musical, and in a world that now contains The Greatest Showman (incidentally the brand-new musical version opened this week at the Bristol Hippodrome), does the show still stand up against its newer, poppier counterparts?

I had never heard any of the songs from the show, but thought the score was delightful, a perfect blend of musical theatre and circus music, with plenty of opportunities for showstopping circus tricks and dance numbers. The opening of act two, Come Follow the Band complete with aerial tricks, clowns, full marching band and mesmerising dancing was a particular upbeat highlight, but the show also contains some beautiful contrasting ballads, such as Love Makes Such Fools of Us All and the beautifully tragic The Colours of My Life (Reprise).

The set is beautiful, blending just the right amount of the circus ring with the world that PT Barnum inhabited. The big top central section is perfectly suited for the tumbling antics of the circus ensemble. The proscenium arch complete with its resplendent theatre boxes truly sets us in Barnum’s world and allows for some lovely level work, with performers popping up all over the place. The circus is cleverly integrated into the set with well positioned ladders built into the set, tightropes appearing from the wings, and aerial equipment appearing and disappearing in the wink of an eye.

The cast and ensemble are not so much triple threat as quadruple or quintuple threats. The dancers are not just dancers but acrobats, tumblers, aerial artists and more. The actor musicians are also incredibly muli talented. Most of them play multiple instruments and sing like a dream. I was beyond impressed at the way each performer swapped between piano, brass, strings and more. The dancing and circus act blend effortlessly together to create dreamlike sequences, the ‘humbuggery’ of Barnum’s creations. Every actor is a player in the circus; even Lee Mead himself braves the tightrope in a breathtaking moment in which you could have heard a pin drop.

I am unable to mention individually the talent, as this review would go on for pages, but I must mention the stunning vocals of Penny Ashmore as the Swedish Nightingale, Jenny Lind, who returned later as an en pointe ensemble member. Monique Young as Charity Barnum was also excellent, gorgeous vocals, a tour de force against her humbug husband Barnum, and a wonderful dancer too, holding her own in sequences with the circus dancers.

Lee Mead gives a fantastically charismatic performance as the titular character. His performance is endearing, energetic, joyous and full of charm. His vocals soar; even after the high octane dance numbers he never falters. His relationship with Young’s Charity Barnum is truly believable and their scenes together are heartfelt and funny. It’s a tough pair of shoes to fill as everyone now knows Hugh Jackman as the greatest showman himself, but Lee is more than up to the challenge, creating a version of Barnum that is all his own.

So, step right up to the greatest show in town. It may not have the popularity of the newer film (and now musical) version, but if the standing ovation is anything to go by, it’s more than capable of being respected and admired alongside its younger ‘cousin.’ Follow the band, smear on the greasepaint, grab the popcorn and enjoy the sheer spectacle of Barnum The Circus Musical.