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.

(4.5 / 5)

You always know you’re in safe hands with a production originally forged at the Chichester Festival Theatre and I am beyond trilled to report that Top Hat is another phenomenal production. Based on the 1935 film, this production could feel ‘old hat’ rather than ‘Top Hat,’ but with a pacey storyline, a hugely gifted cast and ensemble, slick dance routines and slapstick that the Palladium Panto would be jealous of, the latest iteration of this classic musical tap danced straight into my heart and refused to budge.

The opening number of Putting on the Ritz really showed off the ensemble’s tight, energetic dancing prowess, and this remains throughout the entire performance. The tap dancing especially, had me spellbound; there’s nothing quite like a perfect line of tap dancers tapping in precise unison! The ensemble singing is also gorgeous, bringing the classic tunes to life and breathing fresh life into them.

The main drive behind this fantastic production, however, is the lead cast, and what a cast they are. Alex Gibson-Giorgio as Alberto Beddini is a joyous, riot of a character; his rendition of Latins Know How had the audience howling with laughter. His characterisation of the hapless Italian was endearing, hilarious and he delivered some of the wittiest puns of the show with excellent comic chops and timing. In an equally hilarious portrayal, James Clyde as Bates is a sight to behold. This was a masterclass in comedy, his costume changes, his accents, his ability to hold the audience in the palm of his hand…simply wonderful.

Only appearing in Act Two might mean that a character leaves less of an impact on an audience, but this is not the case with Sally Ann Triplett’s portrayal of Madge Hardwick. She has some of the best one liners in the show, delivered with devastating, and hilarious precision and poise. She only needed to glance towards the audience to have us burst into laughter. She commanded the stage and was truly the matriarch of the Top Hat world. She is teamed with James Hume as poor, long suffering, Horace Hardwick. Horace seems to end up with the worst end of the stick every time and Hume gives us a performance which is so endearing but also full of comic genius. His hiding in the bridal suite during Wild About You and his incident with the steak on his black eye were exceptionally executed, proving slapstick, when executed well, still has a place in modern theatres.

Finally, Amara Okereke and Phillip Attmore bring Dale Tremont and Jerry Travers to life, respectively. Amara shows us a Dale who is fierce, strong, independent, yet childlike and eager in her discovery of love with Jerry. Her dancing is stunning, her voice like velvet. She holds her own against the love protestations of both Jerry and Alberto and brings a fresh side to a character who pirouetted across the silver screen in 1935. I particularly enjoyed her heartfelt, stunningly sung rendition of Better Luck Next Time.

Phillip Attmore brings a zest and charm to Jerry Travers which is truly joyous to behold. His dancing is so clean and precise, and he captures the essence of the original Jerry, Fred Astaire, whilst bringing his own evident charm and qualities to the role. He leans into the classic film but never makes you feel that he is plagiarising the original, he brings a voice, performance and dancing which is all his own. Whether in tap shoes or not, he is a joy to watch.

This is a slick, well designed production which doesn’t stop for even a moment and, as such, makes it a truly captivating watch. It’s revival productions like this with beautiful set, gorgeous costuming and an ensemble and cast to die for that prove that, even almost 100 years later, musicals like Top Hat still have a very well deserved place in our theatres and in our hearts.