On Monday 20 July, Wales Millennium Centre hosted the opening night of a six-day run of the smash hit, award winning musical The Bodyguard. Based on the 1992 Oscar nominated film starring Whitney Houston and Kevin Costner, the musical version has to date played to over 3.9 million people in 15 countries.

Superstar Rachel Marron (Mireia Mambo) is in danger for her life, being harassed by an unknown stalker. Hired to protect her is former Secret Service agent turned bodyguard Frank Farmer (Adam Garcia). Both expect a conventional working relationship, but what was not written into their respective scrips is that they would find themselves falling in love.

Mireia Mambo performs the Houston songbook with raw emotion and vocal heft. There is dynamic intelligence to her voice which allows for quieter, more contemplative renditions of some songs at the outset, only to unleash a more powerful and passionate version as they develop. She is skilful in illustrating Rachel as a loving mother to son Fletcher, fiercely independent to the extent of putting herself in danger, and playful in her romantic advancement towards Frank. Adam Garcia is faultless in the role of Frank, acutely conscious of the significance of his role, aware of his growing fondness for Rachel and Fletcher, and professional enough to walk away at the right time. We feel real empathy for Rachel’s sister, Nicki, secretly in love with an unaware Frank, unhappy in both her professional and personal life and destined for tragedy. Sasha Monique’s softer, yet still powerful, voice encompassed the complexity of this role perfectly, providing a beautiful contrast with that of Mambo. We hear no words from stalker James-Lee Harris (apart from his uncharacteristic tenor vocal at the end) – none are needed.

From the explosive opening dance sequence featuring dramatic fire effects,fear-inducing bangs and classic disco dance moves, it was clear that this was going to be a performance to remember. Throughout the show, scenes depicting Rachel’s domestic setup are illustrated primarily via lavish drapes and minimal furnishings, a deliberate contrast with the full-on showstopping song and dance scenes. Similar effects are achieved in conversations between the security staff, deploying only a vast brick wall as a backdrop.

Mention must be made of the use of both lighting and sound in this production. The quality of both the vocal and instrumental musicians was excellent throughout and, together with blood-curdling gunshots at the beginning and throughout, place sound at the heart of this production. Judicious use of lighting to depict spotlights seeking out the stalker, together with his appearance from total darkness into a brightly lit freeze-frames in true menacing style, give lighting an essential role.

Add in those whopping 80s Whitney Houston classics and you have a smash hit musical on your hands. The audience, needless to say loved it.

(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.