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Musical

Review Heathers The Musical, Wales Millennium Centre By James Ellis

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out of 5 stars (2 / 5)

I’ll confess I’m late to the cult of Heathers, the film from 1988. Written and directed by Daniel Waters, this is a nasty, cynical look at the American high-school where teenage suicide, life defining cliques and a world full of oblivious parents reign supreme. It remains a lot of fun. Yet, this doesn’t really feel like this darkly tinged experience would make a great musical. Seeing it on stage with show-stopping tunes and chorus lines drains away the bite the original film is well known for. I know what they’re going for and it is just not working.

It’s hard not to compare the show to the film (I only saw the it the night prior) especially when choices are made in the musical altering minor aspects of the story. I didn’t expect the musical to open and close with Que Sera, Sera like in the film, though there are some missed opportunities here. Veronica singing with her clothes on in the high school showers is an example and the great little role of Father Ripper is no where to be seen in the musical. For some reason J. D. rumbles with the jocks has no gun on stage, leaving room for slow motion stage combat, as Veronica our lead declares her love for this mysterious boy. Any one would be an improvement from Christian Slater and here Simon Gordon has those familiar musical vocals and works well. It’s an unsavoury role today, as he essentially becomes the prototype of a school shooter/domestic terrorist, black trench coat and all.

This is a very quotable film and some of the lines in the show felt throwaway. Heather Chandler played by an affirmed Maddison Firth gets most of the juicy lines and quasi-rock numbers. Her return after her death to taunt Veronica is a pleasing addition. The songs by Kevin Murphy and Laurence O’Keefe border on the generic, some attempts being made to emulate the era the story is set in. I found the second act had more of a tense impact in the songs. The opener to act two being My Dead Gay Son, an absurd number here sung by Andy Brady and Kurt Kansley as the warped fathers of jocks Kurt and Ram. What let down the song was the forced romance between both dads for no real reason. Following on is a lovely little ballad Seventeen sung by Veronica and J. D. getting a pleasing final few lines, as this twisted romance blossoms.

The jocks in question are here played by Rory Phelan as Ram and Liam Doyle as Kurt. These two have a lot going for them, with as much time spent in the gym as they did in rehearsals. The only gripe is that the stereotypical jock character gives them very little to work with. The element of homoerotic tension is implied when we see them back as ghosts, clad in just their tighty-whities, clutching croquet mallets. Rebecca Wickes gives off more Hairspray than Heathers vibes throughout, though I like her speed in the role and little tics she had. Merryl Ansah as other Heather Duke, comes into her own when the other Heather dies with her own number Shut Up No More.

Martha Dunnstock is taken on by Mhairi Angus. By far the most bullied person in the school, her song before her attempted suicide by jumping off a bridge (in the film she walks through traffic) Kindergarten Boyfriend, a sweet and touching moment for what’s about to happen. Lizzy Parker playing another one of the Heather McNamara, not really in this enough though another touching song sounds out, brining some honest feelings about all thats going on around her. Georgina Hagen as the insipid Ms. Fleming bursts onto the stage in the giddy role, where it’s more about the cameras on her and the kids than about the real tragedies befalling the town. She brings a male audience member up form his seat for no real reason and ad libs for a moment. A cheap laugh ensues.

Andy Fickman’s direction might not be as tight as it should be here. The sets of David Shields shows Westerburg High in a very uninspired way, never feeling like it has much weight. Lighting by Ben Cracknell has moments of inspiration, lighting each of the Heathers gang in their own livery was a nice touch and some moments of disco dance also brought smiles.

The point of Heathers is through very poor decisions is there the realisation that true friends were there all along and that lashing out and bullying is never the answer. In truth, the show might have not really focused on this as much as it should have.

Heathers runs at the WMC till 4 December 2021.

James Ellis

Musical, Theatre

REVIEW A Christmas Carol, Sherman Theatre by Barbara Hughes-Moore

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It’s Christmastime again at the Sherman, and after 18 months, they’re back – both in the studio and at the cutting edge of theatre. Their ‘Back in Play’ season brought us the stage, and their new version of Charles Dickens’ festive classic has brought us the spectacle. The first full-length production directed by Sherman AD Joe Murphy at the Theatre itself, and adapted by award-winning playwright Gary Owen, A Christmas Carol is led by an exceptionally skilled ensemble of actor musicians who perfectly capture the magic of the original tale with an added Welsh twist.

From left to right: Kizzy Crawford, Seiriol Davies, Enfys Clara, Emmy Stonelake, James Ifan, Keiron Self, Feliks Mathur and Nadia Wyn Abouayen – image credit Richard Hubert Smith

It’s hard to convey how impressive a cast this is, swapping effortlessly between characters, costumes and instruments, and collaboratively weaving a gorgeous tapestry of this much-beloved story of a miser who learns to see the error of his ways. Collaboration is the key to the Sherman’s very particular magic – as with every Made at Sherman production, A Christmas Carol was constructed in its entirety under the Sherman’s roof in the self-proclaimed Heart of Cardiff. And it is a Heart which is worn very deliberately on this production’s sleeve: Newtown, Riverside and Splott all get a mention (it’s even subtitled ‘Miracle on St Mary Street’), and Welsh-language lullabies and folk songs evoke a poignant sense of history and place. Its Cardiff setting is one of the two key things which set this version apart from any other; the second is that this Ebenezer Scrooge is a woman, superbly played by Hannah McPake.

Hannah McPake as Scrooge – image credit Richard Hubert Smith

McPake’s Scrooge is a glowering menace sketched with shades of Malcolm Tucker, but with a swagger and style that is distinctly and deliciously her own. To be alternately horrifying and hilarious is a feat few have ever accomplished, and none quite as brilliantly as McPake does here. The piece requires a lot from her over the 2+ hours runtime but McPake, a stalwart of Sherman Christmas shows like The Wind in the Willows and Alice in Wonderland, takes it all in her masterful stride.

Keiron Self as Jacob Marley – image credit Richard Hubert Smith

Her interactions with the ghosts are especially entertaining, not least with Keiron Self as Jacob Marley, a Michael Sheen-ian master of ceremonies who deftly guides the audience through the story. Singer-songwriter and actor Kizzy Crawford brings an ethereal grace and otherworldliness to the Ghost of Christmas Past in her Sherman stage debut. How To Win Against History’s Seiriol Davies as the Ghost of Christmas Present is truly a gift in every sense of the word and has, as far as I’m concerned, created a new festive tradition: performing Pink’s ‘Get the Party Started’ whilst dressed as a glamorous Christmas tree. (I will never look at baubles the same way again). And when the Ghost of Christmas Yet to Come made its appearance, I audibly gasped.

Left to right: Keiron Self as the Bauble of Business and Seiriol Davies as the Ghost of Christmas Present – image credit Richard Hubert Smith

The ensemble is rounded out by James Ifan as Scrooge’s sweetheart, Beau; Emmy Stonelake as the gregarious Fezziwig, Mrs Cratchit and more; and Nadia Wyn Abouayen, in her professional stage debut, who plays almost everyone else, from Scrooge’s Mother to Tiny Tim. While Scrooge is Cratchit’s (Feliks Mathur) tormenter, Mathur also plays a very different kind of ghost from Scrooge’s past, cleverly turning the tables on their victim-aggressor dynamic. Last but certainly not least, Apprentice Actor Enfys Clara, who headed the Youth Theatre’s pre-lockdown production of The It in Spring 2020 and features here in multiple roles, looks to have a promising career ahead of her on the stage.

The ensemble take a trip through Scrooge’s tragic past – image credit Richard Hubert Smith

The trip through Scrooge’s past dredges up not only ghosts but demons, though Murphy’s tactile and tactful direction artfully guides us through the emotional twists and turns. Owen’s thoughtful update focuses on the origin of Scrooge’s cruelty, adding a meaningful explanation for the character’s ruthless drive to make money and scorn those without it. This and several other additions wonderfully enhance the original tale – it’s no wonder that Owen (Iphigenia in Splott, Killology) is one of Wales’ best loved playwrights.

Hannah McPake as Scrooge, Feliks Mathur as Bob Cratchit, and Nadia Wyn Abouayen as the Match Girl – image credit Richard Hubert Smith

His adaptation is brought to life by a cast and creative team that have spun nothing short of magic. Lucy Rivers composes a musical deserving of the silver screen while Rachael Canning’s puppetry casts the kind of spell that’s only possible on the stage. Whenever I make a dramatic entrance in future – and, believe me, I will – I would like Andy Pike to light me as spectacularly as he does the cast here (McPake’s silhouetted introduction took my breath away). And Hayley Grindle’s strikingly gorgeous set makes you feel like you’re walking into a storybook.

A Christmas Carol has captured audiences for over 170 years. It endures because it proves that the worst of us can be redeemed, that hope can blossom from despair, and that love is the why and the how of all things. The Sherman Theatre’s wonderful adaptation of this timeless tale is easily one of the best things I’ve ever seen in the theatre: charming, hilarious and heart-warming, it’s a perfect Christmas treat for the whole family.

A Christmas Carol will be playing at the Sherman Theatre through 31 December 2021 Suitable for ages 7+

The Sherman Theatre will also be presenting a production of The Elves and the Shoemaker / Y Coblynnod a’r Crydd a show for younger audiences, with separate performances in Welsh and English.

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks. 

Musical

Review: Everybody’s talking about Jamie – Wales MIllenium Centre #Cardiff 19.11.21

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Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation.

Based on the BBC3 Documentary Jamie:DragQueen at 16, this is a musical written with an original score of catchy pop tunes by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this brand-new musical will have everybody talking about Jamie for years to come.

You may have seen the recent film version on Amazon Prime (which should’ve been in the cinema but owing to covid – wasn’t) and maybe I’ll do a review of that – and then we can compare and contrast the two versions

Anyway, back to the performance at Wales Millennium Centre. For transparency we paid for our tickets – this is not a press review (if you’ve read my stuff before you’ll know this to be true)

With Layton Williams as Jamie and Shane Richie as Hugo it makes for a terrific pairing. Both have played the parts in the West End and this certainly shows. 

Might be wrong of me to say this, but Layton is my favourite Jamie (sorry Max). There was something a bit more real about his performance now this might be to do with the difference between film and stage.

Other mentions must go to Amy Ellen Richardson as Jamie’s mum. Her “My boy” was one of the “hair standing up on the back of the neck” moments of the performance as well as Sharan Phull’s performance of “Beautiful” – so simplistic but such a perfect version. 

The theatre version is a far more gritty realisation of the production. If anyone thought they’d be seeing a live version of the film – wrong! There’s reasons why things have changed in the film (Hugo’s back story for example) as there’s a bigger toy box to play in with more cinematic tricks – and it helps the pace. Oh and whilst on the subject of Hugo – love the Les Mis reference. The character is Hugo – he works in Victor’s Secrets – Hugo Victor – author of the original Les Mis novel.

The music is catchy without trying, and the stage production looked amazing. 

“Jamie” might not be your favourite ever musical but it deserves to be recognised for what it brings. Everybody’s talking about Jamie – and for good reason! There’s a lot of new contemporary musicals that have come out the past few years and Jamie’s storytelling and feel good theme keep it standing out from that crowd – no heels required!

Verdict: it’s a little bit of Glitter in the Grey!

Reviewer: Patrick Downes

Musical

Review ‘Everybody’s Talking About Jamie’ Wales Millennium Centre by Anna Arrieta

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Everybody should definitely be talking about Jamie.

The Millennium Centre was packed on the opening night of ‘Everybody’s Talking About Jamie’. It’s been so long since I have seen a show on the scale of this one, and you could really feel the buzz in the air from everyone who was just excited to be back in the theatre.  We had some of the best seats in the house, front and centre, with a perfect view of the stage. I loved the set and the way the band were elevated and silhouetted throughout the performance. The use of lighting and projection was also extremely clever and contemporary, often supporting the audience to give our characters a sense of time and location when needed.

It was a stellar performance from our cast, highlights for me being the performance from Jamie’s mum, Pritti, and Jamie himself. Layton Williams’ energy was unstoppable, he was full of charisma on stage and brought a lot of authenticity to the role of Jamie in those darker moments. His presence was matched beautifully with the company of Shobna Gulati, and Amy Ellen Richardson. The connection and chemistry between the trio was warm and comforting. It gave us a sense of home as soon as we were brought back into the kitchen. 

Amy Ellen Richardson gave a phenomenal performance of the song ‘He’s my boy’, she captivated the audience with every word, and her dulcet tones and dramatic delivery got the biggest cheer in the whole show. 

Sharan Phull played Pritti Pasha in the production, and did a brilliant job. She managed to maintain a strong presence even though her character was such a contrast to the bubbly and lively Jamie. Some of the songs she was required to sing seemed very difficult vocally, but she was extremely skilled vocally and managed to still bring her style into her singing.

The main cast were supported by a fantastic ensemble, the choreography and vocals were tight and slick- and they managed to keep a consistent buzz of energy throughout. Talia Palamathanan who played ‘Becca’ really shone, she was so engaging on stage and it felt like she was leading the ensemble.

I loved the individuality of all of the cast, the acting was mainly naturalistic, and I wouldn’t assume all of the vocalists were trained in Musical Theatre singing. Everyone was able to bring a piece of themselves and their individual style into their role, which made the characters and the show as a whole, far more relatable.

“Everybody’s Talking About Jamie” is a story about friendship, the bravery to be yourself, and of course Drag Queens! I commend the diversity of the cast, and the fun-loving nature of the show. It’s a must watch for people of all ages!

You can find out more about the production and book tickets here

Musical

Review: Book of Mormon 23.10.2021 @TheCentre @bookofmormonuk #Cardiff by Patrick Downes

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Originally due to play at Wales Millennium Centre in October 2020, the rescheduled Book of Mormon (BOM from herein) is just one of those musicals that you will either love or hate, there is no middle ground.

Having seen it in London in 2018, when tickets first went on sale for the Cardiff dates, I knew I wanted to see it again. Fast forward over two year later, I finally saw BOM on home territory – and it was also the first time back at WMC since January 2020 when Six was on tour there (25th January to be exact).

Having been to London over the last few weeks to see theatre again, and to have that feeling of live theatre, BOM was just the ticket!

If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.

Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funniest & clever musicals of the last decade.

In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.

Performance wise, I’ve seen many touring productions at Wales Millennium Centre, and this one would probably be one the best I’ve seen – not just in Cardiff, but London and New York also. Sometimes touring productions can’t embed into a theatre for obvious timing reasons, but this one, with the set design, audio and overall casting is nigh on perfection!

Robert Colvin as Elder Price gives as good a performance as I’ve seen Josh Gad give (on Youtube I’ll add!), and Jordan Lee Davies as Elder Cunningham is more than match for Andrew Rannells in the original Broadway production. Aviva Tulley’s voice is just amazing as Nabalungi, and the ensemble were also pretty damn on point.

I’ve not reviewed anything in a long while – for obvious reasons – but maybe able to tell I liked this, and liked it a lot. I’ve never given any production I’ve reviewed a full house previously, but this is the one to change that. Maybe it’s the lack of live theatre over the last 18 months, but Book of Mormon is one to most certainly catch on its current UK tour – it also returns to the West End on November 15th!

Overall – I believe, Book of Mormon, is much better than any golden plates!

Musical

Review The Book Of Mormon, Wales Millennium Centre by Rhys Payne.

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The Mormons have finally made their journey all the way from Utah and have landed at the Wales Millennium Centre to celebrate their first touring musical in the Donald Gordon auditorium. They bring with them their signature twisted comedy, super catchy musical numbers and (surprisingly) an unreal amount of camp fun! What is probably most important to keep in mind before deciding to watch the show is that it comes from the satirical minds of Trey Parker and Matt Stone (who created South Park the tv series), and Bobby Lopez (who is one of the key writers of Avenue Q the puppet musical) and so this is not a musical for the faint of heart or anyone who is easily offended. There is constant bad language, sexual references and the jokes are usually based on outdated stereotypes who to a modern audience could be teetering on the offensive. It is extremely crude the entire way through and so is clearly meant for a more mature audience. This musical is very clearly a comedy which is shown in the opening moments of the show where all of the Mormons (who are devout members of the church) are all extremely flamboyant and camp! The choreographer Casey Nicholaw and their team had carefully crafted the dance routines in this musical to exaggerate the more effeminate physicality of every performer which let the audience know from the opening number that this was all supposed to be in jest and not an educational show (although their are a few moments where you will learn some new this about this religion) with the character Elder McKinley playing upon this throughout the show (but more on that later!)

The show is based on the very real moment in a Mormon where they are sent out of their mission trips to try and bring new people into the faith. It follows a shining star in the Mormon faith Elder Price, played by extremely talented Robert Colvin, as he is paired with the much more chaotic Elder Cunningham, played by the brilliant Conner Pierson, who are randomly paired together to spend the next two years in Africa specifically Uganda. The conversion trip is met by a lot of backlash for the locals as they have experienced numerous people coming over to try and promote Christianity but leaving the locals in the exact conditions they found them in. I thought that the casting of Rober Colvin as the up and coming leader of the faith Elder Price was fantastic! His physicality, vocals and facial expressions all helped to add to the preppy all-American character and purposefully reduced the amount of sympathy the audience have for the character and instead focuses this onto Elder Cunningham.  This character goes through a rollercoaster of emotions throughout the show from when he begins to lose faith in the religion he has been following since a young age, to the anger/frustration at being paired with his eccentric mission partner, to the moments where he is overflowing with arrogance. All these moments were performed beautifully by Robert and really took the audience of a journey with the feelings towards this at times selfish character. I thought that  “I Believe” was a highlight for me as Robert seems to excel in and is more confident during the higher sections of his vocal range. This song was structured as an almost detailed list of what Mormons should believe but with sprinkles of comedy throughout.

Despite all this, however, the highlight in this production would have to be Elder Cunningham who was played by the wonderful Connor Peirson. This was an extremely comical role that very much starts off as the punch line of many jokes but by the end because of a very strong and powerful leader. Connor managed to captures the more timid and more energetic moments in the show flawlessly! I thought that his rendition of “Man Up” was incredibly fun and energetic which was the perfect way to end act one. This was a theatrical spectacle with Conner flying across the stage on a moving platform, creating his own magnificent stage lighting and dancing across the stage in the most over-the-top way I have ever seen. Every comedic moment within the song was performed excellently with the audience in hysterics throughout the whole number. Both Elder Price and Cunningham contrasting personalities clashed beautifully together so much so that it made sense why they got on so well by the end of the show. The duet of “you and me (but mostly me)” really showcased the more arrogant side of the former and the side-kick energy and sympathy required for the latter! Cunningham forms a relationship with Nabulungi (played by the incredible Aviva Tulley) who lives in Uganda with her father. These two perform the hilarious “Baptise me” which contains wonderfully awkward sexual energy the audience seemed to eat up every second of it! However, the highlight performance of this character was the song “Sal Tlay Ka Siti” which was flawlessly sung by the clearly very talented vocalist.

I mentioned early about how Elder McKinley, who was played by the incredibly entertaining Jordan Lee Davies, really leaned into the more camp elements of the musical. In fact, this is the only character that openly talks about being, I suppose you would call it, an ‘ex-gay’ member of the church. However, this character showcase a lot of ‘fruity’ behaviour which does make the audience wonder if the “turn it off” method actually works. Jordan performed this role with all the fun and energy it deserved and stay in character the entire time even stealing focus when they weren’t even speaking. McKinley alongside his wonderful gaggle of dancing moments were brilliant fun throughout and I thoroughly enjoyed “Turn it off” especially the magical costume change and tap number that occurred about halfway through the number!

Overall this was a very energetic, entertaining and fun musical that was crammed full of catchy musical numbers. If you have a darker sense of humour then I would strongly recommend this show for you but if you are even the slightest bit easily offend it’s probably not one for you. The audience were on hysterics throughout the majority of the show which made for a very relaxed environment. I would rate this show 4 out of 5 stars!

Musical, Theatre

REVIEW Priscilla Queen of the Desert, New Theatre Cardiff by Barbara Hughes-Moore

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Trigger warnings for the show: strong language, violence, and homophobic and transphobic slurs.

Before there was RuPaul, there was Priscilla – who, like Divine and Crystal LaBeija before her, brought drag to mainstream attention. The 1994 movie, starring Hugo Weaving, Guy Pearce and Terence Stamp, won an Oscar for its spectacular costume design and introduced a new generation to a thrilling world of glitz and glamour, a world to which the stage musical eagerly wants us to return after being left so long in the COVID wilderness. Racy, rowdy and rambunctious, Priscilla Queen of the Desert is a riotously fun time that reminds you exactly why live theatre is irreplaceable and invaluable.

It’s thrilling to be back in the New Theatre after so much time away, and the Priscilla UK Tour is the perfect show to welcome us back through its doors. The show centres on three drag queens, two cis men and a trans woman, who journey across the Australian Outback on the titular tour bus. Tick/Mitzi Mitosis (Edwin Ray) persuades two close friends – egocentric ingénue Adam/Felicia Jollygoodfellow (Nick Hayes) and drag doyenne Bernadette (Michael Western) – to perform their act at a casino in remote Alice Springs, where Tick will have the opportunity to reconcile with his estranged wife and son. Along the way there are sequins, setbacks, and singalong disco classics that will have you dancing (COVID-safe) in the aisles. Fun, filthy and fabulous – Priscilla puts the ‘extra’ in ‘extraordinary’!

Directed by Ian Talbot and produced by Mark Houcher and Jason Donovan (who originated the role of Tick on the West End), the show is a jukebox musical brimming with camp classics from ‘Boogie Wonderland’ to ‘Go West’ to ‘Hot Stuff’. Every musical number is joyous and unique, and songs are beautifully woven throughout (like Dionne Warwick’s ‘I Say a Little Prayer’, which recurs in its most poignant moments). While the humour might feel dated at times, the songs never do. Charles Cusick-Smith’s sublime costumes do justice to the Oscar-winning originals while bringing a new flair and Tom Jackson-Greaves’ excellent choreography lights a kinetic spark that burns throughout the show – they, along with the exceptional live band (directed by Richard Atkinson), ensure that the production is a feast for the eyes and ears.

The level of talent on display is staggering. Edwin Ray brilliantly anchors the ensemble as a man trying to marshal all the facets of his identity, while Western’s Bernadette exudes Old Hollywood grace and glamour and Hayes’ Felicia bags all the best songs, including a truly show-stopping entrance number – you’ll know it when you see it. I have never seen a happier ensemble: from the main trio to the Three Divas (Claudia Kariuki, Aiesha Pease and Rosie Glossop) to the performers dressed variously as giant cupcakes, dancing paintbrushes and plaid-clad delinquents, the cast’s unadulterated joy at being back in action was palpable.

While the zingers sizzle and the sequins glitter, Priscilla doesn’t gloss over the real-life hatred and violence inflicted on the LGBTQ+ community. Bernadette not only faces transphobic bullying from bigoted straight people but from Adam, who repeatedly deadnames and misgenders her. Adam himself is the victim of an attempted assault, and even apparent allies can turn out to be fair-weather friends when the sun rises. Though the central trio often bicker and Priscilla often breaks down, they stick together and they neither give up nor turn back, proving that true allies are there even after the music stops and the engine fails.

Priscilla concludes that, no matter how long and winding the road, your family will always be waiting to welcome you home at the end of it – and that true family are the ones who stay by your side no matter how bumpy the ride. Family are the people who climb mountains with you, both literal and figurative; they are the people who help you follow your dreams. When the audience rose, as one, for a much-deserved standing ovation, it felt like the best kind of dream: the one that comes true.

Priscilla Queen of the Desert UK Tour will be playing at the New Theatre Cardiff from Monday 20 – Saturday 25 September

Priscilla UK Tour

*The review previously misstated the show’s costume designer. This has been corrected.*

Musical, Theatre

PREVIEW Priscilla Queen of the Desert at the New Theatre Cardiff 20-25 September

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After endless months of lockdowns, Zoom hangouts and laughable attempts to bake banana bread, we’re all dusting off our boots and getting our sequins out of storage as we take a step back into ‘ordinary’ life following an extraordinary year and a half. But Priscilla Queen of the Desert is here to put the ‘extra’ in ‘extraordinary’!

The UK Tour is the inaugural event of the New Theatre’s much-anticipated reopening, and there truly couldn’t be a better show to welcome us back. Based on the Oscar-winning 1994 film which starred Hugo Weaving, Guy Pearce and Terence Stamp, Priscilla Queen of the Desert centres on three friends as they journey through the Australian outback in the titular tour bus. Produced by Mark Goucher and West End icon Jason Donovan (in his producing debut), the show stars Miles Western as Bernadette, Nick Hayes as Adam/Felicia, Edwin Ray as Tick/Mitzi, who lead an amazing ensemble through such classic tunes as ‘It’s Raining Men’, ‘Hot Stuff’, and ‘I Will Survive’ and many more.

After so much uncertainty for so long, it’s amazing to be seeing a show which proclaims to be ‘pure joy guaranteed’ – and I for one can’t wait to hitch a ride.

Review to follow!

Priscilla Queen of the Desert UK Tour will be playing at the New Theatre Cardiff from Monday 20 September to Saturday 25 September

Priscilla UK Tour

Preview by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

Musical, Theatre

Review, Amelie The Musical, Criterion Theatre, By Hannah Goslin

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out of 5 stars (4 / 5)

If you are a millennial, I guarantee you watched Amelie the film when you were a teenager and fell in love with its weirdness, quirkiness and general artistic cinematography.

I feel that it was a cult film for us all, that we remember and hold a special place in our hearts. Which is why when I heard it had been turned into a musical, I was dubious on what they had done.

But boy was I wrong.

If you haven’t seen Amelie, it is about this girl who is sheltered from the World as she grows up. When she reaches adulthood, she decides to move away but still shies away from everyone, not going out or engaging. When one day, she bumps into the love of her life and everything changes. She goes on a journey to make people happy and in the process, coming out of her shell to grab love and hold onto it.

In true Amelie style, the whole production – set, lighting, costuming has this mellow tinge reminiscent of the 70’s. Dark blues, browns, yellows, reds all light up the stage, giving it that chic, French feel that the film holds so dear.

It also does not shy away from how quirky and original the original narrative is. Amelie is a strange girl and so is her story, and so no memorial points that I remember from the film are missed, bringing them in in poignant or hilarious ways, and integrating them into the songs. I feared that what I loved most about the film would be missing, but it wasn’t and was elaborated on with gumption.

The music was also reminiscent of the atmosphere created – all those on stage played a live instrument, and it gave that french, grungy, Paris street feel that you associate with the city; the chic, unusual, hippy feeling – the too cool for school feeling. It balanced the narrative well, and made me honestly forget that this was a musical. Usually, expecting something perhaps a little tongue and cheek, or satirical, this was complimentary and really reflected the story and its aesthetic.

The performers were also brilliant. Never missing a beat, they were so perfect, moving from scene to scene with effortless grace, sometimes it was easy to forget they were real bodies in front of you and not an edited film.

Amelie The Musical is everything you want it to be and more. For those millennials who grew up with this firmly in their teenage years, it brings the film and story to life, with all the original elements and enhances it before your eyes.

Literature, Musical, Theatre, Uncategorized

Review, What The Ladybird Heard, Julia Donaldson, Palace Theatre By Hannah Goslin

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out of 5 stars (5 / 5)

The best critic for a children’s show, are the children themselves. I was lucky enough to take my 3 year old nephew, an avid reader and Julia Donaldson fan, to see What The Ladybird Heard at the West End located, Palace Theatre.

Walking up to the theatre, the original book in his bag, he pointed out the poster on the outside in complete excitement. A rainbow ballooned archway was set up for the queue and ticket check, and straight into the auditorium, the stage was set out already ready for our viewing. His eyes were wide and so was his mouth in awe.

What The Ladybird Heard is a wonderful show about a farm yard with an array of the usual animals, including a prize cow. Two local thieves devise a plan to steal the prize cow, but their plan is foiled when the, usually silence, Ladybird hears their plan and involves the animals to scupper their attempt at stealing the cow.

My nephew has read the book many times, but I, myself, had no idea the premise of this production. As an adult, I loved the concept – it was easy to follow, it was fun and full of mischief and learning opportunities for children. The production takes the book and changes some of the written to a song, adds other songs, with dance and jaunty movements across the stage. This is fun and you find yourself often dancing along.

The Ladybird, Cats and prize Cow are already there and available, but a wonderful sequence occurs when the farm hands use bits and pieces on the farm to create the other animals for the tale. This is so fun when you try to guess what they are developing, what noise the animal may make, and this makes it full of magic and curiosity.

There are plenty of opportunities for audience engagement, with the encouragement for children to sing, to make the animals noises, to boo and hiss and cheer. As for my nephew, he stared in awe the entire time, my sister informing me that this means he is really enjoying it – a brilliant sign. Even offering him a drink and snacks throughout meant putting it in his eyeline because nothing else could take him away from the stage.

The set and props are so well thought out, with great attention to details. The paper flowers grow up the wall when they are watered, the sun and moon come up and down in the background, while most of the animals are moved by the performers, you soon forget this as they are so cute to look at and so funny when they get involved.

The performers themselves are so talented – at no point did they corpse or lose focus, when at times it could have been easy to do so with the silly, funny additions made. Along with recorded music, the performers add music and soundscapes using live instruments which I always think is a great thing to add to a children’s show, giving them a chance to see something they may have never seen or heard. They also sing live, with great voices and well thought out harmonies, the songs themselves are easy to pick up and after a sentence or two, you find yourself singing along yourself.

What The Ladybird Heard is perfection. It is funny, it is colourful, witty and well paced. As an adult, I found myself encapsulated, singing along, and enjoying every aspect, even guessing what would happen next. My nephew, was stunned into silence and when it finished, could not stop talking about what he saw on stage. It is the perfect production to watch with theatres opening up and to get children into theatre.