(3.5 / 5)

Prior to actually taking my seat in the Donald Gordon theatre in Wales Millennium Centre, I was talking to a friend about how I was attending the press evening for Bugsy Malone. This comment was met with an extremely perplexed and confused face and then followed by the remark “I didn’t know you were a fan of grime music?” This miscommunication occurred because I was not aware but there is an extremely popular rapper who goes by the moniker Bugzy Malone. Even in teaching, I often forget that people oftentimes do not have the same experiences growing up and often the list of movies, books, plays etc that were a key part of my upbringing are different from person to person. For those who were not aware Bugsy Malone (with an “s”, not a “z”) is a stage musical/film that tells the story of two rival gangs in New York with one rather unique twist. The lead characters are played by a collection of child actors who run around shooting each other with pies creating an almost comedy spoof of classic gangster movies.

There is no doubt that at some point or another in your life you have heard the famous warning you should “never work with children or animals.” We have all seen some variation of a video when a young child takes to the mic and let out the wildest comments that leaves you wondering where that comes from. In the world of theatre this due to the unpredictable nature of these two groups and their likelihood to forget lines, mess up choreography or miss cues. However, if this cast of incredibly talented performers is anything to go by then this saying needs to be retired ASAP! Every one of the principal cast members showcased the most incredible professionalism, confidence, talent and stage presence that the majority of people (myself included) can only dream of!

The entire show was anchored by the wonderfully talented Gabriel Payne who plus the titular role and cheeky wannabe gangster Bugsy Malone himself. Taking on the lead role of a musical is intimidating for a seasoned performer but Gabriel did not seem fazed in the slightest, in fact, every single moment this young performer graced the stage (which was an overwhelming amount for a such a young performer) he was flawlessly in character, mentally present and used every inch of the stage that had the audience in constant hysterics. One of my favourite numbers in the entire musical would have to be “down and out” which was led by Bugsy and empowered the remaining characters to join in and fight against the bad guys in the story. Gabriel used this number to show off that he is not only a talented actor but also possesses incredible vocal talents. This performance was so fantastic that the empowering message transcended the narrative itself and had the audience wanted to get up and join the revolution themselves.

Towards the beginning sections of the musical we are introduced to the eccentric mob boss and owner of the liveliest club to ever exist, Fat Sam played by the brilliant Albie Snelson! At the beginning of the show, we meet this character as an over-the-top personality that has a sense of Donald Trump about him but as the story progress, and his close friends are taken out, he becomes more and more desperate and frenzied which was captured beautifully by Albie. One of my highlights in the entire show would have to be a moment at his lowest where Sam is forced to carry out his own scene changes which has Albie acknowledging the lack of stage crew and having to run around at take all the set of chair. After becoming overcome with emotions after his invention leads to the loss of one of his closest friends, the lights do not go down leading Fat Sam on stage audibly asking for a scene change. The young performer performed a series of hilarious fourth wall breaks as he ran around the stage wheeling off props and staging which had the audience rolling with laughter throughout!

Both Bugsy and Fat Sam are involved in the brilliant car chase that brings a conclusive end to act one. The creative team working on this production cleverly used a series of strobe lights to portray the high-speed and extremely intense car chase (despite only having one car on stage) which was amazing to watch!

I also thoroughly enjoyed the recognisable song “So You Wanna Be a Boxer?” which was an extremely high-energy, dance-heavy, ensemble spectacle that was cleverly choreographed to include iconic boxing-based movements such as skipping, using a punching bag and even stepping into the ring. The number built up to the large-scale performance logically that had the audiences eyes racing across the stage as so much was going on! Talking about theatric experiences , I also loved the song “Bad Guys” that saw Fat Sam’s henchmen deliver a wonderfully over-the-top, classic Broadway-style song all about why they turned to a life of crime. Everyone of the performers leaned heavily into the exaggerated-ness of the number with fantastic facial expressions, massive movements and involving the audience. The last thing I would have expected from this hamster spoof movie would what could only be described as a rave/club mega-mix with the younger performers living their best lives and showcasing their dance skills with a range of unique tricks!

Overall, Bugsy Malone, The musical is a cleverly written gangster spoof that removes the violence we have come to expect from this genre. Breaking up each ‘death’ having a comedic scene to help soften the idea of a character being shot. As expected, the younger cast members really shine with each showcasing tremendous amounts of talent, professionalism and unlimited potential!

(4 / 5)

Les Mis in 2022 hits different 

Even if you’ve been effectively living under a rock since the 80’s, you might at least have a passing familiarity with the striking lead imagery for this big-hitting musical. The banner of the iconic young orphan and the red flag waving behind her is a permanent fixture in London’s West End and a mecca for theatre goers.

Les Miserables is one of theatre’s ‘big boys’, you may have never read Victor Hugo’s 1861 novel or even sat through a musical before but between Alain Boubil (Book and Lyrics), Claude-Michel Schonberg’s Music and Cameron Mackintosh’s golden touch as legendary producer, the production’s breakout songs have become synonymous with the musical theatre tradition, a crossover success as the songs (I Dreamed a Dream, Do You Hear the People Sing, Bring Him Home) have continued to catch the imagination of audiences around the world. 

Seeing the show in 2022 hits different, too. When Victor Hugo penned the original story during turbulent times in 19th century France, things were bad. Wages were being driven down and poverty was rife, while profits for industrialists were soaring. Despite a revolution and revolt against the French King, though – the upper middle classes still reaped the benefits. A new Royal King was anointed – but still, workers were suppressed against a backdrop of “enrichissez-vous” (getting rich) under the leadership of Louis Phillipe. Some things never change, it seems.  By the time we get to the song “Look Down” and the pleading chorus of beggars painting a woeful picture of no safety nets, no compassion and no grace for those unfortunate enough to be born poor – you will sadly relate if you are currently living in Tory Britain in 2022. The wealth gap has never been bigger and we’re sliding backwards to 1815, more’s the pity. 

The opening for this show (beautifully staged in Cardiff under the watchful eye of Directors Laurence Connor and James Powell along with Designer Matt Kinley), brings you into the eye of the storm during this era of unrest, as lead character Valjean’s backstory as a prisoner in a chain gang make their entrance. Even as we skip forward to 1823, conditions are still no better – and workers isolate and turn on one another in a vicious “dog eat dog” environment. We’re introduced to Fantine (beautifully played by Lauren Drew) and in time-honoured tradition of my uncanny ability to tear up at the merest hint of a ballad, her rendition of “I Dreamed a Dream” instantly had me in tears. This is a production that is guaranteed to wow you and pack a real punch. The ensemble cast skillfully demonstrates the pressure, the desperation, the cruelty and injustice of this era and the glimmer of hope that can be found in friendships and lovers. 

Despite being one of the “old kids on the block” this is a fairly timeless story and the production still feels fresh, I saw the show twice in one week and once with my teenage daughter. As parents of teenagers will know, it’s not easy keeping a Tik-Toking teen engaged – and this is a meaty show, too with a running time of over 2.5 hours. I won’t lie, it does feel long. It definitely felt long sitting on the fourth level (and very hot, too!), but numb bums and sweaty pits aside, this is a wondrous production. If you’re a sap like me, your belly will flip and you will blub (Oh Fantine!). 

For a show over fourty years old, it probably wouldn’t pass the theatre equivalent of the Bechdel Test, understandable given that this is a male-dominated environment of uprising, war and revolution. The strongest and most complex female role in this production is Eponine and it was a joy to watch Siobhan O-Driscoll shine in this role. I’m not sure if I detected some Scourse undertones to her accent…but it’s lovely to hear some accent diversity on stage. Cosette gets a rough deal as a character, I feel. She is an archetype of a female love interest and sadly her most interesting element to her character happens in the past, while she is under the guardianship of the Inkeepers. Speaking of Inkeepers, they are utterly brilliant on stage and a very welcome moment of light relief. Merthyr’s own Ian Hughes (as Monsieur Therbardier) and his side-kick Tessa Kadler command the stage and offer a riotous turn in “Master of the House”. Finally, we mustn’t forget the two leads Dean Chisnall (as Jean Valjean) and Nic Greenshields as Javert. They already have an exemplary record of theatre credits under their belt and their powerful performances on this tour will no doubt pave the way to more future greatness. I thoroughly enjoyed this show and I can’t believe I waited so long to see it on stage. 

Les Mis is playing at The WMC in Cardiff until 14th January. If you’re getting the new year blues, I recommend a front seat at the French revolution in the 1830’s…bring your tissues…! 

Last night I had the pleasure of watching the ‘Girl from the North Country’ held at the magnificent Wales Millenium Centre. The story was written and produced by Conor McPherson using the songs of Bob Dylan. It’s a double Olivier and Tony Award-winning West End Broadway ‘smash’.

For those thinking the story is about Bob Dylan, it’s not! Dylan’s songs have been reimagined, revamped, and weaved into the lives of a group of troubled souls from Duluth, Minnesota (Dylan’s hometown) a city on the shores of Lake Superior. A tale of love, family, hardship, and survival.

Set in a guesthouse in the winter of 1934 in the middle of the great depression – seven years before the great songwriter was born. It was bleak and grim and that radiated out of the performances. Hard times are a test of strength and character and also how resilient we are when all else fails and the chips are down.

Proprietor Nick Laine is down on his luck and financially struggling to keep their guesthouse from being taken over by the bank, while his wife Elizabeth has dementia and floats in and out of moments of clarity. Nick and Elizabeth’s children also have their own struggles going on – Marianne is unmarried and 5 months pregnant and Gene is going nowhere in life, jobless, his struggles are with the demon drink.

I loved the way the ‘super talented’ musicians played using 1930s instruments and were often joined by cast members throughout the production, bringing the music to life. Every song was brilliantly performed but for me, the standouts were ‘Tight Connection’, ‘Rolling Stone’, ‘I Want You,’ ‘What Can I Do for You’, ‘Jokerman’, ‘Forever Young’ and ‘Pressing On’. Dylan was awarded the Nobel Prize for his lyrics and these performances are a superb showcase, all performed with confidence and passion, they had a strong, emotional impact that made my skin tingle with delight.

Dylan’s magic comes from his lyrics, the unique delivery of those lyrics and the exciting driving force of the music was a lot stronger than Dylan’s own voice. The way Dylan’s songs have been reimagined and revamped is impressive.

This was one of the best pieces of musical theatre I’ve seen in a long time, I was so excited I felt like a dog with two tails!