Chicago, 1920s. In a city ruled by mob bosses and moonshine, misbehaviour ain’t just on the menu: it’s a way of life. If it’s fame you’re after, you might get fifteen minutes or fifteen to life – and Roxie Hart’s dream of seeing her name in the papers is one she’ll kill for. With blood on her hands and a song in her heart, Roxie (Faye Brookes) teams up with sleazy lawyer Billy Flynn (Lee Mead) to fool the masses, stealing the thunder of her rival cellmate, Velma Kelly (Djalenga Scott), in the process.
‘All That Jazz’: the Chicago ensemble, led by Djalenga Scott as Velma Kelly
Featuring classic songs by Kander and Ebb and original choreography by Bob Fosse (the trio behind the iconic Cabaret), Chicago is fresher, funnier and fiercer than ever. 25 years after its revival swept the Tonys, and nearly 50 since it first premiered on Broadway, the show’s satire of law, politics and the press could hardly be more relevant: after all, what’s the difference between a theatre and a courtroom when showmanship, not integrity, is the order of the day? Even when the actors are playing judges and reporters, they’re wearing mesh, fishnets, and leather: justice is showbiz, darling, and you’d better pray for an encore. Chicago is self-consciously theatrical, drawing attention to its own artifice: a gilt frame encloses the stage, but the set itself has no frills and few props: its simplicity spotlights the performances instead of the staging.
‘We Both Reached for the Gun’: Billy Flynn (Lee Mead) puppeteers Roxie Hart (Faye Brookes) through a press conference
And what performances! Faye Brookes brings lashings of wit and charm to Roxie Hart: one part hapless crim, one part ruthless dame. Brookes is a hilarious and vibrant stage presence, particularly when pitted against Djalenga Scott as Velma Kelly, whose stylish swagger makes for an effective foil to Brookes’ wide-eyed ebullience; their ‘Hot Honey Rag’ duet is a veritable dance masterclass.
‘The name on everybody’s lips is gonna be “Roxie”‘: Roxie Hart (Faye Brookes) and her ‘boys’
There are excellent supporting performances by X Factor finalist Brenda Edwards as the sultry Matron ‘Mama’ Morton, Jamie Baughan as Roxie’s hangdog husband Amos and B.E. Wong as big-hearted but gullible journo Mary Sunshine. Meanwhile, Lee Mead as Billy Flynn really does give the audience the ol’ ‘Razzle Dazzle’, and Scott’s sensational rendition of ‘All That Jazz’ brings the house down by the time the show’s barely started. But the Cell Block Tango might just be the standout: by the final chorus, you’ll really believe ‘he had it coming!’
A chain-smoking tap-dance
The incredibly intricate dancing is executed with effortless precision, with every Fosse finger snap and hip roll present and accounted for. The ensemble is on top form as is the superb live band, directed by Andrew Hilton, who are seated onstage in striking, asymmetric tiers. You won’t find better singing, dancing or live music this side of the ‘20s: the cast prove once again why Chicago is still one of the best musicals around. If you love the Oscar-winning movie, you’ll be in your element; if you’re new to the medium, then you’re starting out with the best. Stylish, sexy and spectacular, Chicago is all that jazz and then some – it’s the most fun you can have without breaking the law!
‘I Can’t Do it Alone’: Velma Kelly (Djalenga Scott) and Roxie Hart (Faye Brookes) take their criminally-good show on the road
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.
I arrived at The Cockpit Theatre tired from the rushed venture from nearby Paddington, for one last hurrah in London. I prepared for what I was about to see. Obsessive Compulsive Disorder is very personal to myself and my family, with some friends also having the condition as well. Going in with my own history with the condition, I was curious to see how others would express their obsessions in a theatrical vein.
Concept Theatre have put their cards on the table in a telling depiction of OCD. Essentially a show of two halves, the sharp and witty Catarina Thane is Matilda, our guide through the show and creator of a podcast all about OCD. Elements of her performance give cabaret vibes with singing and audience participation. Catarina did a great job to make the audience feel welcome and relaxed, as we were about to infiltrate some dark territory.
The other side of the shows sees scenes with the sisters Tilly and Grace, the latter arriving back from uni. Grace is not sure what’s wrong with her, craving reassurance that bad things won’t happen to the people around her and frantic draw opening and closing sessions are never far away. These moments are funny and honest, the dialogue realistic and far from arbitrary. Sarah Eakin as Tilly, demonstrates the condition well. Stewing in her rituals, lost to the world for a trinity of repetitions, this reaches its zenith when Grace sees the intensity of her sisters condition in full force. Jasmine Hodgeson, as someone who has OCD, gives warmth and a sisterly rivalry for Tilly’s plight, at first saying the typical quips you’d expect to hear (hence the name of the show).
Matilda coming back and for between the tableau was a nice touch and gives rest bite to the intense anguish of the rumination seen within the sibling storyline. Director/writer Ria Fay also gives a pleasing turn as Grace the therapist who rescues Tilly from her own mind. Phrases such as “Groinal reaction”, “That’s against your views” and “Thoughts are not facts” pass the expert’s lips and have a profound impact on both Tilly and the audience. This hit close to the bone for me, as a person with OCD can convince themselves they are a bad person who may commit bad acts. Need I say more?
Even with the grappling such serious topics the show still is amazing and had some powerful insights into the condition. Even for myself, with not a confirmed diagnosis, certainly find aspects of it within me, though I would never utter the name of this show as it’s easily become the definitive statement that people with the actual condition can’t bare to hear. My advice is to increase the Lynchian elements of the show, a lone, flickering lightbulb and some ominous whooshing set the scene to plunge into the recesses of the mind.
A Q & A with the cast and director proved how important work like this is today. I hope the rest of the shows get good audiences and responses. Theatre like this could save lives…
“I’m Just A Little Bit OCD” continues on tour around London at Southwark Playhouse on 19th June 2022 and at Chickenshed for captioned performances on 26th June.
Time is one of humanity’s most enduring enigmas; it can be counted in eras and in seconds, it can seem endless or scarce, and however long you live, there’s never enough of it. These are some of the key tensions within Violet, a contemporary opera which is sung through in English and co-produced by Music Theatre Wales and Britten Pears. Composed by Tom Coult and written by Alice Birch, the story takes place in a town where nothing changes until, one day, everything does: one hour disappears on day one, two on day two, and on and on – but while the world seems to be ending around her, Violet’s is just beginning.
Richard Burkhard, Frances Gregory and Anna Dennis in Violet (image credit: Marc Brenner)
Directed by Jude Christian, Violet is an exhibition of artistry, from Rosie Elnile’s gorgeous set, which looks like a minimalist Renaissance painting, to Cécile Trémolières’ lush costumes, which play with both austerity and freedom through fabric. The temporal distortion at the story’s heart bleeds through to everything on the stage, which anachronistically mixes period clothing with modern props, framed by an animated backdrop of dandelion seeds swirling like grains of sand in an hourglass.
Anna Dennis in Violet (image credit: Marc Brenner)
The operatic quartet at its heart are equally impressive. Anna Dennis viscerally captures Violet’s growing sense of self and power (her name even seems to anticipate ‘violent ends’) while Richard Burkhard and Frances Gregory (as Violet’s husband and maid, respectively) convey their characters’ descent into despair. At the start of each scene, Andrew MacKenzie-Wicks’ keeper goes to the clock tower, changing it to show the days left and the hours lost. The tower is built to mimic a guillotine; along with a branch and a bell, it is one of three ‘swords’ of Damocles which hang ominously above the characters, as if to fall at any moment.
Richard Burkhard and Andrew MacKenzie-Wicks in Violet (image credit: Marc Brenner)
Thematically and visually, then, it’s close to perfection – but, for some reason, I didn’t quite connect with it. Perhaps it’s because I’ve never seen a ‘contemporary opera’ before, despite how exceptional the singers are, how authentic Coult’s score is or how vivid it sounds in the hands of the London Sinfonietta, conducted by Andrew Gourlay. If you’re immersed in the worlds of opera or experimental theatre, you couldn’t ask for better – but, like the twenty-first century laptop on the sixteenth-century table, I felt emotionally ‘displaced’ by the show, unable to ever fully tune into its frequency.
Frances Gregory in Violet (image credit: Marc Brenner)
My reservations are encapsulated in its ending: an unsettling animated sequence which is sure to divide audiences. It’s certainly divided me: on the one hand, I can appreciate how it underscores the themes of time doubling in on itself, of repetition and stagnancy. On the other, it shatters the strange magic of the first eighty minutes, and any sense of ‘hope’ along with it.
Richard Burkhard in Violet (image credit: Marc Brenner)
Violet premiered at the Aldeburgh Festival in Snape Maltings, Suffolk, earlier this month and it’s easy to see why it’s had such an impact on audiences. I was caught up in its artistry and intrigue, and it’s made me want to explore the world of opera, modern and otherwise, all the more. Dynamic and affecting, what Violet conveys most effectively is that the end of the world might not come in a planet-shattering catastrophe, but in a creeping sense of hopelessness and dread: not with a bang, or even a whimper, but with the ringing of a bell.
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.
In the Year of our Lord 1984, a hero rose from obscurity to show a nation – nay, a world – how to lose its blues. The hero was Kevin Bacon, the movie was Footloose, and the story of a teenage boy who convinces a small town to dance again became legend. Now, the creatives behind the ultimate 80s feelgood film have brought it to the stage in a brilliant new musical: a blood-pumping, barnstorming thrill ride that’ll get you out of your seat and onto your feet!
The whole rootin’ tootin’ ensemble
Daniel Miles (filling in for Joshua Hawkins) is fantastic as the rebellious Ren, stepping into Kevin Bacon’s dancing shoes with ease. Star of stage and screen Darren Day does a superb job as the Reverend Moore (his interactions with the crowd are a highlight) and Lucy Munden makes a very impressive stage debut as his daughter Ariel.
Quite the quartet! Left to right: Oonagh Cox (Rusty), Jess Barker (Wendy-Jo), Samantha Richards (Urleen) and Lucy Munden (Ariel)
Every single person on the stage gives a 5-star performance and no-one misses a step, a note or a beat – no small feat, given that the actors are constantly having to swap between costumes, props, and instruments. The multitalented ensemble is on top form, bringing fun and flair to 80s classics like Holding Out for a Hero, Almost Paradise, and Let’s Hear it for the Boy – not to mention the riotous title track, brought to bubbly new life here – but X Factor star Jake Quickenden might just run off with the whole show.
Left to right: the brilliant Oonagh Cox as Rusty and Jake Quickenden as Willard
Playing Ren’s redneck wingman Willard, and simultaneously making the case for Magic Mike: The Musical, Quickenden has the charm and the chops to land every comedic curveball that’s thrown at him. I won’t spoil the best musical number but let’s just say if you’re holding out the a hero, you won’t be disappointed (Kylie Minogue, eat your heart out…)
Left to right: Ben Barrow, Alex Fobbester, and Ben Mabberley – a tremendous musical trio
Fun, frothy and fabulous, Footloose The Musical will truly get you to kick off your Sunday shoes and lose your blues!
You can follow on social media @FootlooseTour #EverybodyCutLoose
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.
Constellations is an honest, moving and at times humorous exploration of the impact of loneliness on our older generation, and the power of community
Devised and performed live over Zoom, Constellations will premiere 15 – 17 June 2022
Welsh Arts in Health charity Re-Live have announced the premiere of their latest creative ageing theatre show – devised and performed by a diverse cast of older people living across Wales, aged between 72 and 95.
Constellations is a candid and urgent exploration of the impact of loneliness and isolation on our elderly community. With playful humour and refreshing honesty the nine members of Re-Live’s Company of Elders explore the stigma of loneliness and how the arts can build resilience to cope and respond to this issue.
In the post-pandemic world, whilst theatre productions are now back ‘in the room’, working with an aging cast presents unique challenges that makes Zoom performances the perfect medium. For some of the cast, ill health means that leaving the house is difficult, for others their geographical isolation keeps them apart. By rehearsing and performing live on Zoom, the pan-Wales cast (from Cardiff to Caernarfon) are able to create together and share their experiences from their homes.
The cast of Constellations includes:
Julian Moyle, an opera singer who at the age of 95 has recently married for the first time making headlines around the world.
Nicky Delgado, 74, who had a stroke during lockdown, is rehabilitating his speech and movement through taking part in the project. His stroke has left him unable to leave the house, but in the digital world he can express his poetic soul from his armchair.
Jill Grey, 82, received a scam phone call and shares its devastating impact on her confidence and desire to connect with others. Jill uses the arts to boost her wellbeing, through summoning memories of Jive nights in 1950s Cardiff.
Nora Jones, 76, is living with Parkinson’s and shares how despite the challenges she faces in her life as an older person, the greatest challenge of her life was combating isolation when living in London. Since she moved back to Wales in later life, she has found a new sense of community and loves nothing more than speaking Welsh again.
The performance is in memory of Company of Elders member Michael/Michelle O’Neil, 84. During their time in the group Michael/Michelle was able to share their transgender identity, and how living with the secret had prevented them from finding real belonging. Michael/Michelle died in April, but they found total acceptance within this group of creative, non-judgemental older people.
“Digital exclusion can have a hugely negative impact on an older person’s life, leading to an increase in loneliness and social isolation.” says Karin Diamond, Artistic Director of Re-Live.
“Since Covid we all understand how vital it is to be connected digitally, but it’s a myth that most older people in Wales are online. Re-Live are delighted to partner with Welsh Government to enable this incredible group of inspirational elders to connect online and get creative together.
“Older people have so much to share, and we all miss out when we don’t hear directly from them. The Company of Elders are paving the way to inspire older people across Wales to get creative online. They are crossing the digital divide, in some style.
“It’s been amazing to discover how much you can do on Zoom with a group of older people who are all in different places around Wales. The level of intimacy and connection in a shared online space is remarkable. It can also be deeply frustrating when someone has logged off accidentally, or their computer is suddenly restarting. But despite the technical hiccups every member of the Company of Elders is a star, and though they live far apart they come together online to form a bright new constellation.”
Constellations will premiere live over Zoom at 1pm on 15, 16 and 17 June 2022, with an evening performance at 7pm on 16 June. Tickets are priced as pay-what-you-can and are available from http://www.re-live.org.uk/constellations
What follows is a syndicated interview with Footloose designer Sara Perks
Following two critically acclaimed tours and huge popular demand, Footloose The Musical is back and better than ever! Touring the UK until August.
This brand-new production of Footloose is created by Sara Perks who has designed in the region of 250 productions. Sara has been nominated for Broadway World Awards, a Whats On Stage Award and an Offies Award. She holds an Edinburgh Fringe First; The John Elvery Theatre Design Award and a Vision Design (Costume) Award from the BBC.
We spoke with her to find out more about the life of a Theatre Designer and to find out more about her inspiration for the Footloose Uk Tour.
Can you tell us a little bit about life as a theatre designer – what made you go into this field and who or what were your inspirations
At the moment it’s very busy but it tends to be a bit ‘feast or famine’. Currently I’m working on four shows which are all at different stages in the process. For me Covid has meant that all my work suddenly got bunched up together which makes for a lot of plate spinning and juggling of schedules.
My inspirations were and still are the ability to create a live experience that an audience is able to experience together and enjoy together in the same room. To be connected to something visceral that is happening in front of them – nothing will ever replace that.
You have designed both the costumes and the set for this brand-new production. What is the process of making this happen?
A designer’s process follows a set of deadlines really. I discuss the needs and wants of the production with producers and the director initially, then filtering in what the choreographer, musical director and lighting designer would like to achieve.
All of this along with my own creative reaction to the piece results in a preliminary design – a ‘white-card’ model box which is a scale model of the proposed design at 1:25, with technical drawings. This is then commented upon by the creative team and producers and roughly costed, because of course there is a budget attached to every production that needs to be considered as well.
I would then take the design and model to the next stage – a final. This would be in full colour with all the chosen finishes and renders. This is then costed and signed off precisely.
An independent scenic workshop is selected on tender to build. From that point I work between them, the production manager, the rest of the creative team and rehearsals to try to ensure everything is on track, and make sure information and alterations proceeds as required
And that is just the set. What about costumes?
Amongst this whole process (which can span over years or just weeks depending on the size of project) I’m busy designing costume. There are similar deadlines, but these tend to be a bit more fluid especially if it is a show that is more based on sourcing vintage items to buy, rather than having a lot of costumes made.
Footloose being set in the 80s was almost all vintage sourcing so I worked very closely with a costume supervisor, my right hand really when it comes to costume, to make that happen. We shop, buy online, fit and alter, adapt and repurpose all through the rehearsal process and well into the technical rehearsals in order to create the right looks.
It’s a big cast – how many costumes were sourced and created?
After we got past 80+ we stopped counting!
Can you tell us about what audience expect to see in terms of design and what helped to influence this. Can we expect a real 80’s vibe?
When we started the process (over 2 years ago – a small thing called a pandemic got in the way!) the restyling 80s retro look was very in vogue.
We looked at shows like Stranger Things and 2 years later – Sex Education, in the way that they are clearly 80s but restyled with a modern eye, and not completely slavish to period. It was all about looking cool and right for character.
However I’m old enough to the remember the film when it came out and was the same age as the characters in the 80s so my own experience went to some of the costume and hair inspiration!
In regard to the set the inspiration for it really is the classic iron rivetted bridges that you find all over America spanning rivers and gorges. Like the Potanwey bridge that is mentioned by Ariel in relation to her brother. The Williamsburg bridge in New York is another example.
The bridge and town limits are central to the plot of the show and why the town of Bomont is under restrictions on socialising, so it seemed a good metaphor to use as a frame for the whole concept.
Do you have a favourite costume in the show?
I love Wendy-Jo’s yellow jumpsuit; and there are several great classic 80s prom dresses in purple; green and cerise, but I think the Rev’s white sequin jacket for the mega mix would have to be the favourite. And Darren Day wears it so well!
Many might say ‘the gold pants’ (and those who see the show will know why!) Tell us a bit about the gold pants! Although most of the design is new they’ve been revived from previous productions is that right?
These are a bit of a ‘surprise’ in the show – I won’t give it away completely – but they always go down a storm with audiences so we decided to keep it in for this new production. For me it’s the highlight of the show!
Finally, what would be your top tip for audience members who might come along dressed up for the show – how do you create the perfect ‘Footloose’ outfit?
It’s not just a pair of legwarmers or neon socks. You could choose to go full ‘cowboy’ and join in with some line dancing at the ‘bbq’ at the start of the 2nd half; or grab a taffeta block colour party dress or ra-ra skirt for the prom. If you want a more tailored look a velvet or sequin tux with jeans would fit right in as well.
Based on the 1980s screen sensation which took the world by storm, Footloose The Musical sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose.
Everybody cut loose for a night of dazzling excitement music and dancing!
For full listings visit www.footloose-musical.com follow on social media @FootlooseTour #EverybodyCutLoose
What follows is a syndicated interview with Footloose star Darren Day
Following two critically acclaimed tours and huge popular demand, Footloose The Musical is back and better than ever! Touring the UK until August. TV star and musical theatre favourite Darren Day joins the cast of the tour as Rev. Moore and we caught up with him to find out a little more about the tour and his role in the show.
You’re back on the road In Footloose The Musical how does it feel to be back on tour?
We were about to go into rehearsals for Footloose when the Pandemic hit and the tour was rescheduled a few times before dates were set for our 2022 opening, almost a full two years later than originally planned and it is amazing to be back out there with the show.
2020 was devastating for us all. But coming out of the other end things have really started moving quickly for me. Having not been able to perform during the pandemic, going back on stage and being part of a big musical feels so magical, in the way it felt when I landed the role of Joseph at the Palladium at the beginning of my career.
I recently finished the UK tour of Chicago which was brilliant and during that tour I saw a genuine thirst for live theatre so couldn’t be more delighted than to move straight into another tour with Footloose.
In all of my years as a performer in Musical Theatre I don’t think I have jumped straight from one tour into another… I feel very lucky.
Can you tell us a little bit about this tour of Footloose?
This production of Footloose is particularly a special, even if you have seen it before you will want to see it again… and this new version will blow you away. It’s been reworked with a new set, new costumes. The lot.
Racky Plews, who’s directing, has brought an edgy and exciting new take on the show. She’s been working closely with the writer of the original movie and songs, Dean Pitchford and his input into this new production has been invaluable.
The cast and the whole team on this are truly ‘the cream of the crop’ a really gifted bunch of performers. Acting, singing, dancing and playing instruments throughout the show.
And what about your role as the Reverend?
I’m so happy to be playing the Reverend. Over a decade ago I met with the producers for Footloose and Chicago within about three months of each other. I was told I didn’t look old enough! So … the only downside of me playing these two roles back-to-back is that I must now look ‘old enough!!’
Since those meetings all those years ago Billy Flynn and the Reverend have been on my bucket list of roles I desperately wanted to play, so to get the opportunity to play them both in one year is incredibly exciting for me and I feel deeply grateful.
Having a teenage daughter myself (in real life!) I have a lot of ‘method’ experience to draw upon! It’s tough letting your ‘little princess’ out into the big bad world!
What do you think keeps Footloose so fresh and keeps audiences coming back for more?
The great thing about Footloose which I think separates it from other ‘jukebox’ shows is that Dean Pitchford wrote the songs specifically for the movie. So, not only are these songs instantly recognisable the second the intro to them begins. they also carry the plot forward in a very truthful way. Apologies for that sounding incredibly ‘arty’ and ‘theatrical’ But they do!
In the show there are these massive hit tunes that everyone recognises along with a strong and beautiful storyline. It’s a really feel-good show – no doubt about it.
Do you have a favourite moment in the show?
I guess one of my favourite moments in the show is my solo song ‘Heaven Help Me’ It’s a brilliant tune with beautifully written lyrics. Also the poignant moments with the Reverend’s daughter are lovely to play – and the revelations that happen to him.
My favourite moment in the rehearsal room was when I sat and watched the cast perform the opening number of the title song. I got goosebumps and thought to myself if this is how it feels in a rehearsal room the way it’s going to feel with a set, costumes and on a stage with an audience will be breath-taking.
Finally – why do you think people should come and see Footloose this year across the UK?
You are going to have the most incredible night. You’re going to hear songs that are instantly recognisable, and I challenge you not to sing along to them. There are big numbers, there’s a beautiful story going on, the cast are ridiculously talented. You’ll leave the theatre buzzing after having a very special night out. We will have a ball and I can’t wait to see everyone up on their feet at the end to cut loose!
Based on the 1980s screen sensation which took the world by storm, Footloose The Musical sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose..
Everybody cut loose for a night of dazzling excitement music and dancing!
For full listings visit www.footloose-musical.com follow on social media @FootlooseTour #EverybodyCutLoose and follow Darren @DarrenDayOfficial for a peek behind the scenes of the tour!
If Katie Elin-Salt was in any doubt then the opening night of Celebrated Virgins was a moment to feel assured. Her excellent play, telling the story of the Ladies of Llangollen, was received by way of rapturous applause at its conclusion. And deservedly so. For this exploration of the relationship between Sarah Ponsonby and Lady Eleanor Butler, for the first time from their points of view, is full of heart, humour and hope.
(C) FfotoNant
It is to all intents and purposes a costume drama. Yet it is also much more than that. The whole creative team have worked hard to ensure that this is a truly immersive experience. The audience is transported immediately back in time thanks to the glorious attention to detail. From the dark oak wood stage to the corseted costumes, the realism of the props to the flute- and mandolin-infused soundtrack, the representation of the story’s 18th century setting is second to none. But it really comes to life under the direction of Eleri B. Jones, who utilises all of these elements within the intimacy of Theatr Clwyd’s new performance space, The Mix, to create a show that feels both authentic and contemporary. Such is the vibrancy that Jones injects into Elin-Salt’s script that the audience does not simply see the characters on stage; they come to share in their experience. This ensures maximum empathy, which is also a strength of the first-person narrative.
Katie Elin-SaltEleri B. Jones
In placing Sarah (Heather Agyepong) front and centre from the beginning, Elin-Salt ensures that this first-person perspective remains the focus throughout. She subtly reveals the ways in which wealth and patriarchy attempt to take over her story through Sarah’s adoptive parents William (Seán Carlsen) and Lady Betty (Emma Pallant). An incident with the former, which rightly comes with a trigger warning, is a particularly visceral moment that is deeply uncomfortable to witness. Yet from or in spite of these moments, the quiet strength of Sarah persists in both determining her own self-defined path as well as forging a relationship with Eleanor (Victoria John). From their first meeting, it is clear that there is a spark between them. Agyepong and John allow the two to bounce off one another with ease, the dialogue zipping between them with a playfulness that captures the gentle blossoming of romance. There is a montage early on that is wonderfully cinematic that contributes enormously to the beautiful development of their love. Both characters have their vices and virtues, and both actors tease these out in ways that strengthen their relationship. For example, the prim and proper façade of Eleanor is broken at times by a vulnerability and fear, brought about by Sarah’s emergent steeliness from behind a more sensitive and considerate guise. They open one another’s eyes and hearts not only to themselves but others. It is lovely to watch, and draws admiration aplenty.
(C) FfotoNant
Emma Pallant is deserving of special mention for her star turn as the Ladies’ housekeeper Mary. Her monologue at the beginning of act two is hilariously unbecoming, gutturally frank, but also delightfully poignant. It’s a real scene stealer which will also strike a particular chord with listeners of The 98% podcast. For Katie Elin-Salt’s sardonic wit and truth-filled personality can’t help but burst through the pages of the script here. They are delivered masterfully by the exuberant Pallant who appears to relish the chance to address the audience with this most excellent of dialogue. It is but one instance in what is a superb whole: a story that Elin-Salt declares “has taken nearly 300 years for it to be put on a stage”. This may be a bewildering fact, but on this evidence, I should think that it was just waiting for the right person to come along to tell it.
Celebrated Virgins runs at Theatr Clwyd until the 4th June. Tickets can be booked by clicking here.
Living legend Carole King has left an indelible mark on musical history. From her days penning teeny-bopper hits with her first husband Gerry Goffin to becoming a hugely influential singer-songwriter in her own right, King’s impact is undeniable. By the time King and Goffin were inducted into the Rock ‘n’ Roll Hall of Fame in 1990, they’d penned over 400 songs which resulted in more than 100 hit singles by such artists as Aretha Franklin, James Taylor, and the Monkees. When their marriage broke down, King struck out on her own – and her journey to the stars is told to great effect in Leicester Curve’s touring production of Beautiful: The Carole King Musical (with Theatre Royal Bath and Mayflower Theatre). But unlike the Broadway and West End versions which preceded it, the songs are performed entirely by an ensemble of actor-musicians who truly do create ‘Some Kind of Wonderful’.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Written by Douglas McGrath and directed by Nikolai Foster, Beautiful charts Carole’s journey from a gawky teen in the Bronx to a star who can sell out Carnegie Hall, and that’s where the show begins and ends: with Carole waiting in the wings, about to play her first concert performance in front of an audience. The concert followed hot on the heels of the multi-award winning Tapestry, which remained the bestselling album by a solo female artist for 25 years. If you’ve seen any music biopic, you’ll know the drill: a future icon rises from obscurity into the big leagues. It’s a credit, then, to the stellar cast that this tale as old as time feels fresh, new, and utterly joyous.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
As Carole King herself, Molly-Grace Cutler is nothing short of transcendent. Cutler brings a tremendous amount of passion, warmth and emotion to the role, and a genuine intensity to the musical performances that makes you understand why King’s songs still resonate. If Cutler’s rendition of (You Make Me Feel Like) A Natural Woman doesn’t give you chills, then you might well have died and gone to heaven. She’s so likable and well-drawn that you really feel You’ve Got a Friend in her. Cutler is a natural in every way and she captures both King’s voice and her soul.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Meanwhile, Tom Milner does his job a bit too well as the troubled, two-timing Gerry: by the time he reappears at King’s closing concert, the audience were so close to booing him it was as if we’d stepped into a pantomime! It’s a credit to Milner, Cutler and the cast that the audience were so invested in their characters. Meanwhile, Seren Sandham-Davies and Jos Slovick are hilariously charming as Cynthia Weil and Barry Mann, a songwriting duo who blazed their own trail in music history (You’ve Lost that Lovin’ Feeling, Who Put the Bomp) and whose rivalry with King/Goffin is tempered by a genuine sense of friendship.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
The cast are in a constant flow across the stage, seamlessly changing between costumes, characters and musical instruments. The Drifters are on particularly lively form (special mention to Kevin Yates on tambourine), and they bring a genuine sense of playfulness and fun just as The Shirelles bring more than a little glamour. Weil and Mann’s On Broadway – performed by the Drifters in sparkly jackets and Ben Cracknell’s equally glitzy light show – is one of the standouts, but there’s little that can compare with the aching grace of Will You Still Love Me Tomorrow? or the saucy roar of I Feel the Earth Move. Edd Lindley’s costumes place you in the era while Leah Hill’s choreography looks to the future, and Frankie Bradshaw’s music studio-set makes you feel as if you’re part of the action.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
The perfect ensemble ensures that the show really lives up to its name and they weave a sumptuous tapestry through some of the finest music you’ll ever hear – it’s no surprise that the audience was on its feet by the end. The show has a lot to say about forging your own path, and it concludes that while your story might find more success in another’s voice, your own is always the most beautiful.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Review by Barbara Hughes-Moore
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What follows is a syndicated interview with the stars of Beautiful: The Carole King Musical: Molly-Grace Cutler (Carole King), Tom Milner (Gerry Goffin), Seren Sandham-Davies (Cynthia Weil), and Jos Slovick (Barry Mann)
What can audiences expect when they come see the show? Molly-Grace: It’s done by a full company of live musicians, which is very different to the original Broadway and West End productions and previous tours. It’s a really feel-good musical. It’s emotional and very heartwarming, to say the least.
Seren: There’s a lot of energy on stage and audiences are excited and happy to be back in the theatre. The music is infectious, we’re all so passionate about what we’re doing and everyone leaves with a smile on their faces and the tunes going round in their heads.
Jos: It’s like a gig within a play – lots of songs that people will recognise and lots of songs they maybe didn’t know were written by Carole King or Barry Mann and Cynthia Weil. They’re in for some laughs and some drama, and there’s something for everyone from ballads and rock songs to old-style show tunes.
Tom: There’s not a thing that any of our cast members don’t do. It’s full-on because we’re acting, singing, dancing and playing the music so the audience certainly gets its money’s worth.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Molly-Grace, how would you describe Carole King as a character? And do you feel any pressure about bringing her to life on stage? Molly-Grace: She’s an incredible music icon. She’s very driven and very determined, and you get to see how resilient she is as her story goes on. As for feeling the pressure, yes there’s a lot of that – especially given that she’s still to this day a living legend. But I’m very happy that I’m getting to play her and her music. The big challenge is in playing someone who is still around, so people will inevitably compare you to her as well as other people who have played the role before. It’s about doing your own thing whilst also paying respect to the people before along with Carole herself.
Tom, Seren and Jos, who do you play and how do they feature in Carole’s story? Tom: Gerry Goffin is her first husband and songwriting partner. In the show he’s quite chaotic, he’s always striving for more and he eventually suffers a massive breakdown.
Seren: Cynthia Weil is part of a songwriting team with Barry Mann whose paths cross with Carole and Gerry during the Brill Building era in the 60s. As a character she’s ahead of her time. She doesn’t conform and she’s very prescient, plus she’s very funny and having a female comic character to play is an absolute gift.
Jos: Barry, as Seren says, is Cynthia’s songwriter partner as well as her husband. He’s very sharp with a lot of that Jewish humour; think Larry David and Jerry Seinfeld because he has that kind of rhythm to him. He’s a humorous hypochondriac.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Were there things you were intrigued to learn about your characters? Molly-King: [Laughs] That she married many times after Gerry Goffin. I also learned she was incredibly resilient and let nothing stand in the way of her success. She wrote from the heart, and that’s evident in every song she’s ever written. They’re very emotional.
Tom: I’d heard of Goffin and King’s music but I didn’t realise how much they wrote and how much they did for the industry. I also didn’t know about him as a person. He was always chasing happiness and the next big thing, which set him on a downward spiral.
Seren: I knew all the Mann and Weil songs but I didn’t know about the people who wrote them. I was intrigued by how Cynthia grew up in a conservative Jewish family but went against the grain of having that traditional life.
Jos: I knew a load of their songs but I didn’t know who wrote them. When I was a kid I had this talking dog toy and when you pressed its paw it would play Who Put The Bomp. I remember asking my dad ‘Who wrote that song?’ and he told me Barry Mann. But that’s all I knew about him. I didn’t know he’d also co-written On Broadway and You’ve Lost That Lovin’ Feeling among many others.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
There are so many great numbers in the show. Do you have any favourites to perform? Molly-Grace: I’d have to say (You Make Me Feel Like) A Natural Woman because it’s such an honest, emotional song about her relationship with Gerry.
Seren: That song is very special because it has such an impact on the audience. I also love the rockier numbers and It’s Too Late, which has a jazzier feel. There are so many good songs, it’s hard to choose between them.
Jos: I play the guitar on It’s Too Late and it’s got a great groove to it. [Laughs] It’s my jam, as the kids say, and Molly-Grace sings and plays it wonderfully.
Tom: There’s a song I do with the cast called Pleasant Valley Sunday and it’s a great rocking, uptempo song.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
As an actor and musician, it must be great getting to bring all your skills to the table? Molly-Grace: Absolutely. We’re very lucky that we have such a talented cast of actors and musicians who create this amazing sound. Being an actor-musician is what I trained to do but I think these kind of productions are still pretty new for the theatre industry.
Tom: I love music and acting so getting to scratch both itches with this show is brilliant. I’ve done regular acting roles, especially on TV, that I’ve loved but it’s so creatively fulfilling getting to do a bit of everything.
Seren: Having actor-musicians play the parts works so well for this show because it has music at its core. When you have a story like Beautiful that’s all about music and musicianship, it takes it to a whole new level.
Jos: It’s always fun because I get to combine my two great loves, namely acting and playing music. Are there enough shows that offer the chance to do both? [Laughs] I’ll say no because I want to get more work!
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
Beautiful aside, what have been your other favourite theatre roles? Seren: I was in Brassed Off in 2015 and that was such an amazing job. The majority of us had a connection with mining through our families and we still keep in touch. Then I did a tour of Crazy For You which was great fun, getting to perform all those wonderful Gershwin tunes.
Molly-Grace: My first-ever job I did after finishing my training was a punk rock show called Oxy & the Morons and doing that straight out of drama school was very cathartic. I did a panto of Beauty and the Beast, I did Priscilla Queen of the Desert and I did a show called Girls Don’t Play Guitars and it was incredible playing a lead guitarist in a 60s rock-and-roll band.
Tom: My first-ever stage role was in a George Styles and Anthony Drewe musical called Soho Cinders and they were the first people to give me a leg up the musical theatre ladder because I was more of a TV boy. That was a real learning curve. Then recently I was in American Idiot and being able to sing Green Day songs for a year was great.
Jos: I was in Once, where I was a Czech burger joint manager and which I got to play bass, ukulele, banjo and mandolin. Then I was in the Theatre Royal Bath production of Bad Jews, which I loved because it’s such a great play.
Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster
What are you most enjoying about taking Beautiful around the country? And how do you hope people will feel when they leave the theatre? Molly-Grace: It’s about getting to share some incredible music with people as well as getting to share Carole’s story. A lot of people don’t know enough about her so it’s nice to show what she went through and how much she’s achieved.
Tom: It’s the kind of show everyone needs right now. We’ve all been through the pandemic and hard times and this show has such a feel-good factor. When we do the finale everyone is dancing, singing, clapping and smiling. For us to take it round the country and bring people so much joy is just amazing.
Jos: When we play the finale you can’t help but feel uplifted. Carole had a bit of a rough life but the music she produced was so wonderful that people will be skipping out of the theatre.
Seren: I hope they’ll be happy to be back in the theatre and that they feel excited and exuberant, and that they’ve made a connection during a time that’s been so hard for everyone. I just hope they feel the joy of this truly joyous show.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
