What do you get when you cross Yes, Minister with The Rocky Horror Show? You get Tony! [The Tony Blair Rock Opera], of course! This, at least, is the bonkers pitch from comedian Harry Hill and Steve Brown, the comic creatives behind the West End’s weirdest smash hit show.
Billed as “a reckless reappraisal of the life of former Ugly Rumours front man and Britain’s first pop Prime Minister Tony Blair“, it follows the titular Tony from Easy Street to Downing Street in a madcap musical experience like no other, featuring a cast of larger-than-life characters from George W. Bush to Princess Diana.
But don’t expect a history lesson, says co-creator Harry Hill: “In our world Tony’s born singing and dancing, Saddam Hussein is played as Groucho Marx, and Gordon Brown occasionally turns into the Incredible Hulk – let’s just say all the facts are there… but not necessarily as they occurred!”
Having opened on London’s West End in May, it now embarks on a UK tour, including a planned four-week stint at the Edinburgh Festival Fring,e and of course this week at Cardiff’s prestigious New Theatre. While the show is sure to divide audiences (it comes with a note that neither Tony Blair, the Tony Blair Institute, nor any other person featured in this production have endorsed or are affiliated with the production), Hill maintains that it has something for everyone: “It’s a show for Tony Lovers and Haters everywhere – and everyone in between.”
What was your original inspiration behind the Rocky Horror Show?
Someone asked me to entertain the Christmas staff party at the EMI Film Studios and so I wrote a song (Science Fiction Double Feature) and with the help of some jokes, performed to much laughter and applause.
In the New Year I wondered whether it might serve as as prologue to the germ of an idea that I had for a musical. I shared that thought with Jim Sharman who had directed Jesus Christ Superstar. Jim liked the concept and away we went.
Why do you think it is still successful today, half a century later?
It is simply a Musical Comedy and as long as it rocks, and the audience are laughing what more could you wish for?
It’s very inclusive, it’s very easy to watch. It’s not rocket science as far as narrative is concerned – Brad and Janet are a couple that we kind of recognise as Adam and Eve or Romeo and Juliet, like a stereotypical couple – we can all relate to them.
It is also a fairy tale which allows us to feel comfortable with its rites of passage storyline. A retelling of Hansel and Gretel if you like, with Frankfurter standing in for the wicked witch.
Richard O’Brien
The Rocky Horror Show creates an atmosphere that is different from other theatre shows.What about the show do you believe makes audiences feel comfortable joining in?
The innocent rather naughty fun of it draws not only a ‘theatre’ crowd but also people who want a fun evening and a guaranteed return on the investment of their ticket price.
What was happening in your life at the time you wrote The Rocky Horror Show?
I was a recent father of my first child and out of work when I wrote the show. 1972-73 was a moment of change. Glamrock and overt sexuality was around, gay people were coming out and there was a ‘buzz’ in the air. There are certain parts of the world where we are a little bit more free to be ourselves. London is certainly one of them. Back in the Seventies you had gay bars, but now you don’t need to because if you walk into most bars in London there will be a gay man behind the bar. That is rather nice.
The Rocky Horror Picture Show (1975)
How do you believe the show supports those who are questioning their identity or sexuality?
The support for the LBGT community was unintended but it is a very welcome addition to the laughter and toe tapping.
Has the show supported your own journey surrounding your identity?
It must have been, to some extent, cathartic but I have always gone my own way and played the cards that I was dealt at birth the best way that I can.
Do you have a favourite character?
I would have loved to have played Rocky, that would have been cool, wouldn’t it? But one thing is essential, you have to be rather handsome, and you know, muscular, and that ain’t going to work. I could have played Janet. They’re all so stupidly wonderful these characters, they’re iconographic.
How do you think the live shows compare to the film?
The live show has an energy that the movie doesn’t have – it wasn’t intentional, but the film was very slow. Once some fans came up to me and said, “did you leave the gaps between the lines so that we the audience could say our lines?”. I said, “Well, ok yes”. But no we didn’t. The movie is a very surreal, almost dreamlike journey, the live show is far more rock and roll.
From the 2022 tour of The Rocky Horror Show
What’s your favourite part of the show?
The noise at the end of Rocky is wonderful – it is empowering and exhilarating at the same time it is quite joyous. Rocky never fails to deliver. Each performance lifts the heart and the nightly laughter and roars of approval leave the whole cast with a sense of wellbeing and accomplishment that you rarely get from any other shows.
The Rocky Horror Show remains a huge hit around the world. Do you think the show would be as successful if written today?
Timing is very important as is luck. Zeitgeist sums it up. There are lots of variables in this equation, for instance, would it have been as successful if someone other than Tim Curry had played the lead?
How has the show developed over time? Have there been any adaptations in the past 50 years?
It has remained much the same through the years. If it ain’t broke don’t fix it.
How different do you think your life might have been without Rocky?
I have no idea but, I would have had a good life because I am made that way. My journey has been a different one than others. I guess some people have a game plan. I would imagine they’re rather humourless. Most of us get an opportunity and we wing it. Luck plays an awfully big part in our lives. You should never underestimate that. I am the luckiest person on the planet. I shall be happy as long as I can keep singing.
The Rocky Horror Show is currently touring the UK as part of its 50th anniversary. It plays in Cardiff’s New Theatre in April – more information and how to book tickets here.
This is a syndicated interview for An Inspector Calls, which is performing at Cardiff’s New Theatre from 18-22 Oct 2022. The death of a young woman at a high-class dinner party summons Inspector Goole to the scene of the crime in JB Priestley’s classic thriller. Stephen Daldry’s multi award-winning National Theatre production returns to embark on a sweeping UK. Stars George Rowlands and Evlyne Oyedokun, discuss why it’s the ultimate theatrical thriller.
Did you study An Inspector Calls at school? If so, did you enjoy it when you first read it? Do you think your appreciation of the play is different as an adult?
George: I did read it at school, although I can’t really remember much of it. But I did always like it. I always think at school when you sit down and analyse every single word it can make you go a bit crazy, and I always thought it ruined books and plays. But now that I’m an adult, or more importantly now that I’m an actor, I definitely have more of an appreciation for it.
Evelyn: I actually didn’t study An Inspector Calls at school, I studied To Kill A Mockingbird. I’d heard about An Inspector Calls but I didn’t really know what it was, or really anything about it. It wasn’t until I got this audition that I actually read the play for the first time, and I still didn’t quite understand it. It took me a while to realise how many layers this play actually has.
This production of An Inspector Calls is now 30 years old and yet still as popular as ever. What do you think makes the play so timeless and this production so engaging? Evelyn: Well, the fact that is has three timelines helps. It’s set across three timelines – you’ve got 1912 which is where the play is set, then you’ve got the future, which is the Blitz, 1945, and then you’ve also got the current now, 2022. It’s amazing. You’re flicking through the past, present and the now constantly, and it’s so reflective on humanity so it makes it so relevant, and people can really see themselves.
George: At the end of the day, at its centre it’s a play about somebody in distress, and that doesn’t get old, does it? I think at different points in time when we’ve put it on over the last 30 years, it’s been relevant. And this time around I think it’s more relevant than ever because of what’s going on in terms of the strike action and housing crisis.
Can you tell me three facts about your character?
George: Eric is well educated because he’s been sent to public school. He enjoys a drink, probably a little bit too much. The third fact is that Eric really wants to be respected by, namely his dad. Unfortunately, the combination of those three facts results in some pretty catastrophic things.
Evelyn: Three facts about Sheila… well she’s absolutely besotted with Gerald. She is very self-absorbed and in her own world, as she’s been brought up that way. She absolutely adores clothes. It’s hard to give facts without spoiling it!
What made you want to be an actor?
Evelyn: Oh gosh! With me, I actually didn’t ever want to be an actor, it happened by accident. From a young age I was struggling with people, and I never really spoke – I was pretty much mute to people I didn’t really know. My mum advised me to go and see a youth company at the weekends, so I did that, and I didn’t realise how natural it was to act as it is to live in the real world. I was a lot freer. That’s how I realised it’s the only thing I can do. Drama school taught me how to speak, and acting taught me how to be more of a human than I ever was.
George: I think it beat doing any other boring job. I did find out quite early on in Year 6, for the end of school plays we did Wizard of Oz and I completely rewrote the script because I thought it was rubbish, and obviously made my parts the best. I like storytelling and I like the creative and artistic aspect of it. With this production it has enabled that part of acting, and it’s been a really good creative process.
What’s the best part of about going on tour with a show?
Evelyn: It’s exciting to share a relevant story with so many people. We come to you guys, and you stay where you are.
George: Being able to play in these amazing theatres, I’m really excited to do that, and bringing the story to people.
Do you have any particular venues on this tour that you’re most excited to visit?
Evelyn: To be honest my main one would probably be New Wimbledon Theatre because it’s the one my mum will get to see.
George: Well, I’m excited about them all. But Bromley Churchill Theatre I have a funny connection with because I did a play there last year, in the studio. I was doing Macbeth at the time, and I think Jon Bishop was playing above us. They’d hired security and there were loads of people, and we were underneath doing sweaty Shakespeare in a room. And now cut to a year later and I’ve gone up, literally upstairs. I’m excited to do that, and I also love Bromley as I lived there for a while.
What advice would you give me about going on tour? Are there any essentials to have in your dressing room, or top tips for making yourself feel at home in each town/city?
Evelyn: I’m really bad at this stuff, a lot of people tend to make their dressing rooms cosy with nice blankets and things. I just bring everything that I have in my bag and that’s pretty much it. Some people put up fairy lights and flowers, but for me I’m very simple. With autism, as long as I’ve got really comfy clothes, a phone charger and headphones to cancel out sound, I’m all good.
George: I’m sharing a room with Simon who’s playing Gerald. I don’t know… I think a bottle of water goes a long way. A bottle of water and some Vaseline is not a terrible idea – for the lips, obviously. I get chapped lips.
What’s the most challenging part of being a performer?
Evelyn: For me it’s not being able to see your work or the story you’re creating because you’re so involved and living in the moment of it. You don’t really see the end result. I feel that the end result is mainly the response from the audience, if they got the story then we’ve done our job. I think that’s the most challenging part of it.
George: With other jobs you can put a direct amount of work in, you can work more, you can do this this and this and your results will be better because of it. Like if you’re studying for an exam, the more you revise the better the result. But with acting it doesn’t work like that because being good is so subjective – there’s no grade. I think that’s quite hard. Putting lots of work in and not knowing really how it will go.
Evelyn: One of the sayings at RADA was, ‘plan it, know it and forget it’ – it’s the hardest thing to do, but it’s the most rewarding thing to do.
If you could swap roles with the other person for a performance, would you?
Evelyn: If I had to be someone out of all the characters it would definitely be the inspector, because I’m obsessed with crime documentaries and serial killers, everything to do with murder, unsolved murder, unsolved mysteries, death row, all of that! I’ve pretty much seen everything and I rewatch it to go to sleep.
George: If I could pick any character I’d probably pick Edna. I would love to play the role of Edna. If you haven’t seen this production, there’s a special thing that Edna is part of – a little bit of magic. She’s amazing. My second choice would be Mrs Birling. I really like Mrs Birling, she’s got such sass, and doesn’t have the insecurities that Eric is stuck with.
An Inspector Calls is playing at Cardiff’s New Theatre from 18-22 Oct 2022.You can find out more about the production and book tickets here.
This is a syndicated interview for Fisherman’s Friends: The Musical, which is performing at the New Theatre Cardiff from 25-29 Oct 2022. Stars Robert Duncan, James Gaddas, Susan Penhaligon, along with director James Grieve and writer Amanda Whittington, discuss why it’s the ultimate feel-good show.
As the world premiere production of Fisherman’s Friends: The Musical embarks on a UK and Ireland tour, director James Grieve promises audiences are in store for “a feel-good, foot stomping, sea shanty musical telling the astonishing story of the world’s least likely boyband”.
Based on the true story of the Cornish singing sensations and the smash hit 2019 film about them, the show has already played to packed houses at the Hall for Cornwall in Truro – where it broke box office records as the most successful production in the venue’s history.
Grieve is in no doubt as to why the musical, with its mix of comedy and drama, was so rapturously received in Truro and why it is sure to captivate audiences around the country. “It’s so heart-warming to see a group of very normal, humble people achieve something extraordinary,” he says of the tale of a bunch of fishermen who come together to sing traditional working songs to raise money for charity, never expecting to land a record deal and end up performing at the Pyramid Stage at Glastonbury.
“The real Fisherman’s Friends are ordinary blokes who work hard as fishermen, farmers, builders and shopkeepers. We all see ourselves in them. They never sought fame and fortune but it found them and their remarkable talent, and it’s wonderful when good people get justly rewarded. That’s what makes this story so uplifting. But more than a story about finding fame and fortune it’s a story about friendship, loyalty, community and the unbreakable ties that bind us, and it is full of humour.”
The multi-level set designed by Lucy Osborne recreates the fishing village of Port Isaac, including the famous Golden Lion pub where the lads first begin singing over a few pints, as well as the Atlantic ocean and locations in London.
There’s also a life-size boat on stage, with the director adding: “We wanted to capture the hard graft and very real danger of life as a working fisherman at the mercy of stormy weather and rough seas. I’m fortunate to be working with a world-class team of creatives who have summoned howling winds, towering waves and vicious storms through dazzling design, lighting, sound, choreography and music.”
As in the film, the audience discovers the Fisherman’s Friends through the eyes of Danny, a music manager who stumbles into Port Isaac and finds his life transformed by the village, the band and the songs.
Starring as Jim, the group’s lead singer, James Gaddas is no stranger to musicals. He’s known for Bad Girls and Hollyoaks on TV but he’s also been in the likes of Billy Elliot, Spamalot and Mamma Mia! on stage. “But I’ve never done anything like this before. It’s earthy and visceral. The music is strong and grounded. It dates back as long as 200 years ago, with the fishermen adapting it for today but staying true to those roots.”
There are 37 musical numbers in the show, including most of the songs from the film and many more besides, with the singers accompanied by seven folk musicians who between them play around 40 instruments. “And the band are stunning,” James enthuses. “You get a cappella performances, then the counterpoints when the musicians join in.”
The actor describes Jim as a man for whom his boat, his crew and singing with his mates are his life. And Gaddas feels there’s a universality to the characters, noting: “These are people you can relate to and we all want that magic moment when things turn around for everyday people doing everyday jobs. It’s like a kid playing football in the park and a scout just happens to be there. It’s something unexpected suddenly happening to the underdog.”
Robert Duncan plays Jim’s father Jago, who is in his 70s and the elder statesman of the group. Born in the Cornish town of St Austell, Duncan didn’t hesitate to say yes to the show. “It’s set in a place I know very well,” he says, “and I was excited about doing something from my own neck of the woods. It’s like me paying homage, plus I’d never done a musical before.”
The star of Drop The Dead Donkey has toured in Twelve Angry Men and Rehearsal for Murder. How is he finding singing the sea shanties? Robert laughs. “It’s certainly not water off a duck’s back but David White, our music supervisor and arranger, told me ‘We don’t want the most wonderful voices in the world, these are fishermen, so do it as you believe working people would sing’. I did sing in choirs when I was younger but before this I’d never have had the confidence to sing a song on stage. Somehow this felt like the right time and when I was given the opportunity I grasped it with both hands.”
The story, he believes, is in many ways specific to Cornwall yet it has a universal appeal. “Some of the things in it are peculiarly Cornish but the idea of how the landscape shapes people is true wherever you go. Plus it’s about community and getting through things together, which is now more relevant than ever.”
Duncan believes audiences around the country are going to love the songs in the show. “The a cappella group, which I feel privileged to be a part of, creates such a strong sound and it touches people. There’s a lot of emotion in this play and it’s not just a cappella, we also have the folk band who are so talented they can play anything. They become a part of the community on stage, wondering around with harps and double basses.”
Playing Jago’s wife Maggie is Susan Penhaligon, who was also raised in Cornwall and says: “There’s an old phrase ‘Cornish women be brave and stubborn’ and that’s what Maggie is. Her roots are in Cornwall and she’s typical in that she’s independent, free-thinking and tough. I love her and I feel like I know her.”
Having lived in St Ives and Falmouth from age six until she went to boarding school in Bristol when she was 11, Penhaligon adds: “Fisherman’s Friends is a Cornish story and they don’t come along very often. As far as I’m concerned, we’re exporting the right kind of Cornish culture rather than bobbing boats, pasties and jam and cream on scones. It’s not the picture postcard image, it’s the real Cornwall.”
Asked if she can relate to Maggie as a character, she laughs. “Yes because I think I’m also brave and stubborn.” And she agrees the story will resonate around the country. “It’s has a truth to it and it’s about history. There’s something basic and organic about it that touches people and the music is fantastic.”
The actress came to fame in Bouquet of Barbed Wire and is known for A Fine Romance and Emmerdale on TV and a variety of stage roles including Three Sisters and Of Mice and Men. Fisherman’s Friends is only her second musical, after she played Fräulein Schneider in the 2017 tour of Cabaret. “And I’ve never been so terrified in my life,” she recalls of singing on stage for the first time, “but by the end of the run they couldn’t get me off the stage.” She laughs. “When it comes to the singing, I’m an actress who gets away with it.”
Adapting the story for the stage, Amanda Whittington points out: “It’s a fascinating world to explore and discover. Port Isaac and the fisherman’s way of life is rich territory for drama and the characters are funny, real and recognisable. “Then of course there’s the sea shanties, which are beautiful and timeless. The traditional shanties are the backbone of the story but there’s also contemporary songs of the sea and wonderful new songs written especially for the show.”
The writer, whose previous stage adaptations include Saturday Night and Sunday Morning and Tipping the Velvet, is seeking to strike a balance between fact and fiction, explaining: I love the fact it’s about a real place and time, yet it’s full of mythical and magical elements. It’s about making sure we stay true to the original fishermen’s story but embracing the possibilities theatre brings.”
As for what she hopes audiences will take away from seeing it, Amanda says: “Times are tough and we want Fisherman’s Friends to be a joyous and life-affirming experience for all. It’s a story about the place you call home, whatever and wherever that is. I also think you’ll be literally taking the songs away in your head and heart. Once heard, they’re never forgotten.”
What follows is Richard Barber’s syndicated interview with Gareth Malone, who is touring his new Sing-Along-A-Gareth! show throughout the UK this autumn
He’s taken the Military Wives to the top of the charts. He’s had us all singing from our kitchens during the pandemic. Now the irrepressible Gareth Malone, choirmaster extraordinaire, will be spreading joy the length and breadth of the land together with his band, four professional singers and a choir, local to each venue, on a tour of Britain’s theatres.
Sing-Along-A-Gareth! (“I like the fact it’s got Gaga in the middle,” he says, with a smile) opens at The Lowry in Salford on October 26, taking in, among others, Liverpool, Cardiff, Bath, Norwich and London at the Cambridge Theatre on December 5, before coming to a rapturous climax in Poole on December 16.
“I’ve been involved in choirs for many years now,” says Gareth, “and then along came performance stuff on TV. But I’d never quite married the two together although, on previous tours, there was always audience participation, moments when I’d encourage people to join in with the singing.”
During the pandemic. singing was as good as banned. Then came the Great British Home Chorus which saw thousands of people around the country sing with Gareth from their kitchens, bedrooms and living rooms. Every day at the same time, Gareth would bring joy through music into people’s homes reaching an average of 20,000 live viewers every rehearsal.
So, was a tour part of the plan? ‘I promised myself that once lockdown was over, I’d get back on the road and get out in front of audiences. I wanted to hear people singing again and to entertain them’.
As soon as he put the word out, he started receiving messages from people saying their whole choir would be there. “I love that. I see this tour as a celebration of people coming together after all those months of isolation. It’s certainly the first time for almost three years that I’ll have been on the road performing in public.”
Gareth Malone
The first half of the show will see Gareth, and a group of singers and musicians, perform songs he’s sung over the last fifteen years as well as some tracks he performed with the nation during lockdown. Playing piano, guitar and bass, Gareth will tap into the musical talents of the audience to write their own songs composing something special and unique to every venue. In Cardiff, it might be about Cardiff Bay.
The second half will see a local choir from each venue perform with Gareth, continuing the fun and bringing people together. Improving mental health, wellbeing and happiness, singing encourages a real sense of community, something that was so lacking during the pandemic. Gareth is happy to bring back that sense of togetherness with a feel-good evening of upbeat fun tracks we all know and love which everyone can easily sing along to.
He’s put together a song list, available now online, for the show. “I’m adding to it all the time but it’s guaranteed to include arrangements for some of those numbers people will be familiar with from Home Chorus.
So, what will audiences be singing?
“Elton John’s I’m Still Standing for its positive message,” he says, “and Walking On Sunshine by Katrina and the Waves for its joyful optimism.” There will also be Hey Jude (arm-waving obligatory) and Wake Me Up, the Avicii song sung by Gareth’s All Star Choir which topped the charts in 2014 when it became that year‘s Children In Need anthem.
“And I’d have to have Simon & Garfunkel’s Bridge Over Troubled Water.” Then, of course, there will always be a place for Wherever You Are, the song that propelled Gareth’s Military Wives choir to Number One at Christmas 2011, selling more than the rest of the Top 12 combined.
He’ll also be including Fields of Gold, made famous by Sting. “It’s a beautiful and uplifting song, a particular favourite of mine and with a quality that will resonate with everyone, in my opinion, particularly if they were to think of the loss of the Queen.
“I was sitting on the sofa a moment ago, playing it on my guitar, and it’s one of those songs that you can read in a number of ways. There’s a haunting quality to it, something that evokes memories, both happy and sad.”
From as far back as he can remember, he says, Gareth always wanted to do something a bit out of the ordinary with his life. His father worked in a bank; his mother was a civil servant. At secondary school, he grew increasingly enamoured of performing: in plays and orchestras and jazz bands and pop groups.
“Choir was like the background of my everyday life. I’d go in at ten past eight and we’d sing for about forty minutes every morning except Friday when there was a school assembly which I hated. That was seven years at a very formative stage.
“I wasn’t quite sure where any of it would lead. I did a drama degree but, when I came back from university, I realised that music was missing from my life. My epiphany came in a concert. I sang a note which seemed to reverberate off the rafters and, on the walk home, I made up my mind I was going to be a professional musician.”
At the London Symphony Orchestra, he ran a number of educational workshops. When someone said they were starting a community choir and would he like to run it, he didn’t need to be asked twice. “In the end, I ran two choirs: one for adults, one for children.” It’s how he came to the attention of the BBC. “And that’s how Gareth Malone, choirmaster, was born.”
He’s a natural performer, something that was traced back to his mother’s father, Teddy, when Gareth was the subject of BBC1’s Who Do You Think You Are?. “My grandfather was the sort of man who’d dance round the lawn in his underpants to make everyone laugh.”
In much the same way, Gareth enjoys working with an audience. “On this upcoming tour, I’ll be encouraging people to help me make up a song about their local town or city. So, in Bristol, it might be something to do with Isambard Kingdom Brunel. I like that interaction, the sense that you’re taking the crowd with you.
“The nice thing about a tour is that, if the lights went out, I’ve got my guitar so I could sit at the front of the stage and we could all sing a song together. It’s organic. I love the immediacy of a live audience.
“But I couldn’t possibly have predicted that, one day, I’d be going on tour, for instance, and filling theatres with people singing at my behest. I’m doing what I really love. I’ve been very, very lucky.”
The only possible downside in a life of wraparound music is that, nine years ago, Gareth was diagnosed with tinnitus. “I had an ear infection in 2013 which left me with a ringing in my right ear. But I’m lucky in that it’s not hearing loss and lucky, too, that’s it’s very mild – like a high-pitched whistle in one ear – because it can be very isolating and, at its worst, send you round the twist.
“Plenty of people respond to music that’s bone-shakingly loud. Not me. I look after my hearing. There’s been no degeneration in my hearing for some years now. And, given what I do for a living, that’s got to be a good thing.”
Recently, Gareth had special ear moulds made that let in the good sounds, as he puts it, and keep out the dangerous frequencies. “I wore them to a gig recently and it was such a nice experience.
“I shall be conscious of that on the tour. For me, volume does not equal quality. You can be moved by two recorders being played without amplification in the Barbican hall, for instance. It can be rhythmical and intense and it can still excite your brain which is where all music happens.”
But isn’t Sing-Along-A-Gareth! going to be a rather noisy affair? “No, it won’t be damagingly loud. A thousand people singing along together needn’t be deafening although a lot of people clapping really loudly can test me to the limit. So, no one should be put off if they see me putting my fingers in my ears.”
He skids to a halt, quickly adding: “Not that I’m discouraging applause, of course.”
You took the words right out of my mouth: Bat Out Of Hell!, the electrifying hit musical featuring the greatest hits of Meatloaf and Jim Steinman, rocks and rolls its way to the New Theatre this week!
Bat Out Of Hell! is a post-apocalyptic Peter Pan set in a dystopian version of Manhattan (aka ‘Obsidian’). It’s the stomping ground of Strat, immortal eighteen-year-old leader of ‘The Lost’, a biker gang locked in a deadly war with Falco, Obsidian’s crooked commander-in-chief. When Strat falls in love with Raven, Falco’s rebellious daughter, the game is on and all bets are off.
Winner of the audience-voted best musical at the London Evening Standard Theatre Awards, Bat Out Of Hell! features iconic songs like ‘I’d Do Anything For Love (But I Won’t Do That)’, ‘Two Out Of Three Ain’t Bad’, ‘Dead Ringer For Love’ and the legendary title track that will have you rocking and rolling in the aisles.
What follows is a syndicated interview with The Cher Show director Arlene Phillips.
The Cher Show is a brand new musical which tells the life story of the legendary recording artist, and is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘The Shoop Shoop Song’ and ‘Believe’. With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family), direction by Arlene Phillips (Saturday Night Fever, Starlight Express), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights), The Cher Show is playing at Cardiff’s New Theatre between 23 – 27 August and continues touring around the UK and Ireland through to 1 April 2023.
Both have successful decade-spanning careers. Both are driven and fiercely independent. And then there’s the mutual love of sequins. Arlene Phillips talks to Vicky Edwards about Girl Power, refusing to act her age and why The Cher Show is an unmissable and fabulously feel-good extravaganza.
“I loved Cher’s music from the first time I heard it, but it’s more than that;
Cher is an icon,” says Arlene, confessing that she is thrilled to be directing The Cher Show.
“I am so excited! Cher is a woman who right from the start of her career was ahead of her time. She’s had hits in every decade, she’s a great actress and she’s whip-smart. She has also been a great pioneer for women’s rights. If there’s something to shout about then Cher shouts about it.”
All of which results in an international following that transcends age, gender and race. And now the show that carries her name seems set to do likewise. Having debuted on Broadway in 2018, earning two Tony Awards, Arlene’s production of The Cher Show marks the European premiere. Telling how Cherilyn Sarkisian went from truck driver’s daughter with big dreams to the Oscar-winning Goddess of Pop and Queen of Reinvention, Cher takes the audience by the hand and introduces them to the influential people in her life; from her mother and Sonny Bono to fashion designer and costumier Bob Mackie. Recalling how she battled the men who underestimated her and defied convention, the story is told, Arlene explains, as if Cher is looking back on her life.
“There is a great story running through as she looks back at the moments where she made an impact, whether through a relationship, a hit, a movie or fashion. We want the audience to embrace her story and have a good time.”
And a soundtrack of all her hits? Arlene is quick to reassure:
“Oh yes. There are so many hits and the show will have a great party feel to it, as the story builds and builds, finishing in a full-on full-out concert.”
And if all that weren’t enticing enough, joining Arlene on the journey are some impressive names. Written by Olivier and Tony Award-winning Rick Elice (who also wrote Jersey Boys and The Addams Family), choreography is by double Strictly Come Dancing champion Oti Mabuse.
“Oti’s choreography is SO exciting! She is really gifted and people are going to see something that hasn’t been seen before,” promises Arlene, who as one of the world’s most respected choreographers is, let’s face it, pretty well-placed to make such a pronouncement.
And of course you can’t possibly tell Cher’s story on stage without fabulous costumes. Enter costume designer Gabriella Slade, the super-talented creator of costumes for international smash hits including Six, In the Heights and the 2019 Spice World tour.
“The impact Cher has made in fashion has been enormous. She isn’t afraid to say I want to stay as young as possible for as long as possible and she isn’t afraid to wear the fantastic clothes and look as glamorous as can be. We have phenomenal costumes from Gabi – the details are incredible. It’s a feast of costumes!”
With a female icon as the subject of the show and Arlene, Oti and Gabriella all adding their superpowers to the mix, there’s definitely a whiff of Girl Power about the show.
“I love that,” beams Arlene, who admits that directing rather than choreographing does require a gear shift.
“It is different, but mainly it’s about how you tell the story. With choreography you look at the story, but you listen to the music. As a director you look at the story and then you use the music to help you tell the story; you’re really conscious of seeing the arc all the way through. The audience have to fall in love with the star and find things out about Cher that they didn’t already know.”
Both she and Cher are fiercely independent women. Does Arlene identify with, as well as admire, Cher?
“I totally identify with Cher in that I want to continue doing what I do for as long as I can and not be defined by my age. I am enjoying life and if I can make an impact in some way then I will.”
With over 100 million record sales and heaps of prestigious awards, including recognition from The Council of Fashion Designers of America, Cher has certainly influenced popular culture more than most.
“The invention and the reinvention and the ability to use her body in a powerful way is inspirational,” sighs Arlene, going on to tell me that The Cher Show has had a little reinvention of its own, having been reworked since its award-winning Broadway run.
“We have clarified every detail and I can’t wait for people to see it,” she says, passing me a list of the venues that the show will play.
“There are so many theatres on this tour that are special to me, but every theatre is making sure that they are Covid-safe and that audiences feel confident about visiting them. I hope people will support their local theatre. There really is no substitute for live performance and I urge people to go and feel the love and warmth of this show.”
Adding that she sees the production as being “absolutely a show for now,” she continues: “Escapism is a wonderful mind-healer, and that’s what you get with The Cher Show. We’re all more fragile than we’ve ever been before and the future feels unsure. This is a show that brings pure post-pandemic joy. People will go home having laughed, possibly having shed a tear and dancing up the aisles. They can put aside their worries and in that moment they’ll be wrapped up in this extravaganza of a show!”
The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group. Twitter, Facebook, Instagram: @TheCherShowUK
What follows is a syndicated interview with The Cher Show choreographer, Oti Mabuse.
The Cher Show is a brand new musical which tells the life story of the legendary recording artist, and is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘The Shoop Shoop Song’ and ‘Believe’. With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family), direction by Arlene Phillips (Saturday Night Fever, Starlight Express), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights), The Cher Show is playing at Cardiff’s New Theatre between 23 – 27 August and continues touring around the UK and Ireland through to 1 April 2023.
A bundle of zesty energy, Oti Mabuse may be on a rare day off when we meet but she’s still operating at warp speed. But then the double Strictly Glitterball champion has good reason to be so happy and animated.
Currently revving up for the hotly anticipated brand new production of The Cher Show, directed by national dance treasure Arlene Phillips and with a book by Tony and Olivier Award-winning Rick Elice (of Jersey Boys fame), Oti will be choreographing the show, which will tour until April 2023.
Telling the story of the Armenian American truck driver’s shy daughter who rose to global stardom, The Cher Show charts superstar Cher’s meteoric rise to fame. And of course there is a cracking soundtrack. Packed with 35 of her biggest hits, it’s part show and part party.
“It’s the story that so many women connect with, but it’s also the songs and the clothes. It will be epic!” beams Oti, adding: “It has to be bigger than anything because it’s her; it has to live up to Cher’s iconic status. Shehas been such an inspiration to so many people and this musical is going to be a celebration of everything people love about her.”
And so it’s down to Oti to weave that star quality into the choreography – a challenge that she is absolutely thrilled with.
“What I love about choreography is that, when I’m dancing, I am only part of the picture, but when you are choreographing, there are so many elements that are so exciting. Creating a storyline through dance means you go through the smallest details – is there a connection or a secret between the dancers that we need the audience to share? What props are there? What is the dancer at the back of the stage doing?”
As for the music, Oti’s exuberance ratchets up yet another notch when we start talking about Cher’s hits.
“I grew up with a family that always listened to music and we all loved Cher’s music. Her songs have stories behind them and I LOVE choreography that has a story behind it! It has an intention you can then give to the movement. It makes everyone in the theatre part of the story. And everyone connects to Cher’s music because it is timeless. SHE is timeless!
“The show starts from the beginning of her life and comes to present day, so if you don’t know Cher’s story you will learn it. There are so many great songs that will make people feel uplifted too. And the show is going to almost every theatre in the country because Cher is an international phenomenon!”
But while she won’t be on the road with The Cher Show, Oti will be touring with her own dance production, I Am Here.
“This is very exciting because it’s my first official tour. It’s such an honour. It’s going to be loud, funny and truthful, and people will meet the real me. We have a live band, great music and a cast of great dancers.
“I love touring and the audiences make it for me. People have paid to come and be entertained and it’s lovely to do that; to create a memorable moment in their lives.”
And, it seems, Oti relishes the educational aspect of touring life.
“I love learning and when you tour in the UK you learn crazy things like whether you put cream or jam on a scone first! I love hearing the different accents and the different way people greet each other depending where you are.”
With an infectious chuckle she adds: “I think touring is the best way to understand human beings!”
“All the theatres my shows are visiting are so supportive of people who come to put a show on; they are so welcoming and so, so hard working. After lockdown and the terrible time that theatres had, it is so lovely to be taking The Cher Show and Here I Am on tour.”
But even with two stage shows hitting the road, human dynamo Oti is still thinking ahead.
“I have a lot of things that I want to achieve in life and I am lucky that my parents raised me to be driven and ambitious. But my goals come from a good place and I really enjoy the journey of pursuing my dreams. Anyone who hires me knows that I will be the hardest working person in the place. For instance, there were very few books about dancing for children, so I wrote one.”
And that’s by no means all. Born in South Africa in 1990, Oti has been dancing since childhood. From making a name for herself in South Africa as the undefeated eight-time South African Latin American champion, she also managed to train as a Civil Engineer while competing in dance competitions. Winning awards and championships across Europe, TV soon beckoned and Oti joined the German version of Strictly Come Dancing. After two successful seasons, she joined the original BBC version of the show. Winning the coveted trophy in 2019 with actor Kelvin Fletcher, the following year Oti became the first Strictly Pro ever to win the Glitterball two consecutive years, alongside her partner Bill Bailey. TV and theatre work continues to flood in, which she juggles with running The Oti Mabuse Dance Studio, but, I ask, was performing always the dream?
“I wanted to go into Musical Theatre straight from High School, but my mum said I should be first academic and then pursue my passions. Since she was paying the bills, I didn’t have much choice!”
Reflective for a moment, she adds: “Engineering and dance are both about problem solving and precision and I love them both equally. I’d love to do a TV show about it.”
A TV show about engineering told through the medium of dance? If anyone can pull that off then it’s Oti. Stand by for the Reinforced Concrete Rumba…
The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group. Twitter, Facebook, Instagram: @TheCherShowUK
Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)
You are cordially invited to the most fabulous party in town. Northern Ballet, the UK’s widest touring ballet company, is renowned for its innovative, iconic reimaginings of classic tales – Cleopatra, Beauty and the Beast, and Jane Eyre to name but a few – and now their sensational production of The Great Gatsby, which opens in Cardiff this week, is bringing the glitz and glamour of 1920s New York to our shores.
Filippo Di Vilio, George Liang, Gavin McCaig (photo credit: Emma Kauldhar)
F. Scott Fitzgerald’s The Great Gatsby is a tale of decadence and deceit, of envy and excess. The titular ‘Great’ Gatsby is a self-made millionaire with a mysterious past and a long-unfulfilled love in the shape of the mercurial (and very married) Daisy Buchanan. The fallout of this doomed romance threatens the lives and livelihoods of everyone who calls West Egg home.
Minju Kang (photo credit: Emma Kauldhar)
Choreographed, designed and directed by David Nixon OBE, Northern Ballet’s take on ‘The Great American Novel’ promises to be a night of visual splendour and breathtaking skill, where dancers glide across the floor in sumptuous Chanel-inspired couture to a sweeping score by Sir Richard Rodney Bennett CBE (Four Weddings and a Funeral, Murder on the Orient Express).
Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)
Whether you’re an old sport or a bright young thing, you’ll be sure to lose yourself in this lavish tale of love and luxury.
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
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
