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REVIEW Bat Out of Hell! The Musical at New Theatre Cardiff by Barbara Hughes-Moore

Rock and Roll Dreams Come Through as Bat Out Of Hell!, the electrifying, award-winning hit musical featuring the greatest hits of Meat Loaf and Jim Steinman, hits the highway to Cardiff’s New Theatre this week. I grew up on the music of Meat Loaf, but I’ve been burned by jukebox musicals before. Bat Out of Hell!, though, is a different beast entirely: it actually began life as a futuristic rock opera in Jim Steinman’s college days, a punk spin on Peter Pan called Neverland. Steinman turned his unfinished opera into his magnum opus: Bat Out of Hell, one of the best-selling albums ever made – and now it’s back in its original form, bigger, better, and more bombastic than ever.

Martha Kirby and Glenn Adamson in Bat Out of Hell!

Set in Obsidian, a post-apocalyptic Manhattan that’s a long way from Neverland, Bat Out of Hell! follows Strat (Glenn Adamson), immortal eighteen-year-old leader of ‘The Lost’, a biker gang locked in a deadly war with the tyrannical Falco (Rob Fowler). When Strat falls in love with Raven (Martha Kirby), Falco’s rebellious daughter, the game is on and all bets are off.

Glenn Adamson as Strat

Operatic in scale and anarchic in spirit, Bat Out of Hell! is an adrenaline-fuelled rollercoaster ride through some of the most iconic songs ever written, from It’s All Coming Back to Me Now to I’d Do Anything for Love (But I Won’t Do That). They’re also some of the hardest songs to sing – but this peerless ensemble make it seem like second nature. Not only are these the best voices I’ve heard on ANY stage, they bring every drop of emotion to songs that demand nothing short of everything: high concept Wagnerian epics that are as a high risk as they are reward. A slew of talented people have trod the boards at the New Theatre, but this might just be the most exciting cast ever to do so.

Glenn Adamson and Martha Kirby in Bat Out of Hell!

Adamson and Kirby bring charisma and complexity to roles that could have become rote in less capable hands. Their chemistry is even more scorching than the real flames that shoot across the stage during the performance of the legendary title track – which is one of the most incredible things I’ve ever experienced in a theatre. They make the star-crossed love story into a symphony.

Rob Fowler and Sharon Sexton in Bat Out of Hell!

This is a show that is in on the joke and wants you to laugh right along with it. It’s hard to tell who’s having the most fun, but that honour might just go to Rob Fowler and Laura Johnson (standing in for Sharon Sexton) as Falco and Sloane, Obsidian’s answer to Burton and Taylor. Their version of Paradise By the Dashboard Light might be the most fun you can have with your clothes on (even if theirs weren’t!)

The 2022 UK touring cast of Bat Out of Hell!

Meanwhile, Joelle Moses and James Chisholm bring gravitas to their powerhouse rendition of Two Out of Three Ain’t Bad, while Killian Thomas Lefevre’s Tink steals the audience’s hearts with Not Allowed to Love, one of the ballads written specifically for the show. (The other, What Part of My Body Hurts the Most, is sung by Fowler and Johnson in an affectingly tender moment for their characters).

The 2022 touring cast of Bat Out of Hell!

The songs are mini epics in their own right, self-contained sagas that lend themselves perfectly to the stage – and their unique sound is captured by South Wales-born musical director Iestyn Griffiths and his superb live orchestra in. Coupled with  Jay Scheib’s kinetic direction and Xena Gusthart’s inventive choreo, the music underscores the immersive fever dream of the stage (designed by Jon Bausor, also responsible for the fabulous costumes), a world half dreaded and half desired.

The 2022 touring cast of Bat Out of Hell!

The spectacle of this show is second-to-none. If you’re not a fan of the songs, you will be by the time the curtain falls – and if you are one already, you’ll be in paradise (by the dashboard light). The men who brought them to us may be gone, but the beat is theirs forever – and with Bat Out of Hell!, it’s ours now too. With a little faith, trust and pixie dust, your rock and roll dreams can come true – so get yourself all revved up, because you’ve got somewhere to go – just watch out for the sudden curve!

Bat Out Of Hell! is playing at the New Theatre Cardiff from 27 September – 1 October, and across the UK through to April 2023.

PREVIEW Bat Out Of Hell! at the New Theatre Cardiff 27 Sep – 1 Oct

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.

Glenn Adamson as Strat in Bat Out of Hell!

Bat Out Of Hell! is playing at the New Theatre Cardiff from 27 September – 1 October, and across the UK through to April 2023.

Cher and Cher alike: An Interview with Director Arlene Phillips

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 BoysThe Addams Family), direction by Arlene Phillips (Saturday Night FeverStarlight Express), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (SixIn 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

Here, Cher and Everywhere: An Interview with Choreographer Oti Mabuse

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

REVIEW Chicago, New Theatre Cardiff by Barbara Hughes-Moore

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

Chicago is playing at the New Theatre Cardiff until Saturday 25 June

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.

REVIEW Violet, Music Theatre Wales by Barbara Hughes-Moore

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.

Violet is touring across the UK through July, with upcoming performances in London, Buxton and Mold

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.

REVIEW Northern Ballet: The Great Gatsby, New Theatre by Barbara Hughes-Moore

Hailed as ‘The Great American Novel’, F. Scott Fitzgerald’s The Great Gatsby is an iconic tale of decadence, death and desire. It epitomized the feel of the Roaring Twenties like nothing else: an era of flappers, libertines and bright young things, where ‘anything goes’ wasn’t just a phrase but a state of mind. The story continues to captivate nearly a hundred years since its publication and Northern Ballet’s thrilling take on the tale is bolder and more beautiful than ever – no wonder that it’s returns for its third smash-hit tour, which graces the New Theatre this week for five nights of dazzling decadence.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Long Island, 1922. New-in-town Nick Carraway (Sean Bates) strikes up a friendship with his affluent and enigmatic neighbour, Jay Gatsby (Joseph Taylor). Gatsby’s lavish parties are legend – but Gatsby seems interested only in the green light across the Bay, to which he stretches out his arm night after night: the light on the dock belonging to his true love, Daisy (Abigail Prudames). With Gatsby gunning to win her back, Daisy’s marriage to the brutish Tom Buchanan (Lorenzo Trossello) is about to be tested when his affair with the socially ambitious Myrtle (Minju Kang) takes a dangerous new turn.

Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)

Directed, designed and choreographed by David Nixon OBE, the show is a visual splendour from start to finish. It’s no surprise that Nixon was nominated for a UK Theatre Award and a National Dance Award for his work here: the stunning choreography and gorgeous costumes immerse you in the Jazz Age, taking you on a whistlestop tour through Gatsby’s world. Coupled with Jérôme Kaplan’s striking Art Deco-inspired sets and the sumptuous score by Sir Richard Rodney Bennett CBE, played live by Northern Ballet Sinfonia, and you have a production that’s a feast for the senses.

Minju Kang (photo credit: Emma Kauldhar)

The ensemble is nothing short of perfection, bringing heart, soul and a jaw-dropping athleticism and grace. They convey a frenetic joy in the champagne-swilling speakeasies and sensual longing in every pas de deux. Heather Lehan oozes aloofness as socialite Jordan Baker, an effective foil to Bates’ nice-guy Nick. Minju Kang’s solos are a highlight, and the show soars whenever she shares the stage with Riku Ito (as her husband, George) and Trossello.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Taylor and Prudames are captivating as the doomed lovers at the story’s heart: they dance often in front of a wall of mirrors, but their reflections are distorted – just as their images of each other are – and they even mirror the movements of their younger selves, who dance behind them like echoes of the past.

Northern Ballet dancers in The Great Gatsby (photo credit: Emma Kauldhar)

Anyone who enjoys the themed weeks on Strictly Come Dancing will find a special joy in watching the show’s balletic spin on Charlestons and tangos, and flashbacks to Gatsby’s shady past are brilliantly conveyed through a phalanx of fedora-wearing crooks. Northern Ballet have captured every facet of the era’s excess, every lost love and lost chance: most of all, they have captured a sense of old-fashioned Hollywood glamour that you just don’t see these days. In their hands, Gatsby isn’t just great – it’s magnificent.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June

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.

PREVIEW Northern Ballet: The Great Gatsby at the New Theatre, Cardiff

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.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June

REVIEW Footloose the Musical, New Theatre by Barbara Hughes-Moore

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!

Footloose The Musical is playing at the New Theatre Cardiff through Saturday 4 June

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.

REVIEW Beautiful: The Carole King Musical, New Theatre by Barbara Hughes-Moore

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: The Carole King Musical is playing at the New Theatre Cardiff from 24 – 28 May 2022

Beautiful – tour – 2022 Production photos taken on the 28th February 2022, at Curve Theatre Leicester, Directed by Nikolai Foster

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.