Review: COUNT ARTHUR STRONG'S CHRISTMAS CAROL @ Birmingham Town Hall

 

 

Having already experienced one Christmas Carol this season, we find ourselves faced with another. But this time the storyteller is showbiz legend and former BBC television sitcom star Count Arthur Strong. The Count's Radio Shows have won numerous awards and his television series was nominated for a BAFTA, so we are in comedy royalty territory.

It's difficult reviewing a stand up comedy performance like this, because to acurately review the evening you have to put in spoilers, which we are loathe to do. Anybody who has experienced the Count on radio, TV or in the theatre will know you are getting a stream of consciousness delivery like no other.  The Count is liable to go off at a tangent on any given subject, and his portrayal of Charles Dickens recounting A Christmas Carol is no different.  Its not too spoilery to tell you that the first half is by way of a lecture on the life and times of Charles Dickens with the Count playing the man himself, whilst the second half is the Count's one man version of the title story.  Anybody who has seen the Count knows that keeping him focussed is nigh on impossible so his facts and the story he eventually sets out to tell are interspersed with many inaccuracies, not to mention going off on many tangents.

 

As ever Steve Delaney's portrayal of the Count is superb. He inhabits the characters completely,  and as we've said before is up there with Del Boy and Basil Fawlty as a comic creation. Whereas he used to tour with his comedy stalwarts Terry Kilkelly and Dave Plimmer adding to the on stage chaos,  for the past few years it has been solely the Count up there keeping everyone in raptures for two hours each night. In the telling of Dickens' story he does call in some showbiz favours, and employ the help of some well loved stage partners, so that there are plenty of surprises as the evening goes on. But as we have said this is spoiler free! Suffice to say a capacity Birmingham Town Hall audience was bathed in gales of laughter, because as the Count told us, refunds are not an option.

 

Birmingham Town Hall gets ready for the Count's arrival

The master of the malapropism has hinted that his touring days will be over in the not too distant future. Part one of his Farewell Tour hit the road earlier this year,  and the second and final tour is to be announced shortly.  But first there is another tour of A Christmas Carol running throughout November and December 2025, the first having sold out all venues.

So the clock is ticking if you have never seen Count Arthur live. In years to come you'll want to say you were there, when the Count was in full flow as raconteur and national treasure. Without doubt, traditional British comedy at its absolute finest.

Rob & Ian

Full tour details and merchandise can be found at COUNT ARTHUR STRONG'S OFFICIAL WEBSITE

Further listening:

Why not start with the very first series of Count Arthur Strong's Radio Show and laugh yourself silly.  Set in his home town of Doncaster, the Count finds himself in all manner of scrapes with the long suffering town residents: butcher Wilf Taylor, Cafe owner Gerry, church warden Geoffrey, acting muse Malcolm de Tinsel and Cafe regular Sally Marsden (initially voiced by Sue Perkins, and later by Mel Giedroyc).

Review: ONLY FOOLS & HORSES THE MUSICAL (UK Tour) @ Regent, Stoke

 

 

Mange tout, mange tout...  If ever there was a show that could do well on tour it's this one! Only Fools & Horses The Musical, the authorised stage spin-off of the legendary TV series, has set its Reliant Regal to trundle around the UK. Originally the brainchild of series creator John Sullivan who passed away before the project could be realised, his son Jim then stepped in and joined with super-fan comedian Paul Whitehouse and the late Chas Hodges (the piano playing half of Chas & Dave) to bring the world of Del Boy Trotter to the stage. As we know, between 1981 and 2003 Sullivan Snr. made the series the biggest ever comedy in the UK. Over 24 million people tuned in to watch Del and Rodney become millionaires back in 1996. Nothing could touch the writing or the performances.  So its a tall order to re-create such well loved characters and situations nightly.

 

                                                           Peter Childs as Grandad Trotter

Thankfully the Trotters  come off well from their venture into the theatre. The story is a mix of familiar situations but mostly centres around the episodes where Del meets Raquel, and Rodney is about to marry his girlfriend Cassandra. Musically its a bit of a mish-mash. Most the the songs land well with the audience, starting with that oh so familiar catchy theme music but also with songs about cockneys (Grandad), infertility (Boyce & Marlene), fortune telling (Trigger) and computer dating (Del). There are a couple of nice ballads too for Raquel and Cassandra, and when you throw in songs by Bill Withers, Simply Red and inevitably Chas & Dave, you pretty much have something for everyone.

Pivotal to the evening are the three Trotters. The evening will stand or fall on how these much loved characters are portrayed. For the actors they are not only giving a performance but are cusodians of national treasures at the same time. Sam Lupton makes his mark upon Del Boy from the off, he has obviously studied the vocal traits and mannerisms of Sir David Jason, it is clearly Del Boy up there on the stage and the audience warm to him from the off.  He makes sure the big laughs keep coming as the show zips along. Tom Major - in his first professional job - as Rodney doesn't quite have the facial reactions that were such of feature of Nicholas Lyndhurst's version, but he gives a solid performance, a lovely mixture of innocence and incredulity at his older brother's antics. Completing the Trotter trio is Philip Childs, a Stokie returning to home turf, as Grandad. Childs manages to conjure up the raspy delivery and world weary presence of the oldest Trotter.  Between them Lupton, Major and Childs provide the bedrock of the Trotter experience, and are all first rate.

 

Nicola Munns incredibly transforms herself from garish Marlene to shy Cassandra and back as the show progresses. There can't be too more polar opposites in the Fools & Horses arsenal as these two, so to expertly carry them off is a tribute to Munns talent. Georgina Hagen possesses a lovely singing voice, and her solo 'The Girl' really finds the pathos in Raquel's longing for love. Craig Berry as Boycie is a doppelganger for the original Boycie, the late great John Challis.  His pitch perfect delivery of Boycie's sneery voice and laugh are spot on.  A word too for Gloria Acquaah-Harrison whose big vocals give us a touching 'Holding Back The Years'.

Alice Power's set expertly brings the Peckham of the television episodes to the stage,  quickly transforming from the Nag's Head to the Trotters flat via a street market and all points inbetween.  Director Caroline Jay Ranger knows what the audience expect of the show, and she makes sure the action and actors deliver. Musical director Rachel Murphy and her 4 piece band knock out the music with skill too. Lets not forget them, hidden away as they are below the stage.

It is likely that a bulk of the audience during Only Fools & Horses long UK tour will not have been in a theatre before, attracting many first timers through their love of the television show. You'll need a bit more than a 'pony in me pocket' to see this show, with top price tickets a whopping £91.50 on the evening we went, it is hoped that the theatre is not turning into the elitist experience it has fought so hard not to be. Producers should be wary of knowing where the line is regarding pricing. Only Fools & Horses thankfully delivers, and we left feeling the joy of those legendary characters and the sheer British-ness of John Sullivan's collection of eccentrics. To sum up the show in a way the Peckham residents would favour: it's lovely jubbly!

Rob & Ian

 

Further information and tour dates can be found at THE OFFICIAL ONLY FOOLS & HORSES MUSICAL WEBSITE 

Further listening:

The original West End cast recording of 2019 features Tom Bennett (Del), Ryan Hutton (Rodney) and writer Paul Whitehouse (Grandad) and is available to download, stream or buy on CD.

Review: SPEND SPEND SPEND @ Royal Exchange, Manchester

 

The cautionary tale of Viv Nicholson is perhaps not so well known these days, her football pools win of £152,319 may not sound a lot, but in 1961 it was the equivalent to £4 million plus in todays money. (The average cost of a house that year was £2,700). A life changing amount, and certainly to a lady who had been brought up in virtual poverty. Viv Nicholson was an outsize personality, with little filter, who approached everything at a hundred miles an hour. It proved the catalyst for a whirlwind life that is defined by excess and tragedy.

The original production of Steve Brown and Justin Greene's musical Spend Spend Spend (taken from Viv's utterance when asked what she was going to do with the money) opened in Leeds in 1998, but in 1999 a new production arrived in the West End and won the Evening Standard Awards for Best Musical the following year. On the 25th anniversary of that London production, comes a new version presented by the Royal Exchange Theatre in Manchester and in memory of composer Steve Brown who sadly passed away in February 2024.

Keith and Viv Nicholson being presented with their winning cheque on behalf of Littlewoods Pools 

by Bruce Forsyth (far right) in 1961

The current production at the Royal Exchange is staged on a large round silver circle (presumably meant to convey a coin?) onto which various pieces of prop furniture are wheeled to convey scenes and locations on Viv's wild journey.  Theatre-in-the-round is an artform all itself, where the audience surround the stage,  and it can be frustrating when a character is giving a major speech with their back to you.  However its the nature of the beast and director Josh Seymour does his best to make sure the action is fast moving. Sometimes its a little over fussy, when simplicity might have worked better in its favour. The ensemble are certainly kept busy but its at the deteriment of the the central characters, two Vivs (older and younger) and Keith. The action starts in Salon Mystique during the 1990s where Viv is working as a hairdresser, decades after her pools win,  and we then go back in time, the story being told and commented on by the older Viv throughout.  We arrive in working class Castleford of the 1940s with Viv's long suffering Mum (Rebecca Thornhill) and alcoholic Dad George (Joe Alessi).  Being brought up in virtual poverty because of George's drinking must have given Viv an early thirst for a better lifestyle and that of course means having money.

 

Viv Nicholson banknote used in the production

 

Rachel Leskovac is a stunning older Viv, just as she was as the younger Viv in the original production, and its a bit of a full circle moment for the show. Her dry commentary as she loses her virginity or goes through several husbands is part of the charm of the evening. She is matched by Rose Galbraith as the younger Viv, clawing her way up from the social pit that she finds herself in and marries the first man to enter her life when she was just 17, thanks to becoming pregnant. Vocally two powerhouses as they unleash the big number in the show 'Who's Gonna Love Me?' with showstopping force. Alec James-Hatton has to find the core of Keith, who died aged 27 in a car crash devestating Viv. There is a lot to go on with Viv as she led a full and often high profile life, but Keith is more of a mystery however James-Hatton finds the gentle warmth of him even during the post-win excessive behaviour by them both. The ensemble come into their own as they form the people of Castleford and Garforth (the posh town where the Nicholsons hope to find likeminded money folk), having costume changes aplenty and giving some jovial performances. We didn't find the sound mix to be that wonderful, but Livi van Warmelo leads a enthusiastic band in delivering Brown and Greene's rich and underated score. As confetti and Viv Nicholson bank notes reign down from above,  there is certainly a lot of glitz and pizzaz used in conveying the Nicholsons mighty win. Whether this 25th anniversary production gets to the heart of Nicholson's morality tale is debatable, its well produced and performed but doesn't quite find the gritty nub of Nicholson's legend.  However the two stellar performances leading the show are more than enough to warrant buying a ticket for this revival.  

Rob & Ian

Viv Nicholson (centre) flanked by Rachel Leskovac (left) and Barbara Dickson (right) at the Evening Standard Awards in London, 2000.

Further Listening: 

It has to be the original London company headed by Barbara Dickson (who won the Olivier Award for Best Actress In A Musical for playing the older Viv)and Rachel Leskovac (who was nominated for the same award) which can be streamed and downloaded via major services. And there is a CD too, but quite a collectors item now.

You might also like to check out the book You Don't Know Viv, written by her son Howard Nicholson and published in 2017.

A CHRISTMAS CAROL (UK TOUR) @ Theatre Severn, Shrewsbury

 

If there was an award for the greatest Christmas story of all time (apart from that one about the baby and the stable that started the trend) it has to be Charles Dickens' eternal favourite A Christmas Carol.  First published in 1843 and over the decades a favourite in literature, the big and small screens and radio since that very first edition was debuted. Everybody has a favourite version. Stretching from the classic 1951 movie with Alistair Sim, through versions by the Carry On team to that family favourite The Muppets Christmas Carol. As we no longer do pantomime (after watching hundreds, its lost its magic for us - bah humbug!) it is with great delight we savour this festive season touring version by the Crime and Comedy Theatre Company.

This production puts the focal point on Dickens' original prose, by setting the telling in a vintage radio recording studio and having the actors read their parts. Its sounds a bit odd on paper, but it really works as the world of Scrooge, Crachitt, Jacob Marley and the rest are conjured up in the performances of the cast on stage. This version is adapted (and directed) by Martin Parsons, authentically using the original book as its source material. Just as Charles himself did during those famous performances in the Victorian era. All the while the stage manager (Victoria Richards) is creating all manner of sound effects for us in the corner, a taste of radio plays of yesteryear giving the whole enterprise a wonderfully nostalgic glow.

 

Many people would remember Peter Purves as a presenter from his long stints presenting Blue Peter and Crufts for the BBC to name but two, but Purves started out as an actor (indeed he was one of the original Doctor Who's companions in 46 episodes during the 1960s) and here returns to his calling as Charles Dickens himself, recalling the strange events of Christmas Eve. Purves' relaxed but authorative delivery sets the scene perfectly for the events which follow.

The evening is held together by the charismatic presence of Colin Baker, former Time Lord and vastly experienced stage actor as he ably demonstrates. His Scrooge is a loud curmudgeon, barking at his clerk Bob Crachit whilst spurning any mentions of charity. But Baker's skill isn't just in the stereotypical 'humbug' Scrooge, he portrays the deeply troubled Ebeneezer as the effects of his behaviour are unravelled with great sensitivity and finally the unbridled joy as Scrooge realises he can redeem himself, and make good all the bad deeds he has been guilty of.  It's a mesmerising performance, as Baker savours Dickens rich dialogue. 

                                                        Tom Baker giving his Jacob Marley

A story which wallows in time travel has attracted a second time traveller, the legendary Tom Baker materialises on a screen at the back of the set. His instantly recognisable fruity tones lend themselves easily to Jacob Marley, the ghost of Scrooge's business partner and the portent of doom with the arrival of ghostly spectres. Baker is clearly reading the material as the producers are filming, but he adds his own unique take on Marley and both Baker's manage to play opposite each other thanks to the wonders of technology.

The rest of the cast (Sarah Gain, Gwithian Evans, Francesca Anderson and Owen Frost) divide up the spoils of Dickens roll call of Ghosts, nephews and Crachits. They are each wonderful to watch and listen to,  rounding out the supporting cast through their expansive vocal skills.

 

Going into the theatre we were not sure how effective this format would be, but were immediately won over.  The evening seemed to pass very quickly, so engrossed were we in the unfolding narrative. A little bit of story telling magic has been delivered by all those on stage.

The Crime and Comedy Theatre Company have hit on a winning formula to tell this most famous of tales, and the evening rightly belongs to Colin Baker who holds court and keeps the sold-out audience spellbound throughout.

Rob & Ian

Check out future productions of THE CRIME AND COMEDY THEATRE COMPANY

Review: HERE & NOW (The Steps Musical) @ Alexandra Theatre, Birmingham

 

Warning: Jukebox musical. Approach with caution. After seeing I Should Be So Lucky in Manchester a year ago (last years theatrical low point), we came to Birmingham with reservations.  We love Steps.  We love their songs. But its not enough to make a successful musical. Thankfully the producers of HERE & NOW seemed to have grasped this, and gone the extra mile to ensure that Steps' chart busting catalogue of hits are surrounded by coherent characters and great performances.

Shaun Kitchener has had the difficult task of tying together the disparate hits (mostly about love and loss despite the dance beats) and pulling them all together to tell a story. So we find ourselves in an unspecified northern town at the discount store Better Best Bargains. There we find the staff at crossroads in their personal lives. Caz has been ditched by her rat of a husband for 'Cheryl from the chippy' just as the childless couple are on the verge of adopting a child. Vel is wondering how she can end her relationship with long term boyfriend Lesley. Neeta has the hots for co-worker Ben, but she just cannot find the courage to tell him. Whilst Robbie just cannot commit to guys for a serious relationship.  So its all emotional turmoil to one degree or another. Then there is French loving Patricia, the starchy owner of the store, who has her own passionate secret: Honri.  But Honri isn't all he seems, and it turns out that sleezy Max has intentions of purchasing the store and using Caz in the process.  When the store is threatened with closure, Caz and her pals need to take action.  'Cos that would be a 'Tragedy' right?

Love and betrayal are at the heart of many a song and good drama but in this case it's all done in designer Tom Rogers fabulous bright pink and blue store. You know its all going to be camp as Christmas. Leading the cast is the amazing Rebecca Lock as Caz, her big voice soaring as she tackles several heartbreak ballads and brings the roof in with her 'One For Sorrow'.  She is vocally matched by Sharlene Hector as best mate Vel,  another magnificent performance, nailing the comedy and delivering the big notes. We last saw Blake Patrick Anderson in Germany giving his Starlight Express,  but here he plays the commitment shy Robbie with a loveable bounce. His solo 'The Story Of A Heart'' is a winner.  River Medway proves his hysterical turn as mermaid Ariel in Unfortunate earlier in the year was no fluke. Medway's razor sharp comic timing is out in force again as local drag queen Jem, and his solo number 'Chain Reaction' (set in the electrical goods aisle of BBB) takes the camp-ometer up to overload. Hiba Elchilkhe makes the most out of Neeta, a part that is a little under written but again she has the timing and vocal chops to stop the show. The men generally have less showy parts, but manage to hold their own amid the wealth of female talent on display. Gary Milner as love rat Gareth,  Dan Partridge as shop worker Ben and Edward Baker-Duly as hideous businessman Max work hard to show its not complete female domination. Finty Williams is on form too as frosty Patricia, lover of French phrases and with a secret all her own, as she delivers management mirth throughout the show.  This is without doubt a very strong cast and ensemble, delivering the feels and also the high energy big show numbers (check out the 'Half Price Hoedown' to '5,6,7,8') as they belt out the best Steps can offer.

 

Director Rachel Kavanagh keeps the story on track, she sensibly grounds the characters amid the kitsch set and song catalogue. We invest in them, and the cheers from the audience as the characters win through is a testament to the fact the creative team have got it right.  We feared the worst of a jukebox musical, but instead we got something that is fun and infectious. With all five members of Steps (Lisa, Lee, Ian, Claire and Faye) sat a few rows behind us, and causing hysteria when the entered to take their seats, we had pop royalty in the house. They are also theatrical producers of this show, along with iconic music producer Pete Waterman, and they should be pleased that their music is joyously celebrated in this classy production. A step(s) in the right direction for sure.

We predict that 'What The Future Holds' for this show is full houses, dancing in the aisles and we can't wait to go again frankly. It's Steps-tacular.

Rob & Ian

Find out more about the show at the OFFICIAL HERE & NOW WEBSITE

Further listening:  

As there is no cast album at the time of writing, we suggest you dive into 2022's The Platinum Collection for a feast of high energy Steps greatness through the decades. CD, download or stream - you know you'll be dancing whatever the option.