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.

We're on Facebook

 As well as Instagram, we are now on Facebook. Come check us out..

FOR THE RECORD: Starlight Express

 

 This is an updated version of an article that appeared in my previous blog Doctor Theatre in 2018.

One of the bonuses of musical theatre is that we are often treated to more than one recording of a particular show, indeed often several international versions in a variety of languages around the world.  Andrew Lloyd Webber’s global popularity means that his shows have more than their fair share of availability with cast recordings worldwide. None more so than Starlight Express, the ground breaking musical where the cast perform entirely on roller skates. Richard Stilgoe's infernally clever and witty lyrics are just one of the reasons this show has cast its spell over audiences for some 40 years. In this article I am going to take a look at the recordings that have been issued over the years, their merits and how they differ. I have discounted the cheap cash-in recordings that can be found online, this article concentrates on official cast recordings affiliated to productions running around the world. Clicking on the covers takes you to the DISCOGS music website where the albums are available to buy from sellers internationally. So lets literally get our skates on and start with...  

 

ORIGINAL LONDON CAST RECORDING 1984

 

Running time: 100 minutes  Language: English

 

This double album (in the days of vinyl of course) is something of a mash up.  The show was recorded over three performances in April 1984 at the Apollo Victoria Theatre where Starlight Express had opened the month before.  It was then taken and given studio polish, adding overdubs and additional instrumentation. The 26 tracks make up the majority of the show, and cross referencing the track listing with the original programme show that the omitted tracks are ‘Hitching And Switching’ (later replaced with ‘Coda Of Freight’),  Heats Two and Three of the races and the Race Uphill Final.  Additionally the versions of ‘AC/DC’ and ‘Only He (Has The Power To Move Me)’ are the single versions and not the show versions whilst ‘He Whistled At Me’ has had extra studio polish (perhaps being primed for a single?) The recording is also the first and last to feature ‘Belle The Sleeping Car’ performed marvellously by P.P. Arnold, subsequently omitted from future productions, similarly Michael Staniforth’s ‘C.B.’ would also be a unique feature of this first recording. The album features a glittering array of West End talent with Jeff Shankley giving his rich baritone to the Elvis inspired diesel engine Greaseball and Stephanie Lawrence lending her light vocal touch to Pearl. Ray Shell gives perhaps the best vocal of all the recordings of young steam engine Rusty, whilst Lon Satton as Poppa has the blues running through his bones, and sets a template for the role which performers try to emulate to this day. He is simply divine. Add in the aforementioned 1960s pop diva P.P. Arnold, Les Miserables sensation Frances Ruffelle, a pre-Red Dwarf Danny-John Jules and Rentaghost’s mesmeric Michael Staniforth and you have yourself the core of a cast that is going to be hard to beat on any subsequent recording. This recording was re-mastered and re-released in 2005.  10/10 

 

 

 U.S. CONCEPT ALBUM 1987

 

Running time: 49 minutes  Language: English 

 

The arrival of Starlight Express on Broadway didn’t bring the expected American cast album, instead Andrew Lloyd Webber favoured a re-working of songs by producer Phil Ramone in order to produce a stand alone pop album. Ramone drafted in a number of successful artists in order to give a make-over to highlights of the score.  Just thirteen songs make up this collection led by Detroit soul singer El Debarge with the main theme from the show “Starlight Express”, a new version which incorporates a verse melody from the original version of “Only He”.  The album features two versions of the song “Engine Of Love”, one by Peter Hewlett and the CD debut of the original 1977 single by Earl Jordan which was Lloyd Webber’s first attempt at a song based on the railroad theme and featuring lyrics by Peter Reeves. It became the main melody of "He Whistled At Me" in the show. For the most part, through no fault of the artists,  the album lacks the sparkle of its predecessor. Taken out of their musical setting the album struggles to find any emotional resonance although Josie Aiello and Peter Hewlett perform a reasonable “Only You” duet whilst another duet between Hewlett and Richie Havens of “I Am The Starlight” is the nearest to a show version we get.  Havens also draws out the gospel in “Light At The End Of The Tunnel”.  But by and large this album fails to sell the delights of the show,  Harold Faltermeyer’s “The Race Is On” a prime example of a watered down offering. 
5/10

 

 JAPANESE AND AUSTRALIAN TOUR 1987

 

Running Time: 51 minutes  Language:  English

 

Back on sturdier ground the massive arena tour that played Australia and Japan in 1987 is very much a record of that particular production. With some lyrical changes from the original, it was recorded initially at a live performance in Tokyo and then studio polished in London. It features the only English cast recording of the original pop single “Engine Of Love” as part of the show. It is a highlights album featuring fifteen tracks (although track 13 combines "I Am The Starlight" and Race Music for some reason). Nikki Beisher’s “Make Up My Heart” is a stand out whilst Troy A. Burgess gives a spirited “Pumping Iron”. Bobby Collins and Richie Pitts, whilst not quite hitting the heights of Satton  and Shell, manage to connect with the emotional aspects of  “I Am The Starlight” (or the Starlight Sequence as it is later referred to). Overall a strong showing of cast and musical arrangements serving as a taster for Antipodean and Japanese audiences. The album was released in Japan by Pony Canyon and Australia by EMI,  hence the differing covers above. 7/10

 

 

 BOCHUM CAST CONCEPT ALBUM 1988

Running time: 55 minutes  Language: German

The legendary Bochum production in Germany was initally represented by an album that is a hybrid of cast album and pop album. The original Bochum cast are let loose on the songs and had the Broadway production gone for this approach the U.S. album might have had the panache that this album still has in spades.  Produced and arranged by Jürgen Fritz,  the arrangements don’t veer too far from the source material but just enough to keep your toes a-tappin’ throughout. For the first time we hear the mother and son bedtime dialogue at the start of the show then Paul Kribbe’s opening “Rolling Stock” sets the tone nicely. “Liebesexpress” mixes things up even more by being in German but with a backing of “Nobody can do it like a steam train” English refrain.  We get the equivalent of the “C.B.” track from the English recording here called “Ganz Allein” (All Alone) nicely performed by Hans Johanson. Natalie Howard’s “G.E.K.U.P.P.E.L.T.” is just one of many stand out tracks, channelling her inner Tammy Wynette to bring a touch of C & W class to proceedings. The one nod towards a fully fledged concept album is “Du Allein” (All Alone / Only He) which sees Irish Eurovision king Johnny Logan pair up with German chanteuse and actress Ute Lemper, replacing the German cast members for this one track. All told it is a strong presentation of fourteen of the shows best known numbers.  8/10

 

BOCHUM LIVE CAST ALBUM 1989

 

Running time: 114 minutes  Language: German

As if to rectify the demand for an album which accurately reflected the show version, just twelve months after the pop album from the original cast, the first replacement cast were given a chance to shine on a live album featuring the entire show. Recorded live then mixed and tweaked (with some possible overdubbing) in Holland,  this is as close to the live experience on audio as it is possible to get.  The second act opens with an Entr’acte followed by "Hymn To Victory" thus losing "The Rap" opening that had been present on the only other full show recording, the 1984 original.  By this stage in the shows development, there have been a few tweaks to the original songs (including ‘Make Up My Heart’ written for the Broadway debut) but it follows fairly faithfully the original song order. David Michael Johnson delivers his Electra for the second time on record, the first being in the Australia / Japan recording. The energy of the show literally leaps out of the speakers and is pretty much a text book example of how to do a live show album.  The German people certainly liked it because to date it has sold well in excess of 400,000 copies. 10/10

 

 

GIRLS' ROLLING STOCK 1990

Duration: 3m17s   Language: English

Something of a curiosity and released in conjunction with the remounting of the Australian / Japan arena tour in Tokyo, four cast members of Starlight Express perform a song called "The Train" (nothing to do with the show) but also offer up "Girls' Rolling Stock", the Act 2 reprise which I think has disappeared from both London and Bochum versions of the show. Cast members performing the song are C. Jay Ranger, Caran Cardelle, Debbie Wake and Nikki Belsher.  5/10

BOCHUM HIGHLIGHTS ALBUM 1991

 

Running Time: 56 minutes  Language: German

Within the space of four years, we have a third album from the Bochum production. Offering eighteen newly recorded tracks.  None seem to veer from the show versions and in itself, this is another excellent release showcasing the talent gathered in Bochum.  For the second time Stevie Woods gives his Papa, this time paired with Colin Munro as Rusty. Steve Casey also has a second outing as Greaseball. Original London cast member Kofi Missah returns to the show on record, this time playing the major role of Electra, a great job he makes of it too. Claudia Bradley is Pearl and she and Munro nail their love duet.  9/10 

 

 

THE NEW STARLIGHT EXPRESS 1992

Running time: 69 minutes  Language: English

Perhaps fearing the show was starting to show its age and lose its appeal to younger audiences,  Lloyd Webber and Richard Stilgoe set about revamping the score some eight years after it opened, adding and subtracting numbers and re-vamping the arrangements. “Entry Of The National Trains” precedes “Rolling Stock” whilst Rusty has a new song “Crazy”. The biggest change is that Rusty and Pearl's ballad “Only You / Only He” has gone and in comes a replacement song with lyrics by Lloyd Webber’s collaborator on Tell Me On A Sunday and Sunset Boulevard, Don Black. The song “Next Time We Fall In Love” is a pretty generic song, its one you either love or you don’t and I personally fall into the latter category.  I think the original is a better fit for the show. Parts of the melody later get an airing as "Somewhere, Someplace, Sometime" - a song added to Tell Me On A Sunday. Then there is the Megamix, having introduced the concept into the 1991 Joseph revival at the Palladium, its a chance to reprise all the best numbers and get audiences on their feet and dancing along. Although technically a highlights album,  this does feature a large portion of the show.  The talent on display is as always with Starlight exemplary. Having been denied a cast album at the time, the original Broadway Pearl, Reva Rice, is given a chance to shine on this latest recording and her duet with Greg Ellis of the new song is very pleasurable listening.  John Partridge makes a charismatic Electra and Maynard Williams provides one of the best Greaseball’s to be heard on disc. Caron Cardelle having previously recorded a version of “Girls’ Rolling Stock” for the 1990 Japanese tour is here promoted to Dinah, and her “U.N.C.O.U.P.L.E.D.” is a fine rendition. Lon Satton still holds court as Papa and as on the original recording, his contributions are always wonderful to listen to.  9/10

 

MEXICO HIGHLIGHTS ALBUM 1997 (unreleased)

 

Running Time: 61 minutes  Language: Spanish

Something of a curiosity, this is a studio recording featuring songs from the Mexico City run. There was apparently some problem with the rights to the show and the production closed prematurely and thus this cast album in waiting was permanently shelved. Although it does not have the production values of some of the earlier recordings (maybe because it is an unfinished album), it is however an interesting look at a Spanish translation which underwent some changes. “Rolling Stock” becomes “The Power Of The Rails” in Spanish for example. 7/10

 

BOCHUM NEW SONGS EP 2003

 

Running Time: 19 minutes Language: German

Perhaps feeling a little left out by not releasing a recording for twelve years, the Bochum production suddenly entered the fray again with a five track EP entitled New Songs showcasing the changes to the production since the last offering. We get Jamie Golding showcasing “Crazy” and “Starlight Express”, then dueting with Danni Kearsley-Wooller on “Allein Im Licht Sterne” (a version of “Next Time You Fall In Love”).  A Megamix is followed by “Starlight Express Boy Band Version”.  Basically Jamie Golding and all his Rusty covers in the show are united in a Westlife style version of the song, it’s rather nice actually.  7/10

 

 BOCHUM LIVE CAST ALBUM 2015

Running Time: 125 minutes  Language: German

Recorded in June 2013, but released in 2015 (amid rumours of Lloyd Webber not being happy with some of the recordings) this is again a hybrid.  Taken from an initial live recording, this has been heavily overdubbed and remixed so that truthfully it cannot be considered a true live album.  That is not to say that it isn’t a great listen, because it is. The arrangements have been worked with a techno vibe in places in an effort to give some of the songs a more contemporary soundscape. This is most evident in the race sequences but can be heard elsewhere. Among the changes to show are the inclusion of material re-worked for the 2013 UK Tour.  “A Whole Lotta Locomotion” with lyrics by composer David Yazbek has been translated as “Nie Genug” (Never Enough) and is a much more strident dance floor song,  not the light poppy vibe of “A Lotta Locomotion” which it replaced.  Der Rap is a curious mixture of the original and re-vamped versions, perhaps the most surprising change though is the inclusion of a song by Lloyd Webber’s son Alistair originally with English lyrics by Nick Coler called “I Do”.  Here it is “Fur Immer” (Forever), and is a nice slice of Europop, and a better fit for the show than “Next Time We Fall In Love” for this fan boy’s tastes. Georgina Hagen and Marcel Brauneis make the most of the new song, delivering a great track (and later encore reprise). It may not be a truly live album but it is the complete show as it stood that year and as such provides another major slice of Starlight action. Its boppy, its poppy and you'll want to listen to it more than once.  It also has the distinction of being the recording with the longest running time of all those thus far released.  9/10

 

 

ICH BIN ICH 2023

Running time: 11 minutes  Language: German / English

To celebrate the 35th anniversary of the Bochum production,  a three track promotional CD was issued (available as a download too) of a new song written for the show "Ich Bin Ich".  Its English version "I Got Me" was also included, along with a dance mix of "I Got Me".  The English lyrics are penned by Lauren Aquelina with the German translation by Wolfgang Adelberg. The song replaces "A Lotta Locomotion" / "A Whole Lot Of Locomotion" in previous iterations of the show.  Bochum cast members Emilie du Leslay,  Rose Ouellette, Sydnie Christmas and Dieuwke Tonissen perform on the recording. 8/10

 

REVIVAL LONDON CAST ALBUM 2024

Running time: 65 minutes  Language: English

Finally on the 40th anniversary of the original production, and 30 years since the previous London cast album, the 2024 revival production is given its own recording and in keeping with tradition, the track listing is unique. No cast recording of Starlight Express has thus far replicated any previous version. Such is the nature of the ever evolving score and characters. The production running at the Troubadour, Wembley Park has wowed audiences since June 2024, but how do the cast fare on record?  The 21 tracks mirror the New Starlight Express recording of 1992, it is a 'Highlights' album with the major musical passages included. For the first time on record we have a female Greaseball (Al Knott)  and Momma (Jade Marvin). The production on the album whilst generally sound does occasionally give the vocals too much prominence,  a better balance might have been preferable. A case in point "Rolling Stock" makes Al Knott appear very shouty and you wonder why the vocals haven't been mixed into the soundscape to a better effect. Perhaps in the world of computer game music, for whose attention this has to compete among the younger audience, that is how things are done. "I Got Me" has now had a lyric makeover as "I Am Me", and we get the extended single version of the futuristic engine "Hydrogen" with its brain washing refrain "Its not a matter of if, its a matter of when..." (music by Andrew, lyrics by Richard Stilgoe's son, Joe) which as far as I know isn't the version used in the show. If there is one criticism of this album, its that it lacks a bit of subtlety. Its very in your face, the characters are not quite so endearing as in previous versions, the nuance diluted. We finally get an English recording of "I Do" sung by Jeevan Braich and Kanya Montecillo, and a good job they make of it. And of course a revised Megamix closes the album. All in all fans of the 2024 show will love it, but longer term admirers will perhaps yearn for a few touches from the past. Starlight Express is still an evolving piece, enticing in a new generation of theatre fans. For them certainly this album will be a streaming hit. 7/10

 

So there  you have it, Starlight Express on record... until now. With Bochum nearing its 40th anniversary and the London version about to be launched worldwide,  I am sure its not the last we will be hearing of the engines and carriages and their desire to win the Railroad Championship.  Race time minus one minute.... 

Rob Cope

Review: GHOST THE MUSICAL (UK Tour) @ Regent, Stoke

 

 

Movies into musicals is now a genre in its own right,  some would say that like the jukebox musical, it is killing creativity. However, these adaptations are instantly sellable. In a world where we need to know what we are getting before we invest,  they are massive sellers to the public at large.  It must have been a bit of a no brainer when in 2011 the first production of Ghost The Musical hit the stage.  The 1990 movie starring Patrick Swayze, Demi Moore and an Oscar winning Whoopi Goldberg has proved one of the most popular of all time. A true weepie about the enduring power of love and loss.  So no pressure there than for the creative team of Bruce Joel Rubin (book and lyrics),  The Eurythmics' Dave Stewart and Glen Ballard (music and lyrics).  

This production by the late great Bill Kenwright has been touring the UK for a few years now on and off,  audiences still though flock back to the show, proving that you can't keep a good show down.

In case there is anyone out there who is not aware of the plot, banker Sam Wheat is killed by a mugger in New York in front of is fiance Molly Jenson. But Sam is trapped between worlds, unable to communicate with anyone other than his fellow ghosts who haunt the streets and subways of NYC.  However, a meeting with a reluctant psychic Oda Mae Brown sees Sam able to communitcate from the other side. As he and Oda Mae soon discover,  his death is more than just a tragic circumstance,  it is part of a deeper plot by his best friend Carl to defraud the bank at which they work of millions, and which puts Molly's life in danger.

The characters are so clearly defined in the movie by Swayze, Moore and Goldberg that it is no easy task to persuade audiences that other actors are now in charge. However,  this production is blessed with the talents of formidable leads. Rebekah Lowings returns to the roll of Molly, and is a double threat.  She can convey the yearning grief which consumes us all when it comes to the loss of a loved one and sing like an angel at the same time.  She has several solo ballad moments,  and of these 'Will You' is probably the highlight. She is lucky to play opposite the tall and rugged Josh St. Clair taking on Swayze's role of Sam Wheat. Again, this guy can sing, and his duets with Lowings portray the chemistry between Molly and Sam which are the very centre of the show. The comic tour de force of Jacqui Dubois brings Oda Mae to life, giving us a smattering of Whoopi whilst also making the character her own. Oda Mae has been conning people with her fake pyschic powers for years and isn't too thrilled to find she has a real connection to Sam. She may be a Medium but in other repects Dubois possesses big attitude, big voice and gets most of the big laughs.  She has the audience on her side from the moment she steps out and performs 'Are You A Believer?' to a gullable widow.

Perhaps the most difficult role in the piece is Carl Brunner, Sam's banking friend and colleague who is the villain of the piece. James Mateo-Salt skilfully manages to convey the increasing panic and desperation of Carl as he is threatened with the exposure of his banking fraud by Sam from beyond the grave. Completing the major characters are Jules Brown as the killer hoodlem Willie Lopez,  Garry Lee as the manic Subway Ghost and comedy legend Les Dennis who steps into the duel roles of Hospital Ghost and banking boss Lionel Ferguson with ease. Each of them bring another layer to this morality tale.

Director Bob Thomson makes sure the characters don't veer too far from the familiar,  with Mark Bailey's set and Nick Richings lighting playing a large part in convincing us Sam is no longer an earthly presence with clever tricks and illusions in place of the movie's special effects.  The score by Stewart, Ballard and Rubin contains serviceable songs,  none which linger much past the exit door, but are certainly pleasant listens. 'Here Right Now' might be perhaps the one song which people will go out humming.  However, the one jewel is of course the arrival of 'Unchained Melody' in several forms during the evening. The Righteous Brothers 1965 classic is a focal point of the movie and remains so in the stage version.  Did we have a tear when Sam finally ascends to the other side?  You bet we did!

Ghost, movie and musical,  allows us to buy into the notion that our loved ones are still with us, and will be waiting for us. Something we'd all like to believe. This production is tastefully produced, gives us the feels and earned itself a standing ovation at the end of the show. For two hours at least, we did believe. Amen to that!

Rob & Ian

2024 and 2025 tour details can be found at the BILL KENWRIGHT WEBSITE

 

Further listening:

It can only be the original West End cast recording, the only English language version available, recorded in 2011 and featuring Richard Fleeshman, Caissie Levy and Sharon D. Clarke as Oda Mae Brown. Two German language cast albums (2017 & 2022) have also been released.  Purchase options for all versions can be found by clicking on the cover below.

Review: COME FROM AWAY (UK Tour) @ Grand, Wolverhampton

 

Tragedy on the scale on 9/11 isn't immediately the starting point for a musical you would think.  But from the terrible events that unfurled on that day came humanitarian actions that almost harks back to the World War years. For one community in Newfoundland (Canada), the closure of the sky lanes above America would signal the arrival of 38 planes which were grounded and packed full of people from around the world, with no idea when they might be able to fly again.

This show by Irene Sarkoff and David Heim (who provide book, music and lyrics) takes the testimonies of the people on the 38 planes with the Newfoundlanders and weaves them into something brilliant.  An evening exploring the human condition of 7,000 passengers who found themselves frightened, lost and grieving in a place they probably never even  knew existed until the planes touched down on a long underused airport serving the remote communities of Newfoundland.  The show also celebrates the unswerving kindness and devotion of the communities of Gander and surrounding hamlets who gave up their lives to look after the sudden influx of travellers from around the globe.  

Having spent four years in the West End,  this multi award winning show has hit the road for its first UK tour.  The Grand Theatre in Wolverhampton is packed to capacity to experience the 100 minute journey (no interval!) of passengers and townsfolk on that fateful day in 2001.  In the wrong hands, it could have been a downer of a show. But it's not.  Its moving and joyful and a celebration of life.  Each cast member plays multiple roles on a simple set in which tables and chairs are swiftly moved around to indicate various locations.  Sometimes simplicity is best,  and director Christopher Ashley superbly keeps the action moving along with barely a beat as tensions rise and friendships are formed.  The show doesn't shy away from the suspicion of anybody from the Arab nations during that dark time, but somehow through the dark a ray of light is always to be found.

The touring cast are each and every one superb. Sara Poyzer (last seen being brilliant in Mamma Mia!) as airline pilot Beverley almost steals the show with her big song "Me And The Sky",  Nicholas Pound keeps things grounded as the no nonsense Mayor of Gander and Bree Smith pulls at the heartstrings as Hannah, whose firefighter son is missing in New York whilst she is stranded. Mark Dugdale and Kevin Yates as the two Gay Kevins offer an alternative perspective on being out of their comfort zone in more ways than one, Amanda Henderson's Beulah meanwhile makes sure the animals onboard the plane have safe passage.

 Complimenting this amazing ensemble are a nine piece band under the direction of Andrew Corcoran,  they invest the celtic folk orientated score with a zest and tenderness that give the evening its backbone. Thankfully they get the chance to shine at the curtain call with a 'Screech Out' which reminds us that whatever is thrown at us, life is for living, and we must all make the most of everyday.

In my 45 years as a theatre goer, I don't think I can recall such a speedy standing ovation from every single member of a 1200 strong audience. As soon as the last note was played, the audience was on its feet. Thanks to the fine playing of the cast and band, we felt we had connected with the people in the show and been on their journey, shared their joys and sadness. It is what theatre does best. Brings us all together for a shared emotional experience.   

Come From Away has won many awards, and you can see and feel right here on this tour why that is.  It is a unique story that demonstrates that out of great evil can come the best of humanity.  We laughed. We cried. We leapt to our feet. Go see it.

Rob & Ian

 

Further listening:

It can only be the amazing Original Broadway Cast recording from 2017. Click on cover to take you to purchase links. The original production filmed live on Broadway can also be streamed via Apple TV.

Review: CHITTY CHITTY BANG BANG (UK Tour) @ Regent, Stoke

 

Four-Fendered Fabulousness

There are certain movies which transcend generations, and are loved by all ages. The 1968 movie adaptation of Ian Fleming's 1964 novel is certainly one of them. Chitty Chitty Bang Bang is a beloved movie which first became a stage musical in 2002 at the London Palladium and has toured in various versions across the world since.

This latest touring production comes courtesy of David Ian and the Mayflower Theatre, Southampton.  The colourful world of Caractacus Potts is deftly realised by designer Morgan Large with a versatile set which leaps from the rural home of Potts to the Scrumtious sweet factory to the fairground and the nation of Vulgaria. Each vista conjuring up the jollity and dark menace of the piece as required, and  complimented by Ben Cracknell's superb lighting.  Choreographer Karen Bruce and director Thom Sutherland make sure the large cast keep on their toes portraying a wide variety of factory workers and fairground folk, in this energetic telling.  The movie's score has been extended by Richard and Robert, the Sherman Brothers.  So we get all the favourites:  'Toot Sweets', 'Me Ol' Bambo',  'Hushabye Mountain', 'Truly Scrumptious', 'Chu-Chi Face' and of course that infernally catchy title song which won't leave your head the minute you hear it.  

 

Leading the tour is former Tap Dog and all round musical theatre veteran Adam Garcia as inventor Caracatacus Potts,  his gentle sway helps keep the show grounded amid all the outrageous personalities on display. He's a triple threat, and the perfect leading man for this show. At the performance we saw Hadrian Delacey stepped in to play Grandpa Potts and didn't put a step wrong all evening,  his old jokes and eccentric demeanour proved a winner with the audience.  So too the comedy henchmen Boris (Adam Stafford) and Goran (Michael Joseph) whose pantomime-esque antics as Vulgarian assassins were Music Hall gold. Ellie Nunn made for a very likeable Truly Scrumptious and possessed a lovely singing voice to boot.  The role of the creepy Childcatcher was taken by The Vivienne, one of the winners of RuPaul's Drag Race UK and a promising acting talent,  they took the role and mined it for the sinister and nightmarish presence that Robert Helpmann had established in the movie. There were plenty of boos at the curtain call, so a job well done!  Martin Callaghan and Jenny Gayner as the Baron and Baroness were another comic double act, well suited as the pair flirted and preened their way through life.

The 10 piece band under the supervision of MD Jessica Viner rose to the occasion magnificently, and belted out the Sherman's score with finesse. We were certainly humming along to those melodies from childhood, and like the rest of the audience we left the theatre with a big smile.

In an era where touring productions cut corners for financial returns, it is pleasing to see a show whose values are still firmly on quality. This 2024 touring version of Chitty is the real deal,  spectacular in every aspect. And then there is the car herself.  The real star of the evening. She has leapt off the movie screen and manifested herself before us. But does she really fly?  Buy a ticket and find out. In the words of the song: "What a happy time we'll spend!"  

Rob & Ian

 

Tour details can be found at the OFFICIAL CHITTY ON TOUR WEBSITE

Further listening:

The original London cast album from 2002 is our recommendation. Featuring Michael Ball, Anton Rogers, a young Carrie Hope-Fletcher, Brian Blessed, Nichola McAuliffe and Richard O'Brien.