Review: BACK TO THE FUTURE THE MUSICAL @ Adelphi Theatre, London

 

★★★★★ (5 of 5)

 Principals performing on 29/1/26

Oliver Halford (Marty McFly) [Cover]

Cory English (Doc Brown)

Orlando Gibbs (George McFly)

Billie Bowman (Lorraine Baines) [Cover]

C.J. Borger (Goldie Wilson)

Alex Runicles (Biff Tannen)

Talia Palamathanan (Jennifer Parker)

Lee Ormsby (Strickland) 

Back To The Future has a special significance for us.  It was the very first show we saw together and for Ian it is his favourite piece of theatre to date. Rob was lucky in catching a preview at its 2020 Manchester premiere season, before Covid shut down the world, and together we caught up with it in 2022. Now, four years later, we are hoping the Delorian has lost none of its power as it transports us between 1985 and 1955.

The original movie (and it's two sequels) have become cult classics. Inspiring a fan base who cosplay as Marty McFly as they devour the merchandise and fan fiction that it generates. Creators Bob Gale and Robert Zemeckis have kept a tight hold on the franchise, rebutting pressure to re-make the movies or indeed attempt a fourth sequel.  However, they were both very much at the creative helm of this stage version and it shows. The production radiates class from every pore, with an impressive budget and effects to astound even the more hardened theatre goer, thanks to the wise direction of John Rando.

 

 

Oliver Halford serves a winning Marty McFly, he has the vocal chops for the show but makes sure Marty's vulnerability as events spiral out of control is on display. As firm fans of Roger Bart, we were concerned that Cory English's Doc Brown would be a lesser serving. But we needn't have worried, English has the Doc sewn up. Clearly having a lot of fun on stage allowing full reign for his comedy arsenal,  and whether it be the tender ballad "For The Dreamers" or the disco stomper "21st Century" English delivers in plutonium spades.  

 

Elsewhere Talia Palamathanan (who we saw shining in Everybody's Talking About Jamie) makes sure she makes the most of Marty's 1985 girlfriend Jennifer Parker, despite limited stage time.  Billie Bowman's Lorraine Baines manages to convince us of Marty's mothers teenage lust for her future son, and together with Halford they create some nice comedy. C.J. Borger is on fire as Goldie Wilson, future Mayor but still working in a diner in 1955. His performance of "You Gotta Start Somewhere" brought the energy levels up to 1.21 Gigawatts before the lightning had chance to.  Orlando Gibbs has the difficult task of having to replicate to a certain extent Crispin Glover's gloriously nerdy George McFly from the movie. All credit to him, he succeeds without going overboard, and gives us a physically awkward performance that wins the audience over.  

 

The success of this show is that it is able to take us into the time travelling sci-fi world that usually is only available to us on the cinema screen,  to see the adventure unfurl live on stage takes it to another level. The Delorian car is perhaps the biggest star of the show and its all credit to the effects people on the show that they achieve such spectacle. Alan Silvestri's music - with lyrics by Glen Ballard - utilises the best motifs of the film score coupled with a blend of 1950s kitsch and 1980s excess.  It deservedly won the Best New Musical at the Olivier Awards.  The London run comes to an end in April  and heads out on a UK tour in October 2026. We can only hope that enables many more thousands of people to witness this time-travelling supernova of a show.

Back to The Future has established itself as a staple of musical theatre, we can't wait to drive 88 on the tour.  

Rob & Ian 

Details of the worldwide productions can be found at the official BACK TO THE FUTURE MUSICAL WEBSITE.

Further listening:

 So our tip is check out the Deluxe Edition of the 2022 original cast recording, featuring an extra disc of cut songs, early versions and demos.  

Review: THE PHANTOM OF THE OPERA @ His Majesty's Theatre, London

 

★★★★★ (5 of 5)

 Principals performing on 26/6/26

Dean Chisnall (The Phantom)

Lily Kerhoas (Christine Daae)

Fergus Dale (Raoul, Victome de Chagny) [cover]

Zoe Vallee (Carlotta Guidicelli) [cover]

Helen Hobson (Madam Giry)

Meg Giry (Mille Lyon)

Hywel Dowsell (Urbaldo Piangi) [cover]

Tim Morgan (Monsieur Firman)

Adam Linstead (Monsieur Andre) 

A visit to His Majesty's Theatre brought some nostalgia for Rob because it was in this theatre nearly 40 years ago, he had his first taste of the strange affair of the Phantom of the Opera. Just days after its official opening night, Rob took his seat to watch the full original cast including Michael Crawford and Sarah Brightman, and became enthralled with Andrew Lloyd Webber's intoxicating score. This time it was Ian's turn to lose his Phantom virginity, and together we witnessed a show on the verge of a landmark anniversary.

                                                                   Sarah Brightman and Michael Crawford 1986

The opening is still one of the finest in theatre, with the 1905 auction followed by that incredible fugue overture as the chandalier rises and the years fall away. And so then we are in Paris of 1881 where the famous Opera House is in the hands of new owners. They come to realise the theatre is commanded by a mysterious Opera Ghost to whose demands they must acquiese.  When their diva soprano walks out following yet another 'accident' on stage, they discover among the ballet corp a young ingenue soprano in Christine Daae. However, she has had the most remarkable teacher, and when Raoul - Christine's childhood friend - becomes the new patron of the opera, events start to take a darker path.  The Phantom of the Opera has no intention of letting young love stand in the way of his fixation for Christine...

This original production of Phantom has conquered the world,  it remains the second biggest grossing musical franchise ever. Lloyd Webber has supplied some of his most memorable melodies, coupled with lyrics by Charles Hart and Richard Stilgoe, to tell one of the most romantic musical tales of them all.  The brilliant original direction from Harold Prince with choreography by Dame Gillian Lynne are spellbinding, added to Maria Bjornson's sumptuous set and costume designs, it adds up to one of the greatest theatrical productions of all time. And the candles that rise from the stage illuminate just how great this production is even after four decades have passed.

 

 

Lily Kerhoas has the crystal clear soprano voice that infuses her Christine with such vulnerability, and lyrical grace. "Wishing You Were Somehow Here Again" remains a showstopper in her hands. We couldn't find a mention of Fergus Dale in the programme, and it seems he returned to the show at short notice, his Raoul is every inch the rugged suitor and protector, with a strong baritone voice. Zoe Vallee's Carlotta brings a welcome operatic bravura to the proceedings,  and her scenes of rage as Christine's star ascends are a showcase for her power vocals. Helen Hobson's Madam Giry is not quite as sinister as some I have seen, but she plays the part well, and is a conduit between The Phantom (of whom she has previous knowledge) and the personnel of the Opera Populaire.

Dean Chisnall has big boots to fill as The Phantom,  however he is very much up to the task.  His soaring voice gives meaning to "The Music Of The Night" and veers between the monster killer and the vulnerable disfigured creature who falls for Christine.  We must always feel pity for The Phantom despite his killing spree, and Chisnall has the character nailed.

Despite the many star turns on display, this production remains an ensemble show.  "Masquerade" is a thrilling opening to the second act,  and indeed the score contains some of Andrew Lloyd Webber's most lush and romantic music. The orchestra, although reduced in recent years, still has 14 virtuoso players who play the score to the hilt,  and make us believe we are at the grandest of Opera Houses.

 

Ian declared that The Phantom Of The Opera has been the highlight of our four show trip into the West End, and Rob remains satisfied that Phantom is in rude health and ready for the next 40 years. Happy Anniversary Phantom, may the Music Of The Night never be silenced.

Rob & Ian 

Tickets and information on the London production can be found at the Official Phantom Of The Opera website. 

 Further listening:

Whilst the multi million selling original 1986 cast album starring Crawford and Brightman is the go to recording, we urge you perhaps to turn left and check out the Canadian cast of 1990 featuring Colm Wilkinson.  Better known as the original Jean Valjean in Les Miserables, Colm was actually the Phantom in Lloyd Webber's workshops before Crawford came on the scene. Click on the cover for sales options.

Review: PADDINGTON THE MUSICAL @ Savoy Theatre, London

 

★★★★★ (5 of 5)

Principals performing on 28/1/26

Teddy Kempner (Mr. Gruber)

James Hameed & Abbie Purvis (Paddington)

Tarinn Callender (Grant)

Adrian Der Gregorian (Mr. Brown)

Amy Ellen Richardson (Mrs. Brown)

Stevie Hare (Joanthan Brown)

Deliah Bennett-Cardy (Judy Brown)

Tom Edden (Mr. Curry) 

Brenda Edwards (Tanya)

Bonnie Langford (Mrs. Bird)

Jacqueline Hughes (Millicent Clyde) [Cover] 

Amy Booth-Steel (Lady Sloane)  

Paddington Bear has somehow become the symbol of a welcoming London, the little immigrant Peruvian bear stole our hearts firstly in the books by his creator Michael Bond in the late 1950s,  then became a 1970s television treat before latterly commanding the big screen in (to date) three highly successful movies.  He has made the stage before of course, but never so outstandingly triumphant as this new show at the Savoy Theatre. Getting a ticket has become a challenge, and so we counted ourselves lucky in taking our seats with a sold out audience.

The musical takes its premise from the 2014 movie, with Paddington's arrival in London and the subsequent quest by the explorer's daughter Millicent Clyde to acquire the bear for her collection of stuffed animals.  With a book by Jessica Swale and new songs by McFly's Tom Fletcher, this foray into the world of Paddington promises great things. 

The first thing that hits you is that the show is lavish.  Both the settings and the accompanying video animation transport us into both the real lives and the minds of the characters. Director Luke Shepperd and his team have hit it spot on in recreating the lovely feel of the movies whilst retaining a distinctly theatrical identity. Neil Austin's atmospheric lighting throughout adding yet another rich layer to what is by any standards, a visual feast. The realisation of Paddington himself is a marvel, with animatronic face movements added to a distinctly organic body which has us falling in love with him from the off.  It is a stunning recreation of the little bear, and a talking point all its own. James Hameed (voice) and Abbie Purvis (body) work as one to bring him to life, seemlessly blending to give us the Paddington of our dreams.

 

Paddington would be lost without the Brown family and they turn out in force. Adrian Der Gregorian is stuffy Mr. Brown, risk analyst (whose hidden desire to rock is soon unleashed). Amy Ellen Richardson is the kindly Mrs. Brown who takes Paddington into her home and sings like an angel, "One Page At A Time" being a fine solo. Delilah Bennett Cardy and Stevie Hare, are sulky Judy Brown and all knowing Jonathan Brown respectively. Both hit their characters spot on. 32 Windsor Gardens is completed by lodger Mrs. Bird, in the shape of West End legend Bonnie Langford. Bonnie has long been a one-woman show enhancement facility, and here too her sunny stage presence takes flight.  Who would have thought that Mrs. Bird was secretly a West End star!  We did worry there wouldn't be a moment for her to do the splits (surely part of Bonnie's show contracts now), we didn't leave disappointed.

Sometimes you get to the theatre, view the cast board and a moment of disappointment hits you.  So it was when we saw that Victoria Hamilton-Barritt had taken a night off.  However, that doesn't lessen the wonderful performance given by Jacqueline Hughes as Millicent Clyde, her solo "Pretty Little Dead Things" remains a highlight of the evening. Tom Edden's Mr. Curry (in a much expanded role to that of the movies) gives a comedic masterclass, leading the audience singing to "Marmalade" and generally providing stalwart support to the show. Big voiced Brenda Edwards is given her moment in "Rhythm Of London", a celebration of all that is good in the capital city.  Tarinn Callender as Grant, lacky to Millicent, proves that his wonderful turn in The Drifters Girl was no fluke. A talent to keep an eye on.  Amy Booth-Steel is another show stealer, leading the Geographers Guild with a stiff upper lip and a knowing swagger.  Another wonderful presence in a show so rich in talent.

 

Tom Fletcher's songs mostly hit the spot, "The Explorer and the Bear" being one particularly memorable motif throughout the night. We look forward to familiarising ourselves with the score with the forthcoming cast album, it will doubtless be on repeat for anyone who sees the show. This could well be the start of a promising career as a theatre composer for McTom.

Paddington The Musical has hit the spot at just the right moment. With the world in an ugly place right now, we have never needed Paddington's message of kindness and tolerence more. It is theatrical prozac. The beaming faces of everyone in the audience prove that Paddington is in for a long stay at the Savoy Theatre. Get the marmalade sandwiches ready.

Rob & Ian 

Details and booking links can be found at the official Paddington The Musical website 

 

Further listening:

Get ready for the original cast recording,  to be released in May 2026 

Review: TITANÍQUE @ Criterion Theatre, London

 

★★★★ (4 of 5)

Sat in the bar of the bjiou Criterion Theatre,  we were wracking our brains to see what we could remember of James Cameron's 1997 three hour epic Titanic. We knew we were going to have to cast our minds back because the cast of the latest West End comedy smash were going to be unravelling the movie before our eyes.

And so it is that the main players gather on the stage only to be immediately upstaged by the arrival of octave defying superstar Celine Dion herself,  who strangely seems to think she was on the Titanic all those years or go - or should I say Titaníque (said in her French / Canadian accent) which is where the show gets its title from.

Luke Bayer is a delightfully fey Jack, marginally in love with first class passenger Rose. The aptly named Rose Galbraith is, well Rose a befuddled creature caught between her arrogant and entitled fiance Cal (Richard Carson). From here in on, it gets all rather surreal as the players bring a version of the story to its audience which takes some artistic liberties. At one point Ru Paul's Drag Race enters the equasion, this is Titanic on a colossal pride stage. The camp-ometer is off the scale. Carl Mullaney as Rose's controlling mum Ruth steals much of the show with his / her seemingly off the cuff acerbic patter, which on the night we went included people standing on the wrong side of the tube esculator, ABBA, the 2016 social media fetish and pretty much everything inbetween. Double Olivier-nominee Charlotte Wakefield as the unsinkable Molly Brown has her moment in the sun with a rendering of 'All By Myself' proving she has the lungs given the chance.  The entire cast are total high energy and supported by a skilled four piece band.

 

Astrid Harris commands the show with her Celine Dion, big in voice and ego as she steps in to take over key moments of the plot and anybody else's limelight.  The iceberg is stylishly portrayed as an icon of music by Ryan Carter and he ramps up the energy levels with his wicked homage. Director (and co-writer) Tye Blue finds just the right mix of manic and showstoppers to keep the evening sailing along to a successful conclusion.     

Its classy crazy cabaret,  you just have to let the whirlwind of camp overwhelm you.  Titaníque offers two hours of unbridled fun (warning no interval!) with laughs aplenty and a queer sensibility that will raise the rainbow levels. You are advised to set sail when you can,  if being wet and covered in seamen is your thing, this show is for you!  We doubt we will watch James Cameron's multi million pound epic in quite the same way again.

Rob & Ian 

 

Review: UNFORTUNATE - The Untold Story Of Ursula The Sea Witch @ Quays Theatre, Lowry, Salford

 

 ★★★★ (4 of 5)

We were keen to catch up with the new production of Unfortunate - The Untold Story Of Ursula The Sea Witch which we originally reviewed back in July 2024 on its first major UK tour.

Now the production is back for a festive season at the Quays Theatre at the Lowry in Salford (and then on to the Other Palace in London). In the interim some revisions have been made, songs have been added and numbers cut.  So quite an overhaul of the basic show, plus an all new cast to tell the story of the misunderstood Octo-woman. 

 

Musically, there has been quite a big revision.  we can see six new numbers in the show and for the most part these all enhance the proceedings, as does indeed the revamp of the script.  "Another Day (Under The Waves)" sets the tone perfectly for this piss take of the Disney ideal (and indeed "We Didn't Make It To Disney" has thankfully been retained, as it is one of the best numbers).  

We are taken back to the beginning of Ursula's story,  where she falls in love with Triton, the son of King Neptune,  only to have Neptune fake the killing of a sea cumcumber in her name and banish her to the dark waters, all so his son doesn't get to marry the Octo-pussy.  Many years later however, when Triton is now King himself, he is forced to seek Ursula's help in dealing with his headstrong youngest daughter Ariel...

This new production is every bit as wonderful as previous interations of the show, and it comes with a mostly new cast of fine players.  Allie Dart has been retained to provide the wonderful Colette, chef to the court of Prince Eric.  Her Edith Piaf-inflected "Les Poissons" is one of the highlights of the evening.  Like all the performers, she doubles in several roles, not least that of crab Sebastian. Seeing her cleverly performing both roles in the kitchen scene is sheer joy.  Miracle Chance delights as Ariel, a mermaid with Essex girl attitude, and who hits all the comic moments head on.  Her solo "Where The Dicks Are" causes a riot of laughter.  Blair Robertson is hunky sculpted Triton, a commanding voice and adding fishy machismo into the proceedings.  James Spence seems to be a star on the ascendent, just starting his career but with bags of charisma, and his morally dubious King Neptune kick starts the show with much laughter.  

But the evening belongs - as it always should - to Sam Buttery, whose devious Ursula Squirts is a force of nature.  Part cartoon villain, part drag queen, part diva,  Buttery dominates the show.  From the first note to the last, its a star performance.This Octo-woman is not going to be pushed around by anyone, least of all a Mer-man!  She gives high energy realness to the much maligned sea witch. Its a role which offers great scope, and Buttery makes the most of every OTT moment. The role might have been written for her. 

Jasmine Swan creates the underwater world with style, managing with a few pieces of scenery to conjure up the various locales of the story both in the water and on land.  Coupled with puppetry of a high order, and the atmospheric lighting of Adam King,  it all adds up to a festive adult feast.  Two musicans are listed, keys and drums, so the musical backing must be heavily sequenced, however the songs come over with gusto, so the producers have got it right.

 

We arrived with fears that the show we loved would perhaps not be quite as good with major changes and a new cast,  but left assured everyone involved has taken it to a whole new level of maritime fabulousness. Welcome back Ursula and the sea world crew,  it is good to know the show is in such safe hands.

Rob & Ian 

Keep up to date with all things Ursula at the UNFORTUNATE MUSICAL WEBSITE

Further listening:

It can only be the 2023 UK Tour cast recording featuring Shawna Hamic and River Medway, its fabulously fishy fun from a hit squad cast. Get suckin' on it via major streaming services.

Review: KINKY BOOTS (UK Tour)

 

★★★★ (4 of 5)

Principal cast performing on 30/11/25:

Tosh Wanogho-Maud (Lola / Simon)

Liam Doyle (Charlie)

Courtney Bowman (Lauren) 

Joanna O'Hare (Nicola)

Billy Roberts (Don) 

 In this age where we all have to have a label,  Kinky Boots stands as a beacon for the queer community and the fight for acceptance. Based on the 2005 movie (itself inspired by a true story) of a Northampton shoe makers who hit hard times, only to discover a market for drag queens and their 'kinky boots', the show has been the toast of Broadway and the West End.  With music by pop goddess Cyndi Lauper and a book by the iconic Harvey Fierstein, this new production -  a product of the Curve in Leicester - hit the road earlier this year and we are finally able to catch up with it, as it ends it UK tour and heads to mainland Europe.

 Tosh Wanogho-Maud is Lola

For the uninitiated,  Price & Sons has been making quality shoes in Northampton for several generations.  Passed down from father to son.  Charlie is at odds with his father,  he intends to move to London with his fiance to work in real estate. Just as Charlie looks to start a new life down south,  fate intervenes.  His father has passed away suddenly and the factory becomes Charlie's concern.  Discovering that finances are low, with stock being returned daily as retailers invest in cheap footwear from abroad,  he is under pressure to keep it going for the sake of the workers whose lives depend on it.  Fate intervenes, when on a visit to London he gets caught up in the mugging of a 'lady'. He is knocked out in the process. When he comes to, he finds the shoe that hit him belongs to Lola,  drag queen extraordinaire. Bemoaning that finding quality footwear for ladies of a certain size is impossible,  Charlie hatches a plan.  What if his factory starts producing bespoke footwear for drag queens. If they can get samples ready for the impending international footwear fashion show in Milan, maybe the factory could be saved?  So begins the journey of personal and professional discovery for both Charlie and Lola.

Set and costume designer Robert Jones has created a multi level environment which of course has the Price & Son factory as its focus, but also creates more intimate spaces when required, such a the toilet setting for an unsuspecting ballad. The juxtoposition of drab factory with Lola's world of drag is fully realised. Together with the sumptuous costumes worn by Lola and the Angels, it all adds up to a vista for the eye.  Throw in Ben Cracknell's always amazing lighting, and you have one impressive canvas on which to place your characters. 

 

Tosh Wanogho-Maud, who we last saw singing up a storm as Ben E. King in The Drifters Girl, knocks it out of the park as Lola. Sassy dance moves coupled with a genuinely thrilling voice takes his Lola to the next level, he is every inch the star.  Not that his fellow cast are slouches, far from it.  Liam Doyle (standing in for Dan Partridge) is a winning Charlie, again a marvellous voice and he finds the right balance of fish out of water and determination that embodies Charlie.  Courtney Bowman's Lauren is a cookie delight, in love with Charlie but also the voice of reason as the kinkiness descends.  Billy Roberts' Don is the villain of the piece, a homophobe who challenges Lola's right to be in their world. Its a finely tuned turn,  just the right amount of horrible without plunging into caricature.  The ensemble are wonderfully versatile, with Scott Paige always a standout, this time as George, factory foreman.  

Cyndi Lauper's score is the perfect mix of electro-pop and heart-renching ballads. "I'm Not My Father's Son" has an emotional impact which resonates long after the curtain has fallen, similarly "Soul Of A Man" becomes a cry from the heart.  But of course this show is all about feel-good so whilst these moments are among the best of the show, we get the big tit shaking disco stompers "Land Of Lola", "Sex Is In The Heel" and "Raise You Up" to counteract the waves of emotion.  Its good to know that Cyndi is working on her second musical,  she has set herself a high bar with this one.

Director Nikolai Foster has once again proved he has the common touch,  he knows how to deliver all the beats an audience expect, and to serve the story. Some of the early scenes felt a little rushed through, but when a musical is running at 2½ hours, you can't dwell on every moment.  The audience reaction said it all at the end of the show, a genuine heartfelt standing ovation and we like to think its message of inclusivity was being celebrated too.  If this is Kinky, we want more.

 

Rob & Ian

 

Further listening:

 

Why not try the original London cast recording featuring Killian Donnelly and Matt Henry, recorded live at the Adelphi Theatre. Sex is in the CD...