Review: THE GREATEST SHOWMAN - THE MUSICAL @ Bristol Hippodrome

 

★★★★★

Principals appearing on 28/4/26

Oliver Tompsett - P.T. Barnum

Samantha Barks - Charity Barnum

Katie Tonkinson - Anne Wheeler [alternate]

Ben Joyce - Phillip Carlyle

Vajèn Van Den Bosch - Jenny Lind

Malinda Parris - Lettie Lutz 

Max Bispham - Young Barnum

Maya Sewrey - Young Charity / Caroline 

Back in 2017 the surprise and unrivalled success of The Greatest Showman, a telling of the P.T. Barnum story, took movie bosses by surprise. It grossed $435 million worldwide and became a phenomenon of cinema and pop culture. With a collection of newly minted pop songs by Benj Pasek and Justin Paul (Dear Evan Hansen) performed by the likes of Hugh Jackman and Michelle Williams, the movie became an instant classic. Cut to nearly a decade later, and Disney Theatrical Productions chose to unveil its latest blockbuster at the massive 1,951 seat Bristol Hippodrome during the spring of this year. Naturally we couldn't resist a little road trip to the South West of the UK to witness the birth of this stage adaptation, which sold out its entire eight week run in a couple of hours.

The musical, like the movie, is loosely based on the story of Phineas Taylor Barnum.  This is not a documentary and huge amounts of artistic licence are used to simplify the story for a new generation.  For the unaware, a young dreamer in the 19th century (Barnum) courts Charity, daughter of the wealthy Hallett family.  Despite his poverty, Charity falls for Phineas and they start a life and family together.  When Barnum finds himself labouring in a run down theatre which then gets earmarked for demolition, he offers to buy it for $1. He then sets about opening a show in Manhatten utilising a bizarre collection of real life freaks and oddballs, such as Lettie Lutz - a Bearded Lady.  This sets him on the path of fame and fortune, however when he decides to promote Swedish opera star Jenny Lind on tour,  his instincts are derailed.  Then when his theater burns down, Barnum turns again to the acts who brought him success, hires a big top and becomes the Barnum & Bailey Circus.  He tours 'The Greatest Show On Earth' for decades around the US.  He has become The Greatest Showman of the title.

Bringing such a well loved screen classic to the stage brings with it huge expectations, but Disney are well versed in bringing fantasy to the theatre, The Lion King has become the biggest grossing theatrical musical franchise ever.  So if anyone can meet expectations it is Disney. Heading its creative team is director Casey Nicholaw, best known for the worldwide success of Spamalot, The Book Of Mormon and Mean Girls.

Disney have been highly protective of the world premiere season in Bristol which involves issuing audience members with stickers to cover their mobile phone cameras and refusing to have a press night.  So sadly there are no production images to share on this occasion.  But as Disney happily took our £95 each, we exercise our right to an opinion. But they shouldn't be worried by that, as for the most part the evening is sensational. A visual feast on every level,  with both solo and ensemble numbers capable of stopping the show.  In addition to the songs featured in the movie, Benj Pasek and Justin Paul have crafted five more songs to flesh out Barnum's world of the exotic.  They are for the most part excellent additions which we are sure will become favourites when inevitably the cast album is released further down the line.  

Oliver Tompsett (who we have seen being so brilliant in & Juliet and most recently A Knight's Tale) steps into the demanding role of Barnum. Naturally he has the dark spectre of Hugh Jackman's mercurial turn in the movie looking over his shoulder. He doesn't let it phase him though, and gives us a driven and charismatic Barnum who wins over the audience with ease.  Samantha Barks is stoic in her portrayal of Charity, Barks 'Tightrope' solo is just beautifully executed in a choreographic coup de theatre. Ben Joyce (Carlyle) and Katie Tonkinson (Anne Wheeler) similarly display acrobatic grace during 'Rewrite The Stars' whilst Malinda Parris shakes the rafters of the Hippdrome during 'This Is Me' with her rage at Barnum's rejection of the oddball troupe as he courts high society. Dutch star Vajèn Van Den Bosch delivers such clarity and vocal power to 'Never Enough' that it literally stops the show. A moment of true beauty.

You will not find this review spoiling all the effects and surprises throughout the evening, the set design is simply stunning, as scene after scene is created to dazzling effect. The burning down of Barnum's theater? No problem. Everything about this production radiates class, from the incredible 14 piece orchestra to the shimmering lighting and shadow art that pervades the evening. It is perhaps the full company numbers that hit home the most,  a stage full of dazzling talents showing vocal, dance and acrobatic skills which make this show such a knockout.  The production has award winner written all over it.

And whilst there are a few creative beats that need tightening (the spectre of racism and extra marital affairs have been expunged from the stage narrative and thus don't give us the dramatic tension that certain scenes require) it is on the whole a glorious transfer of well loved cinematic material to the live stage. And more than that, it is not a slavish copy of the source material. The Greatest Showman - The Musical is its own beast,  adapting and expanding already familiar concepts to better suit the stage.    There is no doubt that when this show reaches London and New York,  a new theatrical hot ticket will ensue.

Is it the greatest show?  Judging by the amazing ovation given to the show at the performance we attended, very possibly, yes.

Rob & Ian

Further information on The Greatest Showman on stage can be found at the official website of the show.

 

                                 A glimpse of the stage pre-set, yet to come alive with spectacle...
 

Further listening:

With a cast album some way off,  enjoy the original movie songs in all their pop glory.

 

 

 

Review: Operation Mincemeat (UK Tour)

 

★★★★★

This is history folks!  'Operation Mincemeat' was a real life strategy to deceive the German command by using a dead body adrift in the sea which held false information on Britain's war plans which was used to help a vital push forward as the war was reaching it's peak in 1943. A recent 2022 movie starring Colin Firth garnered good reviews,  however this musical version debuted in 2019 and proudly boasts that it is 'the best reviewed show in West End history!'. Naturally we had to see what the fuss was about and headed out to see the musical's first UK tour.

Written by founding members of the SplitLip Theatre Company (David Cumming, Felix Hagan, Natasha Hodgson, Zöe Roberts), the story is told in a mash up of traditional revue, musical theatre and farce. Each of the five cast members play a multitude of roles which in some cases involve eyewatering quick changes.  

 

Seán Carey bring s touch of the loner geek to Charles Cholmondeley, an MI5 operative who devised the cunning plan to thwart the Nazis. His increasing panic as events start to unfold is a delight. Christian Andrews creates MI5 secretary Hester Leggatt with great sensitivity, his solo number 'Dear Bill' is surprisingly moving as Hester helps with pieceing together a convincing letter romantic letter to be planted on the deceased decoy. Andrews has multiple roles and is a knock out in every one. Jamie-Rose Monk brings considerable comic timing to firstly Johnny Bevan, the operative who pitches the idea to Churchill and then to a dazzling array of protagonists including one Ian Fleming, who bangs on about the spy book he has just written. I wonder what became of him?  Charlotte Hanna-Williams is Jean Leslie, who is recruited to pose as the fictious Major William Martin's fiancee. Bringing up the rear - so to speak - is Holly Sumpton as Ewen Montagu, another of the MI5 operatives to bring together this daring plan.

Ben Stones' design is both a clever use of sparse props and furniture, creating locales from England, to Germany to Spain.  Robert Hastie's direction never allows the pace to let up, and we the audience are swept away with the daring plan and the many points in which it can go wrong. Some of the scenes are almost surreal in their execution, take the opening of Act Two as Nazi's gyrate as if in some kind of disco hell during the song 'Das Übermensch'.  There are swipes at the class system throughout along with a liberal dose of good old fashioned word play.  Its quite the mixture of styles and storytelling, but somehow it all gells superbly. The audience are drawn in and left  agog to know how the plan will progress.

The four piece band belt out the numbers with gusto, making sure the fabulous five deliver their solos with impressive skill.  We weren't quite sure what we were going to get with Operation Mincemeat, however we couldn't fault it as an entertainment.  The fact that several moments moved us so greatly was equally a surprise. This cast can do it all!

The best reviewed show in West End history? We now see that this is not hyperbole, it is just sheer quality theatre winning through.  This is one hilarious history lesson you won't want to miss. Quite simply, it showcases just why live theatre continues to be an unbeatable experience. Save up your ration coupons and go.

Rob & Ian
 

Full details of Operation Mincemeat productions worldwide can be found at the OFFICIAL WEBSITE 

Further listening:

The original 2023 West End cast recording released by Sony is ready for a code breaking, secret listen on streaming, CD and vinyl.

BTTT MUSICAL TASTER ALBUM

Mp3 Album download HERE 

Review: SUNNY AFTERNOON (UK Tour)

 

★★★✩✩

There can be little doubt that The Kinks in their musical heyday left their global mark.  Often cited as one of the most influential bands of the 1960s-80s,  their canon of pop classics cannot be underestimated. It is little surprise then that theatre producers spotted a potential ker-ching of cash registers when a musical about the band was mooted. It came to pass in 2014 when the West End lit up to The Kinks Sunny Afternoon, winning a Best Musical Olivier Award in the process it has to be noted.

Not being huge Kinks fans ourselves we were intrigued to see what writer Joe Penhall had made of their story, the majority of which is set as you might expect in the 1960s.  The story follows North London brothers Ray and Dave Davies as they form a band with their friends which eventually morphs into The Kinks.  Ray proves to be a natural and gifted songwriter.  Their seminal single 'You Really Got Me' issued in 1964 was an instant smash, just as the British Invasion was peaking in America.  The difference between the two brothers is pronounced.  Ray, introverted and with a nod to melancholy,  and Dave, charismatic and wild.  Its the Gallagher brothers but with class. Between them their differences form the spark of The Kinks, with Dave's skills as a guitarist gaining great acclaim.

 

The real problem with the musical is that there is not much story there. Band forms, band falls out, band implodes.  It has been told a million times before and Sunny Afternoon is not unique enough to make it stand out amid the rest.  Long scenes where the band question the subversive deals that they have been tied into by a succession of management figures are not exactly thrilling.  What is thrilling though is the performances of Ray Davies catalogue (and this is very much Ray's version of events, and his songwriting. the hit single  'Death Of A Clown' for instance is excluded presumably as it was written by Dave).  The cast of musicians who bring the story to life are the reason for buying a ticket.  Danny Horn brings a vulnerability to Ray Davies, as his talent and personal life gets swamped under the pressures of being in a hit band.  Oliver Hoare juxtoposes this with a Dave Davies living on the edge,  party central with little understanding of the consquences of his actions. Both performers dominate the bulk of the scenes and give the show the energy that defines it. Harry Curley nicely sums up the frustration of being trapped between the conflicted brothers as bass guitarist Pete Quaife.  Lisa Wright equally manages to elicit sympathy as Rasa, Ray's teenage first wife who finds herself trapped at home with a young baby whilst her husband gives his pop star on the other side of the world.  Zakarie Stokes drums up a storm as Mick Avory, fourth member of The Kinks, and his drum solo rightly brings cheers from the audience. Ben Caplan recreates his original role as music industry mogul Eddie Kassner to good effect, and along with Joseph Richardson and Tam Williams, provide the heavyweight management who take a large amount of The Kinks earnings.

There can be little doubt the score contains some crackers:  'Dedicated Follower Of Fashion', 'Lola', '(Thank You For The) Days',  'Dead End Street' and of course the title track.  Pop evergreens that will go on,  the cast couldn't have performed them better. The vocal arrangements of Davies' quirky songs are by and large excellent,  and when the full company joins together (both singing and playing the instruments) the combined effect is stunning.  It more than makes up for the bland passages of dialogue. Looking at the whole, it might have been better to find an original story than try and adapt The Kinks own passage through the music industry.  But it is what it is.  A jukebox musical that does what it says on the tin.  Director Edward Hall does his best to tie it all together in a neat bow, and manages a colourful show mired down with the bands own story.

On the whole, we did enjoy ourselves greatly at Sunny Afternoon but felt it was a flawed night full of brilliant performances. If you are a Kinks fan run to it, but if you are after a coherent drama when perhaps this is not for you.  

Rob & Ian

Sunny Afternoon tours the UK until the end of May 2026.  Tour details HERE 

Further listening:

The 2014 original cast album is a fantastic listen,  giving full reign to Ray Davies songwriting

 

Review: MEAN GIRLS - THE MUSICAL (UK Tour)

 

★★★★  (4 of 5)

 

The spate of movies that now become musicals has now become something of an avalanche in commercial theatre,  to greater or lesser degrees of success.  Tina Fey's 2004 adaptation of Rosalind Wildeman's book gave an award winning breakout role to Lindsay Lohan.  It wasn't until 2018 that the fully fledged musical version hit the Broadway stage, followed most recently by the movie of the musical version.  And now the show is back on UK stages in a major production 

For those blissfully unaware of events at North Shore High School,  Cady Heron arrives at the school having been living with her mother in Kenya.  She encounters an unofficial social strata among the students - presided over by a trio of sharp tongued and well styled girls known as The Plastics.  The trio consist of 'Queen Bee' Regina and her eager to please acolyte Gretchen and cerebrally challenged Karen. Cady finds a welcome from social outcasts Janis and Damian, who warn her of the toxic nature of The Plastics. But when Cady finds herself invited to dine with them at their exclusive canteen table she is drawn into a world of social putdowns and vindictive behaviour.  She resolves to take them on,  but at what cost to herself?

The music of composers Jeff Richmond and Nell Benjamin is very much in the pop idiom, a range of ballads and full on production numbers which keep the toes tapping throughout.  'Apex Predator' and 'Revenge Party' particularly stick to the ear after you have left the theatre, and as such the music resonates with the audience its aimed at.

Emily Lane is a wining Cody, having both the bright and breezy awkwardness of a teen whilst delivering outstanding vocals.  At the performance we saw, we were blessed with the alternative Regina, Tori Louise Ryan. She smashes it as the viper Regina combining sass and waspish cunning.  She is matched by Kiara Dario and Sophie Pourret as Gretchen and Karen respectively.  They both hit their characters on the nail, plus sing and dance a dream. Star performers to the hilt. Equally Georgie Buckland's Janis is all anger and alternative narrative, she brings the fire in the fight against the rule of the Plastics and delivers a rousing 'I'd Rather Be Me'. Max Gill has the difficult task of pulling off the least well written principal Damian, all camp and attitude.  He manages to overcome the limitations of the two dimensional role with comedic sparkle.  A word too for Ben Oakley, the geeky jock Aaron, Cody's crush and Regina's ex. He too overcomes some bland dialogue to find some heart in Aaron. Steps' own Faye Tozer is pitched as the star name,  alternating three small characters: a hippy Mom, a pushy teacher and Regina's oversexed pink lady of a mother. Tozer handles them all with ease, including some impressive quick changes, but doesn't really get a chance to shine like a performer of her talent and experience should.  Not her fault though.

Director Casey Nicholaw (currently bringing The Greatest Showman to the UK stage) makes sure the show hits all the right notes, combining the chaotic educational environment with some intimate set pieces as each character contemplates their place in the high school hierachy.  Mean Girls is a feast of a morality tale set in a stereotypical American high school. The ultimate message that we should all be nicer to each other has taken the long way around, but its a fun journey to get there.

We weren't sure the show would be for us, but were won over by the sheer exhuberance of the cast and the sheen of the visuals. A special mention for the band too, they were top notch. One of the best we have heard in a Pit for a while. Congrats to those hidden away who provide the wall of sound.

If you get your chance to party with The Plastics on tour, go for it.  This is one revenge party you won't want to miss.

Rob & Ian

Mean Girls tours the UK throughout 2026/27, tour dates can be found at the OFFICIAL WEBSITE 

Further listening:

Not a lot of choice, its either the movie soundtrack or the original Broadway cast recording, so we'll go with Broadway.

Review: HERE & NOW The Steps Musical (UK Tour) @ Grand Theatre, Wolverhampton

 

★★★★ (4 of 5)

It only seems like five minutes since we were at the world premiere season of HERE & NOW which we reviewed in November 2024 HERE.   Since then it has set out on an ambitious nationwide tour to take the staff of Better Best Bargains to the farthest reaches of the UK in order to spread joy, a few tears and a whole heap of camp.  There have been a few cast changes in the interim, so we thought we would check out the touring version at one of our favourite theatres,  the Grand in Wolverhampton.

 

The story (such as it is) centres around the seaside discount store Better Best Bargains, being run under the steady hand of store owner and French-ophile Patricia.  But changes are afoot when her secret French lover Honri turns out to be property developer Max, who has purchased the store from Patricia with the devious intention of closing it down and building luxury condos in its place!  Are the staff gonna stand for that? Not on your disco loving sequinned boob tube they are not.  The staff themselves are all at personal crossroads in their love lives. And conveniently for them,  there is always a Steps song to help them along.

Tom Rogers' impressive set glows with pinks, blues and neon, giving a disco feel to the store which sets us in a heightened world where Hi-NRG could break out at any minute.  It is the perfect visual for a show packed with pop classics, direct from the pages of Smash Hits.

Having taken over the lead from Rebecca Lock,  Lara Denning proves to be the star attraction yet again as shop floor worker Caz. We saw her deliver the goods in Eugenius and & Juliet, and her knock-out voice is used to even greater effect on the Steps power ballads 'One For Sorrow' and 'Heartbeat'.  Caz is the beating earth mother of the show, and Denning as usual delivers us a glittering powerbomb of a performance.

Another new face in the cast is Sally Ann Matthews (Jenny Bradley of Coronation Street to us) who brings some comic presence to stuffy Patricia, store owner and wannabe romantic.  Matthews has an impressive theatre CV to add to her iconic television role, and she is able to bring her stage experience to bare on the stores loveable curmudgeon.  

Jacqui Dubois adds soul and sass to Vel, Caz's best friend and confidante whose "Come out, come out and dance with me" chorus of 'Neon Blue' proves to be prophetic as she eyes love on the other side of the track. Rosie Singha bubbles away as Neeta, who refuses to reveal her secret crush on Ben, a sexy hunk who also works at Better Best Bargains. Ben Darcy as Ben dances up a storm and is the store eye candy, the fact he has a great voice too is a nice bonus.  Lauren Woolf makes the most of Tracey, the warehouse manager who seems to have the perfect life with her 'Sophie'.  

Blake Patrick Anderson as Robbie and River Medway as Jem are both long stayers from the premiere season.  Blake's performance has matured since that first outing, giving a much more three dimensional reading of commitment shy Robbie whilst River Medway is - well - River Medway,  drag queen extraordinarie with a great line in patter.  Edward Baker-Duly is back as the odious Honri / Max, and the fact there are jeers at his curtain call prove he has played his role to the hilt.   

 

Naturally the hits come thick and fast as the Steps catalogue is plundered,  with writer Shaun Kitchener managing to neatly tie the songs into the narrative, helped along by Rachel Kavanaugh's strong direction which brings out the emotional core of each character.  Whether you want a bargain in the electrical goods aisle or a half-price hoedown, you find yourself catered for in this Steps flavoured slice of seaside sunshine.

As jukebox musicals go this is among the better of the crop, its cheesy but its joyous.  The perfect antidote to the disturbing times we are living through.  Stop worrying about what the future holds, and start a chain reaction by getting yourself in store.  It's time to begin - now count it in
5-6-7-8!

Rob & Ian 

Further information and tour dates can be found at the OFFICIAL STEPS MUSICAL WEBSITE

P.S.  No cast album on the way it seems,  we can only hope the show is recorded for streaming before the current tour closes.   

Review: PRISCILLA, QUEEN OF THE DESERT (UK Tour) @ Manchester Palace Theatre

 

★★★★★ (5 of 5)

With drag culture becoming virtually mainstream these days, the movie that propelled a generation into frocking up is back on stage, 1994's The Adventures Of Priscilla, Queen Of The Desert was a box office smash as Terence Stamp, Hugo Weaving and Guy Pearce headed into the outback to give the locals a taste of Mardi Gras they never asked for or knew they wanted. Sydney premiered the stage musical in 2006, and it has been winning over new audiences around the globe ever since.

The pink bus first hit London in 2009 when award winning Tony Sheldon, Jason Donovan and Oliver Thornton were our trio of drag-ettes. But now for the first time in several years, Priscilla is back on the road in the UK with a brand new production and a hit squad cast to bring Fabulous back to UK stages.

For the few who have never seen the movie,  The drag queen Mitzi Mitosis – stage name of Anthony "Tick" Belrose – is performing at a club in Sydney when his estranged wife Marion, calls in for a favour. From the phone in Tick's dressing room, Marion reveals that she needs an act for a few weeks at her business in remote Alice Springs. Tick is at first reluctant, but Marion informs him that part of the reason she's asking is because their now eight-year-old son Benji wants to meet his father.  Accompanied by recently behreaved former trans showgirl Bernadette and the annoying young drag queen Felicia / Adam, they purchase themselves an old bus which they christen "Priscilla, queen of the desert" before driving off into the unforgiving Australian outback...

With the movie having had a lavish (and Oscar winning) budget for its costumes,  producing Priscilla for the stage always comes with big expectations.  And whilst the tour costume designer Vicky Gill is working to a much tighter budget, there are enough feathers and sequins on display to light up the stage. So too Priscilla herself,  a bus travelling across the outback.  Set and lighting designer Andrew Exeter has solved that problem with a two sided vehicle which turns and allows us to see what our hero(ines) are up to inside.  All told, with added video projections conveying the remote outback feeling, it is a fine canvas upon which to tell the story.

 

Nick Hayes returns to the role of Felicia with great success. Clearly a triple threat, his performance is one of the lynchpins of the show, ever more so as Adam comes to realise that the pride freedom of the big city is not reciprocated in rural Australia. Strictly Come Dancing's Kevin Clifton proves his mettle as Mitzi / Tick, committed drag queen and wannabe father. Clifton brings the right amount of guilt and fear to his performance,  plus displays a fine singing voice to add to his dancing skills. Legendary Fascinating Aida member Adele Anderson adds a touch of authenticity to Bernadette,  the world weary ex-member of the Les Girls drag troupe,  Anderson has long been at the forefront of both the theatre and cabaret worlds and here adds another notch to her impressive CV with a Bernadette that is maternal yet viper-ish when she needs to be. A trio made in drag heaven.

Many remember Peter Duncan from his long stints on Blue Peter, however it is to be remembered that Duncan is actually an Olivier nominated actor of some experience, as he proves here as Bob, mechanic and Les Girls fan!  Duncan provides the alpha to Berndette's beta, and their 'fine romance' is a lovely thing to watch unfold on the stage.  Isabella Glanznig Santos delivers us a fine and fiery Cynthia, Filipino wife of Bob, who has her very own specialist form of cabaret. Never has "Pop Muzik" been more appropriate!  Garry Lee's Miss Understanding gives the evening its early punch,  a scary mary with a penchant for Tina Turner. Much of the power pop vocals are down to three Divas:  Leah Vassell, Bernadette Bangura and Jessie May.  All three sing the roof of the Palace Theatre as they tackle head on Cindi Lauper, Donna Summer, The Weather Girls and an A - Z of pop classics.  They are the backbone of this production, never has disco sounded so good.

 

An eight piece band under the musical direction of Richard Atkinson deliver the big moments,  whether it be the C & W of "Country Boy" or the rock stomping of "Hot Stuff", they have it covered.  And Priscilla is all about big frocks and big tunes.  Director Ian Talbot has conjufred a fine reading of this now evergreen tale, and made sure that its increasingly relevant message of inclusivity and tolerence is front and centre.  

We haven't seen Priscilla on stage since the 2009 London premiere, and its delightful to witness that the reflection on the sequins has not dimmed in the interim.  For everyone heading out to see this UK tour,  rest assured you will LOVE this nightlife.  

 Rob & Ian   

Details of the Priscilla UK Tour can be found at the shows OFFICIAL WEBSITE 

 

 Further listening:

Although you can easily find the original Australian and Broadway cast recordings, our wild card recommendation is this recording from the 2017 Paris cast (in English) that will deliver a healthy dose of disco to your day.