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 1919 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 March 

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. Its high class cabaret,  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