REVIEW: JESUS CHRIST SUPERSTAR (UK Tour) @ Regent, Stoke

We've been longing to catch up with this tour of Jesus Christ Superstar which has toured the world since it premiered at Regent's Park Theatre in 2016.  The story of the last seven days in the life of Christ as seen through the eyes of Judas Iscariot was a phenomenon when the original album was released in 1970. With a driving rock score, Tim Rice's savage lyrics and Andrew Lloyd Webber's instantly hummable melodies changed the face of theatre when it debuted on Broadway in 1971 and became one of the longest running shows ever after it had opened in London in 1972.

Many directors have opted to put their slant on the story and Timothy Shreader finds a path through imagery and dramatics, this production is almost like a staged concert with actors playing guitars and the innovative use of mic stands. Thankfully the show has lost none of its power to thrill.

It can be a double edged sword when you see that 'Alternates' are playing the leading roles.  If its a star name you are expecting then there can be disappointment, but on the reverse side of the coin exciting new talent emerges, perhaps the stars of tomorrow.  In this case the tour alternates Charlie McCullagh as Jesus and Luke Street as Judas delivered the roles with electrifying voices, exploring the relationship between Jesus and Judas as events spiral out of control.  

Luke Street and Charlie McCullagh

Luke Street

They are supported by a fine cast of players. Hannah Richardson finds the sadness of Mary, ostracized by society but with a genuine love for Jesus. Her 'I Don't Know How To Love Him' is a showstopper.  Ryan O'Donnell has the difficult role of Pilate,  he is bullied and cajoled into siding against Jesus but when he does so, its with some viciousness. The priests Caiaphas and Annas are played superbly by Jed Habachi and Matt Bateman respectively, their sinister shadowing of Jesus, directing his downfall are one of the highlights of the production. Timo Tatzber ups the camp levels with a manic gold cloaked Herod, the one moment in the show where the brooding darkness is lifted for a moment.

The production pulsates with a fantastic band, some stellar lighting, and some nice symbolic touches.  When Judas accepts his thirty pieces of silver, his hands are stained silver for the rest of the show.  The 39 lashes are depicted by throwing glitter at the writhing body of Jesus.  Within the context of this raw production, it works.  

For a score that is over 50 years old, Jesus Christ Superstar still has the power to thrill, shock and move.  For those that have loved the albums and film versions over time, they should enjoy this fresh take.  And for those that have never seen Superstar on stage,  this is a brilliant production with which to experience the phenomenon for the first time. Whether you believe or not,  this is a piece of theatre that is outstanding. Could we start again please?

Rob & Ian

Check out the dates of the tour at Jesus Christ Superstar

ROB & IAN'S FAVOURITE SHOWS (so far)

 

Being self-confessed West End Wendys and all round theatre addicts, we were talking about our favourite shows and the musicals that would always have us running to the box office in search of a ticket. We didn't realise how hard it would be to narrow down ten musicals from each of us that have that extra special feeling whenever we see them or listen to the cast recordings. After much deliberation and in alphabetical order we wrote down our choices and compared lists. There were many crossings out and adjustments and we also came up with our five top show tunes too.  But weep for the shows we had to leave out and really, really, really didn't want to: Six, Les Miserables, Evita,  The Phantom of the Opera, Shirlie Roden's Jeanne, Sister Act...  the list goes on and on.  Like a lot of people, we don't live near London and trips to the West End are costly.  But we visit our local theatre (the Regent in Stoke) as much as we can plus Manchester, Wolverhampton and Birmingham are very do-able.  We see as much as our budget allows.

So here you are then, in alphabetical order.  Both us seperately made lists of our all time favourite theatre musicals.  Lets do it. (the numbers indicate the position of the show on Rob and Ian's personal top tens)

We were lucky to catch the Manchester try-out of & Juliet during the summer of 2019.  We knew that it was going to be a great big stonking hit then.  A very clever script by David West Read telling the story of Juliet surviving her suicide pact with Romeo and her continuing adventures, set to the iconic pop songs of Max Martin and his many collaberators was a stroke of theatrical genius.  And what an original cast they were:  Jordan Luke Gage,  Miriam Teak-Lee, David Bedella, Melanie La Barrie, Cassidy Janson and Oliver Tompsett. So much talent on the stage. Since that try out season & Juliet has gone on to 'roar' in the West End, on Broadway and in Australia.  Its one of those shows which will become a staple of musical theatre in the future. It's on a UK tour in 2024/25. Fuckin' Perfect! 

Rob #6 Ian #4

Once again we discovered Back To The Future The Musical during its brief Manchester try out season at the Opera House in early 2020. To be honest,  we had seen it advertised around the city months before and didn't have a lot of faith that the creative team would pull it off.  However our doubts were silenced when we finally saw the show. Alan Silvestri and Glen Ballard had certainly nailed the show in music terms, and the script captured all the beats of the original movie with style. The show is a visual feast too,  capturing science fiction on the stage has always been difficult but this time travelling show pulls out all the stops with incrfedible illusions, married with some smart lighting and projection.  Roger Bart effortlessly took over the mantle of Doc Brown with Ollie Dobson not phased by Michael J. Fox's iconic turn when bringing Marty McFly to life.  Hugh Coles established himself as a massive fan favourite as nerdy George McFly and even got to go to America with the show!  For sheer theatrical thrills, this can't currently be beaten.   Ian #1

 

 

 

 

 

 

 

 

 

Elton John has lent his talents to theatre on several occasions, and none more successfully than Billy Elliot. Taking its inspiration from the award winning film released in 2000,  the stage musical has been the training ground for such talents as Tom Holland and Leyton Williams to name but two. The inspirational tale of a miners son turned ballet dancer during the bitter 1984 miners strike is simply one of beauty against the beast. Most recently revived at the Curve, Leicester the score as stands one of the best Elton John has composed (although we have yet to see his two latest theatre offering The Devil Wears Prada and Tammy Faye).  Although the training of the young stars is always a problem with Billy Elliot we are confident this show will 'Shine' for many years to come.  Rob #8 Ian #6

 

Over four decades since the original Liverpool production in 1983, Willy Russell's heart rending Blood Brothers shows no sign of going away. The story of the impoverished Mrs. Johnstone giving away one of her twins to her wealthy employer, only for them to grow up as best friends unaware that they are siblings, is a powerful tale, interwoven with superstition and the spectre of a fatal finale. The gritty characters weave a place in your heart, only to have audiences weeping at the unforgettable lament which ends the show, 'Tell Me It's Not True'.  The original Olivier Award winning Mrs. Johnstone Barbara Dickson has been followed by some of the finest names in pop:  Kiki Dee,  Petula Clarke,  Mel C,  Helen Reddy and four of The Nolans (Bernie, Maureen, Linda and Denise) to name but a few.  There is no show like it on the stage, and the ongoing UK tour which started in 1987 is a testament to the late Bill Kenwright and his love for Willy Russell's masterpiece.  Rob #1 Ian #2

 

This homage to comic book heroes debuted in 2018 to great success, only for it to disappear from The Other Palace and re-appear in 2023 at the Turbine Theatre in an all new production. Like all the best super heroes do. Eugenius tells the tale of Eugene who writes the most fantastic comic book stories and is spotted by a Hollywood talent scout who turns his creations 'Tough Man' and 'Super Hot Lady' into a movie.  However the real Evil Lord Hector arrives from deep space intent on destroying his twin brother Tough Man.  It's a mad crazy tale of fiction and reality meeting set to the most joyous 1980s inspired rock and pop score.  Rob #10  Ian #7

 

 

 

 

 

 

 

 

 

When Everybody's Talking About Jamie opened at the Crucible Theatre, Sheffield, in 2017 the buzz about it was immediate. Quickly transferring to the Apollo Theatre on Shaftesbury Avenue, the story of Jamie New whose ambition was to go to his school prom in a dress resonated with young theatre goers everywhere.  Dan Gillespie-Sells (music) and Tom MacRae (book and lyrics) took the inspiration from a BBC documentary about Jamie Campbell and sprinkled it with theatrical sparkle to make one of the standout shows from the past few years.  The major themes of the show are anti-bullying and pro-inclusivity, coupled with some amazing drag antics from Jamie and his drag mentor Hugo a.k.a. Loco Chanelle.  The feel good elements of the show never lose sight of the message being put across.  It will remain in the spotlight for years to come!  (And check out the excellent 2021 screen adaptation currently being streamed on Amazon too!) Rob #5  Ian #3

 

Of all the Andrew Lloyd Webber mega hits, Joseph and the Amazing Technicolor Dreamcoat remains a bedrock around the world.  Its performed in schools, colleges and on major stages.  Tim Rice's witty lyrics and Andrew's infectious score never age,  just like the Biblical tale being told.  Like so many people in the UK,  our first experience of the show was Bill Kenwright's epic tour which opened in 1979 and lasted until 2019.  40 years of Technicolor fabulousness. The Really Useful Group's own production boosted the careers of Jason Donovan and Donny Osmond, and the made for TV movie is now a classic.  There seems there is no stopping the timeless appeal of Joseph and his brothers.  This one is for the dreamers!  Rob #4

 

The mighty Mamma Mia! has been delighting audidences since 1999. The story of Sophie Sheridan searching for her Dad to walk her down the aisle has been reaching into the hearts of both theatre and movie goers.  The appeal of the show seems unstoppable. This is mostly down to the enduring appeal of ABBA's arsenal of 1970s hit songs, and it remains a sell out wherever it is presented. Its probably the most romantic, feel good show of them all.  There are rumours of a Mamma Mia 3 movie, but nothing will top the original tale of the Donna and the Dynamos reunion.  A super trouper of a show.  Rob #3  Ian #5

 

It might surprise some people that the Schönberg and Boublil show to make the list is not the ever popular Les Miserables, but their other magnum opus Miss Saigon.  The re-telling of Madam Butterfly arrived in 1989 at the Theatre Royal Drury Lane, and made a musical superstar out of Lea Salonga.  Set against the backdrop of the bloody Vietnam War,  we follow Kim's struggle to survive after seeing her parents murdered.  She meets Chris, an American GI, with whom she falls in love and has a child.  But the spectre of her past won't go away as the situation threatens to overwhelm her. The score is lavish and full of musical theatre standards.  Despite problematic representations of South Asians to some people, it remains one of the all time great musicals.  Rob #9

 

Hello dearies! Mrs. Doubtfire came to the UK from New York, having had a relatively successful run on Broadway (although plagued by closures due to the Covid situation over there).  We caught up with it at the Manchester Opera House in its pre-West End try out, and fell in love with the piece. Gabriel Vick brilliantly channelled Robin Williams interpretation whilst adding his own take on Mrs. Doubtfire's character.  The songs are real earworms and the production managed to deliver some in your face musical theatre without ever losing sight of the real heart and the family based story being told.  We always judge a piece by the musical content, and the Broadway cast album was enough to confirm to us that we needed to book a ticket pronto for its UK unveiling.  Its a fun and heart warming adaptation.  We like to think that the late Robin Williams would have approved.  Ian #9

Well what is there left to say about Jonathan Larson's Rent?  Larson's re-imagning of La Boheme set in 1990s New York and with an amazing rock / pop / gospel score won him a posthumous Pultizer Prize among many, many awards.  The show became a cult hit around the world and is still performed regularly as new audiences engage with the world of Roger, Mark, Mimi, Angel and the rest as we look in on one year of their lives.  Although 'Seasons Of Love' remains the most recognisable anthem from the show,  it is littered with songs which touch the very soul.  Having witnessed several productions of Rent with many talented cast members,  the show feels like an event each time we see it. We love it way beyond 525,600 minutes.  A show that will live forever.   Rob #2

 

 

 

 

 

 

 

 

 

 

Despite the problematic staging (an entire cast on roller skates) Starlight Express is fun all the way.  Andrew Lloyd Webber and Richard Stilgoe created a 'Cinderella' musical of sorts as the underdog steam train Rusty challenges the all poweful diesel locomotive Greaseball and electricity powered Electra to the Railroad Championship of the World.  Originally opening at the Apollo Victoria Theatre in 1984 with a gravity defying set which allowed the cast to race from the stage up to the dress circle,  it has captured the hearts of generations of theatre goers.  A German production in a specially designed theatre in Bochum has been running since 1988 and a brand new London production has been announced for the summer of 2024.  Freight is still great as we head into a new era for the show.  Rob #7

 

 

 

 

 

 

 

 

 

 

The late Tina Turner's rollercoaster life is captured in Tina,  and what a life it has been.  Her relationship with her mentor and husband Ike turned sour amid domestic violence.  Finding herself divorced, alone and with no money, Tina rebuilt her career brick by brick and through sheer hard work and talent became the superstar she was destined to be. The show is wall to wall classics:  'Nutbush City Limits', 'Proud Mary',  'River Deep Mountain High',  'What's Love Got To Do With It',  '(Simply) The Best'... a history of rock in one performance.  An inspiring evening of theatre documenting an icon,  audiences have laughed, cried and rocked along to the Queen of Rock and Roll.  A show worth shouting about.  Ian #8

 

 

 

 

 

 

 

 

 

A musical relatively new on our radar, but when we visited Manchester's incredible Hope Mill Theatre we were sold on the UK premiere of the new musical To Wong Foo.  Based on the 1995 movie, the tale of three New York drag queens crossing America in a Cadillac, only to break down in a backwater town, is a riot. The intimate setting of Hope Mill could not have been more perfect for this show, aside from all the obvious high camp moments it has real heart as our three drag queens transform the lives of the people of Snydersville for the better. Unlike its chart hit flashier sister Priscilla,  an original score by Lewis Flinn keeps the lives of Noxeema, Vida Boheme and Chi Chi grounded and enriches the characters. Come on back to the UK soon ladies. Ian #10

Top 5 Favourite Show Tunes

Ian:

My Man, Your Boy (Everybody's Talking About Jamie)

Go Eugenius (Eugenius)

Go Go Go Joseph (Joseph and the Amazing Technicolour Dreamcoat)

What The Hell (Mrs. Doubtfire The Musical)

The Best  (Tina The Musical) *we know this wasn't written for the theatre but it's such an iconic song we let it slide*

 

Rob:

Could We Start Again Please? (Jesus Christ Superstar)

Tell Me It's Not True (Blood Brothers)

I Do (German: Fur Immer) (Starlight Express)

Go Eugenius (Eugenius)

Finale B: No Day But Today (Rent)

REVIEW: EVITA (Preview performance) @ Leicester Curve

 

 

It is perhaps an irony that Eva Peron who despised the middle classes, has become the centre of a musical beloved by middle class theatre goers worldwide.  

The Tim Rice / Andrew Lloyd Webber classic was launched as an album in 1978 featuring Julie Covington, Colm Wilkinson, Tony Christie and Barbara Dickson.  It transfered to the stage in 1978 in a ground breaking production directed by Hal Prince, with Elaine Paige in the starring role backed by David Essex and Joss Ackland. The 1996 movie starring Madonna is perhaps the best of the Lloyd Webber stage-to-movie adaptations thanks to Alan Parker's directorial skill.  Now, we have a revival at the much lauded Leicester Curve, directed by the venue's Artistic Director, Nikolai Foster.  

The story of Evita is one of ambition, power and corruption.  From humble beginnings in a family for which poverty was the norm,  Eva Duarte meets and seduces (or is seduced by) tango singer Augustine Magaldi.  She uses him as a stepping stone to get to Buenos Airies where she becomes an actress and star of the radio. Meeting Colonel Juan Peron at a charity event,  she embarks on an affair and they soon marry. Eva backs her hisband's political ambition and in the process becomes a figure-head for the Peronist movement.  When Peron is voted President of Argentina,  Eva's ambitions reach new heights and she seeks to promote Argentina as a world power and sets out on a tour of Europe to gain powerful political allies. Amid financial mis-management of her charity Foundation,  Eva becomes ill and dies of cancer in 1952, aged just 33.  Three million people attend her funeral procession.

That is of course a very brief summing up of a complex and rivetting story.  Andrew Lloyd Webber supplies perhaps his finest theatre score matched by some savage lyrics from Tim Rice.  Their final collaboration together is a masterpiece, and they were wise not to try and better it.   

The Curve's new production has minimal staging - a moving staircase and a gantry which descends being the two notable set elements - but its use of powerful and striking lighting throughout, brilliantly realised by Joshie Harriette,  lifts the visuals and gives it an epic, almost religious flavour.  Martha Kirby has the uneviable task of performing a role which has become immortalised through the efforts of Elaine Paige in the West End and Patti LuPone on Broadway.  She manages not to let any comparisons phase her, and gives us a vocally excellent Eva, full of the fire and passion which we associate with the character. Her delivery of the scene on the Balcony of the Casa Rosada where she implores Argentina not to cry for her is classily executed. Tyrone Huntley makes his everyman Che a wily commentator on the unfolding events, Huntley nails the beautiful 'High Flying Adored' and is a performer to watch in the future.  Gary Milner's Peron is perhaps less intimidating than previously portrayed but his love for Eva shines through, particularly during 'You Must Love Me', which is an emotional high point. Chumisa Dornford-May as Peron's jilted mistress rises to the challenge of 'Another Suitcase In Another Hall' with a tender vocal that displays a vulnerability and incomprehension at being rejected in favour of Eva.  As ever,  the ensemble are the backbone of the piece, whirling around the stage in Adam Murray's frantic choreography or singing the hell out of 'A New Argentina',  this is an ensemble equal to the challenges of the difficult score.  The ten strong band are an attraction in themselves,  never has Evita sounded so good.

With the stage peopled by a cast mostly in black - save for the Argentinan aristocracy who flounce around in technicolour - this production is a blank canvas awash with brooding set pieces, mercurial lighting and moments of gentle introspection.  The standing ovation at the end of the first preview performance was heartfelt.  Don't cry for the Curve,  word of mouth recommendation should ensure that the money keeps rollin' in over the festive period.  Catch it whilst you can.

Rob & Ian

For further details go to Curve Online

 

 

I SHOULD BE SO LUCKY @ Manchester Opera House (UK Tour)

 

 

 

Where to start with this one. Well, I suppose the creative process started with the worldwide hit music of Mike Stock, Matt Aitken and Pete Waterman.  The 1980s writers and producers who masterminded huge global smashes for the likes of Kylie, Jason Donovan, Rick Astley, Mel & Kim and Sonia to name but a few.  Debbie Isitt took onboard the task of both writing and directing this ambitious attempt to tie together a disparate series of songs,  all performed to the SAW backing track which filled dancefloors in the decade of dayglo colours and big hair.   

 

In a nutshell,  impending groom Nathan jilts his bride to be Ella at the alter after his Grandad delivers some mysterious news on the day of the wedding. In the aftermath bride and family all jet off to Turkey where the honeymoon was to have been played out, thinking they might as well have a knees up to lift the gloom. Soppy Nathan subsequently decides that he has made a bad decision and heads with best man Ash to said Turkish resort in order to persuade Ella to forgive him and marry him after all.  However Ella has befriended waiter Nadeem so events have moved on quickly...  Chuck in a gay best friend and a campy hotel manager who both seem to have been left over from a 1970s sitcom, plus a couple of Amercian con artists and you have a concoction of events which we struggled to follow,  mostly because the narrative became so absurd.  

Chief calling card for the show is Aphrodite herself,  the goddess that is Kylie.  She appears in a huge mirror dispensing advice to would be bride Ella throughout the piece. Sadly its not enough to save the show. The cast themselves are working their socks off trying to deliver. There are some good voices too as they rip through the SAW classics.  Personally we feel some of the show is a little mis-cast, and whilst there is a lot of love in the air with a happy ending in which all the major protagonists find themselves a partner,  none of the couples seem to have any stage chemistry.  The show is played very broadly - think Benidorm (TV series) meets Mamma Mia!  but without any of the finesse of either, and you are pretty much there.  Some of the ensemble set pieces are impressive but for the most part, the word we kept coming back to was tacky. The characters have no depth, the storyline is all over the place and it just doesn't have any warmth in which we can invest our feelings for the characters. More Blackpool in the sun than anything else.

 

 

Judging from the audience on the night we went,  the largely hen party crowd lapped it all up as they drank their proseccos.  Its the songs themselves that stop this show from turning into a disaster.  'Too Many Broken Hearts',  'Better The Devil You Know',  'Never Gonna Give You Up' and many many more just about save the bacon on this mess of a show.

I Should Be So Lucky knows its audience and will likely do good business around the UK, but as a quality piece of theatre in the words of Mel & Kim it "Ain't never gonna be respectable".

Rob & Ian

 

For further details of the show go to soluckymusical.com

 

TO WONG FOO @ Hope Mill Theatre, Manchester

 

It seems incredible that it took so long for this musical to have its professional stage debut given the cult of the Drag Queen which now exists in the mainstream.  Based on Douglas Carter Beane's 1995 movie (starring Patrick Swayze and Wesley Snipes) which sees three New York drag queens cross America in a cadillac intent of reaching the Drag Queen of the Year finals in Los Angeles.  Its not quite that simple though, their ageing transport breaks down,  and they are towed to the hick town of Snydersville where they are forced to stay until the engine part the car needs arrives.  The crux of the story is the effect that Vita, Noxeema and Chi Chi (our three drag queens) have on the town, and who think they are real women.  There are of course many comparisons with The Adventures of Priscilla, Queen Of The Desert which debuted the year before To Wong Foo and which went on to be a considerable international hit movie and later stage musical.   But unlike that show,  this musical has an especially composed score by Lewis Flinn (Carter Beane's husband) and the songs serve the story very well as turns out.

 Hope Mill Theatre's limited resources are its greatest strength. The inventiveness with which they have always staged their ambitious projects is to be greatly admired. To Wong Foo is no exception.  Gregory Gale's costumes particularly stood out as the show darted between hicks-ville and chics-ville.  Naturally the trio of drag queens get the best costumes and the best lines. Peter Caulfield's Vita Boheme is the sassiest of the bunch whilst Gregory Haney is a delight as the sharp tongued, world weary Miss Noxeema Jackson.  Bringing up the rear as the 'drag princess' and cock tease Chi Chi Rodriguez, an impressive turn from Pable Goméz Jones. All three performers inhabit their characters, making them far more than one dimensional freaks abroad.  An 18 strong cast deliver a memorable theatre experience.  Stand outs include Carolyn Maitland as Carol Ann,  victim of domestic abuse and dreaming of a better life.  Her heartfelt solo  'Maybe Tomorrow' is a highlight of the production.

 

All musicals need a villain of sorts,  and here we have the excellent Lee Harris as bully husband Ed Earl and Duncan Burt playing to the gallery as drag-phobe Sheriff Dollard - both thankfully get their comeuppance. Susie Fenwick delivers a fine country ballad 'Sweet Dreams' when Clara Pearl (unexpected authority on Hollywood's black actors) finally finds her voice. Lovely performances too from Snydersville young sweethearts Bobby Ray (Alexander Kranz, making his professional debut) and Bobby Lee (Emily Ooi).  Despite mentioning a few standouts, this is a real team effort.  Douglas Carter Beane's direction brings out the best in the characters, whooping up the stage in the musical numbers, but allowing the heart warming personalities of Snydersville to break through in more tender moments.  It is yet another noteable entry in Hope Mill's impressive run of productions.

On this evidence To Wong Foo is here to stay. The musical certainly deserves a wider audience and we hope that Vita, Noxeema and Chi Chi take a road trip and deliver the show to venues far and wide. A hit. 

Rob & Ian

 

 

CHARLIE AND THE CHOCOLATE FACTORY (UK TOUR) @ Manchester Palace

 

Roald Dahl's morality tale of Charlie Bucket's search for a golden ticket has become a modern classic.  The original book debuted in 1964,  but it was the 1971 movie Willy Wonka and the Chocolate Factory that brought the story to a whole new global level. Gene Wilder's mercurial Willy Wonka gave children and adults alike the trip of a lifetime inside his sweet factory,  complete with Oompa Loompas and hidden dangers.  A 2005 re-imagining with Johnny Depp took advantage of the leaps in technology that had occured in the interveneing years to bring an even more visually sumptuous telling of the story.  In 2013 the theatre beckoned,  a new musical wtih music and lyrics by Marc Shaiman and  Scott Wittman.  After a strint on Broadway,  the musical has been revived in a new production in conjunction with the Leeds Playhouse.

Act 1 deals solely with the search for and the finding of the five Golden Tickets that have been hidden inside the Wonka Bars worldwide. As we all now know four of the tickets go to some very undesirable recipients:  Mike Teavee, Violet Beauregarde, Augustus Gloop and Veruca Salt.  Thankfully in an incredible stroke of luck Charlie finds a coin and spends it on a Wonka Bar,  and the fifth Golden Ticket is his.  And so the story unfolds as the five and their guardians take a trip into Willy Wonka's mysterious factory.

Its a tall order for the theatre to match the big budget vistas of the movies,  but set and costume designer Simon Higlett together with illusionist Chris Fisher and video designer Simon Wainwright have combined to make Charlie's journey a thrilling spectacle. You never come out of the theatre feeling short changed after years of watching the movie versions. Central to the piece are two performances:  that of Charlie and Willy Wonka.  Charlie had changed gender on the night I saw the show,  Jessie Lou-Harvie sported a Glasgow accent and won the hearts of everyone in the audience with her portrayal of the poor but never downhearted Charlie. We rooted for her with every scene.  She is matched by Gareth Snook's Willy Wonka. Genial, scary,  magical - Snook managed to portray all these things as he took on one of modern literature's most famous figures and made the role his own.  His entrance song 'It Must Be Believed To Be Seen' set the perfect tone for the crazy antics of the inventor.

Each of the 'victims' portrayed their characters to the hilt.  Emma Rowbotham Hunt as the terminally spoilt Veruca Salt,  Teddy Hinde as television and game obsessive Mike Teavee,  Marisha Morgan as social influencer and teenage pop star Violet Beauregarde and  Robin Simões Da Silva as serial scoffer Augustus Gloop. The performers delivered children who should be seen and not heard, preferably not seen. Each one transforming themselves into the very worst type of human being.

A shout out too for Michael D'Cruze as a heartwarming Grandpa Joe and Leonie Spilsbury as Mrs. Bucket,  both of whom were a stand out in the first Act.

Anyone expecting the Oompa Loompas to be orange and little were in for a surprise.  Due perhaps to budgetary restrictions and the need for the cast to play multiple roles, these inhabitants of Wonka's factory are now silver clockwork droids (we think) but they still are a focal point of work in the factory.

Music wise Marc Shaiman's score is serviceable,  we didn't spot any hit tunes in there which linger in the mind, and two iconic songs from the 1971 film 'Pure Imagination' and 'The Candyman' have been retained to put a smile on the face of old stagers like us.  

All told the cast and the nine piece band delivered a quality show which would be a golden ticket for anyone lucky enough to catch the tour.  We sat captivated from start to finish as were the packed audience (largely made up of kids) at the Palace.  If you are lucky enough to find your own ticket (and its not cheap to go to Wonka's factory) you'll be pleasantly rewarded with a confectionary of delight.  But watch out for the giant squirrel!

Rob & Ian

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