Review: MURIEL'S WEDDING @ Curve Theatre, Leicester (First preview)

 

The great ABBA revival of the 1990s was due to a number of factors, two of which were spectacularly successful movies from Australia. Both arrived in 1994 and featured ABBA as part of their soundtrack.  The Adventures Of Priscilla, Queen Of The Desert has since gone on to became an LGBTQ+ legend, morphing itself into a hit stage musical across the globe. The other movie is perhaps the better watch all told,  the story of poor downtrodden Muriel Heslop from Porpoise Spit, Muriel's Wedding.  With a book by its original movie author P.J. Hogan, and all new songs courtesy of Kate Miller-Heidke and Keir Nuttall,  the musical is being seen for the first time outside its native Australia where it premiered in 2017.  

Rachel Griffiths, Daniel Lapaine, Toni Collette and Bill Hunter in Muriel's Wedding (1994)

Muriel is the oldest daughter of Bill Heslop, local council senator and massive self publicist.  He's a bully, and frequently belittles his three children and timid wife Betty. Muriel dreams of a life outside her dysfunctional home, and loses herself in the music of ABBA dreaming that one day her life will be as good as 'Dancing Queen'. She is doggedly hanging on to a group of vile and shallow friends,who hate her, but its all she has got. She thinks she is part of the fashionable in-crowd. When her Dad sets her up with a sales rep job selling make-up,  Muriel sees her chance, taking the money he has given her for stock and instead following her wealthy girlfriends on a luxury cruise around the Indonesian islands.  Its here she bumps into former classmate Rhonda,  a no-nonsense fun time pal who helps Muriel realise her worth by ditching her circle of mean girls and hitching up with her for the holiday instead. Coming back home,  Muriel follows Rhonda to Sydney and sets up a new life, styling herself as Mariel. But are the dreams she has the reality she wants?  And when Rhonda finds that having fun is scuppered by illness, just what does the future hold for either of them?

Leicester Curve have teamed up with the original Australian producers Global Creatures to finally bring Muriel to the UK. And in doing so, they have taken the chance to update the show and give it a current flavour without damaging too much the expectations of the audience. Director Simon Phillips (who co-incidentally was also instrumental in bringing Priscilla, Queen of the Desert to the stage) helms the production, just as he did for the Sydney premiere. This is a revised production,  having had a number of musical songs replaced or moved around in the narrative, and an updated script by creator P.J. Hogan to incorporate the social media obsession. The songs of  Miller-Heidke and Nuttall contain enough ear worms to give Andrew Lloyd Webber the shits,  and when you also have a spate of songs by ABBA in the score, then you seriously have to up your game to compete.  'Sydney', an up beat homage to Australia's most inclusive city is a standout. But so is new song 'Ride Or Die', a song cementing Muriel and Rhonda's attitude to life. The composers find the beating heart of the characters whilst still painting the bigger picture of life in a provincial Australian backwater and onto the freedom of the big city. 

A new set by Matt Kinley for the British production gives us a circular frame in which to conjure up Muriel's world aided by a video screen with some great digital designs by Andrzej Goulding. The show looks fantastic, giving us the colours and vibrancy of modern Australia. Clearly a lot of money has been spent on this show, indicating that want it to have a life outside of Leicester.

 

 

The casting is first rate, none more so than Megan Ellis as Muriel. She immediately wins us over, the ultimate underdog, and her voice on songs like 'The Bouquet' is fantastic. She inhabits Muriel completely, making the character her own, tackling the ups and downs in her life head on.  "I am not nothing" she tells the horrible girls. Too true, you are something special girl. She is matched by the zesty performance of Annabel Marlow as rebel Rhonda Epinstall.  Together they make a fine stage pairing,  the fangirls who swoon over the Queens of Six are going to love these two.  

Elsewhere Darren Day channels a few of the late great Bill Hunter's mannerisms as the truly odious Bill Heslop, and Laura Medforth hangs around him being ineffectual and invisible as his downtrodden wife Betty, but she gets her moment to ABBA's 'S.O.S.' in a touching send off for the character. Speaking of ABBA, they appear like Swedish guardian angels throughout the show (emerging from cupboards, and manifesting as bridal shop dummies with their "Ya Ya" mock accents) urging Muriel forward. There are versions of seven ABBA songs in the show which is about right, any more would threaten to overwhelm the fine original music on offer. Helen Hill,  Lillie-Pearl Wildman,  Jasmine Peel and Daisy Twells deliver spot on vileness in the form of Porpoise Spit's beach bitches. Ethan Pascal Peters established himself as an audience favourite as geeky Brice Nobes, the would be suitor who fights for Muriel's affections only to have himself brushed aside in favour of a marriage of convenience to homophobic Russian swimmer Alexander Shkuratov, Stephen Masden providing eye candy in speedos.  His swimming coach Ken is all bluster and ambition, a nice performance from Chris Bennett.  As in the movie, the dynsfunctional Heslop sprogs are mostly hovering in the background but Jacob Warner, Joseph Peacock and Lena Pattie Jones convey nicely the world in which Muriel feels she is trapped, and of course Jones manages to get in THAT catchphrase on several occasions.

A top notch nine piece band (hidden from view) provide the production with its big sound,  this is at all levels a major theatrical event. By default (after a cancelled first performance) we found ourselves at the a British premiere. It is clear tweaks need to be made, ten minutes can be cut off the 2 hours 50 minutes running time without affecting the show, but that is what previews are for. Testing the water to see what is working, trimming and honing. The audience were on their feet at the curtain call and it was deserved,  the cast work incredibly hard to put the story over. However we felt a bit cheated when they quickly disappeared into the wings, a full on reprise of 'Sydney' so we could have a bop would have sent us home even happier.  Now Muriel has finally arrived in the UK, could a West End stopover be in the off-ing?  The signs are good. They may even have to alter the catchphrase to "You're not so terrible Muriel!"

Rob & Ian 

Further details of the production can be found at the official website of the musical which runs at the Curve, Leicester until 10th May 2025.

For musical theatre nerds, the song list of the new 2025 version:

 Further listening:

It can only be the original Sydney cast recording from 2017.  It even features a bonus pop remix of the show's anthem 'Sydney'. Fantastic performances especially from original stage Muriel Maggie McKenna, make this a fantastic showcase for the musical. Available to stream or download from the usual sources.

Review: INSIDE No 9 : STAGE / FRIGHT @ Wyndham's Theatre, London

 

 

**WARNING:  REVIEW CONTAINS SMALL SPOILERS**

The talents of Steve Pemberton and Reece Shearsmith have embedded themselves in the public consciousness since they (along with Mark Gatiss and Jeremy Dyson) broke new ground in comedy-horror with The League Of Gentlemen via stage, radio and television in the late 1990s. Following the break up of the Gentlemen as a working project, the pair went on to plough a similar furrow writing and playing multiple roles in two series of Psychoville, before their incredible run of 55 episodes of stand alone comedy-dramas under the banner of Inside No 9 between 2014 and 2024.  The series embodied homages to lots of differing styles of drama, comedy and situations, usually with a twist in the tale. The show also features a Who's Who of character actors among the weekly guest roles. It is no surprise that Inside No 9 has become something of a cult in their own right. Everyone seems to have a favourite episode of No 9.  

 

Having garnered rave reviews, multiple awards and a faithful following, naturally expectations are high for the stage presentation of Inside No 9 given the exciting tag 'Stage / Fright'.  Shearberton have an impressive combined history of theatre credits, so the fact that their first appearance takes a violent swipe at the people who distrupt live performances with talking, mobile phones and the like is far more effective a warning to the audience to shut up than simple signage around the theatre.  The pair takes us through the history of ghosts in our theatres, and the tradition of a ghost light being lit when a theatre is empty to apease the spirits. They even tell the story of Wyndham's own fabled ghost 'Bloody Belle',  it is said that if you utter her name three times then you will summon her from beyond the grave...  Its all setting the spookiness for happenings later in the show of course.

One of the best loved episodes of the television series is the episode "Bernie Clifton's Dressing Room".  A reuniting of a small time 1980s comedy double act Cheese & Crackers (they had one series on Anglia Television apparently for those that remember the old ITV franchises). Shearberton re-create the episode from scratch, and its wonderful to watch these fine actors inhabit old variety pros, its the perfect showcase for them both. Each performance includes the appearance of a guest star (in our case it was Micky Flanagan) as they become a victim of the two inept robbers that were such a fun watch in the first series "A Quiet Night In" episode way back in 2014.

 

The second act centres on the performing of a horror story "Terror At The Asylum",  its here we move into League Of Gentlemen territory of grotesques, and a descent into the oncoming horror that was hinted at in the first act.  We came out of the theatre with a sense that the show was unbalanced, after the joyous first act, there is a sense that despite the clever use of an on stage video camera and seasoned old school theatrical effects, some of Act 2 was perhaps filler material.  It is definitely labelled 'Stage / Fright' for a reason, the two acts are distinctly separate from each other. The ending is rather bizarre but we do get the happy ending we all want if we wait long enough.

 

But it is primarily the national treasures that are Shearsmith and Pemberton that the audience have come to enjoy, and they deliver in spades as they always do.  There are in jokes aplenty both about the theatre world itself and also the rich history of Inside No 9. The theatre asks for no spoilers, and we have told you more than we should. The entire run has been sold out at the Wyndham's for many months, but there are rumours of a tour which should fill more theatres around the country.  An eight strong supporting cast flesh out the mad world of Inside No 9,  and the director of the piece Simon Evans teases out some fine turns from them.

If this truly is the last hurrah of the legend that is Inside No 9, then it goes out as it lived, mostly in glory but with a few head scratching moments.  It might be your last chance to pay homage to Shearberton before something terrible happens...   

Rob & Ian

Review: LES MISÉRABLES World Tour @ AO Arena, Manchester

 

 

Les Miserables is billed as the Worlds Most Popular Musical, and as it continues to fill theatres and now arenas around the globe, its boast is one that few can argue with. Originally staged in Paris, 1980,  it wasn't until the Royal Shakespeare Company and producer Sir Cameron Mackintosh gave it a 1985 make-over at the Barbican and then transfered the production to the Palace Theatre in the West End, that its worldwide dominance really started.  The reviews were initially terrible, the stuffy London theatre critics pouring scourn on this adaptation of Victor Hugo's classic novel. But the people spoke. Word of mouth on the show was huge,  the box office boomed and suddenly Les Miz as its probably better known these days, conquered the West End, Broadway and virtually every other territory that has a theatre.

 

The story of ex-convict Jean Valjean - ruthlessly pursued by Inspector Javert for breaking his parole - and his care for his adopted daughter Cosette during the events of the tumultuous French Revolution has touched a nerve with theatre goers for four decades, and the score by Claude-Michel Schonberg and Alain Boublil (with English lyrics by Herbert Kretzmer) has gone on to be one of the most lauded of any music to come out of a theatrical production.  

Having not seen Les Miz since the 1990s, it was well overdue a revisit and this World Tour seemed the right time to reaquaint ourselves with Victor Hugo's roll call of the great and the terrible.  Some serious talent has been at the forefront of Les Miz over the years, and so for any cast it must be a weight to be able to keep up the show to a very high standard. This tour features a revolving cast, with Alfie Boe and Michael Ball headlining certain UK performances however our performance has the alternate casting of Killian Donnelly (Jean Valjean) and Bradley Jaden (Inspector Javert).  

Donnelly finds all the right beats to Valjean, his compassion, his anger and his resolve.  He brings to the piece as fine tenor voice, which thrills during such solo showcases such as 'Who AmI' and 'Bring Him Home'.  He is matched by Jaden, who whilst a little young for Javert to our minds, manages to channel Javert's dogged determination and obsession with bringing Valjean to what he sees as justice.  Jaden's 'Stars' was certainly one of the highlights of the evening. Both are worthy leading men.

 

But as you will know, Les Misérables  is very much a ensemble piece.  The rich array of Hugo's cast a smorgasbord of character studies and class commentary.  Mary-Jane Caldwell brings a strong leaning to Fantine,  and delivers a crystal clear 'I Dreamed A Dream', perhaps the best known song from the show. The romantic liaison of Marius and Cosette is delivered by Caleb Lagayan and Beatrice Penny-Touré, both powerful vocally and possessing an innocent and raw declaration of their love, as only a first time love can conjure.  At the other end of the social scale those well loved villains Monsieur and Madame Thérnardier are in safe hands with Gavin Lee and the legendary Bonnie Langford. There is nothing subtle about the Thénardiers and so Langford fits right in, belting it out 110% as she has during her incredible career and the cheers for them both at the curtain call is evidence that they have pitched it perfectly (and even in her 60th year, Langford proves doing the splits is no obstacle!)  A word too for the juniors:  Daniel Adesina (Gavroche) and India Mills (little Cosette) bring their magic to small but vital rolls. The joy of hearing the score delivered by a cast of 65 and backed by a large orchestra lushly playing the heavenly melodies cannot be quantified. It gives us all goosebumps.  

Seeing theatre pieces in large arenas is a double edged sword.  The grandeur and the spectacle are certainly in evidence, but the intimacy is missing. Watching the characters faces on the large screens is no substitute for seeing performers up close. So whilst this World Tour will give you the thrills, it is worth noting the theatre musical (still playing at the Sondheim Theatre on Shaftesbury Avenue) is still to be savoured and this arena costumed concert should be seen as an addition not a replacement for the real deal.

A word too about the merchandise. £20 for a programme is  excessive,  perhaps someone should tell the billionaire Sir Cameron Mackintosh that we are in fact in a cost of living crisis,  we are the 'shirtless ones'.

But aside from such issues,  Les Misérables is a starry spectacle that keeps on delivering after all these years.  Long live the Revolution!

Rob & Ian

 

 Further listening:

The sky's the limit with recordings of Les Miz. So many to choose from, but none finer we think than the 1995 10th anniversary concert at the Royal Albert Hall. The cast is to die for. Colm Wilkinson,  Philip Quast,  Ruthie Henshall,  Lea Salonga,  Alun Armstrong,  Judy Kuhn... the list goes on. You can hear the people sing!

Review: COUNT ARTHUR STRONG'S CHRISTMAS CAROL @ Birmingham Town Hall

 

 

Having already experienced one Christmas Carol this season, we find ourselves faced with another. But this time the storyteller is showbiz legend and former BBC television sitcom star Count Arthur Strong. The Count's Radio Shows have won numerous awards and his television series was nominated for a BAFTA, so we are in comedy royalty territory.

It's difficult reviewing a stand up comedy performance like this, because to acurately review the evening you have to put in spoilers, which we are loathe to do. Anybody who has experienced the Count on radio, TV or in the theatre will know you are getting a stream of consciousness delivery like no other.  The Count is liable to go off at a tangent on any given subject, and his portrayal of Charles Dickens recounting A Christmas Carol is no different.  Its not too spoilery to tell you that the first half is by way of a lecture on the life and times of Charles Dickens with the Count playing the man himself, whilst the second half is the Count's one man version of the title story.  Anybody who has seen the Count knows that keeping him focussed is nigh on impossible so his facts and the story he eventually sets out to tell are interspersed with many inaccuracies, not to mention going off on many tangents.

 

As ever Steve Delaney's portrayal of the Count is superb. He inhabits the characters completely,  and as we've said before is up there with Del Boy and Basil Fawlty as a comic creation. Whereas he used to tour with his comedy stalwarts Terry Kilkelly and Dave Plimmer adding to the on stage chaos,  for the past few years it has been solely the Count up there keeping everyone in raptures for two hours each night. In the telling of Dickens' story he does call in some showbiz favours, and employ the help of some well loved stage partners, so that there are plenty of surprises as the evening goes on. But as we have said this is spoiler free! Suffice to say a capacity Birmingham Town Hall audience was bathed in gales of laughter, because as the Count told us, refunds are not an option.

 

Birmingham Town Hall gets ready for the Count's arrival

The master of the malapropism has hinted that his touring days will be over in the not too distant future. Part one of his Farewell Tour hit the road earlier this year,  and the second and final tour is to be announced shortly.  But first there is another tour of A Christmas Carol running throughout November and December 2025, the first having sold out all venues.

So the clock is ticking if you have never seen Count Arthur live. In years to come you'll want to say you were there, when the Count was in full flow as raconteur and national treasure. Without doubt, traditional British comedy at its absolute finest.

Rob & Ian

Full tour details and merchandise can be found at COUNT ARTHUR STRONG'S OFFICIAL WEBSITE

Further listening:

Why not start with the very first series of Count Arthur Strong's Radio Show and laugh yourself silly.  Set in his home town of Doncaster, the Count finds himself in all manner of scrapes with the long suffering town residents: butcher Wilf Taylor, Cafe owner Gerry, church warden Geoffrey, acting muse Malcolm de Tinsel and Cafe regular Sally Marsden (initially voiced by Sue Perkins, and later by Mel Giedroyc).

Review: ONLY FOOLS & HORSES THE MUSICAL (UK Tour) @ Regent, Stoke

 

 

Mange tout, mange tout...  If ever there was a show that could do well on tour it's this one! Only Fools & Horses The Musical, the authorised stage spin-off of the legendary TV series, has set its Reliant Regal to trundle around the UK. Originally the brainchild of series creator John Sullivan who passed away before the project could be realised, his son Jim then stepped in and joined with super-fan comedian Paul Whitehouse and the late Chas Hodges (the piano playing half of Chas & Dave) to bring the world of Del Boy Trotter to the stage. As we know, between 1981 and 2003 Sullivan Snr. made the series the biggest ever comedy in the UK. Over 24 million people tuned in to watch Del and Rodney become millionaires back in 1996. Nothing could touch the writing or the performances.  So its a tall order to re-create such well loved characters and situations nightly.

 

                                                           Peter Childs as Grandad Trotter

Thankfully the Trotters  come off well from their venture into the theatre. The story is a mix of familiar situations but mostly centres around the episodes where Del meets Raquel, and Rodney is about to marry his girlfriend Cassandra. Musically its a bit of a mish-mash. Most the the songs land well with the audience, starting with that oh so familiar catchy theme music but also with songs about cockneys (Grandad), infertility (Boyce & Marlene), fortune telling (Trigger) and computer dating (Del). There are a couple of nice ballads too for Raquel and Cassandra, and when you throw in songs by Bill Withers, Simply Red and inevitably Chas & Dave, you pretty much have something for everyone.

Pivotal to the evening are the three Trotters. The evening will stand or fall on how these much loved characters are portrayed. For the actors they are not only giving a performance but are cusodians of national treasures at the same time. Sam Lupton makes his mark upon Del Boy from the off, he has obviously studied the vocal traits and mannerisms of Sir David Jason, it is clearly Del Boy up there on the stage and the audience warm to him from the off.  He makes sure the big laughs keep coming as the show zips along. Tom Major - in his first professional job - as Rodney doesn't quite have the facial reactions that were such of feature of Nicholas Lyndhurst's version, but he gives a solid performance, a lovely mixture of innocence and incredulity at his older brother's antics. Completing the Trotter trio is Philip Childs, a Stokie returning to home turf, as Grandad. Childs manages to conjure up the raspy delivery and world weary presence of the oldest Trotter.  Between them Lupton, Major and Childs provide the bedrock of the Trotter experience, and are all first rate.

 

Nicola Munns incredibly transforms herself from garish Marlene to shy Cassandra and back as the show progresses. There can't be too more polar opposites in the Fools & Horses arsenal as these two, so to expertly carry them off is a tribute to Munns talent. Georgina Hagen possesses a lovely singing voice, and her solo 'The Girl' really finds the pathos in Raquel's longing for love. Craig Berry as Boycie is a doppelganger for the original Boycie, the late great John Challis.  His pitch perfect delivery of Boycie's sneery voice and laugh are spot on.  A word too for Gloria Acquaah-Harrison whose big vocals give us a touching 'Holding Back The Years'.

Alice Power's set expertly brings the Peckham of the television episodes to the stage,  quickly transforming from the Nag's Head to the Trotters flat via a street market and all points inbetween.  Director Caroline Jay Ranger knows what the audience expect of the show, and she makes sure the action and actors deliver. Musical director Rachel Murphy and her 4 piece band knock out the music with skill too. Lets not forget them, hidden away as they are below the stage.

It is likely that a bulk of the audience during Only Fools & Horses long UK tour will not have been in a theatre before, attracting many first timers through their love of the television show. You'll need a bit more than a 'pony in me pocket' to see this show, with top price tickets a whopping £91.50 on the evening we went, it is hoped that the theatre is not turning into the elitist experience it has fought so hard not to be. Producers should be wary of knowing where the line is regarding pricing. Only Fools & Horses thankfully delivers, and we left feeling the joy of those legendary characters and the sheer British-ness of John Sullivan's collection of eccentrics. To sum up the show in a way the Peckham residents would favour: it's lovely jubbly!

Rob & Ian

 

Further information and tour dates can be found at THE OFFICIAL ONLY FOOLS & HORSES MUSICAL WEBSITE 

Further listening:

The original West End cast recording of 2019 features Tom Bennett (Del), Ryan Hutton (Rodney) and writer Paul Whitehouse (Grandad) and is available to download, stream or buy on CD.