Review: ‘Miss Saigon’ @ Birmingham Hippodrome

I saw ‘Miss Saigon’ on its run at the Prince Edward’s theatre in London, and I’m fairly confident I forgot to breathe throughout the entire performance it was so energetic and heartbreaking. So when I heard it was touring, going again wasn’t even an option.

It’s a show that clearly travels incredibly well, given the right theatre. The sets were stunning, and despite a moment where I doubted it would happen, the infamous helicopter escape from Saigon was there in all its glory and it was absolutely magnificent. What struck me about the set in last night’s performance were the colours; they make the atmosphere what it is, and you follow them through the journey metaphorically as it progresses.

The standout actors had to be Kim and The Engineer (Sooha Kim and Red Concepcion respectively). Kim broke my heart with every word she sang, everything resonated and showed her heartbreaking hopefulness until the bitter end; she is what we all want to be, someone believing that a better day will come, and it’s gut-wrenching to watch that hope being played out so cruelly in such a horrific time. The Engineer is perhaps equally a more veiled version of ourselves: he’s our inner desires and ambition, albeit hilariously over-exaggerated. He’s the comic relief such a musical needs, but with a tinge of fear at the world not working out how he planned; he’s just a brilliant character and Concepcion plays him masterfully.

An underrated actor for me had to be John (Ryan O’Gorman) – he nearly had me when singing Bui Doi, which was possibly my favourite number of the show, especially the male acapella part which had me shivering it was so emotional.

It’s a timeless plot of love, loss and seeking a better life, and a wonderful night out – just make sure you pack some tissues! ‘Miss Saigon’ is on tour for the foreseeable future and at the Birmingham Hippodrome until 23rd September – the hour is now to get your tickets!

 

Review: ‘Funny Girl’ @ Birmingham Hippodrome

Birmingham Hippodrome played host to Sheridan Smith starring in the iconic musical, ‘Funny Girl’, in May, and there are few words to describe just how brilliant it was.

I have long been a fan of Sheridan Smith, ever since her days on ‘Two Pints’ (!), but I never knew what a set of lungs she had on her. Not only this, but she keeps in character when singing; her accent and mannerisms remain despite coming to the big musical number of the piece, and its refreshing to see a character stay true to themselves despite having to reach vocal crescendos. Her voice was stunning and her portrayal of Fanny Brice was amazing; she was, in every sense, a very funny girl.

The storyline is simple but I personally like that; I’m a bit fed up with convoluted stories with eight different plot lines to try and keep hold of. Fanny’s story, from childhood to her older age, is one of finding stardom and fame and coping with being a strong, financially secure woman in a man’s world. And ultimately, it’s this that brings part of her world down towards the end of the play, and it’s so fascinating because (I imagined at least) I’d be screaming at Arnstein to get over not being the biggest and best, but you do understand why he’s desperate to maintain his status; he has nothing else and it’s how he found Fanny in the first place, it’s all he has ever known. I suppose the equivalent is seeing an older generation fail to adopt new fads and levels of political correctness; Arnstein just isn’t ready to evolve into the new age man, and it’s rather sad to see.

The musical numbers themselves and choreography are dazzling, and there’s not a lull in the story as you lurch from show to show, following the rise and rise of Fanny Brice.

The tour continues throughout the year and, whether it’s Sheridan Smith or another leading lady, get yourself to the theatre for a night of laughter, emotional highs and lows, and to end your night with a big old smile on your face.

Review: ‘Julius Caesar’ @ Royal Shakespeare Theatre

Having seen an offer for discounted tickets, I couldn’t resist seeing my second play of the Rome 2017 trilogy at the RSC, and I was rewarded for spending my time and money in a turbulent Rome.

Brutus – yes, of et tu fame – was stellar. Alex Waldmann showed us the epitome of the man in conflict; it was obvious that Brutus wasn’t a murderer of a man but a murderer of the corruption coming through the man. His fight with ideology was evident in every action, from his cringing at the first thrust of the knife to his willingness to die in the failure of a Roman democracy. Brutus was an honourable man indeed, just perhaps a man too led by his peers in achieving that honour.

And seeing emotions laid bare wasn’t exclusive to Brutus – the cast were brilliant in their subtle and less subtle mojulius-caesar-production-images_-2017_2017_photo-by-helen-maybanks-_c_-rsc_214266-tmb-img-1824ments, expertly weaving between these for maximum effect. One of my favourite moments has to be at the end, when Mark Anthony (James Corrigan) can barely hide his dislike of Octavius Caesar (Jon Tarcy) – it’s blindingly obvious to everyone apart from Octavius how he has been used by Anthony to exact vengeance, despite finding him a churlish youth.
Caesar (Andrew Woodall), of course, cannot go unmentioned. He had majesty without royalty, and ambition whilst remaining grounded. You saw glimpses of why he had to die but not enough to justify this, and certainly not enough to prevent the horror at his brutal murder.

Speaking of which, the staging was spectacular and yet minimalist. The murder was a highlight, bloodbags aplenty and yet no one betrayed this theatrical trick in their realism. I especially loved the second half scenery, with the broken ruins of war lying around the stage and acting as plinths from which characters could rise and fall. It was incredibly thoughtful and, unlike some productions, not over the top in any manner, which made it all the more resonating.

The only thing I’ll say – and this is at Shakespeare and his era than the production itself – is the lack of women. They were well used by the director, Angus Jackson, despite this, but it seems incredibly sad that Calpurnia (Kristin Atherton) gets no resolution after her desperate pleas to Caesar, and we don’t see more of Portia’s (Hannah Morrish) conflict between her husband and her country. But this was not an age of women, and so we’re left with a lot of men (and a lot of six packs) around the stage (not complaining!).

‘Julius Caesar’ hits cinemas on Wednesday 25th April for the live screening of the performance, and I urge you to see this gripping production and live through the trials and tribulations of an empire on the edge.

 

Review: ‘Antony and Cleopatra’ @ The RSC

‘Antony and Cleopatra’ is an exotic and wonderful Shakespeare play, albeit one with a rushed second half where we’re told things happen rather than seeing them. Nonetheless, the RSC’s latest production is bold and rhythmical to capture even novice Shakespearean viewers.

 

The opening musical segment transports you to Egypt and the seductive den of the most radiant Cleopatra, and was an entrancing was to being events. The continuation of dance and music throughout was mesmerising and added that real Eastern feel to the events, separating the cold and calculating Roman empire from the rich and sultry Egyptian lands.

 

Cleopatra followed suit with this exoticism, although despite her captivating temper and demeanour I have to say it was sometimes difficult to understand her entirely, especially when she was louder; it was purely an accent thing, and it’s just worth knowing so that you know to move on when you don’t understand rather than missing the plot development whilst trying to translate.

 

However, both Antony and Cleopatra were magnificently regal, despite the clumsiness of Shakespeare’s ending where Antony is dragged up the monument, which (frankly) is mildly ridiculous. As I said, the whole second half is a bit ropey – blink and you’ll miss it explanations as to who likes and hates whom are all you’ve got and they’re so rapid it’s difficult to follow.

 

The whole cast, as expected, were brilliant; my highlights were Enobarbus and Cleopatra’s handmaidens, who made this less of a history lesson and more of a journey through these foreign climes.

 

The traditionalism of the setting was something unusual and the RSC, but their normal modernisation wouldn’t necessarily work through the Rome season; it’s classical nature is what makes it enjoyable and recognisable, no work needs to be done here to make this period of history accessible to all. The use of the trap door to change the stage was very effective; small changes that indicated the mood and processes of the characters well.

 

The Rome season at the RSC promises to be a memorable run, and ‘Antony and Cleopatra’ is just a third of this brilliance – make sure you don’t miss out on a trip through time.

Review: ‘The Red Shoes’ @ Birmingham Hippodrome

Ballet is increasingly becoming something I want to go and watch, following the wonders of ‘The Nutcracker’ and ‘Swan Lake’, and given the acclaim following it to the stage, it seemed counter-intuitive not to put on ‘The Red Shoes’.

The first 20 minutes, as a ballet novice, left me a little lost. However, this was as far as I could go in any form of misunderstanding, because from the moment Victoria Page reaches stardom it all becomes clear – the play within a play, in particular, was a wonderful bit of stagecraft that took my breath away.

‘The Red Shoes’ is a ballet full of wonder, heartache and breathtaking moments. Personal favourites included the love scene between Victoria Page and Julian Craster, where this show proved chemistry, a fabulous score and amazing dancing is all you need to experience pure love. Another favourite was when, after being presented with the red shoes for the first time, Victoria Page is gently encouraged into the stage light at the end of a dance expressing her confusion and elation; it spoke of her destiny within the production.

No expense was spared within the production itself; the sets and costumes were stunning and really made the story leave the stage. In fact, I have to say that (albeit in my limited experience) I’ve never seen a ballet that involved so much acting as well as dancing; it normally feels like acting has been discouraged, and I loved its involvement here in intensifying the drama.

‘The Red Shoes’ returns to Birmingham Hippodrome in the summer, and I urge you to book tickets quickly – if February was a sell-out before the reviews came out, what will happen to availability after this stellar run? Get your shoes on before it’s too late – just be careful which ones you pick up…

 

‘Dick Whittington’ @ Birmingham Hippodrome – December 2016

This year’s panto has arrived at the Birmingham Hippodrome – oh yes it has! And both the Hippodrome and the audience were thrilled to welcome back John Barrowman after an eight year absence – and my, doesn’t absence make the heart grow fonder!

In true rip-roaring tradition, the Hippodrome’s latest panto was funny, risque (talking boobs anyone?!) and downright ridiculous, catering to everyone from toddler to teens and, of course, the ticket-paying parents! The storyline was put aside for making you genuinely glad to have stepped out the house to enjoy this comedy showcase, with panto regular Matt Slack being a highlight with his brilliant impersonations, razor-sharp wit and inventive replacements for dialogue – I’ll say no more…

The one character I came home utterly in love with (besides John Barrowman, he’s an older love from a Torchwood time) was Babby the Tabby – the best Brummie cat I ever did see. I now only wish that my cat could talk so I could mould him into Babby Junior.

But, of course, Barrowman and Babby were not the only stars of the show. Steve McFadden (Phil Mitchell) was a superb baddy in King Rat, and I only wish we could have seen more of the giant rat he was working for, particularly at the end to see how King Rat fared against his boss’s displeasure!

Jodie Prenger, from the TV show ‘I’d Do Anything’, has a spectacular voice, and the Krankies were in fine form as the comedy duo of the piece – Jimmy Krankie in particular was an absolute riot! Add to that a chorus of talented backing dancers, singers, actors, and a clearly talented backstage crew, and this is a panto you won’t forget in a hurry – particularly if you’ve never seen Captain Jack fly an upside down reindeer! And that’s not to forget the spectacular (if rather scary!) 3D effects in the second half.

In short, Birmingham has once again excelled itself in providing festive entertainment for all the family – it’s hysterical, it’s amusing, and it’s everything the holiday season needs, so get yourself to where the streets are paved with gold and turn your fortunes into those of Dick Whittington today!

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Review: ‘The Nutcracker’ @ Birmingham Hippodrome

‘The Nutcracker’ is a festive favourite around the country and the world – the music, the Christmas wonders, the magic…it’s hard not

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Birmingham Royal Ballet’s ‘The Nutcracker’

to fall in love with one of the world’s definitive ballet shows.

After seeing Sir Peter Wright’s production at the Birmingham Hippodrome, here are my top five reasons to use this phenomenal ballet to project you into the Christmas spirit…

  1. The costumes: having had a sneaky peak at the costumes backstage, they are as stunning close up as they are in the shimmering stage lights of the theatre. They’re a sight to behold, and the dancers look exquisite as they lead you around Clara’s dreams.
  2. The sheer skill: ballet is one of the toughest disciplines going – if you don’t believe me, watch a ballet dancer sitting at rest, you’ll find their backs are still poker straight and their feet in formation. It’s no wonder, therefore, that this skill translates into something beautiful, magical and breathtaking on the stage. The smallest move has the utmost grace – if a picture’s worth a thousand words, a ballet movement is worth so much more.
  3. The props and set: a flying swan, the ultimate Christmas decadence and toys fit for royal offspring. That’s all I need to say.
  4. The music: you’ll recognise more than you’d realise! Tchaikovsky’s masterpieces are never better heard than with a live and hugely talented band who deserve every second of applause they receive.
  5. How it makes you feel: it’s almost a guarantee that you’ll leave wanting to put up (possibly another) Christmas tree, blast out the festive music and bring the sparkle of Christmas day to every day – after all, what else is a sugar plum fairy meant to do to you?!

If you’ve never seen a ballet before and have been curious, this is the one for you – the relaxed family atmosphere, the familiarity of the family scenes and music, and the magic of toys come to life in a land of sweets and dreams is enough to bring out anyone’s inner child and let you stare in delight at the stage for two hours of wonder.

Enjoy yourselves – and merry Christmas!