The Bodyguard - The Musical - Review

Churchill Theatre, Bromley

****

Based on the Warner Bros film

Screenplay by Lawrence Kasdan

Book by Alexander Dinelaris

Directed by Thea Sharrock

Melody Thornton and the company of The Bodyguard

Having conquered London’s West End 10 years ago, Alexander Dinelaris’s production of The Bodyguard returns to the UK with a nationwide tour, arriving at Bromley’s Churchill Theatre and playing to a packed house on this, its fifth location on the road. 

With a wonderfully hokum narrative hung around Whitney Houston’s most famous hits, it follows the story of fictional singer Rachel Marron who has recently hired a bodyguard following threats from a stalker. You can expect drama, romance, emotion and of course, Houston’s 80s and 90s classics we all know and love.

Six years on from playing the lead role on tour in China, Melody Thornton reprises her role as Rachel Marron, alongside Ayden Callaghan as bodyguard Frank Farmer. An incredibly demanding sing, Thornton delivers exceptional vocals throughout, particularly in the climactic One Moment in Time and finale I Will Always Love You, giving Whitney's recordings a run for their money! Callaghan’s performance was stoical, with hints of humour along the way, playing the role of dependable yet emotionless bodyguard very well.

Particular mention must go to Emily-Mae Walker playing the role of Marron’s sister, Nikki. Her vocals were breathtaking and effortless - a pleasure to listen to. Hers and Thornton’s duet of Run To You towards the end of act one captured the audience with its stunning harmonies. Walker and Thornton were joined by Iesa Miller, playing Rachel’s son, Fletcher, in a heart-warming trio rendition of Jesus Loves Me. Miller delivered an impressive performance for such a young age, with believable acting and fantastic vocals and dancing.

The first half's plot is sometimes slow, but act two picks up the pace, full of suspense with a few jump-scares resulting in screams and subsequent laughs from the audience. The whole performance is impressive, with pyrotechnics, brilliant ensemble choreography, a dazzling wardrobe and a couple of stand-out vocal powerhouses - it has something for everyone with the encore of I Wanna Dance With Somebody getting all of the audience on their feet to dance away with the cast.

Playing at the Churchill until Saturday 20th May and then touring until the end of the year, audiences will love this show that will certainly leave them wanting to dance with somebody!

Runs until 20th May and then tours

Reviewed by Sophie Kale

Swan Lake - Review

Churchill Theatre, Bromley

*

Music by Pyotr Ilyich Tchaikovsky

Swan Lake, like any classic work of art, stimulates a lot of expectation. Sadly however, on this showing, the International Classic Ballet Theatre fail to deliver.

The sloppy lack of co-ordination between the Swan maidens gave an air of hectic chaos rather than elegant beauty, with Prince Siegfried struggling to lift his Swan Princess. Even then, Odette's performance failed to stand out against her corps de ballet.

The most impressive performance on the night came from the Jester, whose movement was graceful and precise.

Elsewhere the costumes seemed amateur, the scenery was uninspiring lacking even a fog machine to create the illusion of the enchanted lake. There was barely any contrast between the settings of the lake and the palace, with a desperately disappointing climax to the tale.

The printed programme failed to name either the (rather good) orchestra or the dancers.

All in all, a lame duck.

Runs until 14th January, then tours

Jersey Boys - Review

Churchill Theatre, Bromley

****

Music by Bob Gaudio

Lyrics by Bob Crewe

Book by Marshall Brickman and Rick Elice

Directed by Des McAnuff

The cast of Jersey Boys

Jersey Boys returns to the UK touring circuit, with this stand-out musical about The Four Seasons playing at Bromley’s Churchill Theatre for this week only. 

What is so attractive about the show is that not only does it offer a chance to hear the band’s hit songs played live, it also reveals how much they were ordinary people. With their own flaws and troubles, the show reveals what happened in their lives and what formed their music.

Michael Pickering plays Frankie Valli, showing the lead singer's journey from a humble Italian family to worldwide stardom. It isn’t easy to sing like Frankie, with his unique lead falsetto voice and Pickering performs well, matched by his acting. 

Dalton Woods’ Tommy DeVito unfolded more stories of the band’s history, from his initial co-performance with Frankie, with little success, to the full team-up of the Four Lovers, as the band was originally known that was to raise them and him to chart fame.  Lewis Griffith as Nick Massi and Blair Gibson as Bob Gaudio complete the quartet, with the show providing a glorious showcase to classic hits including Sherry, Big Girls Don’t Cry, Walk Like a Man, My Eyes Adored You, Dawn, Go Away and Who Loves You

For South East Londoners, Jersey Boys at the Churchill Theatre is a must see, especially if you want to enjoy a show that is all about the highest West End standards in musical theatre, but at a far more affordable ticket price!

Runs until 11th June, then continues on tour

Looking Good Dead - Review

Churchill Theatre, Bromley

****

Written by Peter James

Adapted by Shaun McKenna

Directed by Jonathan O'Boyle

Adam Woodyatt and Laurie Brett

Looking Good Dead offers a cocktail of irresistible elements that make for fine modern theatre. A story from Peter James’ Detective Superintendent Roy Grace series and acted by stage stars and EastEnders icons Adam Woodyatt and Laurie Brett all contribute to a gripping tale.

The play starts with a young female sex worker, found dead with her throat slashed. As the plot evolves, Shaun McKenna's adaptation of James’ novel takes the audience on a gripping, moving tale that as well as encompassing the thrill of a murder mystery, also explores complex family emotions of love, secrets and deceit, against a stomach-churning backdrop of violent pornography and abuse.

Woodyatt’s take on protagonist Tom Bryce reveals the darkness of human beings. His is an innocent man, a good citizen and a loving father who has worked hard to provide for the family. The play’s plot is surprising, plumbing unexpected emotional depths as the first act outlines family conflicts that contribute to the plot’s unfolding after the interval. Secrets maybe the shadows of the soul but justice ultimately prevails. James tells us that everyone has their dark side, no one is innocent and that no good deed goes unpunished. But there is also the message that through the darkness there is light and hope.

Not just a thriller, director Jonathan O’Boyle extracts some well-played comic moments too, that all combine in an evening of cracking entertainment.

Runs until 23rd April, then continues on tour

Waitress - Review

Churchill Theatre, Bromley

****

Music and Lyrics by Sara Bareilles

Book by Jessie Nelson

Directed by Diane Paulus

Evelyn Hoskins and George Crawford

After a triumphant run in the West End, Sara Bareilles’ smash-hit musical comedy continues to wow audiences across the UK with this heartwarming show arriving at Bromley’s Churchill Theatre for one week only.

Waitress tells the emotional yet empowering story of Jenna Hunterson, a waitress and baker who is in an abusive relationship. The show sees her battling to transform from an anxious wife into a strong and determined woman, with ups and downs along the way.

Bromley's press night saw both first covers stepping up to the roles of Jenna and her gynaecologist Dr Pomatter, with incredible performances from  Aimée Fisher and Nathanael Landskroner respectively.  Fisher made the role her own, playing Jenna as comedic yet endearing. She had exceptional attention to detail, particularly in What Baking Can Do and It Only Takes a Taste. Her beautiful rendition of She Used to Be Mine had the audience on the edge of their seats, with the whole theatre erupting into rapturous applause almost before she could finish her last note. Landskroner’s Pomatter was full of the awkward, nervous charm we know and love, with flawless and tender vocals.

 

Other standout performances were from Evelyn Hoskins and George Crawford, playing the geeky and loveable Dawn and Ogie. Crawford’s Never Ever Getting Rid Of Me was comedic and witty with fantastic diction. Sandra Marvin’s Becky was hilarious and full of sass, and her powerful vocals in I Didn’t Plan It brought the house down.

Waitress is as refreshing as ever and hasn’t lost an ounce of its West End charm, despite occasional sound and lighting blips. A show that’s full of cheers and tears, often at the same time.

Runs until 26th February then continues on tour

Photo credit: Johan Persson

Beautiful - The Carole King Musical - Review

Churchill Theatre, Bromley


****

Directed by Marc Bruni

It’s rare to get a glimpse into the magic of the songwriting process. From idea to creating initial elements, to arrangement and recording, before finally arriving at the final product, each song progresses through an alchemy of talent, collaboration and, quite often, a dash of luck. Beautiful provides a window exceptionally well, often beginning with flashes of inspiration, sketching out the skeleton on the piano before transitioning into the final version as performed by the recording artist themselves. However this is just one of the qualities that contributes to truly memorable music.

Carole King’s remarkable journey is reflected in this delightful jukebox musical. From writing songs throughout childhood, to joining the Brill Building and Aldon Music, Don Kirshner’s publishing “hit factory” (with fellow writers and friends Barry Mann and Cynthia Weil and which also included Paul Simon, Neil Diamond and Neil Sedaka), having two children with then husband Gerry Goffin and moving from New York to Los Angeles - all before turning 30 - it’s quite the adventure.

Of King’s marriages, this story focuses exclusively on the first with Gerry Goffin; partner in life and work. The two churn out an impressive  discography, writing hits for The Drifters, The Shirelles and The Monkees, with many songs taking on a life of their own with recordings made over the years by various artists, some of the more recent covers being; Will You Love Me Tomorrow (Amy Winehouse), The Loco-Motion (Kylie Minogue) and (You Make Me Feel Like) A Natural Woman (Aretha Franklin). It is all as educational as much as it is entertaining, providing ample reasons to support King’s numerous accolades, including induction into the Rock and Roll Hall of Fame in 1990, alongside Goffin.

Douglas McGrath’s book is snappy, funny and moving. And with words and music by King, Goffin, Mann and Weil, each song is nothing short of exceptional. These are, after all, pop masterpieces. With these foundations in place, a stellar cast in possession of strong vocals and personality is required – delivered impressively in this iteration of the show.

Helmed by Daisy Wood-Davis’ Carole, the bar is set high. Wood-Davis manages to be sweet and driven, while being phenomenally talented. Her vocal performances are outstanding, particularly when in higher registers. Yet what’s most enjoyable is her characters interactions with her peers; Laura Baldwin’s sharp Cynthia Weil, Cameron Sharp’s Barry Mann and Adam Gillian’s Gerry Goffin. Special mention too to Oliver Boot, playing impresario Donnie Kirshner in a warm and engaging mentor-like role. 

For a touring production, one of the greatest challenges is a flexible set design and on this front, Derek McLane manages to have created something that fits comfortably on stage. Certain visuals are stunning; the backdrop of the Brill Building for example. Yet on occasion, a more simple approach might possibly have been more effective - at times the supposed grandeur of backdrops doesn’t have quite the desired effect. Alejo Vietti’s costumes are peppy and each costume change leads with an element of anticipation.

This is obviously a show for fans of Carole King but more than that, it is a show for lovers of great music. Simultaneously an homage to talent, love and friendship - with others and oneself - and a masterclass in musical theatre.

Currently touring until 29th August - Details here

Reviewed by Bhakti Gajjar

Legally Blonde The Musical - Review

Churchill Theatre, Bromley

****

Music and lyrics by Laurence O'Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture

Directed and choreographed by Anthony Williams

Lucie Jones

Oh my god, you guys. So, this blonde sorority girl from Malibu like totally defies the odds and gets into Harvard Law School to win back her ex-boyfriend who dumped her because she wasn't serious enough, and it's, like, totally awesome!

It's a unique start to a law career but, then again, Elle Woods is the epitome of unique.

Legally Blonde The Musical is the stage adaption of the classic 2001 film, which starred Reese Witherspoon, Luke Wilson and Jennifer Coolidge. At its core, it is a tale of aspiration with the message that anything is possible if you only believe in yourself.

It's a shame that Woods' rousing valedictorian speech - which neatly summarises this concept in the movie - is omitted from the stage version, but its absence serves as a reminder that the musical is wildly different from the film. And treating this show as an entity of its own, offers up a slightly different story. The importance of love as a motivator becomes its own thread, the role that physical appearances play in society is amplified – and it's all served up with a huge dollop of joy.

That much is evident from the outset. The gaudy set design (Jon Harris, Jason Bishop and David Shields), beautifully condensed for this touring production, is over-the-top and dazzling, elevating the story further into a fantastical space. The costuming from Elizabeth Dennis is outstanding, channelling 90s American styles. Each number is a fashion show in itself, making the whole gig feel like an extension of London Fashion Week that ended only a few days ago. 

What's more, the cast are clearly having a wonderful time. Lucie Jones is exquisite as Elle, seamlessly blending nods to Witherspoon's portrayal with her own flavour. This Elle comes with a level of self-awareness and sass that makes her truly memorable. And with a voice that is made for the stage, complete with mesmerising blonde hair, Jones truly embodies the character.

Rita Simons as the flamboyant Paulette Bonafonté is another remarkable performance; the hopeless romantic hairdresser with a knockout voice and witty zingers that elicit rapturous laughter.

The musical numbers make for occasional treats; there is a particularly exceptional number starring Brooke Wyndham (Helen Petrova) performing skipping rope-based choreography, followed soon after by a deliciously comic routine in a courtroom. Under James McCullagh’s direction, the orchestra is fantastic and you can’t help but feel as though they are having just as much fun as their colleagues on stage.

There’s no denying that Legally Blonde The Musical is a raucous, silly and above all fun production. And OMG! - anyone who goes to see it over the coming months is in for a brilliantly entertaining evening.

Runs until 23 September, then tours (details here)
Reviewed by Bhakti Gajjar
Photo credit: Robert Workman

American Idiot - Review

Churchill Theatre, Bromley


****


Book by Billie Joe Armstrong and Michael Mayer
Lyrics by Billie Joe Armstrong
Music by Green Day
Directed and choreographed by Racky Plews

Lucas Rush

Green Day's concept punk album explored something that teenagers around the world have been doing forever - questioning societal constructs and their own purpose in life, and feeling as though they are the only person in to experience this existential crisis. But, with a large focus on the post-2001 world, the 2004 release of American Idiot went even further, by ramping up the rage and frustration and channeling this into a highly charged and chaotic collection of thoughts and guitars.

This production, directed and choreographed by Racky Plews, creates a world that is an obvious and direct extension of the original record. How could it be anything else? It is after all written by Billie Joe Armstrong whose influence remains strong throughout. It follows three friends, Johnny, Tunny and Will, who choose to find their own paths in their own ways. Matt Thorpe's Johnny is the epitome of angst, battling his inner demons which are excellently personified by Lucas Rush's St Jimmy who takes full control of the stage each time he appears.

Steve Rushton's Will provides a valuable addition to the house band, picking up a guitar whenever possible, and has a strong voice too, that holds its own against the score - a musical affinity and ease on stage no doubt attributed to his past life as a member of the now defunct Son of Dork. It is this that compensates for the limited development afforded to his character.

Alexis Gerred's Tunny is the more complex and surprising of the three and Gerred delivers a masterful performance. A unique and powerful voice enables him to take full control of his captivating solos and physically, he is comfortable bringing an added intensity to his character.

On the night of this review, Alice Stokoe stepped up in place of Amelia Lily to cover the charmingly titled role of Whatsername. Unrecognisable as an understudy, Stokoe played the part of Johnny's girlfriend, tasked with coping with the rollercoaster that he is on, with unwavering confidence, eliciting both empathy and respect from the audience.

Under Robert Wicks' musical direction, the band makes light work of the frenetic and varied score, and interacts with the characters throughout, which is well-received. Arrangements of Holiday, Boulevard of Broken Dreams and Wake Me Up When September Ends are particular highlights.

The chaos playing out on stage does so against Sara Perks' finely crafted set and the use of a television screen, although unusual at times, works well in providing an additional dimension to the production.

Scene-setting and character exploration is a large part of the first half of the show, but luckily the pace picks up after the intermission, swiftly hurtling towards a finale that pays homage to Green Day's status as one of the biggest bands of its time. Despite all of its drama, it concludes in a way that leaves the audience wanting to pick up a guitar and have its own teenage moment again.

Runs until 2 April, then tours

Reviewed by Bhakti Gajjar

Photo credit: Darren Bell

Jackie The Musical - Review

Churchill Theatre, Bromley


***

Based on the book by Mike James
Directed by Anna Linstrum

It's a neat conceit - turning a long defunct magazine brand, synonymous with the childhood of girls of the 70s into a night to remember for those very same girls, now of course women.

Jackie The Musical tells the story of Jackie played by Janet Dibley, a 54 year-old divorcee who, while navigating post-marital life (including but not limited to coping with her ex-husband's impending nuptials to his younger fiancée, the world of dating and her son's life choices), discovers she is not alone in doing so. 

After finding old copies of the magazine one alcohol-fuelled evening, her teenage self materialises, providing Jackie with the insights that used to guide her thoughts, gleaned from the magazine from way back then. 

What follows is a punchy and genuinely funny script that displays a chemistry between the main cast and lets the actors play off each other with ease. Interactions between Jackie and her best friend, Lori Haley Fox’s Jill, are particularly enjoyable.

The dialogue is neatly intertwined with musical hits from Jackie's era that, by their nature, compel the audience into a singalong. Under Dan de Cruz's direction, the house band - situated upstage throughout - brings a great deal of energy to the production and a punchy score.

Arlene Phillips' slick choreography keeps the tempo high, alongside Tim Shortall's smartly designed set that relies on just minor details to create different scenes. Shortall's costuming is similarly classy, adding another layer of colour, texture and prints to the overall aesthetic.

Whilst the pace occasionally slows, Daisy Steere's teenage Jackie is a standout star and Graham Bickley as Jackie's ex-husband John is surprisingly engaging and funny and with a terrific voice to boot and Ben Harm's Frankie, the proprietor at the local cafe and wine bar, proves an outrageous delight.

Jackie The Musical is joyously upbeat, with a welcome and refreshing message of empowerment that’s guaranteed to entertain.

Runs until 26 March, then tours

Reviewed by Bhakti Gajjar

Photo credit: Pamela Raith

Lord of the Flies - Review

Churchill Theatre, Bromley


****


Written by William Golding
Adapted by Nigel Williams
Directed by Timothy Sheader

Lord of the Flies

The Churchill's curtain rises, revealing a crashed plane in a jungle-esque setting. To a deeply reverberating score plied with ominous overtones, the stage is set for this darkest of tales.

Lord of the Flies, studied at schools across the country, is one of the great British novels. William Golding, an English teacher, once allowed his class to conduct a classroom debate and when verbal and physical mayhem ensued, had to intervene to calm things down. The episode was to inspire the premise of his text - that the evil capacity to descend into savagery exists inside us all. 

Golding's chilling novel is aptly staged by Regent Park's Open Air Theatre. John Bausor's excellent set is ingeniously adapted to the Bromley floorboards and with Nick Powell's carefully composed score, the cast of young actors has an ideal environment in which to explore themes of governance, decency and humanity.

Director Timothy Sheader and co-director Liam Steel do an outstanding job in amplifying the uncomfortable truths buried within Golding's story. Whilst the performances across the board may be variable, the well established chemistry between the actors is undeniable, resulting in a seamless and believable interpretation of Nigel Williams' script.

Anthony Robert's Piggy, Luke Ward-Wilkinson's Ralph and Matthew Castle's Roger are all immensely comfortable in their characters' skins and their performances are probably the most natural and riveting. However it is the youngest member of the cast, Benedict Barker as Perceval, who steals the show. With a beautifully executed vocal and physical delivery Barker is at home on this stage and he makes an impressive professional debut.

Building towards the horrific denouement, the directors do a fine job focussing on particular elements, slowing down the action to ensure nothing is missed by the audience. True to form, the ending is abrupt after a much heightened climax, leaving the audience stunned and one actor still racking with sobs as the cast takes a bow. To say this production has punch would be a gross understatement. 

Closing the end of its UK tour at Bromley's Churchill Theatre, this show marks the triumphant finale of a masterful production.

Runs until 19th March

Reviewed by Bhakti Gajjar

Photo credit: Johan Persson

End Of The Rainbow - Review

Churchill Theatre, Bromley


*****


Written by Peter Quilter
Directed by Daniel Buckroyd

It's a well-known story, but a heartbreaker each time it is told. It's the one about the dark side of talent and celebrity and the permanent and omniscient destruction that it causes. Amy Winehouse, Kurt Cobain and even Britney Spears all come to mind immediately, but there were many more that came before and with a tragic inevitability, more are likely to follow.

End of the Rainbow tells Judy Garland’s story and the tale of the child star turned superstar plays out around an astonishing performance from Lisa Maxwell.

Set in London, as Judy prepares for a six week concert run in the capital, the play provides a snapshot into the complex and irrevocably damaged individual that she had become. Maxwell flits between Garland's incredible self-awareness and power alongside the hysteria as her dependence on drink and drugs became too much. 

Garland battles with both her manager / new fiancé Mickey Deans (Sam Attwater) and her accompanist Anthony Chapman (Gary Wilmot). Chapman, who has known and loved her far longer than Mickey is to bear witness to her decline. 

Although billed as a play, a selection of Garland’s greatest numbers are interjected into the telling of the story and Maxwell delivers these with a spine-tingling excellence. Wilmot is also on top form as Anthony, providing a critique of Mickey and his motives and to a degree, acting as the voice of reason. Attwater lacks a certain level of bite and struggles to maintain a consistent accent, but broadly plays well alongside the other two characters. 

David Shields’ set design is a neat conceit, moving the audience from the hotel suite in which the three are staying, to the concert venue and back again. The staging is well complemented by David W Kidd’s lighting arrangements and some magnificent costuming.

End Of The Rainbow leaves the audience feeling heart-broken, yet also roused by the simply sensational Lisa Maxwell. Ending the show with a song does well to ensure that Judy Garland is remembered for her talent and fire and for achieving the immortality through fame that she craved. 

Runs until 12th March then tours

Reviewed by: Bhakti Gajjar

Joseph and the Amazing Technicolour Dreamcoat - Review

Churchill Theatre, Bromley

****

Music by Andrew Lloyd Webber

Lyrics by Tim Rice

Directed by Bill Kenwright

The Company

A technicolour spectacle is promised by the cast and crew of Joseph and it is duly delivered – to rapturous applause. Telling the classic Old Testament story of the favourite of Jacob’s 12 sons cruelly cast out in a fraternal coup, at the heart of the dark tale is a celebration of hope and dreams.

The role of Joseph is brilliantly filled by Joe McElderry, the former X Factor winner seeming right at home on this stage and switching effortlessly between jovial and heartfelt in his performance. McElderry’s voice is magnificent, bringing the audience to its feet during act one’s Close Every Door and then again during the reprises. Bringing a youthful vibrancy to the stage, he is made for the part.

The maddeningly catchy songs from the well-known show have the audience singing along throughout. The children’s choir from Carmel Thomas Performing Arts never miss a beat and add a delightful tone to the musical. There are moments however when the orchestra overpowers the lead vocalists and the audience struggles to keep up with the story.

Bill Kenwright, the impresario himself, directs so the comedy is plentiful with both visual and verbal gags. When Joseph hops into a boat with his captors, the three actors move the boat along with synchronised footwork; as he deciphers Pharaoh’s dream, a thought bubble appears above his head and when Jacob and his sons sing about the devastation caused to them by the famine, the number is bizarrely set in Paris, complete with exaggerated French mannerisms and accents. Bonkers certainly, but it works with great comic effect.

Emilianos Stamatakis delivers a sterling performance as the Elvis-inspired Pharoah and a nod too to Lewis Asquith, who makes an excellent and highly engaging Butler. Asquith also pops up as one of the sons who, as an ensemble work brilliantly together, executing some great choreography (Henry Metcalfe). Nick Richings’ lighting also ties the show together well, adding a colourful dimension to the production that neatly offsets the story’s darkness.

There is more than a hint of pantomime in the production and the audience in Bromley on a Tuesday night was only too eager to get involved. An uplifting and joyous experience!

Runs until 5th March then tours

Reviewed by Bhakti Gajjar

Let It Be - Review

Churchill Theatre, Bromley


****

Music and lyrics by The Beatles
Directed by John Maher

The band

Let It Be, kicking off its tour in Bromley this week, serves as a remarkable reminder of The Beatles' story. Tracing the band’s beginnings in The Cavern club in Liverpool, it follows the soon to be named Fab Four on their fast track to greatness, hurtling to London and America and on to packed stadium tours, taking the audience with them on this journey.

The art of writing a truly great pop song requires some genius. Although many attempt it, only a handful manage to get it right – with The Beatles creating an entire catalogue of hits, incredibly over only a decade.

On top of this, to be a great performer is even harder, requiring immense commitment and enthusiasm on stage along with an almost unified consensus from the entire band on the direction of travel. Watching Let It Be, it is difficult to avoid comparing the career of this great band to the artists of today. That The Beatles managed to achieve such success and heights of adulation largely on their own merit – without teams of songwriters and stylists manufacturing hits for them - only adds to the depth of their impact upon popular music.

John (Paul Canning), Paul (Iain Hornal), George (John Brosnan) and Ringo (Luke Roberts) illustrate the life of The Beatles through a series of different performances. As the sets change, so do hairstyles and outfits, remaining true to the essence of the band’s personality at any moment in time.

There are highlights aplenty, including an ambitious recreation of the band’s performance at The Royal Variety Performance, with the original 1960’s footage from that show playing above the live musicians on stage. The company’s attention to detail is astounding with each band member mimicking their character’s mannerisms. We recognise Ringo’s head movements, George’s dancing around the stage and even the singers’ stances behind the microphones.

As the show progresses we see Lennon become slightly more reserved, Harrison more confident and Starr more present – while McCartney, by contrast, remains largely unchanged.

Iain Hornal’s performance of Blackbird is hauntingly beautiful. But the standout performance, that brings the audience to its feet, is of While My Guitar Gently Weeps. John Brosnan recreates Eric Clapton’s guitar solo with such mastery that it fully grips the audience in its magnificence.

Let It Be proves to be a wonderfully unexpected show, guaranteed to thrill not just fans of The Beatles, but anyone with an appreciation of their great music and showmanship. 

Runs until 30th January, then on tour

Reviewer: Bhakti Gajjar

Photo credit: David Munn Photography 

Private Lives - Review

Churchill Theatre, Bromley


***

Written by Noël Coward
Directed by Tom Attenborough

Laura Rogers and Tom Chambers

Pleasing on the eye and ear, this 1930s Noël Coward script is brought to life for 2016 by director Tom Attenborough and a cast of five. 

Telling the story of two newly married divorcees who find themselves honeymooning in conjoining suites, the play follows Elyot and Amanda as they differentiate between love and marriage and perception and reality – both with each other and their new partners. 

The cast inject the tongue-in-cheek script with a generally well received joie de vivre. Although there are some remarks that distinctly date the script, the issues of misogyny and domestic violence – thorny at the best of times, not least in front of a 21st century audience – are tackled with sufficient comedy to set the audience somewhat at ease. 

Richard Teverson as the booming and pompous Victor Prynne delivers a solid performance, but confined by the script, it is difficult for the audience to warm to him. The same is true of Charlotte Ritchie’s Sibyl Chase – but her Sibyl evolves to gradually show more gumption and, in the second half, seems to be taking increasing inspiration from Amanda, in a good way. 

There is a disappointing performance from Tom Chambers, playing Elyot Chase, who struggles to match the presence of his fellow actors and – although he has some excellent moments – the lack of consistency is noted. 

But Laura Rogers (as Amanda Prynne) steals the show; her fluidity and energy makes her a captivating performer to watch, and seeing her hurtle through varying degrees of passion and back with apparent ease is wonderful. 

The set and costuming work well, effectively transporting the audience back to the grandeur of the lives lived by England’s wealthy. 

A classic piece of theatre and, for the most part, an entertaining evening. 

Runs until 23rd January - Then tours.

Guest reviewer: Bhakti Gajjar

Aladdin - Review

Churchill Theatre, Bromley


****


Directed by Alison Pollard

Aladdin at the Churchill Theatre

The arrival of Christmas in Bromley is well and truly heralded by the opening of Aladdin at the Churchill Theatre. 

Starring Scott Maslen as the villain Abanazar, Jess Robinson as Slave of the Ring and Bobby Crush as Widow Twankey, Aladdin is a glittering and fast-paced extravaganza, providing a memorable retelling of the classic story. 

It stays true to the panto tradition – audience participation is plentiful, and ably lead by Mark James as Wishee Washee, son of Widow Twankey and brother of Aladdin. On the occasions when he breaks character, he only adds to the comedic value of the production. 

There is some slapstick, including a fun Laurel and Hardy-esque scene where PC Pong and Wishee Washee attempt to help with the laundry to, of course, disastrous effect. 

Inclusion of chart hits such as Uptown Funk and Dear Future Husband, reworked for the show, serve to get the audience singing along. And the audience is also eager to join in whenever possible, not least of all to boo Abanazaar whenever he appears. Scott Maslen’s portrayal is reminiscent of Jim Carrey’s Grinch – and brilliant. His energy and vocals make him the perfect villain.

Jess Robinson also deserves special mention. Far more than an unwilling sidekick to Abanazaar, she brings a whole new dynamic to the production. Her impressions of celebrities from Tess Daly and Anne Robinson, to Cheryl Fernandez-Versini and Jessie J are spot on and, with a powerhouse voice to boot, the reception she receives from the audience only increases as the show goes on. 

Rounding off a 2015 programme of rich and varied shows, Aladdin is the must- see grand finale that the Churchill Theatre deserves.

Runs until 3rd January 2016

Guest reviewer: Bhakti Gajjar

Puttin’ On The Ritz – Review

Churchill Theatre, Bromley


***

The Ensemble

Puttin’ On The Ritz – which promises to take the audience back to the ‘golden age of Hollywood’ – has the potential to be a hit show. Billed as a ‘song and dance extravaganza’, it plays to the country’s fascination with ballroom dancing (as demonstrated by Strictly Come Dancing) and with the musical genius of George Gershwin, Irving Berlin and Cole Porter, whose hits caused many audience members to sing along.

But this show misses that stellar target. Opening to reveal a static set with two staircases either side, the suggestion is more of a wedding reception. And as the show begins it is also apparent that the design isn’t optimised for space, which results in some constrictions for the dancers. Curiously, above the stage is a screen which occasionally plays out clips of old Hollywood films, including snatches of Fred Astaire. This is a peculiar concept as it only really serves to highlight the gap between Astaire's iconic magic and the live performances that don’t really come close. 

There are, however, some notable highlights. Anya Garnis and Robin Windsor (from Strictly Come Dancing) masterfully deliver three pieces at breath-taking pace, with wonderful skill, fluidity and stage presence. Their final dance, set to Michael Buble’s version of Feelin Good, is superb. Ricky Rojas, one of the six singers, is also very much at ease in engaging with the audience and delivers some sterling vocals. 

But the best performances come from Ray Quinn. Where Anya and Robin arguably fall short is in their failure to integrate with the other cast members in their delivery – their pieces are very much separate to the rest of the show – but Ray works with the rest of the cast. His solo songs are performed with conviction and personality, and he captures the essence of a seasoned showman. He also goes beyond singing to perform a couple of slick tap routines.

Heather Davis’ costumes are outstanding and if the show just  sometimes doesn’t quite manage to put on the ritz, at least Davis’ designs deliver on the glitz.

Runs until 19th September, then continues on tour

Guest reviewer: Bhakti Gajjar

Love Me Tender – Review

Churchill Theatre, Bromley 

****

Based on the book by Joe DiPietro

Directed by Karen Bruce

Love Me Tender's Ensemble

Based on the music of Elvis Presley, Love Me Tender is a juke-box musical that tells several love stories at the same time and all set in “a small town no-one’s ever heard of in the middle of nowhere.” We’re introduced to its inhabitants who are resigned to a life of enforced conservatism and where frivolities such as music, dancing and "public necking" are all forbidden - until the arrival of Ben Lewis’ Chad, an Elvis-esque roustabout to shake things up. 

At times the story verges on the ridiculous, particularly in the second half when the plot races desperately towards a conclusion that reconciles eight characters' love stories. Yet it's not entirely formulaic. There is an element of Shakespeare's Twelfth Night thrown into the mix, as Natalie (Laura Tebbutt) masquerades as Ed which in turn delivers a surprising and pleasing splash of female empowerment as she exercises a choice that utilises the confidence and freedom she found as Ed.

The cast led by Mica Paris and Shaun Williamson is incredibly strong across the board, with several standout singers including Tebbutt and Mark Anderson ensuring that the production is not overly reliant on the big hitters. Though when Paris takes the stage for her solo, the effect is one of awe; her voice is truly incredible. 

The musical arrangements are well done and rock and roll is neatly packaged up for the theatre. The choreography (Karen Bruce and Elliot Nixon) captures the retro vibe while injecting it with a dose of the contemporary. 

Morgan Large’s set design is complex and ambitious, but the risks more than pay off. There are also several memorable and comic human set fixtures, such as two ranch-style doors held by two actors, which swing open and shut to mark the entrances and exits of several characters. 

Although the main focus of the story is love's ability to conquer all, the cheesiness is often offset by lots of clever wit and dry humour, delivered with perfect comic timing. 

At Bromley this week, before heading out on tour – Love Me Tender makes for a fabulous night in the theatre!

Guest reviewer: Bhakti Gajjar