Just For One Day - Review

Shaftesbury Theatre, London

****

Book by John O'Farrell

Directed by Luke Sheppard

The cast of Just For One Day

Forty years on, Just For One Day is more than a musical — it’s a time machine, a call to action, and an electrifying reminder of what’s possible when people come together for something bigger than themselves. 

The cast of Just For One Day are nothing short of exceptional. Their talent radiates from the stage, bringing both laughter and emotion in perfect balance. One moment you’re laughing out loud, and the next, a single tear slips down your cheek — such is the emotional range of this production. Every performer brings depth and nuance, but a special mention must go to Julie Atherton whose portrayal of Margaret Thatcher manages to be the most endearing version of Thatcher one could imagine. It’s a testament to the show’s clever writing and bold direction that even such polarizing figures are given surprising humanity.

From the very first note, the musical direction is nothing short of phenomenal. The band delivers a sound so rich and immersive, it feels like Live Aid has been reborn on stage. The energy, the urgency, the sheer volume — it’s not just heard, it’s felt. 

Just For One Day doesn’t shy away from the complexities of its own history. Modern issues — such as the common misconception of Africa as a single country, the predominance of white acts on the Live Aid stage, and the now-controversial lyric “Thank God it’s them instead of you” — are all addressed with both sensitivity and humour. The show skilfully acknowledges that while the messaging and representation reflected a very different era, the heart behind it was genuine. It honours the intention to help the people of Ethiopia, while also exploring how the event was shaped to resonate with the British public of the time. This balance of self-awareness and compassion gives the show a powerful layer of depth, reminding audiences that doing good is often messy — but always worth striving for.

One of the most striking moments in the show is when Craige Els's Bob Geldof asks: Where’s God? And in that question lies the heart of Just For One Day. The answer, subtle but powerful, echoes through the music and the movement: when people work together, when they believe in something greater, they become the miracle themselves.

“Who’s going to pay attention to your dreams?” the song asks of us. In 1985, the world did. And watching this today, it feels like it still can.

Reviewed by Suzie Kennedy

Booking until 10th January 2025

Photo credit: Evan Zimmerman

Mrs Doubtfire - Review

Shaftesbury Theatre, London

****

Music & Lyrics by Wayne Kirkpatrick & Karey Kirkpatrick

Book by Karey Kirkpatrick & John O'Farrell

Based on the Twentieth Century Studios Motion Picture

Directed by Jerry Zaks

Laura Tebbutt and Gabriel Vick

When they hand out the Olivier Award for Best Actor in a Musical next year, look out for Gabriel Vick’s interpretation of Daniel Hillard. Vick's translation from screen to stage of perhaps the movies’ most famous nanny since Mary Poppins is nothing short of remarkable. With an uncanny vocal dexterity and pinpoint stage presence, he takes Robin Williams’ Golden Globe-winning creation and in a dazzling performance, lifts the show.

Back in the day the genius of the movie was not just in Williams’ performance, but in the  film’s ability to tell its story and its pathos with a convincing humanity. On stage, the pathos is reduced to being transmitted through song and while this musical's acting may be impressive, the songs are mostly average served with a generous helping of cheese. If there’s a musical highlight of the evening it is He Lied To Me a wonderfully pastiche'd flamenco number sung by Lisa Mathieson midway through act two.

Vick’s costuming is terrific, however his Robin Williams lookalike prosthetic face is a distraction that obstructs the connection between actor and audience. Vick's voice can be heard, but the prosthetic means the audience are never permitted to see the extent of his facial acting range. The supporting cast are all on fine form. Laura Tebbutt as Daniel's wife Miranda is an assured delight, slotting well into an essentially two-dimensional role. Similarly Cameron Blakely as Daniel’s brother Frank, is a modest part but an inspired creation nonetheless.

Jerry Zaks directs the piece with suitable Broadway pizzazz alongside Lorin Latarro’s imaginative choreography. Elliot Ware’s 10-piece band make fine work of the Kirkpatricks’ score.

Colourful and touching, Mrs Doubtfire is an affectionate take on one of the funniest stories ever told.

Booking until 13th January 2024

Photo credit: Manuel Harlan

& Juliet - Review

Shaftesbury Theatre, London



****


Music and lyrics by Max Martin and Friends
Book by David West Read
Directed by Luke Sheppard

Miriam Teak Lee

& Juliet is a new musical inspired by a Shakespeare classic and the back catalogue of one of the 21st century’s smartest songwriters, Max Martin.

David West Read has taken 30 Martin numbers – remember that the composer, who also co-produces, has written for most of the recent giants of the global pop music scene – and around them, woven a story that explores Juliet’s potential to have become a powerful and dynamic leading lady.

The show’s narrative may be slight but its twists and turns keep the audience hooked and the piece engages with its classic references that display an imaginative wit matched only by an outstanding cast and creative team. Miriam Teak Lee takes the title role, convincing in her chic interpretation of Juliet complete with powerhouse vocals, while alongside her are some of musical theatre’s strongest performers. David Bedella compels as Lance, while Melanie La Barrie’s Nurse, Arun Blair-Mangat's May and (cover) Dillon Scott-Lewis’ Francois are equally sensational.

Luke Sheppard directs with his hallmark visual flair that lends itself so well to such a music and dance driven story. Jennifer Weber’s whip-smart choreography is thrilling, with Soutra Gilmour’s typically provocative design work, lit by Howard Hudson, combining romance with excitement. Dominic Fallacaro’s nine piece band deliver an electrifying pulse to Martin’s melodies.

Suitably woke and with a nod to issues of both gender and sexuality, & Juliet is that unique musical that fuses classic English literature with the modern classics of pop. It’s a fun night at the theatre.

Now booking until 30th May 2020

Memphis - Review

Shaftesbury Theatre, London

****

Book and lyrics by Jo DiPietro

Music and lyrics by David Bryan

Directed by Christopher Ashley

Beverley Knight and Killian Donnelly

The history of the United States’ black population gaining civil rights is fertile ground for musical theatre. As The Scottsboro Boys opens in the West End dealing with an horrific injustice, so now the Tony-winning Memphis arrives from Broadway. Set in 1950’s Tennessee a deeply segregated Southern state, the redneck white folk don’t tolerate “race music”. No melting pot, Memphis seethes with racist oppression and it is against this backdrop of hatred and lynching that DiPietro and the Bon Jovi keyboards player Bryan have created their tale.

Beverly Knight proves why she’s one of the UK’s greatest soul singers. As Felicia, a girl with a gift of a voice and a quietly acknowledged sensation amongst those who’ve heard her sing, Knight owns every song with her hallmark power. Her opening number Underground defines both the passion of her performance as well as setting the scene for the illicit network of clubs in the city that provide discrete stages for Black music. Her act one solo Coloured Woman is an inspired performance of on-stage soul, rarely witnessed and unforgettable.

Loosely based on the real life radio broadcaster Dewey Phillips, Killian Donnelly is Huey Calhoun, a white disc jockey with a passion for African-American music and who, in a tale woven around fantastic whimsy and some brutally ugly realities, champions Felicia’s singing, breaking down some of society’s segregating barriers and getting her heard on mainstream “center of the dial” music stations. Donnelly has taken leading roles in some of London’s biggest leading shows, but unlike Knight’s pop star fame, outside of the showbiz bubble and hardcore West end fans he is barely known. His casting as Huey however proves to be not only brave, but also inspired. He has a gorgeous blues sound, displayed early on in The Music Of My Soul along with the confidence and poise to lead all his numbers. His character demands an almost geeky appearance, but it’s a veneer that cloaks a Tarantino-esque excellence.

A lot of money has been invested in Memphis and it shows. The sets are clever and the musical numbers that range in style from ranging from rock to spiritual are brilliantly arranged with Sergio Trujillo repeating his Broadway choreography. The first half of the show is stunning, leading to a pre-interval denouement that devastates in its emotional power and musical brilliance. Rarely has one staggered out for a half time G&T quite so moved. Act two however lacks dramatic substance and as the story unwinds there is little to stir the soul other than Clare Machin’s standout performance in Change Don’t Come Easy where, as Huey’s hitherto racist mother, she sings of her shift towards tolerance and acceptance.

Memphis is unquestionably a fine West End treat of a show. With a sensational cast and first rate production values it makes for a grand and moving night at the theatre.


Now booking until 2015

The Pajama Game

Shaftesbury Theatre, London

****

Music and lyrics by Richard Adler and Jerry Ross
Book by George Abbott and Richard Bissell
Directed by Richard Eyre

Michael Xavier and Joanna Riding

Following the triumphant West End transfers of Singing In The Rain and Sweeney Todd, Chichester’s 2013 smash hit The Pajama Game has snuggled itself into London’s Shaftesbury Theatre for a twenty week run.

In a sugar coated tale of workers vs capitalism, the story follows the cute but unlikely love that develops between factory Superintendent Sid Sorokin and Union rep Babe Williams. The Pajama Game is a show that whilst being based on a simple story of moral granite relies heavily on glitzy sparkling routines to entertain. To that end, Richard Eyre’s direction and Stephen Mears’ choreography are best performed framed by a classic West End proscenium in contrast to the open studio thrust of Chichester’s Minerva. The journey up the A3 has done this show a power of good.

Many of the original cast have travelled to London and if you can, get in early to see Peter Polycarpou reprise his Hines, a carefully crafted comic masterpiece as the factory time and motion supervisor. Manic, jealous and hilariously delivered, his vocal presence and knife-throwing abilities are a treat. Another émigré from Chichester is Alexis Owen-Hobbs who plays Hines’ implausibly young and glamorous sweetheart Gladys. Owen-Hobbs’ dancing is sensational. She wows in the act two opener Steam Heat and amongst the splendours of Mear’s visionary Hernando’s Hideaway, together with the company, she creates the most exciting Latin dance work in town. Clare Machin’s Mabel is another fine example of well honed flirtatiously mature comic excellence whilst Eugene McCoy’s  union chief Prez defines lascivious, chasing anything in a skirt.

Leading the line are Joanna Riding’s feisty Williams and Michael Xavier’s Sorokin. Riding is a lithe and energetic babe of a Babe. She created the role at Chichester and hers’ in particular is a performance best suited to being played out on a traditional stage, rather than the searching scrutiny of the Minerva.

Xavier defines smouldering cool. He is perfectly cast and whilst Hadley Fraser, last year’s Superintendent could sing, Xavier adds a smooth and gorgeously chiselled gravitas that oozes sex appeal. And of course his signature song Hey There (You with the Stars in your Eyes), gloriously duetted with himself on a dictaphone, is the spine-tingling highlight of the first half.

The Pajama Game may be affectionately dated, but with a loving eye to detail from all of Eyre’s creative team and brimming with well crafted songs it remains a musical theatre treat.

Runs until 13th September 2014