Nine to Five The Musical - Review

Savoy Theatre, London


*****


Music & lyrics by Dolly Parton
Book by Patricia Resnick
Directed by Jeff Calhoun

David Hasselhoff

As David Hasselhoff steps into the role of sexist misogynist boss Franklin Hart Jnr in Dolly Parton’s 9 to 5, the show is lifted to an even higher plane of brilliant musical theatre comedy. Hart is a 2-dimensional shallow monster, and with Hasselhoff stepping up (or down) to the role, the self-deprecation that sees a globally recognised TV star being humiliatingly hoisted around the stage clad only in bondage gear, is quite simply a treat. Hasselhoff has a decent voice too - he still retains legendary status in Germany as a singer - which only adds to the show's fun.  

The audience cheer ‘The Hoff’ on his first appearance - he could just as easily be being booed by the crowd for his character’s despicable antics and attitudes come the final bows - and it is this pantomime aspect that makes an already outstanding show, a perfect night out.

Any successful musical can only be as strong as its book and Patricia Resnick’s 1980s fable does a fine job of creating believable, and above all, relatable issues from her 2-D comic book heroines and villains. Coming from way before the #MeToo era, the sexual harassment and exploitation of the storyline may be played for laughs on stage, and the show’s ending maybe as fantastic as a fairytale, but the laughs are all at the expense of the bad guy(s). 

Caroline Sheen as key protagonist Violet Newstead remains flawless in her leading the company. Natalie McQueen’s Doralee Rhodes - the Dolly Parton tribute character - is equally strong, with Chelsea Halfpenny as Judy Bernly completing the talented trio. It is still Bonnie Langford's harridan Roz who stops and steals the show half way through act one. Langford's tango duet with Hasselhoff, Heart To Hart has the audience cheering to the rafters.

The show is a technical gem. Whip smart dancing, Andrew Hilton’s phenomenal band and ingenious lighting and projections all combine to create a world class night at the theatre.

Booking until 23rd May 2020

David Hasselhoff appears until 8th February 2020

Peter Pan - Review

New Theatre, Cardiff


****


Adapted from the original story by J.M. Barrie by Jonathan Kiley and Alan McHugh
Directed by Tudor Davies

Matthew Chase and David Hasselhoff

Peter Pan at Cardiff's New Theatre is a fabulously traditional panto. J.M.Barrie's original work has been helpfully truncated (no Mr and Mrs Darling in this gig, though the canine Nana has been reprieved) and the fun and games kick off with the eponymous Peter flying in to the Darling nursery. Pixie dust duly sprinkled, Peter Pan is leading the kids across the skies to Neverland.

Matthew Chase puts in a sweetly assured turn as Peter, though the production is heavy on young women in the featured supporting roles - Emma Prosser's Tinker Bell, Julie Cullen's Wendy, Natalie Winsor's Tiger Lily and last year's The Voice performer Stephanie Webber as Mimi The Mermaid all vie for Peter's attention. The four are a delight in the story's telling, however they make for just a hint of eye-candy sexism in this Cardiff narrative that marks a distinctive contrast from London's more metro-sexual offerings. Likewise, the banter in Wales is nothing stronger than knocking local city rivals Swansea and Newport. There's not a reference to Trump or Brexit to be found and you know what? In this most turbulent of years, it actually makes for a refreshing change to enjoy a politics-free panto. 

Mike Doyle's dame, Mrs Smee, is a polished delight. A local talent, Doyle's masterful comic presence is a saucy treat that keeps just to the right side of acceptability. His gags are as corny as they come but he works the crowd wonderfully - and as a big feller, spoofing himself as a Bond movie title-song singer named Burley Chassis (another local hero, think about it) truly tickled.

Of course a good Peter Pan is all about the star-billed talent playing the dastardly Captain Hook – and to be fair, they don’t come much bigger or more dastardly than David Hasselhoff. 'The Hoff', as he is known, has featured on the UK's pantomime scene for some years now and his involvement is remarkable. He certainly doesn’t need the money - and my word a panto season is hard work too - but for an American (former mega) star to immerse himself in this most quintessentially British of theatrical traditions, along with the self-deprecation that accompanies the part, is just brilliant. Baywatch (referenced by Doyle in a Pamela Anderson, bikini sporting, fat suit) and Knight Rider both get a mention and even if those shows' appeal is to the parents rather than kids in the crowd, Hasselhoff clearly revels in the boos - which briefly turn to cheers as along with Doyle he corpses his way through a tongue twisting routine about pleasant peasant pheasant pluckers.

And as Hasselhoff is flown off stage (spoiler alert) to be fed to the crocodile, he sings My Way. The cheesy, guilty, ridiculous pleasure of the moment is quite simply off the scale!

It's a Qdos Production, so as expected the flying, the scenery and the dance routines are all top notch. Veteran director Tudor Davies helms the affair with a profound understanding of both the material and his provincial audience.

It all makes for fine fabulous family entertainment and if you’re in Cardiff over the festive season, it’s unmissable too!

Runs until 8th January 2017

Photo credit: Brian Tarr

An Evening With David Hasselhoff - Review

Pleasance Grand, Edinburgh


*****

A star of two globally acclaimed television series, minor roles in a handful of movies, and an accomplished lead of several big musical theatre productions ( to say nothing of his German popstar fame). So when David Hasselhoff shows up for a week’s residency at the Pleasance Grand, to quote Arthur Miller, “attention must be paid”.  

The opening night saw the venue almost packed. The crowd was pumped up, the show opening with a mini movie, showcasing the man’s career. As the video ended, coolly dressed in a pin stripe suit and shod in spectacular spats shoes, Hasselhoff breezed onto the stage. One does not need to be a diehard fan to recognize the man’s charisma and star quality, both of which are often lacking from today’s wannabe celebrities as well as many established entertainers. His classic good looks, and refreshingly self-deprecating style, set him apart from the pack. His talent is not just singing, it is acknowledging, possibly uniquely, that he is a global star who does not take that status too seriously. The man’s on stage performance is 5 star. One simply wants to watch and hear him perform. So he used an autocue extensively, and his glamorous backing girls mimed. Did anybody care? No. This was The Hoff.

The lights and sound and onstage security suggested a production budget that was unlikely to be recouped via ticket sales, but if Wikipedia is to believed, with a $100 million fortune in the bank, Hasselhoff is not doing this gig for the money. As he told the audience, what this boy from Baltimore loves most of all is performing on stage. With nods to Baywatch, Knight Rider, Manilow and an audience participation on-stage limbo, The Hoff is another example of the Edinburgh Fringe at its very best.

Runs until August 27th