The Christmasaurus Live On Stage – Review

Eventim Apollo, London

*****

Music and lyrics by Tom Fletcher

Directed by Derek Bond

Tom  Fletcher and Dan McLellan 

“This is not a musical. This is not a concert. This is not a panto, or a play, or anything I can compare it to,” so proclaims Tom Fletcher in the show notes. And he is quite right. While The Christmasaurus Live On Stage has components of all of these, it is – much like the titular only dinosaur in the world – truly unique.

The Christmasaurus tells the story of William Trundle, who wants nothing more than for his dad to be happy. Friendless and lonely, he asks only for a dinosaur for Christmas. Meanwhile, in the North Pole - the home of an equally lonely Christmasaurus - Santa and his elves are working hard to get ready for the big day, and to fulfil William’s wish. However, The Hunter - a man who by his own admission is ‘fangirly for taxidermy’ - stands in the way of a seamless Christmas Eve, as he plans to shoot down one of Santa’s flying reindeer, before determining that the Christmasaurus should be his prize.

From the outset, it is abundantly clear that this show is full of heart and joy; the Christmas spirit brought to life. Tom Fletcher (who plays William's father Bob, as well as narrating the plot) commands the stage in a role he was born to play. Matt Willis (The Hunter) and Harry Judd (Dancer Bob) are hilarious, Carrie Hope Fletcher (Brenda Payne) outstanding as a vocalist and Giovanna Fletcher (Miss Payne) is warm, funny and magnetic. 

Elsewhere, the terrific ensemble adapts to a variety of scenarios with seeming ease. While there are no weak links, special mention goes to Katie Bradley, Miracle Chance and Raquel Jones for delivering some sterling performances.

William Trundle will be played by three young actors across the show’s run. In this review performance, Dan McLellan did a beautiful job in capturing the character’s alternating innocence and keen awareness. He proves he is more than capable of delivering elements of this challenging role, including some soaring vocals and snappy one-liners - a stunning debut from this young performer.

What also shines through in this short run at Hammersmith, is Fletcher’s commitment to making his show’s representative of, and accessible to, all children. Beyond casting actors who are genuine wheelchair users for Trundle, there is also an interpreter those who are hard of hearing on stage throughout. What’s more, unlike most theatres, the Eventim Apollo is far better equipped to facilitate wheelchair access. Fletcher is truly making this Christmas magical for thousands of children and adults.

Musically, the score is a work of genius, combining Fletcher’s expertise in writing great pop songs and a natural gravitas towards musical theatre, previously articulated in McFly’s Wonderland album (2005). Each song is a standalone entity crafted to perfection; there are no filler tracks here. 

A highlight is Afraid of Heights, an exceptionally rousing number that cements the show’s film potential – something that’s currently in the works, with The Greatest Showman director Michael Gracey signed on to the project.

As ever, Howard Hudson's lighting enahnces the tale magnificently, but despite Santa and The Elves’ presence throughout, it is the Christmasaurus himself who brings the real magic to the stage. Puppeteers Mikey Brett and Luisa Guerreiro breathe life into Max Humphries’ design in a way that presents no doubt about the authenticity of this wondrous creature. There isn’t a soul that believes otherwise and so manifests, the message purveyed throughout the production – that “believing is seeing.” 

Fun, energetic, heartfelt and magical, The Christmasaurus Live On Stage is a gift worth its weight in gold, that's sure to become a Christmas classic. Merry Christmasaurus!

Runs until 28th December

Reviewed by Bhakti Gajjar

Forever Plaid - Review

St James Studio, London

****

Written by Stuart Ross

Directed by Grant Murphy

The Plaids

The gingham tablecloths set the tone for Forever Plaid, currently downstairs at St James' Studio. Look closely and the "menu cards" are actually the evening's set list. If it wasn't for the excellent performances on display, all that would be missing would be a juke-box to seal the illusion of 1960's Americana that Forever Plaid so carefully re-creates.

With a plotline as melodramatic as the era it tells of, we meet The Plaids, a fictitious covers band all killed in a road crash and whose spirits are returned to Earth to perform a gig. It's a ridiculous conceit and one that can only work at all if the show's actors are at the top of their game. Fortunately, they are.

The quartet's harmonies are simply the closest possible. The show opens with Three Coins In The Fountain, a rat pack classic that so defines the period, before bespectacled bass man (and bass player) Matthew Quinn makes a perfectly weighted contribution to Gotta Be This Or That. Luke Striffler's Frankie is handed most of the evening's (occasionally too cheesy) narrative, however with a perfect vocal contribution, his singing delights throughout. 

Keith Jack (of BBC's Any Dream Will Do fame) delights as the geeky Sparky, though it is Jon Lee, with a track record that includes both S Club 7 and having played Franke Valli in Jersey Boys, whose voice (especially in Cry) provides the cherry on the top of this malted milk shake of a show.

It's not just the voices that shine. Accompanying throughout on piano (and occasionally on the far too rarely heard melodica) Anthony Gabriele delivers his usual musical perfection. Grant Murphy (assisted here by Katie Bradley) choreographs the four in routines that are as slick as they are witty. Ben Rogers' lighting design works a treat, (I LOVED the location-specific pantograph flood light as a finale touch), whilst Nik Corrall offers an ingenious design of stage and costume, with vinyl and chrome microphone stands everywhere 

More than just a selection of perfectly performed classics, Forever Plaid offers a step back in time. It may be corny, but it’s classy.

Runs until 24th April

Then touring to the Radlett Centre and Theatre Royal, Bury St Edmunds

Legally Blonde - Review

Upstairs At The Gatehouse, London


****


Music and Lyrics by Laurence O’Keefe and Nell Benjamin
Book by Heather Hach
Directed by John Plews

Abbie Chambers

There's an irrepressible sugary charm that surrounds Legally Blonde. Late into the show's run and on a cold January night too, the Gatehouse Theatre was packed with a grinning audience picking up on the cast's infectious enthusiasm.

Legally Blonde's sexual politics are intriguing. With the exception of Emmett (and possibly Kyle) its underlying premise is that men are duplicitous bums. And whilst (look away - spoiler alert) Elle Woods does of course go on to achieve legal success, she doesn't achieve this recognition through a knowledge of law - but rather by applying her initiative to what are actually stereotypical female reference points: a sensitive "gaydar" and a knowledge of perms. So, does Legally Blonde actually champion female empowerment, or simply reinforce age-old tropes? Discuss.

Either way, Abbie Chambers who makes her professional debut as Elle does a fabulous job in the role. It's a massive part - on stage almost throughout, Chambers never fails to convince as she journeys through heartbreak and endeavour to her ultimate happy ending.

The most sympathetic character on stage is Jodie Jacobs’ hairdresser Paulette, who in a world away from Elle’s pink infused (and albeit superficial) vacuity, is actually grounded in her disappointment. Jacobs keeps Paulette adorably optimistic and able to offer the wisdom of a woman who's seen life for what it really is, in a reprise of the part that she delivered so fabulously at Kilworth House last summer. Jacobs is in a league of her own here, her voice is gorgeously powered, whilst her experience sees her to master Paulette’s wry comedy, perfectly.

Robert Colvin offers a polished and three dimensional take on Warner - who really is a 2-D creation. There is an interesting and timely parallel between the fictional Warner and Grey Gardens' real-life Joseph Kennedy - both characters out to use love to further their own personal career ambitions - discarding relationships as it suits.

Stepping into the role of Brooke Wyndham, Katie Bradley does a fabulous job as the energetic and entertaining fitness guru. And a nod here to Anthony Whiteman's remarkable choreography. Brooke's second half opener Whipped Into Shape is but a blur of skipping rope as her ensemble achieve a wow of a routine in the narrow confines of the Gatehouse's traverse.

John Plews triumphs again. The director is at his best compacting big shows into his beloved venue, assisted here by Matt Abrams and his band who deliver an assured take on the upbeat score, whilst Isobel Power Smith's set also impresses.

The show is only on for another two weeks and this ensemble make it a lovely night out.

Runs until 31st January

Photo credit: Darren Bell