I'm Every Woman The Chaka Kahn Musical - Review

Troubadour Theatre, London

**

Written by Nia T. Hill

Directed by Racky Plews

Alexandra Burke

Chaka Kahn (and a number of her contemporaries) amassed a remarkable body of hits in their careers. Beautiful songs with strong messages and in I’m Every Woman at Wembley’s Troubadour Theatre, Alexandra Burke as Kahn smashes a fair few of them out of the park.

But 30 banging songs do not a musical make, and in between Burke’s sensational singing (and equally Sophie Earl’s fabulously fleeting stint as Joni Mitchell) the narrative that links the numbers is brief, shallow and clichéd.

Sandwiched between two glib family therapy sessions, the show delivers a whirl of brief vignettes, poorly linked, outlining Kahn’s career achievements that were peppered by battles with addiction and domestic violence. If only these darknesses had been treated with more artistic sobriety, the messages may have carried more credible impact. Notwithstanding Chaka Kahn’s real-life endorsement of the show, it all just seems at times too crass.

Give Alexandra Burke an unadulterated setlist of Chaka Kahn’s greatest hits supported by Aron Sood's excellent band from Wembley and it could well make for an evening of musical brilliance. As it is, I’m Every Woman needs an awful lot of work.

Runs until 27th September

Photo credit: Danny Kaan

Vanities: The Musical - Review

Trafalgar Studios, London


****


Music and lyrics by David Kirshenbaum
Book by Jack Heifner
Directed and choreographed by Racky Plews

Lizzy Connolly, Ashleigh Gray and Lauren Samuels

With Racky Plews' production, and some 40 years after Jack Heifner's play premiered in New York, Vanities in its musical iteration finally crosses the Atlantic to make its London debut.

A three-handler, Kathy, Mary and Joanne are Texan women who we meet as teenage high school cheerleaders on the day of what was to be Kennedy's assassination. Over four acts the musical charts the trio through their college years, adulthood and divergent paths.

In part it's an everywoman story – about dreams that are aspired to, many of which remain unfulfilled as lives play out and compromises are made. And while male fallibility proves a consistent theme, David Kirshenbaum's lyrics explore and test the bonds of female friendship to the best that a man’s perspective can probably offer. Entertaining throughout, even if the story is heavy on the cheese it is the outstanding production values of this modestly staged piece that make it fizz. 

Ashleigh Gray, Lauren Samuels and Lizzy Connolly play the friends, each bringing a perfectly nuanced weight to their very different characters. As one might expect from such a talented line up the performances are flawless, with vocals and close harmonies that are delightful.

Some of the lines are caustically clever. As one of the friends remarks in her older years, she may be a woman who "doesn't know the joy of motherhood" but "does know the relief of abortion". Some of the wit is razor sharp, reminding one perhaps of Stephen Schwartz's song Popular, from Wicked, expanded into an entire show.

The design is classy too with Andrew Riley making clever use of the Studio's compact space. Richard Mawbey's wig work is similarly sensational and the footwear is fabulous. Not just killer dialogue, the killer heels are stunning! Hidden away offstage, Tamara Saringer's 5 piece band are equally sassy. 

Notwithstanding that the show was written by men, this production has a fabulously female feel to it throughout. With Plews’ pinpoint direction and choreography proving sensitive and perceptive throughout. Focussing on the detail, it is the minutest facial expressions that she coaxes from her actors that carry as much of the narrative as their enchanting vocals.

Only on for another couple of weeks, the story may be as tight as its slight, but an exquisite cast makes for an evening of rather gorgeous theatre.

Runs until 1st October

Photo credit: Pamela Raith

American Idiot - Review

Arts Theatre, London


****


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

Newton Faulkner

Green Day’s anarchic and rebellious, teen-angst filled musical, American Idiot is back on the London stage with a star-studded cast who battle, and floor, the age old scepticism of putting celebrities into a commercial show. After a well received UK tour Racky Plews’ take on the concept album returns to the Arts Theatre for a tourist-tempting summer residency.

With music and book written by the band’s front man Billie Joe Armstrong, it’s not surprising that the material entirely embodies the initial anger and frustration toward American society that inspired the album back in 2004. The story follows three friends, Johnny, Tunny and Will as they mature, struggling to grow up in a world of right-wing politics and commercial greed that they don’t conform with and we see the three all end up in very different areas of a painful modern life.

Johnny (Newton Faulkner) is the main focus of the story, with a vision to move to the city and separate himself and his friends from the small town mind-set that they’ve been living in and start a new, free life and Faulkner proves a pleasant surprise with a strong performance. There are a few moments when his voice becomes lost in the on stage anarchy, but he suits the character and seems entirely comfortable in the piece. His shining moment is the calm and quiet rendition of Wake Me Up When September Ends, transporting the audience into an intimate, acoustic gig. Learning that he started his music career playing bass guitar in a Green Day cover band comes as no surprise.

The ensemble though is filled with strong seasoned performers who really make the show. Lucas Rush again soars in his role as the heroin-created alter ego of Johnny, St Jimmy. His energy on stage is gripping and each time he appears you are instantly drawn to watch him.

The same can be said for Amelia Lily continuing in the role of Whatsername, with a chemistry across from Faulkner that is enchanting and despite the small role, Lily shines.

Contrasted against current political and social affairs, American Idiot continues to be a very relevant piece of theatre.

Runs until 25th September
Photo credit: Darren Bell

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

Suessical

Arts Theatre, London

***

Music by Stephen Flaherty

Lyrics by Lynn Ahrens

Book by Stephen Flaherty and Lynn Ahrens

Co conceived by Eric Idle

Based on the works of Dr. Seuss

Elliot Fitzpatrick is The Cat In The Hat

Seussical returns to London as the Arts Theatre's festive family offering. Based around the 1950s Seuss classics that featured Horton the elephant, the show takes a handful of the good Doctor's characters, combines his verse with music and fashions a tale of selflessness and morality that touches all in the audience with its universal familiarity.

The strength of this production in particular is in the talent on stage and Sell A Door productions have cast their show extraordinarily well. The predominantly young company have excellent poise, presence and voice, with Racky Plews again proving to be one of the more inspired choreographers in the business. The movement is slick and immaculately drilled. Notable amongst the cast are Elliot Fitzpatrick who truly becomes the The Cat In The Hat and Jessica Parker's Mayzie La Bird, a gorgeously flamboyant peacock with scant attention to parental responsibilities.

Whilst the show is billed as the "theatre for young audiences version", be cautious if bringing very young kids. When the dialog is one to one, with minimal background distraction, then the magic of Seuss' assonance shines through. Turn up the pre-recorded music however and with it, inevitably, the speed of the singing and the glorious detail of the poetry is squandered. If some of the lyrics were lost on this "fully-facultied" reviewer, then I suspect there will have been several boring stretches for the kids. Too many of Seuss' creatures are only suggested in design rather than fleshed out in more detail (The monkeys appear to be elegantly suited Mods. I loved ‘em, but would an infant think “monkey”? I’m not too sure). Whilst savvy adults and stylish teenagers appreciate clever suggestions and provocative costumes, young kids need it a bit less slick and a tad more obvious. Kirstie Marie Ayers puts in a sweet turn as Gertrude McFuzz, a bird who upon eschewing feathered vanity discovers that she can fly, but where was the flying harness that could have made her soar across the stage, Sell A Door? This is Christmas after all and surely the kids in the audience deserved at least one "wow" scene, given all the eye-candy laid on for the grown-ups. Towards the show’s end there is one moment of audience participation, but it comes as too little, too late for the tots.

Beautifully performed nonetheless and lasting a little over the hour, Seussical is a family show that will probably best appeal, not to the very youngest, but definitely to those kids (and grown ups) who love Suess’ brilliance and can appreciate a classy interpretation of the writer’s wit.

Runs until 5th January 2014

bare

Union Theatre, London

****

Book by Jon Hartmere and Damon Intrabartolo

Music by Damon Intrabartolo

Lyrics by Jon Hartmere

Directed by Paul Taylor-Mills

(l-r) Lily-Jane Young, Michael Vincent, Melanie Greaney

London's Union Theatre hosts the European premiere of bare (sic), a show that first hit Broadway some 13 years ago. Set in a private and stifling Catholic high school in Massachusetts built upon a rectangle of adolescent relationships and desires (rather than the more typical triangle), it is a passionate dissection of the angst of youth.

Peter and Jason are schoolboys in love with each other and the production elegantly thrusts their uncertainties as to how to address their sexuality into the spotlight. Ivy, the beautiful willowy blond is in love with Jason though she herself is desired by Matt, whilst Nadia, Jason's overweight sister, despises Ivy for her beauty and struggles with her own self image. It's a complicated cocktail, yet Hartman and Intrabartolo avoid cliche, in creating a story that addresses the fears, confusions and prejudices of growing up.

Michael Vinson and Ross William Wild are the boys at the show's core. Whilst their acting is carefully crafted, their vocal presence is muted and they fail to convince the audience of the chemistry of their love. Vinson does however shine, agonisingly, in See Me a song set around a telephone call with his mother, beautifully performed by Yvette Robinson. His struggle to tell her he is gay, whilst she on the other end of the phone line is quietly breaking down at confronting what she has known but denied to herself for so long, is heartbreaking.

Melanie Greaney's overweight Nadia, in A Quiet Night At Home, plaintively sings of the hurt of being overlooked and ignored through being "fat". Janis Ian nailed that sentiment in her 1970’s hit At Seventeen and Greaney’s performance reminds us how timeless that cruel agony can be. Lily-Jane Young as the trophy blonde Ivy delivers a cri de coeur in Reputation Stain'd. She sings of her low self esteem, a consequence of having been used as a sexual plaything by too many boys. The irony of Nadia’s envy of the miserable blonde who outwardly appears to have it all, is clear.

It is left to Hannah Levane's Sister Chantelle to deliver the simply knockout performance of the night. Levane has previously toured in Sister Act so her credentials for being a belting whooping “Aretha Franklin” in a nun’s habit are impeccable . She more than meets expectations and her presence and strength of voice and character are beautifully realised. She is also the only adult who shows true compassion and care to the struggling Peter, with one of the best lines written in modern times: "there's a black woman inside the soul of every gay man"

Racky Plews’ choreography again extracts powerful and imaginative routines from her well drilled cast, using the compact space of the Union to its best for a production that at times seems to have the theatre bursting at the seams.

It may have taken a long time for bare to cross the Atlantic but it has been worth the wait, although Paul Taylor-Mills needs to get more from his leading men if they are to make us share their passion and pain in this unmic'd production.  The show is a cautionary tale of growing up that serves as a useful point of contemporary reference to children, their parents and their educators.  It is also a thoroughly modern piece of musical theatre that is for the most part superbly performed and one that with a little more work could yet prove to be a 5 star show, worthy of a longer run in a larger venue.

Runs to May 25

Momentous Musicals - Review

New Wimbledon Theatre

*****

Directed by John Garfield-Roberts

 A full house at Wimbledon lent an air of great expectation to this inaugural show of musical theatre classics from innovative producers, Speckulation Entertainment. With an eye to ticket sales as well as production values, Gareth Gates topped the bill supported by leading West End talent.

Rachael Wooding opened, appropriately with One Night Only from Dreamgirls. With legs that went on forever, matched by cascading blonde locks, she looked as good as she sounded and set the tone and the standard for the programme to follow.

G4’s Jonathan Ansell and Emma Williams ( has there ever been a more scrumptious Truly ?) duetted All I Ask Of You from Phantom. Interestingly, if the show had one slightly weak link it was Ansell, who when performing with his peers lacked a lustre. This song too, did not showcase Williams at her best and is one of the very few numbers that needs attention before the evening is repeated.

Daniel Boys came on to own the stage with Maria, from West Side Story. Boys has a youthful vivacity, an electricity in his appearance and a sublime voice to match his attributes. Each time he took the stage, his confidence and ability simply shone.

Gates debuted as fourth on the bill with one of his signature pieces, Close Every Door from Joseph. To say the audience was partisan would be an understatement as the man could do no wrong, however he sung delightfully with magnificent presence and charisma. With one exception, all of Gates’ songs were performed solo, without backing singers or dancers. This may well have been due to the artist’s hectic schedule ( he is currently appearing in Legally Blonde on tour) , but it served to accentuate an air of superiority to the star that suggested a hint of perhaps unintended aloofness and a lack of teamwork amongst the company.

In Mein Herr, from Cabaret, Miss Williams was as sultry and seductive a Sally Bowles as could be wished for whilst the musical arrangement of the song was a refreshing variation on the traditional. The sleazily choregoraphed Fosse style routine that accompanied her was similarly first-rate, and the song was one of the evenings 5 star moments.

The second act saw Boys impress with Sondheim’s Being Alive, and as a delightful Rusty in the Starlight Sequence from Starlight Express. The disappointing feature of this song was Ansell as the Poppa character. The role demands a bass baritone for the magic to work between the two steam engines, lacking in this performance.

The evenings biggest numbers served as a crescendo to the shows finale. With Why God Why? from Miss Saigon, Gates truly earned his star billing. Ansell then performed a Gethsemane that was outstanding, receiving a modest standing ovation for his turn. Whether this adulation was due to Lloyd Webber’s Superstar currently on TV screens, who knows? But the singer gave his all to the performance, that was breathtaking to witness.

With No One But You from We Will Rock You, Rachael Wooding took on a massively moving song nailing it with poise and spine-tingling power, before duetting touchingly with Gates in Schwartz’s For Good from Wicked, even if that particular song is becoming a little familiar on the ear.

The creative team assembled under the talented Garfield-Roberts were faultless. George Dyer’s direction of his 8 piece band was lively with imaginative arrangements, Racky Plews’ choreography was as innovative and expertly drilled into the youthful ensemble and credit to Alan Wareham’s sound design, crystal clear in the rear stalls.

The show deserves to tour, see it if you get an opportunity



@jaybeegee63



This review originally appeared in The Public Reviews