PETER PAN
December 8, 2008
Milton Keynes Theatre until January 18, 2009
MILTON Keynes has got something of a reputation to live up to. For a couple of years now, it’s stood head and shoulders above everything else within booing distance when it comes to good old-fashioned traditional panto.
Admittedly, much of that has had to do with the extraordinary comic talents of Bradley Walsh. But credit must also go to the producers, directors and enthusiastic casts that have built up and maintained that reputation.
The bad news is that Bradley Walsh is this year plying his trade elsewhere. The good news is that everything else about this production yells quality, with all the volume and chaos a cavern full of pre-teen kids can muster.
No expense has been spared – again – on the sets and costumes, with sparkling design by Terry Parsons and some superbly executed choreography by Bill Deamer.
Peter Denyer’s beautifully adapted script is as intelligent a panto as you’re likely to find, and in the hands of director Ian Talbot and his feisty, well-drilled team, it’s one to sit back and enjoy, even if it does run a tad too long.
Pirates and Indians all excel at singing, dancing and acting – no mean feat in itself – while at the helm are the safe hands of Andy Ford as Smee and vintage baddie Henry Winkler in the crimson robes of Captain Hook.
Ford keeps things rattling along entertainingly, even during the normally dragging front-cloth scenes, while Winkler keeps a commendably straight face as he plays his part to the hilt.
Former EastEnder and Strictly contestant Louisa Lytton is pleasant enough in the title role and there are laughs a-plenty to keep both kids and bigger kids amused.
Bradley may have been a tough act to follow, but the Fonz and his shipmates have just about pulled it off.
THE NUTCRACKER
November 25, 2008
Milton Keynes Theatre until November 29, 2008, then touring until December 31
IT’S almost December and we’ve already had snow: what more justification do you need for a production of The Nutcracker?
And if you’re going to stage Tchaikovsky’s ballet as a festive entertainment, why not go the whole hog and throw in every snow effect and twinkly bauble you can think of?
Artistic director David Nixon certainly plays the traditional card with Northern Ballet Theatre’s touring show, and with something as well-loved as The Nutcracker, it’s hard to argue with the logic.
There are some fresh twists too, with Nixon’s own set and costume designs accentuating vivid – even lurid – colours and some distinctly contemporary moves among the dance steps themselves.
Performances are a mixture of the delightful – there’s a particularly nice pairing between Clara and her nutcracker soldier, although the programme fails to identify individual dancers by their roles – and the rather severe, with the magical uncle Drosselmeyer coming across as more than a little sinister, which is unfortunate.
But there is much to please the eye, particularly when the string of musical classics rolls out in the second act for the dancers’ party pieces. The ear is entertained too by a large orchestra which – while occasionally struggling with fine tuning – plays a vital part in creating that almost sensual feeling of a rich, rounded performance.
As a taster for the festive season, complete with Christmas lights, pink tutus and a chocolate-box production, this Nutcracker is a pretty safe bet.
THE WOMAN IN BLACK
October 20, 2008
Milton Keynes Theatre until October 25, 2008, then touring until November 29
A CLASSIC piece of Gothic theatricality has been running in the same West End theatre for nearly 20 years and is now working its chilling magic on audiences nationwide, courtesy of this touring production.
In some ways, it’s hard to see why the stage adaptation of Susan Hill’s ghostly melodrama has proved so enduring. It’s solid, workmanlike stuff, cleverly adapted by Stephen Mallatratt and effectively directed by Robin Hereford.
But it hardly ranks among the all-time masters of the genre – from Henry James to Stephen King – with its heavy dependence on smoke and mirrors and deafening screams for its power to terrify.
Having said all that, there’s no question there are claustrophobic chills to be evinced, even in a cavernous auditorium such as Milton Keynes.
Much of the credit for this must go to the two players, Sean Baker and Ben Porter, whose convincing portrayals of Edwardian gents playing out the ghost story add both menace and humour to what could otherwise be pretty standard schlock-horror fare.
Lighting and sound (Kevin Sharp and Rod Mead) play a crucial role too, and are efficiently employed to heighten the tension, despite hints of a little cheesiness at times.
The trick with this kind of show is to let the audience know they’re being manipulated, but to keep them wanting it. Baker and Porter clearly recognise this and trade on it stylishly. It’s a wonder they can sleep at night…
CAROUSEL
October 13, 2008
Milton Keynes Theatre until October 18, 2008, The Savoy Theatre, London, from December 2, 2008
IT’S more than 60 years since Carousel first turned on Broadway, but there’s no sign of the old lady putting in for her bus pass just yet.
And in this sparkling touring production, directed by Lindsay Posner, she seems positively fresh and youthful, with a host of technological and magical devices offering the theatrical equivalent of Botox.
For a start, there’s some amazing, inventive use of holography and projected CGI to create backdrops, a lighthouse and even the carousel itself. Coupled with William Dudley’s elegant designs and Deirdre Clancy’s colourful costumes, the wizardry keeps the stage permanently lively and eye-catching.
Adam Cooper’s choreography helps a lot, too, especially when executed so delightfully – not least in the ballet sequence, which can drag interminably but in the hands of Lindsey Wise as the 15-year-old Louise is a complete joy.
Rodgers and Hammerstein adapted a rather lightweight and ridiculous play for their second musical collaboration, and it’s all too easy to let Carousel become silly and annoying. This version pulls off the neat trick of making it engrossing and moving, with the assistance, of course, of that fabulous score – If I Loved You, June Is Bustin’ Out All Over and You’ll Never Walk Alone.
The star name is Lesley Garrett – and she doesn’t disappoint – but in truth she’s an added bonus, with vocal honours split across a number of the principals. Jeremiah James makes the wife-beating Billy Bigelow sympathetic, Alexandra Silber is a feisty, believable Julie, and there are lovely supporting performances from Alan Vicary as Mr Snow, Graham MacDuff as Jigger and Lauren Hood as a sweet-voiced Carrie.
It may not offer a radical interpretation of an ageing classic, but for those who like their musicals solid, traditional and great value for money, you’d have to go a long way to beat this Carousel.
EVITA
September 30, 2008
Milton Keynes Theatre until October 11, 2008, then touring until January 10
THERE'S a whole generation growing up now who will have missed the furore that surrounded Evita at its original opening in the 1970s. The Tim Rice-Andrew Lloyd Webber musical broke new ground – and plenty of records – when it first hit the West End, and it's easy to see and hear why.
Which makes this touring production from Bill Kenwright's stable all the more welcome, even if at times it seems a little lacklustre and pedestrian.
The first thing to say about it is that it looks sensational, with designs by Matthew Wright and choreography from Bill Deamer. The live band is richly textured and creates a full sound, even if musical director David Steadman seems determined to take things at a deadening tempo.
Louise Dearman makes a decent fist of the title role – always a tough ask after the original iconic Elaine Paige performance – but finds herself overshadowed by Mark Heenehan as Peron, a strong dramatic presence and magnificent vocal talent in a somewhat thankless part.
Those Any Dream Will Do fans looking for a star turn from Joseph finalist Seamus Cullen may be permitted to feel slightly disappointed by his Che, which also suffers by comparison with a previous incarnation from David Essex. Cullen sings ably enough but oddly lacks the charisma he promised on TV, leaving the crucial role rather underplayed and not wholly satisfying.
But it's a solid, safe version of the show that's resident in Milton Keynes for two weeks, reflecting the demand for performances with high production values, live music and some still wonderful lyrics and score.
WEST SIDE STORY
September 16, 2008
Milton Keynes Theatre until September 27, 2008, then touring until November 22
MUCH has been made of the fact that this 50th anniversary touring production of West Side Story is intended as a revival of the original.
And it’s easy to see why the Leonard Bernstein musical, with typically edgy lyrics by Stephen Sondheim, created such an impact when it first appeared in the late 50s.
Based on the Romeo and Juliet story, updated to New York gangland, the show is packed with excitingly-scored numbers such as Maria, Tonight, America and Somewhere, all of which have passed into the standard repertoire.
But the original production, directed and choreographed by Jerome Robbins, was always conceived as a complete event, with words, music and dance contributing equally to its groundbreaking storytelling. And director Joey McKneely is clearly attempting to make his revival just as holistically complete.
He succeeds brilliantly with both music and dance, the former thanks to a tight band under the impressive baton of conductor Simon Beck, the latter courtesy of the superb troupe making up the Sharks and the Jets, whose flowing and exhilarating movement is never less than thrilling.
The book, by Arthur Laurents, may now seem a little stilted and is too often allowed to slow up the otherwise relentless pace, and there’s too little emotion wrought from the sweet-voiced Daniel Koek and Sofia Escobar in the central roles of Tony and Maria.
But there’s plenty of menace and humour among the supporting cast, notably chief Shark Bernardo (Dan Burton) and a stunning turn from 16-year-old Harry Francis as Baby John – watch out for that name in years to come.
And with an atmospheric set design from Paul Gallis creating a memorable backdrop to an impressive visual feast, there’s no shortage of entertainment value from this vivacious 50-year-old.
MY BRILLIANT DIVORCE
August 27, 2008
Milton Keynes Theatre until August 30, 2008, then touring until September 30
I’m not normally one to make allowances, but in this case...
Well, in this case, it was the very first night of a month-long national tour of mainly one-nighters – none of your softie previews here – comprising two hours on stage for one indefatigable performer.
So if the ride wasn’t quite as smooth as it might have been, the odd stumble or fluff can surely be permitted.
And when you couple this with the fact that the performer in question is the relentlessly likeable Dillie Keane, stepping out from the shadow of her other life in the cabaret group Fascinating Aida, then I predict a month of hugely enjoyable evenings ahead for both actress and audiences.
The piece itself is a one-woman tour de force which had a highly successful West End run starring Dawn French. Ms Keane, finding a range and breadth of emotions, makes the part comfortably her own, with a host of pristine accents and a sense of comic timing honed to perfection from her years on the cabaret circuit.
Writer Geraldine Aron ostensibly traces the rollercoaster of feelings endured by middle-aged Angela in her first few years post-divorce. The reality is that it could be pretty much any woman at pretty much any point in her life: the truthfulness and humour of the script render the framework almost incidental.
There’s plenty of truth and humour, too, in Ms Keane’s cockle-warming performance, whose pace never flags and whose ability to entertain is assured.
While Tim Luscombe’s direction may seem a little too interfering at times and Michael Holt’s design almost obstinately minimalist, it’s the sheer feat of endurance combined with the joy of performing that make this show a delight that will only improve with age. And nobody has to make any allowances for that.
December 8, 2008
Milton Keynes Theatre until January 18, 2009
MILTON Keynes has got something of a reputation to live up to. For a couple of years now, it’s stood head and shoulders above everything else within booing distance when it comes to good old-fashioned traditional panto.
Admittedly, much of that has had to do with the extraordinary comic talents of Bradley Walsh. But credit must also go to the producers, directors and enthusiastic casts that have built up and maintained that reputation.
The bad news is that Bradley Walsh is this year plying his trade elsewhere. The good news is that everything else about this production yells quality, with all the volume and chaos a cavern full of pre-teen kids can muster.
No expense has been spared – again – on the sets and costumes, with sparkling design by Terry Parsons and some superbly executed choreography by Bill Deamer.
Peter Denyer’s beautifully adapted script is as intelligent a panto as you’re likely to find, and in the hands of director Ian Talbot and his feisty, well-drilled team, it’s one to sit back and enjoy, even if it does run a tad too long.
Pirates and Indians all excel at singing, dancing and acting – no mean feat in itself – while at the helm are the safe hands of Andy Ford as Smee and vintage baddie Henry Winkler in the crimson robes of Captain Hook.
Ford keeps things rattling along entertainingly, even during the normally dragging front-cloth scenes, while Winkler keeps a commendably straight face as he plays his part to the hilt.
Former EastEnder and Strictly contestant Louisa Lytton is pleasant enough in the title role and there are laughs a-plenty to keep both kids and bigger kids amused.
Bradley may have been a tough act to follow, but the Fonz and his shipmates have just about pulled it off.
THE NUTCRACKER
November 25, 2008
Milton Keynes Theatre until November 29, 2008, then touring until December 31
IT’S almost December and we’ve already had snow: what more justification do you need for a production of The Nutcracker?
And if you’re going to stage Tchaikovsky’s ballet as a festive entertainment, why not go the whole hog and throw in every snow effect and twinkly bauble you can think of?
Artistic director David Nixon certainly plays the traditional card with Northern Ballet Theatre’s touring show, and with something as well-loved as The Nutcracker, it’s hard to argue with the logic.
There are some fresh twists too, with Nixon’s own set and costume designs accentuating vivid – even lurid – colours and some distinctly contemporary moves among the dance steps themselves.
Performances are a mixture of the delightful – there’s a particularly nice pairing between Clara and her nutcracker soldier, although the programme fails to identify individual dancers by their roles – and the rather severe, with the magical uncle Drosselmeyer coming across as more than a little sinister, which is unfortunate.
But there is much to please the eye, particularly when the string of musical classics rolls out in the second act for the dancers’ party pieces. The ear is entertained too by a large orchestra which – while occasionally struggling with fine tuning – plays a vital part in creating that almost sensual feeling of a rich, rounded performance.
As a taster for the festive season, complete with Christmas lights, pink tutus and a chocolate-box production, this Nutcracker is a pretty safe bet.
THE WOMAN IN BLACK
October 20, 2008
Milton Keynes Theatre until October 25, 2008, then touring until November 29
A CLASSIC piece of Gothic theatricality has been running in the same West End theatre for nearly 20 years and is now working its chilling magic on audiences nationwide, courtesy of this touring production.
In some ways, it’s hard to see why the stage adaptation of Susan Hill’s ghostly melodrama has proved so enduring. It’s solid, workmanlike stuff, cleverly adapted by Stephen Mallatratt and effectively directed by Robin Hereford.
But it hardly ranks among the all-time masters of the genre – from Henry James to Stephen King – with its heavy dependence on smoke and mirrors and deafening screams for its power to terrify.
Having said all that, there’s no question there are claustrophobic chills to be evinced, even in a cavernous auditorium such as Milton Keynes.
Much of the credit for this must go to the two players, Sean Baker and Ben Porter, whose convincing portrayals of Edwardian gents playing out the ghost story add both menace and humour to what could otherwise be pretty standard schlock-horror fare.
Lighting and sound (Kevin Sharp and Rod Mead) play a crucial role too, and are efficiently employed to heighten the tension, despite hints of a little cheesiness at times.
The trick with this kind of show is to let the audience know they’re being manipulated, but to keep them wanting it. Baker and Porter clearly recognise this and trade on it stylishly. It’s a wonder they can sleep at night…
CAROUSEL
October 13, 2008
Milton Keynes Theatre until October 18, 2008, The Savoy Theatre, London, from December 2, 2008
IT’S more than 60 years since Carousel first turned on Broadway, but there’s no sign of the old lady putting in for her bus pass just yet.
And in this sparkling touring production, directed by Lindsay Posner, she seems positively fresh and youthful, with a host of technological and magical devices offering the theatrical equivalent of Botox.
For a start, there’s some amazing, inventive use of holography and projected CGI to create backdrops, a lighthouse and even the carousel itself. Coupled with William Dudley’s elegant designs and Deirdre Clancy’s colourful costumes, the wizardry keeps the stage permanently lively and eye-catching.
Adam Cooper’s choreography helps a lot, too, especially when executed so delightfully – not least in the ballet sequence, which can drag interminably but in the hands of Lindsey Wise as the 15-year-old Louise is a complete joy.
Rodgers and Hammerstein adapted a rather lightweight and ridiculous play for their second musical collaboration, and it’s all too easy to let Carousel become silly and annoying. This version pulls off the neat trick of making it engrossing and moving, with the assistance, of course, of that fabulous score – If I Loved You, June Is Bustin’ Out All Over and You’ll Never Walk Alone.
The star name is Lesley Garrett – and she doesn’t disappoint – but in truth she’s an added bonus, with vocal honours split across a number of the principals. Jeremiah James makes the wife-beating Billy Bigelow sympathetic, Alexandra Silber is a feisty, believable Julie, and there are lovely supporting performances from Alan Vicary as Mr Snow, Graham MacDuff as Jigger and Lauren Hood as a sweet-voiced Carrie.
It may not offer a radical interpretation of an ageing classic, but for those who like their musicals solid, traditional and great value for money, you’d have to go a long way to beat this Carousel.
EVITA
September 30, 2008
Milton Keynes Theatre until October 11, 2008, then touring until January 10
THERE'S a whole generation growing up now who will have missed the furore that surrounded Evita at its original opening in the 1970s. The Tim Rice-Andrew Lloyd Webber musical broke new ground – and plenty of records – when it first hit the West End, and it's easy to see and hear why.
Which makes this touring production from Bill Kenwright's stable all the more welcome, even if at times it seems a little lacklustre and pedestrian.
The first thing to say about it is that it looks sensational, with designs by Matthew Wright and choreography from Bill Deamer. The live band is richly textured and creates a full sound, even if musical director David Steadman seems determined to take things at a deadening tempo.
Louise Dearman makes a decent fist of the title role – always a tough ask after the original iconic Elaine Paige performance – but finds herself overshadowed by Mark Heenehan as Peron, a strong dramatic presence and magnificent vocal talent in a somewhat thankless part.
Those Any Dream Will Do fans looking for a star turn from Joseph finalist Seamus Cullen may be permitted to feel slightly disappointed by his Che, which also suffers by comparison with a previous incarnation from David Essex. Cullen sings ably enough but oddly lacks the charisma he promised on TV, leaving the crucial role rather underplayed and not wholly satisfying.
But it's a solid, safe version of the show that's resident in Milton Keynes for two weeks, reflecting the demand for performances with high production values, live music and some still wonderful lyrics and score.
WEST SIDE STORY
September 16, 2008
Milton Keynes Theatre until September 27, 2008, then touring until November 22
MUCH has been made of the fact that this 50th anniversary touring production of West Side Story is intended as a revival of the original.
And it’s easy to see why the Leonard Bernstein musical, with typically edgy lyrics by Stephen Sondheim, created such an impact when it first appeared in the late 50s.
Based on the Romeo and Juliet story, updated to New York gangland, the show is packed with excitingly-scored numbers such as Maria, Tonight, America and Somewhere, all of which have passed into the standard repertoire.
But the original production, directed and choreographed by Jerome Robbins, was always conceived as a complete event, with words, music and dance contributing equally to its groundbreaking storytelling. And director Joey McKneely is clearly attempting to make his revival just as holistically complete.
He succeeds brilliantly with both music and dance, the former thanks to a tight band under the impressive baton of conductor Simon Beck, the latter courtesy of the superb troupe making up the Sharks and the Jets, whose flowing and exhilarating movement is never less than thrilling.
The book, by Arthur Laurents, may now seem a little stilted and is too often allowed to slow up the otherwise relentless pace, and there’s too little emotion wrought from the sweet-voiced Daniel Koek and Sofia Escobar in the central roles of Tony and Maria.
But there’s plenty of menace and humour among the supporting cast, notably chief Shark Bernardo (Dan Burton) and a stunning turn from 16-year-old Harry Francis as Baby John – watch out for that name in years to come.
And with an atmospheric set design from Paul Gallis creating a memorable backdrop to an impressive visual feast, there’s no shortage of entertainment value from this vivacious 50-year-old.
MY BRILLIANT DIVORCE
August 27, 2008
Milton Keynes Theatre until August 30, 2008, then touring until September 30
I’m not normally one to make allowances, but in this case...
Well, in this case, it was the very first night of a month-long national tour of mainly one-nighters – none of your softie previews here – comprising two hours on stage for one indefatigable performer.
So if the ride wasn’t quite as smooth as it might have been, the odd stumble or fluff can surely be permitted.
And when you couple this with the fact that the performer in question is the relentlessly likeable Dillie Keane, stepping out from the shadow of her other life in the cabaret group Fascinating Aida, then I predict a month of hugely enjoyable evenings ahead for both actress and audiences.
The piece itself is a one-woman tour de force which had a highly successful West End run starring Dawn French. Ms Keane, finding a range and breadth of emotions, makes the part comfortably her own, with a host of pristine accents and a sense of comic timing honed to perfection from her years on the cabaret circuit.
Writer Geraldine Aron ostensibly traces the rollercoaster of feelings endured by middle-aged Angela in her first few years post-divorce. The reality is that it could be pretty much any woman at pretty much any point in her life: the truthfulness and humour of the script render the framework almost incidental.
There’s plenty of truth and humour, too, in Ms Keane’s cockle-warming performance, whose pace never flags and whose ability to entertain is assured.
While Tim Luscombe’s direction may seem a little too interfering at times and Michael Holt’s design almost obstinately minimalist, it’s the sheer feat of endurance combined with the joy of performing that make this show a delight that will only improve with age. And nobody has to make any allowances for that.
For Milton Keynes reviews from 2014, please click here
For Milton Keynes reviews from 2013, please click here
For Milton Keynes reviews from 2012, please click here
For Milton Keynes reviews from 2011, please click here
For Milton Keynes reviews from 2010, please click here
For Milton Keynes reviews from 2009, please click here
