After spending time living and working in Australia, Ben is back. Back in England and back performing stand up comedy on the “Authentic Stupidity” tour, a vehicle for him to rail against the madness of contemporary life.
Such is the volume of his writing and tv appearance credits, and over such a long period of time ,that it is easy to forget his achievements as a novelist and playwright. A true literary polymath, it is great to have him back in the UK.
He is defined for me by his comedy on Saturday Night then Friday Night live. Compulsory watching at a time when young children meant that my wife and I could not go out much.
He is almost exactly my age- how have the last forty five years treated him?
The great news is that he is still very, very funny. Whilst ostensibly eschewing the pitfalls of the old curmudgeon, he cant help himself, and as all of us are now one too, that is just fine.
Such has been the length of absence from the UK stand up stage that he has a lot of material to catch up on and performs for two and a ahalf hours including interval, without props or audio visual support. I had the feeling that he was road testing what worked and what didn’t in 2024, fortunately most of it did. He even welcomed tory audience members- but wisely drew the line at Farage.
The second half was stronger than the slightly longer first half. A lengthy, worthy and funny exploration on assisted dying wobbled sometimes between sharp polemic and knock about poo taste gallows humour without quite being sure where to land.
In the second half sequences on gender roles and wheely bins and dealing with unexplained noise in the night was comedy of the highest order.
The audience loved it, as I did, the charabanc continues on nationwide tour.
A musical , prodigy of the success of the eponymous 1982 film, dominated by the image of Richard Gere in a white naval officer’s uniform. Pre -show, some Reagan soundbites are broadcast to transport us into 1980’s mode. He instantly makes more sense than Trump.
The film was unashamed romantic, formulaic schmaltz and a commercial blockbuster. The musical replicates that blueprint. Nostalgic escapism with a musical soundtrack to match. Artistic Director is the all-conquering Nikolia Foster the talent behind so much of what is produced and popular in UK theatre at the moment. He replicates the film formula, but in the spirit of American Diners, puts on plenty of extra cheese.
The original production had its world premiere on May 18, 2012 at the Lyric Theatre in Sydney, Australia but closed only six weeks later, on July 1. A new version of the musical made its premiere at Curve in Leicester, UK, in April 2018 before touring the UK. It was directed by Nikolai Foster and used songs from the film’s soundtrack including “Up Where We Belong”, “Girls Just Want to Have Fun”, “Toy Soldiers”, “Alone”, “Don’t Cry Out Loud” , “Kids in America”, heart of Glass” and “Material Girl”, as opposed to the original score by Hirsch and Lerner used in the original incarnation.“St Elmo’s Fire” is somehow transplanted to close the first act. Jon Bon Jovi’s accountant will be pleased to see and hear no less than two of his songs on the roster.
In 2024, the Curve production of the musical returned to the UK, again directed by Nikolai Foster, touring nationwide, and opened on February 23 at The Alexandra in Birmingham.
The song choice is erratic, how Martika’s song about cocaine addiction “Toy Soldiers” made it into the production is a mystery.
Joanna Goodwin’s choreography is inspired and Michael Taylor’s set works beautifully in utilising a large steel frame on wheels, some outline images and a few pieces of furniture. The scene where the recruits have to scale a wall has the entire audience urging them on.
Forty years on the sexual politics feel dated as women try to hook their man as an escape from their humdrum existence- there is no girl power here.For tonight’s performance three understudies climb into the hot seat, something which invariably invigorates a show
Luke Baker enjoys bad boy caricature Zack, partnered with Julia Jones as girlfriend Paula and turn on the afterburners for “Up where we belong”
Mia Harrison stands out as Casey Seegar, determined to be the first woman to fly jets, while Sinead Long’s Lynette excels as a strumpet, taking the Drop on request mantra of the drill sergeant literally.
The audience mainly comprised middle aged women on a girls night out, and they were not disappointed with the fare, giving the show a rousing ovation at the end, enjoying the 80’s music and a romantic yarn. And finally a word of praise for the physical programme, the best produced and most comprehensive I have seen in along time. The show continues at the Grand until the 28th then continues on national tour.
The phrase “landmark production” is much abused and over used. For once, here, it is justified.
One hundred years ago, on 15th May 1924, Hamilton Deane’s stage production of Dracula premiered at the Grand Theatre Derby in an adaptation of Bram Stoker’s 1897 novel. Multiple cinematic and television incarnations have appeared over the years distorting and evolving Stoker’s original epistolian original. This is a 20th anniversary production for the Blackeyed theatre company, revisiting and re-evaluation the source text for the 21st Century.
anyone fancy a stake?
Directed and adapted by Nick Lane, set in 1897, Gothic Victorian melodrama morphs seamlessly into the modern. Lane’s ambition is impressive taking us from remote Transylvania to rural England.
The cast take on multiple roles, three actors play Dracula. Maya-Nika Bewley, plays Mina Harker and Dr Hennessey, while David Chafer, plays Van Helsing and Dracula. Taking on the roles of Dr Seward and Dracula is Richard Keightley . Pelé Kelland-Beau plays the roles of Jonathan Harker and Quincey Morris. Marie Osman, plays Lucy Westenra and Renfield. Completing the cast in the roles of Arthur Holmwood and Dracula is Harry Rundle. The gender of Dr Hennessey has changed from the original male to female- and works well for it, and it is Maya Nika Bewley who steals the acting honours for the evening. However the multiple character duplications by the actors can be difficult to follow , with no signal costume changes, and an unusual symmetry in footwear choice for the characters.
Victoria Spearing’s set is effective, and imposing if somewhat over reliant on boxes as improvised props. Oliver Welsh’s lighting is superb with some proper bone shaking thunder and lightning moments.
Original music is by Tristan Parkes, music which is both distinctive and memorable ,drawing upon traditional folk tradition, with some choral, ensemble songs particularly effective. Lane creates a memorable atmospheric intensity to proceedings with a threat of jeopardy omnipresent.
Having three Draculas is useful in bridging his increasing youth on stage as the blood takes effect, but clouds the continuity of characterisation somewhat. A generous running time means that little from the original material is missed out.
The production is unquestionably a success, delivered with style, panache and chutzpah and received a deserved warm ovation at the final curtain. It succeeds in its reappraisal of the ubiquitous Dracula myth, rather than re defining the character itself.
Dracula runs until Sat 21st before continuing on nationwide tour to: Bury St Edmunds, Tonbridge, Southend, Bath, Warwick, Bracknell, Basingstoke, Windsor, Southport, Blackpool, Wolverhampton, Finchley, Eastbourne, Bromley, Swindon, Cardiff, Malvern, Basildon, Southampton, Guildford, Tunbridge, Norwich, Loughborough, Lincoln, Winchester, Hertford, Newbury, Poole, Chesterfield, Crewe, Darlington, Lichfield, Exeter, Ilfracombe and Scarborough until Saturday 3 May 2025.
Dolly Parton is a musical phenomena whose star originally rose in America from Country and Western in the 1960’s. Thereafter, it has continued to rise in concerts, television, film, a theme park, and now a musical, effortlessly skipping across differing musical genres.
A musical was the inevitable next stop on the relentless Dolly Express. It faced the perennial problem for Jukebox Musicals- how do you join the songs together? Here they opt for the route taken for the Take That musical “the Band”- a fan’s story. This time it is a male fan, Kevin, and how Dolly’s music helps him through a difficult time in his life, in this instance the Covid Lockdown, and a relationship failure, that is the catalyst.
Dolly Parton is played convincingly and adroitly by polymath Tricia Paoluccio who also has a writing credit. She clears the pitfalls of karaoke and “Stars in their Eyes” to possess the role , Dolly’s nuances, her foibles and her humour. This is billed as a musical comedy, and veers into Revue and panto territory at times too, with the audience being periodically addressed directly
Her on stage foil is understudy Aidan Cutler, and his portrayal of Kevin. If there are pitfalls for Paoluccio there are huge Elephant traps for Cutler. Are we really bothered about the trials and tribulations of a nobody? Cutler succeeds by making the most of a surprisingly humorous script and delivering an Everyman performance which connects with large parts of the audience. I wasn’t, and am not convinced that Dolly is the universal panacea to our problems, but for a couple of hours I gave her the benefit of the doubt.
Essentially, this is performed as a two hander, Dolly and Kevin, but musicians double to give brief in person realisations of off stage characters like Kevin’s Dad, and lover. They deliver outstanding supporting performances, vocals and harmonies.
An onstage, in view , live band provide vital energy and chutzpah to the music . Theirs is no easy task. When Dolly performs live she has the pick of the world’s Country and Western royalty musicians at her disposal. Lizzi Gee helps keep our fingers snapping and toes tapping with her choreography, a task made easier by the absence of complex dance moves from the real Dolly’s on stage performances.
Paul Wills’ stage set, is bright, brash, messy, funny, and intricate, complimented by Tim Deiling’s lighting design, gauche and over the top, as you would expect for Dolly.
The story’s narrative flickers and stutters from time to time, but writers Bruce Vilanch, Gabriel Barre , Tricia Paoluccio, keep the story moving. British writing talent in Jonathan Harvey has been brought in to Anglicise the show ( Coronation St and Gimme, Gimme, Gimme). All succeed in connecting with the denizens of Dolly’s army who lap it up courtesy of Gabriel Barre’s direction.
The success of the show pivots on the strength of the songs which is a given. Dolly wrote “I will always love you” and “Jolene” on the same day. They always safely buttress the proceedings where necessary, and energise and drive where required. Those who come along to hear Jolene, 9 to 5, Islands in the Stream, I Will Always Love You, and Here You Come Again will not be disappointed.
For me , the lesser known “Gods Coloring Book” stole the show, Paoluccio, delivering a beautiful, tender and poignant performance. My own sense was that “Jolene” was wasted in a segment shoehorned in to include it, “I will always love you” now has not only Whitney Houston’s recorded version, but Alexandra Burke’s stage version ( the Bodyguard) , to compete with.
I am a committed admirer of Parton’s song writing which features a canon of mini narratives, that is what she is good at. As an entity on stage sometimes those narratives were lost and sacrificed to the big picture. Co-writer Harvey did not hold back on the Anglicisation of the script with Nigel Farage lampooned, to universal approval, on two separate occasions.
Audience reaction at the end bordered on the devotional. Dolly’s army rallied to the cause with a rousing ovation. Worship at the Alex continues until Saturday and then proceeds on its national tour.
This tour presents a world premiere of Middleground Theatre’s comic pastiche of the Frederick Knott 1950’s classic “Dial M For Murder”. Someone thinks that it would be a good idea to debut their play in the wilds of Scotland on the village hall circuit, and so the tale unfolds. Anyone who has been in a touring theatrical company or rock band will anticipate the frictions that inevitably unfold and will not be disappointed.
The original play and story are the work of Englishman Frederick Knott ( 1952) but the story was popularised by Alfred Hitchcock’s 1954 film featuring Ray Milland and Grace Kelly. This pastiche is set in 1991 by writer Margaret Hobbs who delivers a verbose, dense, script laced with punchy gags which is stronger in setting the scene in the first act, than it is in the denouement in the second, but is nonetheless impressive in its construction and execution.
Numerous set pieces entertain, the vagaries of the inclement Scottish climate ( rain), personality clashes, a shepherd and his television obsessed sheep dog, ,a romantic caber tossing interlude amongst them. However it is the perennially reliable flatulence jokes, and Norman the errant pet rat ( borrowed from Fawlty Towers?) , which deliver the best laughs.
The film created big shoes to fill. Luke Rhodri plays Sean Farrell (the Ray Milland character of the original film) , and Isabella Inchbald plays Sam Middleton – Grace Kelly’s role , keep the chaos on the road, combining their narrative and comic responsibilities very adeptly. Meanwhile, Joey Lockhart (George the AA Man) and Julian Brooke) provide the best of the comedy.
Directed and designed by Michael Lunney the company are reprising their recent stage success with courtroom drama The Verdict. Lunney does well to keep the laughter rolling without allowing the entire production to be derailed.
The show stars six talented actors – all of whom excel and give great performances amidst the M for Mayhem, with everything that could go wrong , going wrong, The evening is bullet proof from mistakes because the audience simply think them part of the show in this play within a play format which plays at Derby until Saturday 7th September, then continues on national tour.
Blackeyed theatre were last in Derby six months ago for a fabulous revival of : “Oh What a lovely war”. They return for a very special occasion the centenary of the first ever stage production of Dracula which played at Derby!
Touring from September 2024, and marking the centenary of the stage premiere,In association with Harrogate Theatre and South Hill Park, Dracula, By Bram Stoker, Adapted by Nick Lane
The time is 1897. Mankind is on the cusp of vast technological change, scientific mastery and media innovation. Poised between traditional beliefs, the threat of the unknown and the shock of the new world, an altogether darker fear is emerging. As a new shadow looms large over England, a small group of young men and women, led by Professor Van Helsing, are plunged into an epic struggle for survival.
Stretching from London, through provincial England, to the mountainous wastes of Transylvania, Bram Stoker’s timeless gothic thriller embodies the struggle to break taboos, resist temptation and stop the unknown outside becoming the enemy within.
Adapted by Nick Lane, this brilliant, theatrical treatment of Bram Stoker’s adventure blends Victorian Gothic with the Contemporary, showcasing Blackeyed Theatre’s trademark ensemble performance style and featuring a haunting soundscape, powerful performances and innovative design for an exhilarating theatrical experience.
This is a new production of the classic children’s story featuring the seminal Cruella de Vill as fiendish villainous villainess and, unsurprisingly, 101 dalmations. The tour alternates between Kym Marsh of Coronation St fame, and Faye Tozer of pop group Steps assuming the role . For this show we had Tozer, whose performance was anything but a “Tragedy “as she “Stomped” her way through the evening with glorious abandon in animal themed outfits (costume Sarah Mercadé), ably betted by her comedic duo sidekick nephews, played by Danny Hendrix and Charles Brunton. She personally provides the drive and energy for the show. Her singing and movement ( choreography, Lucy Hind) is superb.
A stage production of 101 real dalmation puppies would present numerous practical difficulties, and a lot of clearing up, so instead we are offered ingenious puppets and their puppeteers, which works brilliantly. Designed by Jimmy Grimes and expertly manipulated by the ensemble they replicate every canine mannerism in an inspired display of anthropomorphism.
David Woodhead’s set is simple and versatile, effortlessly morphing from the park to flat, to De Vil lair. It explodes into life for a spectacular pyrotechnics finale.
This is not a staged version of the Disney 19621classic which transformed Dodie Smith’s original 1956 novel . Instead a brand-new musical score has been created by composer and lyricist Douglas Hodge with the script the work of the doyen of Scottish panto Johnny McKnight. Contemporary references abound with CCTV, mobile phones, and micro-chipped dogs,ubiqiotous yet set designer Woodhead and director Bill Buckhurst still ground the action in a stylised 1950s exaggerated style that makes us all fell comfortable. The stage adaptation is the work of Zinnie Harris , and a commendable job she has done in doing that.
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Consequently the show veers more towards panto than musical , Tozer becomes the wicked step-mother and revels in her two big solos “Fur Fur” ,and, “I Can Smell Puppy”. The hapless Cruella sidekicks are straight out of the “Home Alone” storyboard.
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But Jimmy Grimes’ puppetry is the beating heart of this production oozing, warmth, bonhomie, charm and intimacy. Pongo and Perdi, puppeteered by Johnson and Thornett, are a delight. The sentimentality and schmaltz hits overdrive with “A Thousand Kisses”, but, it works, it fits, and it engages with the reprised theme of needing a home particularly poignant in these times of refugees and homelessness. “Take Me Home” is a moving tearjerker.
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I took a nine year old girl as a companion- she loved it, and the 7pm start time is ideal for a young, family audience who rewarded an energetic evening with a standing ovation, and a mix theatrical boos for Cruella and cheers for her performance. This is a hugely entertaining reimagining of the original story with plenty of humour and panto style laughs, and runs until Sat 24th before continuing on nationwide tour.
I first saw Martyn and Glen perform as part of the Human League in 1978 at the Rainbow Theatre London supporting Siouxsie and the Banshees. they were terrific. 46 years later had any of that magic evaporated? No, And they performed, “You’ve lost that Loving feeling” again!
Glen is one of the great modern British pop voices, file alongside Bowie, Marc Almond and George Michael. That talent shone through once again.
And my heart rate has only just slowed down from seeing band members Rachel, Hayley and Florence with gregory/ Ware taking a leaf out of the Human league’s girly singer playbook.
They were in fabulous form , and a great live act, a reminder of how 80’s electronica had its moments. Highlights? “Fascist grove thang”, “Come live with me”, a sublime “let Me Go” and a raucous “Penthouse” with Rachel and Hayley at their seductive peak.
Gregory’s voice is still fine, as are Ware’s melodies and their artistic integrity, it is just a shame they didnt crank out a few more hits like the Human League did.
I first saw the iconic film in West Virginia, America, as a child, with snow surrounding our house on Christmas 1966. I was captivated, enthralled and enchanted, even if I didn’t understand it all, and have loved the show ever since. Thus I approached this production with some trepidation, I had my placard declaring: “Don’t mess with my memories” ready. I should not have worried.
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This production deftly and lovingly retains all that made the original magical whilst giving it a 21st Century makeover some eighty five years after its inception. When you tinker with greatness you take enormous risks. Pretty much every aspect of this reboot works and compliments the Frank Baum original.
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Not only is the story an iconic classic, so is Dorothy’s song, “Somewhere over the Rainbow”. In the original, Judy Garland sang it as a youthful song of hope. Much covered and rerecorded, it has lost none of its potency, instead gaining it, as it has morphed into a poignant lament on childhood and growing up . Aviva Tulley remarkably embraces both strands in a powerhouse version that thrilled the youngsters and touched the oldies simultaneously.
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I was reminded what a good story this is. Both a fantasy and a cautionary morality tale, the powerful narrative arc is maintained while being satisfyingly tweaked for a new audience .
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Normally, the cast receive the plaudits first in reviews. Here it is the backstage Creatives. Director Nik Foster has a vision sticks to it, and delivers. All the original strengths are retained, whilst 21st century technology affords opportunities for stage not available to the original film makers. The set design by Colin Richmond combines illuminated arches ( lighting by Ben Cracknell) with a projected backdrop ( Douglas O’Connell) which combines virtual reality, artificial intelligence and gaming. It is stunning, culminating in the wonderful melting scene for the demise of the Wicked Witch. Using live animals on stage is increasingly problematic. The solution is a puppet dog created by Rachel Canning, operated by an onstage puppeteer. This works exceptionally well and affords in itself several dramatic opportunities.
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The cast is unusually strong. Foster and casting Director Debbie O Brien took a big gamble in casting drag queen The Vivienne as the Wicked Witch of the West- and hit the jackpot. She plays it straight and nasty without a hint of campness and steals the show. She is terrific, delivering a memorable couplet which rhymes shoeless with clueless. Her grenade launcher broomstick is a fabulous special effect, her evil den a mix of Houston NASA mission control, Las Vegas and Times Square New York.
Aviva Tulley not only delivers a convincing “Over the rainbow” , she also carries the role with grace and wonderment. The supporting cast of old favourites do not disappoint. The wonderful Wizard of Oz (Alex Bourne) , Scarecrow , Tin Man , and Cowardly Lion are all delightful companions for Dorothy. Good witch Emily Bull is wonderful with a Barbiesque makeover including a pink Vespa s cooter for transport and Abigail Mathews excels as puppeteer Toto, signally brilliant and unobtrusive simultaneously. The ensemble combine to effect the unlikely transformation of Wolverhampton to The Emerald City and Kansas.
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All the adults, including myself were bowled over by this scintillating production which received a much deserved standing ovation. More importantly so were my guests Sol ( aged 9) and May ( aged 8) ensuring a new generation of devotees for this show which continues at Wolverhampton until the 4th August before continuing on tour to Sunderland the following week.
Miller arrived with the successful “Fly like An eagle” album in his back pocket from six years ago and the UK music scene adjusted to the reset that punk, New wave, Ska and the New Romantics. He was almost 40 years old and looked overweight, unfit and unhealthy in unwisely tight black leather trousers.
He was best known to UK audiences via clever animations of his songs on “The Old grey !whistle Test”. For some reason, Steve has never been a fan of touring thr UK and this was a rare appearance.
His antecedents are impressive, Les paul was a family friend, he jammed with Muddy Waters, Howlin’ Wolf, and Buddy Guy. His roots have always been in the Blues but his late sixties/ early 70s output was unmistakeably psychedelic before finding mainstrem success with Rock and pop.
His setlist reflected that diversity and was uneven and patchy before the hits run in at the end, with an overreliance on obscure covers The latter was great for die hard aficionados of the American 50/60s Blues scene, but not engaging for the rest of us. I am glad that I was able to see live a legend of the American music scene, but it is the man, and not his music which made the evening for me.
Aged 81 in 2024, he is till touring and a contemporary of the Rolling Stones.
Garyswordz 