Mazz Murray sings Dusty Springfield , “I only want to be with you”- Birmingham Symphony Hall

The first in a duo of gigs , her second coming at the Adelphi Theatre in London, in which Musical theatre star  Mazz  sings from the Dusty songbook. An impossibly young looking fifty year old she has a formidable stage cv, most notably in Mama Mia, We Will Rock you and Chicago. She has previously featured the work of Patsy Cline.

This world premiere of the show sees her returning to the region, where she began her professional career aged 21 playing Dusty in ‘Only the Lonely’ at The Birmingham Hippodrome in 1996.

Her personal  professional  standing drew  a large audience for an evening featuring a full orchestra backing, this was no heart hearted cheap cash in. Her arrival was presaged by an overture followed by a defiant rendition of “You Don’t Own me” looking fabulous in a luxurious pale blue evening gown she sang with no Dusty costuming, wig or make up. What followed was a consummate vocal performance which captivated an enthralled crowd.

Mazz comes from a distinguished musical family,  the god daughter of Bob Monkhouse, her father Mitch is a distinguished hit song writer with some of his songs included in the pre show and interval incidental recorded music, Her mother , Grazina Frame, enjoyed a successful stage and screen career as actress and singer.

Prior to the interval we were treated to her first of several  costume changes including Dusty period outfit and wig. Her three backing singers were worked hard not only in a supporting capacity but also to provide musical interludes for Mazz. Surprise special guest was Madeline Bell who worked with Dusty, the Rolling Stones, Elton John an numerous other contemporary notables. She was fabulous at 82, but curiously was not name checked as the lead singer as part of Blue Mink and their hit single “Melting Pot”.

We were treated to all of Dusty’s early hits, but curiously her latter work with the Pets Shop Boys, specifically “in Private” ,“Nothing has been proved”, and  “What have I done to deserve this” were omitted, which for me, was  a shame.

Mazz is a terrific singer and story- teller in song, in practice she fudged whether she was Mazz singing Dusty, or a Dusty tribute act. Her talent and looks entitle her to the former soubriquet rather than the latter.

A few months earlier I had witnessed Marc Almond also sing “If you Go Away” and “I Close My Eyes and count to ten” what a treat it was to hear Mazz sing them too. A tremendous night, I have no doubt that this will tour nationwide next year, such was the rapturous ovation from a spellbound and adoring crowd.

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Doing the 92

Doing the 92

It started in 1968, Belle Vue Stadium, Doncaster Rovers v Barnsley, an evening game in front of a crowd of 18,000, I was aged 10, totally unaware that it was a local Derby, but enthralled by the noise,  the chanting,  the passion, the smell of No10’s and Woodbines, the aroma of bovtril on a cold winter’s night,  all of which the ramshackle ground struggled to contain.

Fifty six years later I am still working my way through the 92  English football league grounds. Initially it was haphazard but by the late 1980’s there was some method to it. I was immediately hooked after the first game but beholden to the vaguaries of where we happened to be living at the time. Next up was Elland rd on Boxing day 69, v Newcastle Utd, when the Scratching Shed/ Cowshed teetered where the South Stand is now and we perched on the Lowfields steps

Inevitably the question, which is your favourite arises.  But the experience is coloured by the occasion, the time of year, the time of day and the importance of the fixture

Belle Vue R 1968

Elland Rd 1969

Baseball Grnd R 72

City Ground Nottingham 71

Meadow lane, Nottingham 72

Upton Park, West Ham R 72

Kenilworth Rd Luton 73

Stamford Bridge , Chelsea 73

Abbey Stadium, Cambridge 72

London Rd, Peterborough 74

Sincil Bank, Lincoln 73

Filbert St, Leicester  R74

Highbury, Arsenal R 75

White hart lane, Spurs R  76

Brisbane Rd- Orient 81

Craven Cottage – Fulham 81

Vetch Field, Swansea R 82

Villa Park, Birmingham 82

The Hawthorns, West Brom 83

St Andrews  Birmingham 83

Highfield Rd – Coventry R 82

Portman Rd, Ipswich 83

Vicarage rd – Watford 84

Goldstone Grnd , Brighton R  86

Manor Ground – Oxford R 87

The Den, Millwall  R 88

Layer Rd- Colchester R – 88

Priestfield Stadium- Gillingham 88

Carrow Rd – Norwich 88

Prenton park – tranmere88

Boothferry Park, Hull  R 88

Vale Park, Port Vale 89

Bescot Stadium _ Walsall 92

Anfield , Liverpool 92

King Power, Leicester 94

Old Trafford, Manchester 95

The Valley – Charlton

Fratton park – Portsmouth

Madstad       – Reading

St Marys, Southampton

DW Wigan

Goodison – Everton

Riverside, Boro

St James’ Newcastle

SOL, Sunderland

Ethiad, Mancheter 05

Wycombe

Wrexham

New Victoria gernd, Stoke

2023/24

Crewe23

Field Mill Mansfield23

Pride park Derby

Keep Moat, Doncaster

 Crown GroundAccrington

Harrogate

The Moo Camp, MK

2024/25

Barnsley

Barrow – holker St

Chesterfield- new saltergate

Oxford -Kassam

Coventry – Ricoh

Preston – Deepdale

Bristol City- Ashton Gate

Cardiff City- Cardiff City stadium

Huddersfield – John Smiths

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Transformer – Lou Reed ( a retrospective)

It is a great album, and an astonishing document for its time.

David had a long time love for the Velvet underground, and  their songs  “Waiting for the Man” and  “White Light White Heat” were live staples for long periods of his career.

David’s ability to write pop songs in the seventies should never be underestimated, “Oh You Pretty things”, “Life on Mars”  and “Man who sold the World” amongst them.

Somehow, he and Ronson morphed Lou from off beat cult artist to pop star with one song “Walk on the Wild Side”, the song which underwrote the albums’ success and Lou’s bank balance for his entire career. Remarkably, four out of the eleven songs were written while he was in the Velvets and had been previously performed . “Satellite of Love” receives the most radical and remarkable reworking.

By all accounts Reed was a difficult character, and drug addict, making this successful  reincarnation even more unlikely. Anecdotally, it appears that there was a genuine friendship between them, Bowie got to work with an underground Hero, Reed with a man who had a pop stardust signally absent from the Velvets.

The early 70’s were weird times. In America the Federal Communications Commission banned the Who’s “my Generation” from the radio for “disrespect to elders” and the Rolling Stones “King Bee” for sexual innuendo :

“ Well I’m a king bee

Buzzing around your hive

Well I’m a king bee, baby

Buzzing around your hive

Yeah, I can make honey baby

Let me come inside”

The BBC forced the Rolling Stones to change  the recording “lets spend the night together” to “lets spend some time together”

 But  for both ,Candy giving head was fine…

The song “Wild Side” is the greatest Queer statement before frankie Goes to hollywood’s “Relax and totally anachronistic with the time – Gilbert o Sullivan’s Clair, Eltons “Crocodile Rock” and Donny Osmond were the competition.

Bowie and Reed showed a casual ambivalence to sexuality and marginalised communities, both, I assume   for commercial reasons, and a desire to be an icon for no one.

 Reed explores gender and sexuality  on the album in a time when exploring such topics was not an acceptable notion in mainstream pop culture.  Reed was unarguably a pioneer in this regard,  but wanted e to be a pop star on very specific terms.  He is a real person on this album, not a manufactured idol. He never sought to be a  touchstone for many marginalized people .

Bowie/Ronson also give us    a brutal rock treatment on “Vicious”, the sonic polar opposite to Wild Side” allegedly inspired by Andy Warhol quipping that Reed should write something Vicious “Oh, you know, like I hit you with a flower”’.

Somehow, Reed/ Ronson/ Bowie fuse trend androgynous glam rock, with something dark and powerful ,from which David walks away with Ziggy, a sanitised hybrid of  the sleaze of New York which he had found himself beguiled by.

I always argue that if you want to understand Bowie you need to undeestand the following  albums, Iggy pops “The idiot, “Lust for life”, Davids’ “pin Ups”,  Scott walker’s Scott 1  and 2 and Lou’s Transformer. Listen to “life on mars” then “Perfect day”,  “Moonage day” dream then “Vicious”. Go on, I dare you…

Anyone who wants to grasp the genius of Ronson will be converted.

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10cc Wolverhampton Civic Hall

My younger brother liked 10cc as we grew up in the 1970’s. I was not so sure.

Their music was unquestionably exquisitely crafted, their lyrics ranged from the sometimes banal to the often sublime. They were the British Steely Dan,  but less self important.

At the time, I regarded their best songs as being clever and catchy, the worst contrived and vapid. They wrote their own manifesto  :“Art for arts sake, money for Gods sake”

I saw Steely Dan live for the first time in Birmingham England  2007. It was a depressing and soul sapping experience, an exercise in stripping their fans of some cash, sour faced and joyless. By contrast 10cc are bright, energetic and witty.

The Classic  1970’s  “sheet Music” 10cc line up included Graham Gouldman, Eric Stewart, Kevin Godley and Lol Crème awash with musicianship,  and creative ideas. The 2024 version includes only Graham Gouldman from the original group , and Rick Fenn and Paul Burgess from the 1970’s touring band. It is just the right side of a Tribute band.The band line-up comprises Gouldman on bass guitars, electric guitar, acoustic guitar and vocals; Rick Fenn – lead guitar, bass guitar, acoustic guitar, vocals; Paul Burgess – drums, percussion, keyboards; Keith Hayman – keyboards, electric guitar, bass guitar, vocals and Andy Park – electric guitar, bass guitar, acoustic guitar, percussion, mandolin, keyboards, vocals. Park pretty much carries the show with his vocals and musical virtuosity

“Last Supper” rocked out akin to Status Quo launching into ,”Down Down”

Setlist

The Second Sitting for the Last Supper

Art for Art’s Sake

Life Is a Minestrone

Good Morning Judge

Play Video

The Dean and I

Old Wild Men

Clockwork Creep

Feel the Benefit

The Wall Street Shuffle

Floating in Heaven

The Things We Do for Love

Silly Love

Somewhere in Hollywood

I’m Mandy Fly Me

I’m Not in Love

Dreadlock Holiday

Encore:

Donna

(A Capella version)

Rubber Bullets

An unexpected highlight was “Old Wild men”

The lyrics to the prescient “Old Wild Men”, perfect for the mature clientelle.

Where are my boys?

They are in deepest water

Where are they now?

They are over the hill and far away

But they are broken men who lie low

Waiting for miracles

Old men of rock and roll

Came bearing music

Where are they now?

They are over the hill and far away

But they’re still gonna play guitars

On dead strings, and old drums

They’ll play and play to pass the time

The old wild men

Old wild men

Old wild men, waiting for miracles

Lord have mercy upon the many

Lord have mercy upon the few

Lord have mercy upon the many

Lord have mercy on me and on you

I had previously seen the band do a shorter greatest hits set at Cornbury festival, enlivened by the Gouldman penned Hollies hit “Bus stop” as an opener.

Cornbury festival, June 6th Oxfordshire 2014

Setlist

Bus stop

Wall St Shuffle

The things we do for love

Good Morning Judge

I’m Mandy Fly me

Life is a Minestrone

Art for Arts Sake

Silly Love

Im Not in Love

Dreadlock Holiday

Donna

Rubber Bullets

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Life on Tour with Bowie: A Genius Remembered – Sean Mayes. Book review

I am a very hard to please Bowie, and music, fan. The vast majority of music biographies and auto biographies are poorly written and lack insight. Biographies all too often are written merely to piggyback on the success of the subject rather than seeking to be definitive in their own right. With autobiographies, the difference between a musician/lyricist and a journalist/ storyteller becomes painfully apparent.

I have read most Bowie books. For some reason Mayes book eluded me on release . But kindle has two great advantages. Firstly you can source books which originally passed you by. Secondly they are great for quick reads. I devoured this in under 48 hours.

I saw two of the three Earls Court dates on this tour so was personally invested in the story. I also didn’t know much about Mayes so the backstory was of genuine interest. He was clearly a clever boy, reding philosophy at Cambridge University as well as an accomplished  musician with early 70’s band Fumble who supported Bowie on the Ziggy tour.

His angle is a clever one. This book is not about Bowie. It is about being on tour with him. It was published posthumously, four years after his death in 1999. Hence there is no ego, no grandstanding, just a first person narrative. One of my favourite Rock autobiographies is Viv Albertines; “ Clothes Clothes Clothes Music Music Music Boys Boys Boys”. It is the definitive story of Punk, told as an observer. Similarly, here,  Mayes tells his story as an observer and participant.

He offers few subjective opinions. He is on tour  travelling first class, in luxury hotel suites, normally not the same hotel as Bowie, not in the same limo.  Frequently he is able to come and go and explore host cities as he pleases. Invariably the band and crew go out for drinks and entertainment, Coco controls extra curricular activities. He pulls girls and boys by mentioning that he is in Bowie’s band. Many are not that interested other than him being a potential conduit to Bowie. He died of AIDS, but the gay dimension is understated. Indeed sexual titbits and drugs excess are largely untouched for all concerned.

It’s a job, a nice job. A story told by a man comfortable in his own skin whose idea of cutting loose with his tour cash is to buy a new camera. He offers no sense of a personal connection with Bowie, nor does he big up his own personal contribution. What is a given is his personal professionalism, and that of the musicians around him.

Bowie’s inner circle comprise Coco, manager Pat Gibbons, Tony Mascia Driver/ bodyguard and Frank, security. Alomar runs the music. The band play it.

As a document of  the nuts and bolts  of a rock n roll tour it is essential reading, but do not expct any Bowie insights.

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Ben Elton, “Authentic Stupidity” tour – Wolverhampton Grand theatre

****

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.

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An Officer and a Gentleman – Wolverhampton Grand Theatre

**

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.

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Dracula – Derby Theatre

Dracula- Derby Theatre

****

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.

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Here You Come Again- Alexandra theatre Birmingham

Here you come again Alexanda Theatre, Birmingham

***

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.

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Dial M for Mayhem – Derby Theatre

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.

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