Review: Broadway in the Bar, Arta, Glasgow

Broadway in the Bar has firmly positioned itself as one of Glasgow's unique entertainment shows. Sure there are a lot of shows produced in a similar vein, but none executed as well as this. If you're unfamiliar with the concept of BITB, you take a first class cast filled with local talent, add a mix of show tunes and throw in a glass of fizz for good measure.

The cast is ever-changing which keeps things fresh and Sunday's cast did not disappoint. Alison Cleland would be just as entertaining stepping onto a comedy stage as she is when singing. Her off-the-cuff banter between songs created a relaxed and informal atmosphere for the night. Joanne McGuinness and Edward Reid added to the humorous element with their song choices while still delivering strong vocal performances. Recent musical theatre graduate Jennifer Neil shared with the audience that this was her first professional job, and judging  by her impressive performance, it certainly won't be her last.

The songs ranged from well known show tunes such as 'As Long As He Needs Me' from Oliver and Wicked's 'The Wizard and I', ending with some anthemic power ballads which are guaranteed to have the crowd up on their feet (or in some cases their chair!).

The show is not tied to one venue and for Sunday's performance we had the beautiful backdrop of Arta in Glasgow's Merchant City. Whilst aesthetically pleasing, Arta comes with some structural pillars that can cause some viewing issues but if you arrive early enough this shouldn't pose a problem.

For more information on this show check out Inside Out Productions' Facebook page here.

Theatre Review: The Last Five Years - Govanhill Baths, Glasgow

There's no better way to write a musical about love and heartbreak than drawing from your own experiences, which is exactly what Jason Robert Brown did with The Last Five Years.  Set in New York the story follows the half decade relationship of aspiring writer Jamie Wellerstein (Sam Willison) and struggling actress Cathy Hiatt (Imogen Parry) from start to end.  The show's unique selling point is in its story telling, as Jamie's songs track the relationship from when the couple first meet right up until he leaves whereas Cathy's songs tell the story in reverse.  

Parry and Willison deal with the demands of this two character musical with ease, and although they only share a few scenes on stage together they are completely believable as a couple. From the first scene Parry in particular pulls on every heart string as she throws the audience into the emotional deep end with her expressive vocals. Marc Mackinnon's slick direction ensures one scene flows swiftly to the next, leaving little to no time for reflection which heightens impact when the show ends. Musical director Paul Slevin was solely responsible for orchestrating the full show, a feat that he pulled off with gusto.

Mad Props are known for their high standard productions and fresh show choices, and The Last Five Years is another success to add to their list. 

For more information about Mad Props, check out their website : http://www.madpropstheatre.com/

Panto Review: Aladdin, Websters Theatre, Glasgow

 

It's that time of the year again and the production company that brought you ‘The Pure Amazing Wizard of Oz’ are back with this year’s offering, Aladdin.  Down in Poor Panto Partick Aladdin has fallen for the emperor’s daughter, Princess Jasmine. The only problem is, he’s skint! When a long lost Auntie appears on his doorstep promising him fame and fortune, he journeys to the place of leaky roofs and sticky carpets (The Garage on Sauchiehall Street) in a bid to win the love of his life.  

Playing the man of the hour was Steven Alexander who is best known for appearing on TV show ‘The Voice’ and was able to show his off by belting out tunes from One Direction, Beyoncé and more. Natalie Toyne played this year’s baddie Abanazaress and she absolutely nailed it. Funny, scary and a little camp at times she had the audience in stitches with her facial expressions and witty one liners. For me the star of the night came in the form of the show’s dame, Widow Twankee (Neil Thomas). He had great stage presence and really built up a rapport with the audience which gave the show a personal touch.

In typical Insideout fashion a couple of tweaks were made to set the story apart from others. Both the Genie and the Slave of the Ring were Sesame Street style puppets and instead of a flying carpet there was a flying broomstick (which came with a few Wicked references much to my delight). The writing had a great balance of obvious humour for the kids and innuendos for the adults and made a lot of references to pop culture, including a sly nod to the indy ref.

Pantos are known for being full of family fun, which this production definitely achieves. It’s not the flashiest show in town but it doesn’t pretend to be either – tickets are available and can be snapped up here: http://www.cottiers.com/locations/cottiers-kelvinbridge/

Written by me for Backstage Pass

Theatre Review: Saturday Night Fever- Theatre Royal, Glasgow

This festive season, Saturday Night Fever is taking over Glasgow’s newly refurbished Theatre Royal. Based on the popular film of the same name, the show tracks the story of Tony Manero, a 19 year old Brooklyn boy who has a passion for dance and dreams of more to life than his dead end job in a dead end town. In a bid to escape his religious mother and redundant father, he teams up with fellow go getter Stephanie and enters a dance contest that is set to change his life for good.

Danny Bayne makes a great Tony Manero and commands the stage from his first strut. Bayne can act and sing, but his main selling point in the show is his dancing and he has no trouble mastering every move from Andrew Wright’s fast and fun choreography. His female counterpart, Naomi Slights, is equally impressive and her vocals in particular stood out amongst the rest. They were both joined on stage by a multi-purpose cast who played their own instruments which brought a unique new dimension to the production.

There were however more than a few sound issues, and the dark and gritty plot seemed to get lost from scene to scene which made it difficult to become invested in the characters or their struggles.

The Bee Gees hits the audience know and love are present and enjoyed but instead of carbon copies the tracks are given a makeover and performed to suit the current mood of the plot.  Although the story has the potential to be gripping and emotive there really wasn’t enough to sink your teeth into and it leaves the audience underwhelmed. 

Saturday Night Fever is at the Theatre Royal, Glasgow until 3^rd January 2015. For details and tickets visit http://www.atgtickets.com/shows/saturday-night-fever/theatre-royal-glasgow/

** Written by me for Backstage Pass 

Review: One Man, Two Guvnors

 

One Man, Two Guvnors brings 1960's Brighton to Glasgow this week, and from the moment I walked into the Kings Theatre and was met with a skiffle band I knew I was in for a good night.

The crazy story centres around down-on-his-luck Francis Henshall who finds himself with nothing in his wallet and even less in his stomach. To combat this issue he seeks employment with two different men - Roscoe Crabbe and Stanley Stubbers - and does everything in his power to keep them apart. Unbeknown to Francis, Roscoe is actually Rachel Crabbe disguised as her twin brother who has been murdered by none other than Stanley.

The cast handle the physical demands of this play with ease. Gavin Spokes is absolute genius as the man with two guvnors and throws himself into his performance with gusto. Spokes is genuinely funny with side splitting improv skills - this casting could not be more on point. Fast paced dialogue and witty banter come from all the cast but Alicia Davies and Patrick Warner particularly shine playing the demanding guvnors. Special mention to Michael Dylan who had the audience crying with laughter at his portrayal of slow- moving geriatric waiter Alfie.

The show is refreshingly different and really packs a punch, and with the skiffle band returning during scene changes there really isn’t a dull moment - not to be missed! 

*Written by me for http://www.backstagepass.biz/

Review: Tonight's the Night

You would be hard pushed to find someone who isn't familiar with the music of Rod Stewart - he has produced scores of hits over the years and is still rocking out today. It would only seem fitting that these songs be showcased in a new way - cue 'Tonight's the Night', a jukebox musical written by Ben Elton that plots the story of mechanic Stuart (Ben Heathcote), who lacks in confidence and is unsure of his abilities to win over romantic interest Mary (Jenna Lee-James). In his quest for love he makes a deal with the devil (Tiffany Graves) to trade his own soul for that of rock god Rod Stewart. Was that decision the right one? You'll have to go to find out.

The production is very heavy in songs but light in plot as it manages to squeeze 25 hits (plus a mega mix) into an under 3 hour show. As you would expect, the whole story centres around these songs so lacked depth and seemed almost forced in parts.

An extremely talented cast more than make up for the weak plot. Ben Heathcote throws himself into the role of shy and sensitive Stuart. With impressive vocals and movement he belts out one song after the next, giving the crowd what they've come to see. Ricky Rojasand Tiffany Graves both had great stage presence, bringing in the laughs as Stuart’s band mate and promoter. Special mention to the show’s Dee Dee, Rosie Heath, who stood head and shoulders above her fellow cast members with a truly showstopping voice. Backing singers also came in the form of audience members, who tapped, clapped and sang their way through each number. The addition of a sailor hat on each seat for a bit of audience participation during ‘Sailing’ was an original touch.

If you’re looking for a show with a story line to sink your teeth into then I would give this a miss. However, there’s no denying the widespread appeal Rod Stewart’s songs have, and Tonight’s the Night is an great opportunity to relive them.

* Written by me for Backstage Pass 

REVIEW: Katy Perry's Prismatic Tour

I'm deferring slightly from the normal topic on the blog today to have a natter about last night's visit to see the phenomenal Katy Perry at Glasgow's biggest music venue - The Hydro.

Excitement building, I made my way through the crowds of blue wigs, cat ears and glow sticks to find my level 3 seat (knowing full well when I bought the tickets it wasn't going to be the best view).  I was actually pleasantly surprised, it was by no means close to the stage but the Hydro is set out in a way that there isn't really a bad view and  is just the type of venue Glasgow needs - although they might want to look into ways on cutting down the bar queues, as waiting 10 minutes for a glass of wine ain't great!

I didn't see support act Icona Pop as I'm one of those people who have absolutely no patience so a lot of waiting around can turn me from a Jekyll to a Hyde, but the crowd seemed sufficiently hyped up so I assume they did not disappoint. After a brief DJ set the lights came down and the mother of all music concerts began. From the outset the Prismatic Tour is a treat for the senses- colourful, creative and crazy at times as Perry invites the audience into her prismatic world.

Kicking proceedings off with 'Roar', Katy covered all the songs you would expect to hear - from 'I Kissed a Girl' which she professed was an 'oldie but a goody' right up to newly released 'Birthday'. The show was split into 6 sections with Perry taking on a different persona in each, from an Egyptian princess arriving on stage via  mechanical horse to a cat elevated on a giant ball of yarn. Be prepared for the unexpected.

It's quite clear that beneath all the costumes and make up Katy is a normal, funny and genuine human being which really shone through during her acoustic set. There was a lot of opportunity to interact with the audience and her off the cuff chat was a hit.

Tridents, floating emojis and neon lycra are small parts of the unbelievably detailed staging that has gone into this tour. This is not just about the music, this is story telling and is something that I could experience again and again.