CHICAGO

Fosse’s stunningly sultry show comes to Norwich bringing ‘murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our hearts’ with it! 

The audience were not left disappointed with this slick and sexy powerhouse of show. 

Each and every person on stage (including the band) oozed charisma and charm, inviting us into the story of Roxie Hart; a night club singer who kills her lover. Set in the roaring twenties, this story of murder, jealousy and fame is sure to entertain! Matched with an epic jazz score, you are instantly thrusted back to the ‘razzle dazzle’ of Chicago in the 20’s. 

The set consisted of a huge gold frame around the proscenium arch, framing the performance like the piece of artwork it is. On stage; a large raked square presented the band, making you feel as if you were in the hottest jazz club in Chicago. Either side of this, the iconic rows of bentwood chairs, allowing cast to sit during the performance and watch the action unfold. Tall ladders appeared stage left and stage right during the performance adding quirky levels and visual interest. The lights caressed the performance with sexy golds and oranges, with the occasional use of colours such as purple and red. This really enhanced every aspect of the show, creating stunning silhouettes and shadows. The seductive costumes did not disappoint either, the women looked incredible in sultry black lingerie and the men served Fosse realness in the tight  black trousers and famous bowler hats.

From the very first note, you cannot help but be in awe of the incredibly sophisticated style of Chicago. The dances were perfect, the ensemble excelled and added character, sex and charm to every movement. Perfectly executing the stylised actions and creating the most aesthetically pleasing show I have ever had the pleasure to watch. Hayley Tammadon played Roxie Hart in a fun and quirky way, reminding me a lot of Jane Horrocks’ performance in the revival of Cabaret (another of Kander and Ebb's well known shows also directed by Fosse). Jessie Wallace shocked me with her charming and feisty portrayal as Matron Morton. ‘When You're Good to Mama’ was perfect. John Partridge delivered a solid performance as the smooth talking lawyer, Billy Flynn! 

A huge part go the show is the band, and they did not disappoint! They brought energy and fun into every number and buckets of character! A pleasure to watch and listen to! 

Overall, I can easily say - with no hesitation- that this was one of my favourite shows I’ve had the pleasure to see. It was seductively flawless in every way and I could easily watch it 100 times over. The stunning cast, set, band and book truly brought ALL that jazz to Norwich Theatre Royal.

Mary Poppins - The Musical

Audience treated to a magical night of fun and wonder as Mary Poppins comes to Norwich Theatre Royal. 

So lets start by getting all the puns out of the way… Yes! It was ‘Supercalifragilisticexpialidocious’! Yes! It was ‘Practically Perfect in Every Single Way’ and Yes! It did leave everyone stepping in time! It really was a ‘Jolly Holiday’!  All joking aside, show was jam packed with lively and energetic musical numbers and quirky characters that really were ‘A Spoonful Of Sugar’ during the week… okay, that one was a bit of a stretch. 

The set was amazing and a huge selling point for the show, I could easily spend all day looking at it. The main piece was a doll house like building that opened to reveal the Banks home on Cherry Tree Lane. This was really interesting as you felt you were peering in with Bert and seeing the story unfold before your eyes. A great scene was the scene in the magical sweet shop owned by the feisty and hilarious Mrs. Corry. A bright coloured tent filled the stage and matched with the crazy characters inside the shop (one looking like she came straight from ‘Wicked’) it was a fun filled and highly enjoyable scene leaving the audience clapping and laughing all the way through! Other great moments for set included the bank scenes. A huge grey drawing of the interior of a bank made the stage dull and boring, exactly what you think the bank should be like. This, along with the clockwork and ordered movements of the cast in their black and grey suits helped show the mundane and boring life of the bank. Contrasting brilliantly with the fun scenes with Mary, such as ‘Jolly Holiday’ where even the statues were magical!

Mary Poppins as played by Zizi Strallen. She played the prim and proper, magical nanny very well. However, it was very different from the Julie Andrews version, but none the less it was highly enjoyable and she played the role amazingly. Showing of her vocal range and amazing spelling skills! Bert was played by Matt Lee, he successfully portrayed the lovable Jack of all trades made famous by Dick Van Dyke. He took us through the story with humour and cheekiness, with perfect comedy timing and cockney charm. The children playing Jane and Michael were phenomenal. To be able to perform at that high of a standard at that age is just incredible and a treat to watch! Showing the amazing development from bratty kids to caring and kind children. Mr Banks was funny and great to watch however I wish he was a bit more strict at the beginning to show more change. Mrs Banks, left the audience moved during her song ‘Being Mrs Banks’. Beautiful. A special mention must go to Wendy Ferguson playing the house maid perfectly! We were in bits as she delivered comedy lines and showed us her no nonsense approach to being the maid. A stand out performance! The whole company was incredible really made the show as magical as it could be. 

A stand out moment has to be ‘Step in Time’. The iconic musical number performed by the chimney sweeps of London leaves you toe-tapping and clapping and wanting more. With an incredible tap routine and character being shown in every move it was amazing. ‘Supercalifragilisticexpialidocious’ was also incredible, the dance routine left your brain just as crazy as the characters doing it! A highly enjoyable musical number! 

Overall, Mary Poppins was incredible. Although it is very different to the version we are used to in the film. It is an amazing piece of musical theatre and a great fun family show, that will leave both parents and children in awe. Every magical moment is a treat for the audience and who can resist which has people flying in it?! A magical evening and a magical show! A must see!

Last Night A DJ Saved My Life with David Hasselhoff

David Hasselhoff, Norwich Theatre Royal and a foam party… Three things you’d never expect to be together in one evening.

The Hoff and his co-stars in Last Night A DJ Saved My Life

The story revolves around teenage girl, Penny, the daughter of the famous Ibiza DJ Ross (played by David Hasselhoff). As she flies out to meet her dad after 3 years, she meets Rik a young holiday rep and wannabe DJ. Discovering that her father has a new woman in her life (who is old enough to be her sister rather than new mum) she experiences all that Ibiza has to offer. Sun, Sea and partying. But the Hoff needs to keep his club filled with paying clubbers. The question is, is he out of date with new trends and is he able to overcome the generation gap all whilst being a good parent? Comedy, cheese and a whole lot of fun and foam take the audience to the sun kissed beaches of Ibiza in this showcase of 80’s and 90’s clubland classics. 

The set was a wonder to behold. Three large LED screens lit up the stage with fun and dynamic videos acting as a exciting aid for the performance, creating the feeling you were in a Spanish club. My favourite use of the screens was in the ecstasy scene. Using trippy imagery, strobe effects and crazy videos, the audience were left feeling like they themselves had taken drugs. A very innovative way of showing the effects of drugs and the rave scene. Blocks covered in popular brands and images from the 90’s were used in many ways to create locations. From airplane seats to sun loungers, it was an extremely effective way of changing location quickly, along with the screens it transported us to wherever they wanted us to be. The use of a live camera stream on the screens was a stand out moment for me as well, I hadn't seen this used before and so it was great for creating the confusion during the ecstasy scenes. 

Can't have Hoff without Baywatch 

The role of Penny was played by Stephanie Anderson. The lyrical welsh accent matched well with the character of a fun loving teenage girl. Her vocals worked well with the club sound and were strong enough to get the party going. A personal favourite has to be the cheesy classic ‘I Think We’re Alone Now’ performed with great energy, it was both fun and flirty. Along side Stephanie, Natalie Amanda Gray and Emily Penny played the roles of Amber and Shazza (Two girls determined to have a good time on their holiday) Their characterisation of the two slightly older holiday makers left the audience highly amused and added comic value by the bucket loads to the performance. Shane Richie Jr (playing Rik) settled into the performance well after the first few numbers where he seemed to get lost amongst the flashing lights and high energy dances performed by the ensemble. Giving us hints of Rick Astley with ‘Never gonna give you up’ he played the cheeky lad and created a lot of on stage banter. Quote of the show “He was HOFF is face…”. I did, however, wish he played the character with a bit more charisma, more of a ‘Jack the Lad’ rather than the tame character he was at the start. 

The show would not be complete without the Hoff. David Hasselhoff ignited the atmosphere in the theatre as soon as he stepped on stage. His stage presence alone was enough to deserve a standing ovation. Playing a father who has lost touch with the youth, he was provided the audience with an evening of guilty pleasure. Though his vocals were somewhat questionable and at times it appeared like he was a lost uncle on stage, you can not fault his legendary status and he certainly used that to his advantage especially recreating the iconic Baywatch beach run.

The ensemble were fantastic. Bringing 90’s hip hop to Norwich with their own flare and personalities radiating through! the choreography was at time quite simplistic however what they performed was well executed and performed with 100% conviction. The music was, of course, filled with feel good hits and was quite frankly awesome. Not a single complaint there! 

Overall the show was a fulfilled evening of entertainment. Performed to a high quality and filled with plenty of puns and cheeky one liners and even some juggling! The piece could even be used as an educational piece about drugs in society and the dangers of ecstasy. To conclude, the musical was a fantastic night out. Although as a piece of theatre it wasn't one that I’d rate high, it was a funny throwback to the 80’s and 90’s and an extremely guilty form of entertainment. 

Spring Awakening - Performing Arts Students From TCC

Director - Freya Bennett

Assistant Director - Sally Scurrell

Musical Director - Claire Hollocks

Spring Awakening, an edgy rock musical with music by Duncan Sheik and written by Steven Sater. In this one off performance by the Performing Arts Students of TCC, the audience were treated to a dynamic coming of age story. 

Set in the late 19th Century in Germany, it follows a group of teenager students who are discovering their sexual desires in a society where they are taught to suppress and ignore them. Resisting the views of his elders, Melchior - a headstrong and intelligent young man - acts as the catalyst for the awakening of his peers, he reads books and is able to take a new perspective on life, and is able to share them with his class mates. Throughout the performance we see the students’ struggles as they try and discover the world that they aren't taught about. The musical highlights issues such as rape, abuse, abortion and suicide but was handled with great sensitivity and was very well portrayed by the whole cast.

The set was minimalist but effective. An outstanding backdrop of a blackboard created visual interest from the outset, consisting of anatomical drawings, equations and teenage doodles. In the centre of the stage a raised platform with the silhouette of a bare tree. The set remained constant throughout the performance, the use of chairs being the only thing to differentiate location, the rest was up to the actors to inspire the audience’s imagination. This nod to Brechtian theatre, was very effective as we were transported from the classroom, to the woods, to the homes of the children. Something that I was very fond of was that the band was on stage and visible to the audience. Furthermore, audience members were invited to sit on the stage, and watch the performance on seats along the wings. This was extremely effective as you don't get to experience theatre up close very often. This intimate setting was a great match for the show’s intimate themes, it really felt like you were a fly on the wall watching the characters lives. My only criticism was that the stage and set where very loud when the actors moved around, in particular the steps, although it did not ruin the performance, a softer footing would have been preferred so not to distract from the intimate performance.

Max Cunnell as Moritz

The part of Melchior was played by Joe Leat, his performance was extremely strong. Capturing the charismatic personality of the character perfectly. What is more impressive is that he and Molly Scurrell (playing the part of Wendla) learnt their part in less than a week and still managed a remarkable standard of acting. A notable duet was ‘The Word of Your Body’ where romantic and sexual feelings blossom between Wendla and Melchior are first seen. This was a beautiful song and sung with so much emotion it left the audience struck. A very risqué scene follows later in the show between the two. Handled with professionalism, the pair created a very intimate moment of sexual awakening, leaving the audience questioning if it was sex or rape. However you interpret it, it was extremely powerful and I am glad it wasn’t cut from the show. It stands as a statement to what art and performance should be. An imitation of real life. Raising questions and debate on our society and cultures. Moritz, a nervous and rather intense character, was taken on by Max Cunnell. His comedic acting was humorous and entertaining and his ability to switch to turn confused comedy into an intense obsession over sexual feelings was spot on. His vocals, although not terribly strong (due to illness) were externally sensitive and filled with character. During ‘I Don't Do Sadness’ he used the cracks in his voice to show the breakdown of Moritz, building up an image of a broken boy. His acting was very strong and his development of his character was interesting to watch. However I was left slightly baffled by the flittering between an American and English accent.

Phoebe Bryant as Martha

The smaller roles of the girls and boys where energetic and brought a new dimension to the performance. The show often switches from realism to an almost pop/rock concert during the songs, showing the character’s inner most thoughts as if they were performing in the mirror in their bedrooms. Seeming in their element, Faye Smith, Molly Bishop and Emily Spampanato, danced and jumped around the stage and certainly were not afraid of engaging with the audience. A standout performance for me goes to Phoebe Bryant. Playing Martha, a girl being abused by her parents, Phoebe grabbed the audience’s attentions and heartstrings during the song ‘The Dark I Know Well’. Grabbing the microphone and giving it all she had, Phoebe truly attacked the performance, showing the turmoil of Martha with every movement and facial expression. She created a raw, dynamic edge to the character and made every word believable. Outstanding. The roles of the Adults in the show are traditionally played by only two actors, one male and one female. Sticking to this form, Andrew Ponton and Sally Scurrell used multirole to portray the older generation was very good. A strong moment for Sally Scurrell was during a scene between Wendla and her mother, when she takes her to a ‘back street’ abortion clinic. This scene was both moving and infuriating at the the same time, making me as an audience member despise the character of the mother for doing such a thing to her daughter. Andrew Ponton gave a stern performance as the teachers of the boys school, however one cannot forget a truly hilarious fall. But as a true thespian he didn't break character and carried on. A hats of to him indeed. 

The band were sensational as always, having seen Claire Hollocks’ work before as a musical director for TCC in such productions as ‘Beauty and The Beast’. Yet again, her and her band did not fail to deliver a remarkable backing to such powerful songs. From Guitar, to percussion, to strings, the whole band worked together to a professional standard. 

Overall this performance of Spring Awakening was handled with extreme professionalism and empathy to the original script. The whole company created a thought provoking evening of acting and song that was far beyond a standard you’d expect from an amateur company. As a directing debut for Freya Bennet, she should be very proud of the final result. 

Sunset Boulevard - Norfolk and Norwich Operatic Society

‘Sunset Boulevard’ - A Review by Jak M

Director and Choreography- Jeremy Tustin

Musical Director - Rob Goodrich

Dance Captain - Jenny Bugg

Sunset Boulevard. The tragically beautiful story of desire, fading fame and an unfulfilled Hollywood dream. This classic musical by Andrew Lloyd Webber was performed to an impressively high standard last night by the ‘Norfolk & Norwich Operatic Society’ with arrangement with ‘The Really UseFul Group’. 

Joe Edwards and Linda Campbell in
their roles in 'Sunset Boulevard'

Without spoiling the dramatic plot, ‘Sunset Boulevard’ focuses around a struggling young writer who needs his big break to pay the bills. After being forced to hide in an open garage, he soon realises that he has parked up at Norma Desmond’s extravagant house. Norma was a silent movie star who rose to fame at young age, but as film progressed, she was left behind. Still trapped in the illusion she will return to the big screen, Norma hires Joe to perfect a script to help her regain her stardom. Love affairs, witty comedy, tragedy and dramatic twists follow. 

The first thing that stood out was the impressive set by Scenic Projects, Beccles. Transporting the audience to the hustle and bustle of the Paramount studios to the lavish, Art-Deco house of Norma Desmond. Norma’s lounge area was a personal favourite of mine, with rich reds and golds, the sweeping staircase, that created a truly stunning aesthetic of a star trapped in her memories. The set perfectly complimented the performance. However I must say the sofa in the house, did sometimes block the action when the actors performed upstage but that is a minor criticism and didn't take away from the performance as a whole. The transitions were smooth and allowed the audience to fully immerse themselves in the LA of the late 1940s. 

The role of Joe was performed to a professional standard by Joe Edwards. His vocals were consistently to the book and his rendition of the title song ‘Sunset Boulevard’ captured the character’s thought process and views of Hollywood perfectly. His comedy timing and dry wit left the audience chuckling throughout the show. His sensational duet with Jessica Stewart - playing the role of Betty Schaefer -  was the stand out song of the show. The on stage chemistry between them was convincingly realistic and made the audience’s hearts melt. This matched with the starlight background created a romantic scene that was unforgettable. 

Linda Campbell as
Norma Desmond

Linda Campbell - portraying the role of the has-been star, Norma Desmond -  was a delight to watch. She perfectly encapsulated classic Hollywood glamour in every meaning of the phrase. Her costumes, provided by Costume Workshop IOW, were to die for. Their over the top extravagant styling including head to toe sequins that were visually beautiful and contrasted fantastically against the character of the decaying picture star. Linda’s characterisation was impeccable, gracing the stage with elegance yet subtly revealing the cracks of a deluded and ageing star. Although her voice wasn't as strong as some of the other cast it matched the character she created to a high standard. A faded star.  With a simple look she conveyed a story of emotion, far outshining the glittery outfits. She truly created the sense of a tragic beauty. 

The ensemble cannot be forgotten, each member of the company remained fully in character and clearly a lot of dedication and rehearsal hours had been put into the show by everyone. From showgirls, to waitresses, to mystics in turbans, they truly made the studio scenes stand out giving the audience lots to look at and take in. A special mention must go to Adrian Wright for his indulgently fabulous performance as the tailor ‘Manfred’. However, I did notice an excessive use of the handshake as a go to movement for a lot of the ensemble, I recall seeing one man shake hands at least 10 time in just one scene. 

The director - Jeremy Tustin - clearly had great vision for this show and it was executed wonderfully by the cast. A favourite scene would be the ‘New Years Party’, the use of cut scening allowing the audience to see two locations at once was very clever, as the juxtaposition between the party and Norma was extremely touching. The music was outstanding. The orchestra played amazingly, and truly complimented the vocal talent. I must admit, they had me from the first note. It gave me chills. 

Overall, I was more than pleasantly surprised by this performance of ‘Sunset Boulevard’. The cast truly gave everything and allowed the audience to believe in the characters they portrayed. The group numbers were dynamic and fun, the solos were hauntingly brilliant. From staging, to choreography, to lighting and everything in-between it all came together to create a classic musical engaging the audience for the entire time.