Cirque Berserk

Think you know circus? Well think again. Cirque Berserk completely reinvents the traditional circus and brings it to theatres, in a mind blowing spectacle of pure talent. It was ‘Berserkus’!

As soon as you entered the theatre, you were transported to the big top, with traditional circus music, smoke and lights. With no curtain, you could see the set and the anticipation began to build from first sight. A huge spherical cage dominated the centre stage, with metal platforms at quirky angles creating visual interest and providing the performers with interesting levels and back drops. The lIghts were bright and colourful, creating a sense of excitement and wonder and truly enhancing the amazing acts and talents. The music was a perfect blend of modern and traditional, updating the tired cliché of circus and adding drama and suspense to every performance, leaving the audience on the edge of their seats. 

Timbuktu Tumblers showing their strength and balance skills

The first act to amaze the audience were the Timbuktu Tumblers. Impressing us with fast paced skipping, whilst doing flips and tricks. Stunning us with incredible strength and lifts, they were amazing. One of my favourite stunts was when one man, had six other grown men lifted in an amazing balance. Appearing throughout the show, they effortless performed trick, after trick, after trick. Another highlight was when they jumped through metal rings in close concession. It was almost hypnotic watching them create a continuous loop of somersaults and rolls. And you can't forget their limbo under a pole on fire! A truly energetic performance.

Bolas Argentinas stormed the stage with drumming skills and a created traditional Argentinian entertainment using weapons made of weights on the end of chains  (a traditional method used by the gauchos - Argentinian cowboys). They also created an intense performance using fire, swinging it round their body at high speed! Everyone loves watching tricks with fire - and this show has lots of it! We were also shocked in amazement when Odka was revealed in a clear jar like container. How she fitted into it is a mystery! An Amazing contortionist and also an amazing archer, showing the audience her skills by hitting the bullseye whilst doing a handstand. Outstanding. 

Bolas Argentinas spinning fire with her feet

Duoramona and Matti created beautiful shapes and positions. Dressed in costumes that resembled the ‘Ugly Duckling’ and a beautiful swan, they wowed the audience with awe inspiring strength and control, balancing and lifting each other into many different poses. The Tropicana Troupe, stunned the audience with an amazing show of courage and skill, when they were thrust into the air by a giant seesaw like piece of equipment, catapulting and doing flips and turns that almost hit the light rig! Certainly a jaw dropping moment (and no, I’m not just talking about the abundance of eye candy). Jackie was incredible as she flew around the stage doing strap acrobatics as graceful as a bird. With many more remarkable acts such as gymnastics, juggling fire, knife throwing (with fire too!), dance and ariel acrobatics. The show was certainly full to the brim with talent, skill and shockingly awesome performances. 

The Globe of Terror, was enough to satisfy any adrenaline junky! The Lucius Team, created a truly gripping night of entertainment, whilst they went round the ‘Globe of Death’ with up to 4 motorcycles at once! it truly was hair-raising and death defying! The audience loved this act and so they should, the pure sound of the motorcycles was enough to get anyone excited about the act. As they got faster and faster, your heart will certainly beat faster and faster as well!

Whilst on the subject of cool machinery and engines, Billy appears as a giant robot that fires fireworks, lighting up the stage. That’s right, a giant robot that has fireworks coming out of his hands! Does it get any cooler? 

Offering light relief between the intense and climatic moments, Tweedy was hilarious! Giving the audience tradition slapstick and comedy that will easily have the kids laughing, he plays the fool and gets into many different sticky situations! He even get the audience involved in his antics - so beware if you're on the front row! Cheeky, fun and extremely stupid he was a star in his own right. 

Overall, Cirque Berserk was an amazing night of pure entertainment for the whole family! It will certainly leave you talking about it for days, and wanting to do the tricks (but remember don't try them at home!). I would easily recommend this show to anyone, any age! Believe me you will not be disappointed with this jam packed show of circus delights!

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.