Lewis Carroll’s Alice’s Adventures in Wonderland undergoes a re-imagining in Stage2’s staging, which is being performed in the studio space at The Crescent until 20 July. 

Adapted by Alexander Butler, who has also directed this production, Alice is an evacuee, caught in the midst of World War II. When forced to leave her London home, to live with her Aunt and Uncle in the countryside, she finds herself embarking on a rather curious adventure in Wonderland. 

Still true to Carroll’s literary nonsense, all the familiar characters you expect to meet are there, from The Queen of Hearts to the Mad Hatter. The whole Stage2 company have clearly worked tirelessly to bring this children’s classic to life. It felt like a true ensemble production - across the board the characterisation and diction was brilliant - with some impressive individual performances.

Notable supporting performances included Roni Mevorach as Aunt / The Queen of Hearts, she delivered an assured portrayal of the foul-tempered monarch. Meanwhile, Joel Fleming brought much character and hilarity to the role of Roger / Mouse, with an endearing cameo from  Sebastian Parker-Duber as Harry / Dormouse. 

Alongside this, the pairing of Amit Mevorach as Bill / Bill the Lizard and Brianna Whitty as Cook brought some solid comic relief to proceedings. Whitty was excellent, with well-placed, over-exaggerated mannerisms, she held the audience’s attention and garnered many a laugh. 

Two stand-out performances of the night came from Emily Cremins, who shone as Wendy / Mad Hatter and leading the way, in the titular role, was Lauren Brine as Alice. Brine brought a sassiness to the role of Alice and took the character out of its twee confines, holding the audiences attention throughout.

However, this was very much an ensemble show. The transition to Wonderland was visually delightful, cleverly depicted through frenetic movements, lighting and a moving platform. 

If you’re curious to know more, why not buy a ticket? Playing until Saturday at the Crescent Theatre, Birmingham. 

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 "A tremendous performance from an awarded group.."

The Spotlight youngsters never fail to delight their audiences and last night’s performance of You Can’t Hurry Love was no exception. Brilliantly written by Spotlight member Steve Groves, this colourful and vibrant musical comedy features holiday makers, holiday camp entertainers and the dedicated, nail-biting staff of Pontlings as they prepare to open their holiday camp to the public for the very first time.

A fabulous set-list of well-loved, mainly up-beat songs from the 50s and 60s drive the storyline along at an enthusiastic pace as auditions turn into summer jobs, holiday romances blossom, new friendships are sealed and big dreams come true. And this exciting all-singing-all-dancing cast of young people have clearly worked very hard indeed to produce a truly sparkling, fast-paced and highly entertaining show.

Directed by Charlotte Cowley and Michele Windsor, with Chris Allen and Ian Windsor in charge of music, the production is backed by a competent live band off stage and technically steered by an adept sound and light crew who have designed some really lovely schemes to compliment the big dance numbers and scene changes. Nice, simple set pieces with quality, hand-painted designs are utilised well and scenes change almost unnoticeably as the over 60-strong group of well costumed performers execute well-rehearsed entries and exits with Red Arrows precision (or so it seemed from the front!), always with confidence and self assurance.

Too large a cast to mention individually (although I would love to!) but a huge well done to the principal actors for their excellent character portrayals and confident singing, congratulations to the lead dancers who demonstrated some excellent choreography and, of course, to the supporting character actors - from tiny to tall who all did the company proud.

A tremendous performance from an awarded group who are clearly big on the ‘theatre family’ ethos, who, as a group, radiate love and confidence and who should be incredibly proud of their continuing achievements.

Runs to 13 July

ps. Looking forward to seeing the Christmas panto production of Creepy Hollow! 
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Bringing more than just a splash of colour to Birmingham, Joseph bursts onto the Hippodrome stage until 13 July. 
 
Tim Rice and Andrew Lloyd Webber’s musical theatre phenomenon is by no means a stranger to a UK audience, previously touring to great success in Birmingham and now opening a new production on the West End. This UK tour produced by Bill Kenwright ticks all the boxes. It’s simply a musical theatre spectacle, from its dynamic staging (Sean Cavanagh) to its bright, bold and beautiful lighting (Nick Richings), Joseph is brought to re-invigorated life. 
 
Jaymi Hensley takes on the iconic title role. Finding fame in X Factorgroup Union J, Hensley is certainly destined for musical theatre. With an encapsulating performance and gorgeous vocals, he made for a brilliant Joseph.  
 
Supported by a spectacular cast of brothers (Andrew Geater, Alex Hetherington, Arthur Boan, Ed Tunningley, Lewis Asquith, George Beet, Mikey Jay-Heath, Matt Jolly, Corey Mitchell, Joshua Robinson, Callum Connolly) these eleven talented actors not only showcased delightful harmonies, they executed the mesmerising choreography from HenryMetcalfe and Gary Lloydto drilled perfection, packed with energy. There were also some superb performances from Henry Metcalfe (Pothiphar / Jacob) and the aforementionedAndrew Geater, who also took on the role of Pharaoh. Plus the female ensemble of Anna Campkin, Amber Kennedy and Gemma Pipe multiroled wonderfully throughout the show. 
 
Transitioning through a range of music styles, from calypso to French ballads and Elvis inspired rock ‘n’ roll to western music, it cements Joseph’s beauty as a musical. With the band on top form, the iconic songs were performed excellently, with special mention to the talented children’s choir and, of course, Trina Hillas the Narrator, who blew off the roof with her phenomenal vocals. 
 
Colourful and camp, this superlative production left the audience on its feet.
 
Catch it at the Hippodrome until 13 July.

Based on the 1992 movie, the musical adaptation of The Bodyguard first made it to the stage in 2012. Following critical success, the show is currently on a UK tour, stopping off at Wolverhampton Grand until 6 July. 
 
Global superstar Rachel Marron is being unknowingly stalked, so her team employ former Secret Service agent Frank Farmer. However, following initial tension between the two, they find themselves falling in love with each other. 
 
This stage adaptation is jam-packed with iconic Whitney Houston hits, beautifully performed by this exceptionally talented cast. Within the confines of a brilliantly versatile set, designed by Tim Hatley (who also designed the stunning costumes), the story flits from scene to scene effortlessly, perfectly framing the action.
 
Leading the way as Rachel Marron is the superb Jennlee Shallow. Her breath-taking performance kept the audience enthralled throughout and her pairing with Benoît Maréchal as Frank, pulsed with romantic chemistry. He even pulled the laughs with his hilarious rendition of a karaoke version of I Will Always Love You. 
 
Phil Atkinson’s unnerving portrayal of the Stalker kept the audience on the edge of their seats, whilst there was an utterly endearing cameo from the exceptionally talented young actor as Fletcher. 
 
However, it was the understated, yet gorgeous vocals of Micha Richardson as Nicki Marron which really stood out tonight. Her warmth filled the stage and her voice soared through the auditorium. Alongside Jennlee Shallow they formed a formidable pair. 
 
Eye-popping choreography from Karen Bruce complemented the energetic orchestra – under the musical direction of Michael Riley– with all these elements being pulled together by director Thea Sharrock. 
 
There are so many noteworthy moments in this gorgeously crafted show, not only is it true to the film, but on a nostalgic note it highlights Houston’s undeniable legacy that she has left behind. 

Toe tapping glitz as Sweet Charity takes us on her search for love........
 
It was all toe tapping numbers and nightclub glitz at The Core Theatre tonight as the audience of Queensbridge Musical Theatre Society took us into the world of the Fandango House Dance Hall in New York with their production of Sweet Charity, by Cy Coleman and Dorothy Fields. 
 
It was interesting to read in the programme that there were a number of debuts among the cast and the production team. The Director Leonie Jai Hamilton and Choreographer Natalie Baines were making their respective debuts on the production side, whilst Sarah Odom (playing the lead role of Charity) and Michelle Farrugia  (playing the role of Ursula) were treading the boards for the first time as Principals with QMTS. However there was no evidence of this, as all the debutantes acquitted themselves with aplomb.
 
The role of Charity Hope Valentine, the dance hall hostess looking for love, was played with assured conviction by Sarah Odom. It is an extremely demanding role, as the character is hardly ever off the stage, and Sarah was more than up to the task, dancing, singing and acting her way with energy through Charity's attempts at finding love and very nearly achieving it. The bright and optimistic facets of Charity's character were really put across throughout the show. 
 
Her co-dancers at the Fandango House Dance Hall, Nickie and Helene, were played well by Karina Harris and Emily Fouracre, and Paul Stait particularly charmed the audience with his performance as Vittorio Vidal, the famous actor who Charity spends an evening with. 
 
The troubled Oscar, who Charity falls in love with, was played with assurance by Sam Troke, and they both acquitted themselves well in the elevator scene.
 
There are some big toe tapping numbers in this show, most notably 'Big Spender' and 'The Rhythm of Life', and these were delivered with gusto and confidence by the cast.  There was some excellent singing throughout, with tight harmonies and good diction. All the musical numbers were sung with enthusiasm and accuracy by the well drilled cast.
 
The set was very minimalistic but it worked very well and it meant that the production ran seamlessly throughout. 
 
The storyline is sometimes hard to inject with energy, as it is rather lacking in substance at times, but the entire cast, ably assisted by the excellent band led by Stephen Greenway, did very well with what is sometimes a challenging plot line. Credit really must go to everyone involved in this production for an entertaining and lively show. 

BMOS Musical Theatre Company take to The Alexandra’s stage this week with their latest production, Half A Sixpence. Following a successful run in the West End in 2016, receiving critical acclaim, numerous awards and nominations, this production has done the rounds on the community theatre circuit ever since. Based on the novel ‘Kipps: The Story of a Simple Soul’ by H G Wells, this rag to riches story follows Arthur Kipps who inherits a fortune, but soon realises that money can’t buy love or happiness. 
 
It is a fantastic vehicle for a leading man, especially as the musical was originally written for Tommy Steele who featured in 12 of the 15 numbers. In this new version (by Warner Brown), Kipps appears in an impressive 18 out of 24 numbers, quite the feat for Daniel Parker, who takes on the role with great aplomb. A typical cheeky chappie, his enduring performance and great voice held the show together excellently. 
 
There was an abundance of supporting talent from this incredibly large ensemble cast, who filled the vast Alexandra stage. The sextet of shop boys and girls (Neil Ward, Alex Nicholls, Andrew Treacy, Morgan Bebbington, Rosie Harvey and Charlotte Boyer) showcased impressive harmonies throughout, particularly highlighted in the Economy (Reprise)near the close of the show. Plus, there were some notable performances from Carys Wilson(Helen), Jo Smith(Mrs Walsingham) and Lee Navin(Walsingham). 
 
However, two further standout performances of the night came from Annabel Pilcher as Ann and Jake Genders as Chitterlow. Pilcher’s stunning voice filled the auditorium and her gritty performance of I Know What I Am was a real show-stealer. Meanwhile, Genders flamboyancy was an utter joy, encompassing the role of Chitterlow hilariously.
 
Most importantly, it must be remembered that this was very much an ensemble show, which was perfectly illustrated in Flash, Bang, Wallop– dealing with such an iconic number, the cast nailed it, in slick, drilled fashion, under the choreographic direction of Suzi Budd. 
 
Directed by Stephen Duckhamand musically directed byDavid Easto, the cast and creative team of BMOS have brought to life this 1960s musical with great sophistication. It has, what you might call…finesse.
 
Half A Sixpence plays at The Alexandra until Saturday.