Birmingham Stage Company have an unparalleled reputation for staging theatre for children and families, and in the course of the last 25 years have mounted productions based on the works of authors such as Roald Dahl, Michael Morpurgo and David Walliams.  They have also produced a number of shows based on the popular children’s history series created by Terry Deary.   It’s worth noting that these stage adaptations of Horrible Histories are different to the successful TV series; different sketches and songs, but no less irreverent and funny, and certainly no less poo jokes!

And the poo jokes were flying thick and fast at the Belgrade Theatre, Coventry, as we were treated to a whistle stop tour through some of our country’s more bizarre moments in history.  From Romans serving up fermented fish intestines as a delicacy to General Haig being quizzed by Alan Sugar about his “task” organizing the Battle of the Somme, all human life is here.  And if this last sketch sounds a little insensitive, rest assured the subject is treated with delicacy as well as humour, as the writers here lampoon the idiocy of Haig’s decision, while not losing sight of the horror of the outcome.

This was the one delicate note in an otherwise lively and fun 70 minutes in the company of Romans, Vikings, Puritans, Victorians and Elizabeth I, all portrayed with wonderful agility and astonishing memory by Benedict Martin and Pip Chamberlin.   Furnished with a wondrous array of coats, hats and props, they move easily between Music Hall, Pantomime and Rap, with a wide variety of stories and characters brought to life.  I really don’t want to get into spoilers, but while the children will enjoy the range of songs, audience participation, and many many poo jokes, the older people in the audience (I hesitate to use the word Grownups as most of us were shouting louder than the kids!) were well catered for in sketches that borrowed from, not only The Apprentice, but also The Only Way is Essex and The Fast Show. 

The junior reviewers, both history nerds and long-standing fans of the books and TV, both laughed, sang and had a great time.   Maybe some audience participation right at the top of the show would have warmed the younger children up quicker – many seemed to be waiting for permission to make noise at the start.  But a sing-a-long led by a Viking soon got everyone going, and 70 minutes later we really only had one question (even though Dickens wasn’t covered in this show): “Please, sir, can we have some more?” 

More Best of Barmy Britain can be seen at the Belgrade Theatre until Saturday 2nd of June.
BSCs new HH show – Barmy Britain Part 4 – will preview in Telford 18-21 July before moving to the Apollo Theatre, London for the summer.

The Witches is one of Roald Dahl’s darkest stories, telling the tale of children being turned into mice, with no hope of reclaiming their human form.   This stage adaptation was created in 1992 by David Wood, who has also adapted other Dahl stories including The BFG and The Twits, as well as writing a series of other original plays and musicals for family audiences.  So it was with great anticipation that I took both my Junior Reviewers to the delightful Hall Green Little Theatre to see their production of this classic story.

The performances, led confidently by Sammy Lees as the unnamed Boy and the delightfully creepy Zofja Zolna as the Grand High Witch, were committed and delivered with clarity (as someone who spends most of their time in the musical theatre, it was great to hear dialogue being projected properly, without the aid of mics!).   Alfie Redmond, as the constantly gorging Bruno, and Jean Wilde, as Boy’s cigar-smoking, story-loving Grandmother offered excellent support.

The entrance of the Witches had more than a hint of Monty Python about it; the echoes of Terry Jones were very clear, and that’s absolutely fine by me! And the pantomime kitchen scene added a much needed boost of energy in act 2.

When tackling a well known story like this, there is a certain expectation about how scenes requiring a magical transformation are tackled.  Director Roy Palmer and his technical team did well here with their limited resources, but we did all feel a couple of the scene changes could get slicker as the run goes on. 

It was just a shame that the performance was poorly attended.  A classic tale told with conviction in a charming little theatre deserves more support.  It is running until 26th May.  

This show really hits the mark!

Based on the book by Jeffrey Lane and with music and lyrics by David Yazbek, this sparkling musical comedy is based on the well-known and loved movie of 1988, starring Michael Caine and Steve Martin.  In brief, Lawrence Jameson (Joe Bromfield) is a suave English con artist posing as the deposed Prince of a fictional country. He targets rich ladies who are all too happy to finance his undercover missions in order to regain his throne.  Small-time crook Freddy Benson (Dan Robb), swindles women by stirring their compassion with stories about his Grandmother's ill health. Freddie is befriended by Lawrence, who is all too happy to offer him insights into the mysteries of women, how to woo them and depart with the readies. Local hangdog police chief, Andre Thibault (Elliot Bishton) is also fully conversant in dipping into the delights of the wealthy, unattached female and the comedy twists and turns with hilarious consequences.

As part of Freddy's training, he observes the Prince's wooing of Oklahoma oil heiress, Jolene Oakes (Chloe Lang). Unfortunately, Jolene is more trouble than Lawrence has bargained for as she starts planning their wedding. In an attempt to throw Jolene off, Lawrence enlists Freddy's help and introduces her to his 'younger brother', Prince Ruprecht, who creates enough havoc to get Jolene running for the next plane home. Freddy quickly becomes proficiently slick enough a swindler to compete directly with Lawrence so Lawrence decides to set a challenge to get rid of Freddy - the first man to make fifty thousand dollars stays, the loser leaves town.  Determined to outwit each other, the fraudsters make a bee-line for the new Soap Queen in town, Christine Colgate (Stephanie Leeson).

This show by Mellow Dramatics , directed by Tom Brassington, really hits the mark.  Much of this show's success depends on the relationship between the two lead men and there is certainly great on-stage chemistry between Joe and Dan.  Bromfield is charismatic and perfect for the role.  He combines sophistication and wit with just a hint of naughtiness whereas Robb manages to be boyish, outlandish and endearing.  Robb, for me, was the man of the stage - hilarious facial expressions, great comedy timing and just enough crazy for the character of Ruprecht, which must be one of the funniest scenes in the show. Becky Winfield plays Muriel Eubanks with passion, bubbly excitement and a great understanding of Lawrence's situations treating us to a great rendition of What Was A Woman To Do.

Stephanie Leeson plays the sweet and unassuming Christine Colgate confidently and faultlessly with her lovely singing voice and turn of character as the story unfolds.  Excellent performance of Nothing Is Too Wonderful To Be True by Dan and Stephanie and a heart warming Like Zis/Like Zat by Elliot (who is no Prance) and Becky.  Chloe Lang played a fabulous Jolene and performed a really entertaining Oaklahoma backed up by a full set of colourful, dancing cowboys.  The show was supported by an excellent ensemble of actors, dancers and singers who were clearly enjoying every moment.

The nicely designed and personality-lead choreography by Andrea Osborne was well suited to the varying abilities of the cast and the on-stage 12-piece orchestra was competently conducted by Musical Director, Sara Kimber.  The striking set received a good lighting scheme and the crew were very well orchestrated with quick, transitional set and prop changes.  Nicely costumed this strong team effort resulted in a lovely warm, well performed, slick production that the group must be proud of.

Very funny, get a ticket.

I admit I did check my pockets on the way out!

 Runs to 19 May, suitable for everyone

​The instantly recognisable theme tune of Some Mothers Do ‘Ave ‘Em immediately transported the excited audience back to the golden age of the sitcom and as the curtain rose, we were welcomed back to the home of Frank and Betty Spencer!
Sarah Earnshaw was perfectly suited to the role of long-suffering wife, Betty.  Her timing and rapport with the other actors was second to none and her facial expressions had the audience belly-laughing before she even said a word!
A spontaneous round of applause welcomed Joe Pasquale onto the stage as the hapless but loveable Frank.  He was able to recreate some of Michael Crawford’s mannerisms perfectly, but his signature vocal tone reminded us constantly that we were still watching Joe Pasquale.
Timing was everything in this well-rehearsed and well-drilled production, directed by Guy Unsworth. Not only was the comic timing perfectly executed in the fast-paced dialogue but the amount of physical comedy and moments of pure genius when pictures fell from the wall, only to be caught by the actors within a split second showed immense skill and preparation!
David Shaw-Parker’s vocal nuances and tone were perfect for Father O’Hara and immediately took me back to the priest in the original TV series who tried so hard to be patient with Frank but was constantly pushed to the limits of a man of the cloth!
Mr Luscombe and his secret alter-ego, Mr Worthington (Moray Treadwell) was an excellent addition to the cast and played two very contrasting characters with versatility and aplomb.  He was ably supported by Mr Worthington’s assistant Desmond, played by Chris Kiely.  Chris looked every bit the part of a 1970s TV production assistant and transformed into the upright police constable seamlessly.
Susie Blake played Betty’s mother Barbara and was a joy to watch as the evening’s story unfolded.  Her penchant for the prune wine allowed for some hilarious consequences but her drunken characterisation was subtle and never too over-the-top, making every facial expression and stagger perfect and had the audience roaring!
Personally, the storyline and content in Act II became just slightly too ridiculous for me and took away from the performances.  I felt that occasionally there was too long spent on just one joke and that these jokes were milked for all they were worth and the expense of a believable conclusion to the story. However, Guy Unsworth’s clever fusing together of favourite scenes from across the three series of this iconic sitcom brought back wonderful memories and certainly gave the audience a feel-good evening of real laughter and joy.
The set design (Simon Higlett) was complete perfection, allowing action to seamlessly move between the living room and the kitchen as well as creating brilliantly clever effects when Frank’s DIY clearly started to fall apart!
A must-see for any sitcom fans, Some Mothers Do ‘Ave ‘Em runs at the Wolverhampton Grand Theatre until Saturday, 19th May.

An Officer and a Gentleman takes flight once more in a breathtaking musical adaptation at the Birmingham Hippodrome.

Troubled Zack Mayo (Jonny Fines) tries to make something of his life by taking part in gruelling officer training to gain his wings with the US Navy in this Oscar-winning tale, but romance blossoms when he meets local girl Paula Pokrifki (Emma Williams).

Fines and Williams make a wonderful leading pair and there is strong support from Ian McIntosh as Zack’s hapless buddy Sid and Ray Shell as brutal drill instructor Emil Foley.

Meanwhile Darren Bennett skillfully portrays Zack’s profligate father Byron and Rachel Stanley is exceptional as Paula’s mother Esther.

The story is told with a seamless, rapid-fire tour de force of the decade's chart hits as its backdrop. And the most striking feature of this production, beyond the fact every fibre of its being is so wonderfully 80s, is its clever deployment of those hits  and the incredible standard of the cast’s vocals in the  neat arrangements.

Fines’ beautifully soulful, high voice, which excels in ‘I Was Made for Lovin You’ is matched perfectly by the power and range of Williams which shines particularly brightly in a brilliant rendition of Heart's classic hit ‘Alone’.

Say what you like about the musical integrity of 80s hits, much of them did require immense vocal range and strength and this company’s vocals are a strong as you will find in any show.

Stanley’s belting voice is terrific, particularly in ‘It’s A Man’s Man’s Man’s World’ and an emotional performance of ‘Don’t Cry Out Loud’ with Williams which brings the house down. Meanwhile Mcintosh’s beautiful performance of ‘Family Man’ is delivered with real feeling.  

The energy never dips and Kate Prince's clever, snappy choreography is faultless throughout, as are the rapid set changes.  

This clever, energetic and hugely entertaining musical recreation of a classic 80s story is a real hit and audience members were on their feet by the time Paula was swept off hers in the iconic closing scene.

An Officer and a Gentleman plays at the Birmingham Hippodrome until Saturday 19 May. 

Calixto Bieito, a director previously described as "the bad boy" of European theatre brings to The REP an exploration of emotion, mental illness, lust and frustration. Delivered through recitals of poetry, writings of philosophers and classical music from The Heath Quartet, The String Quartet’s Guide To Sex And Anxiety makes a solid attempt to break boundaries in experimental theatre.

There is something incredibly striking about what Bieito has created, particularly within his and Annemarie Bulla’s design. For starters the stage extends past the proscenium arch to allow the performers to get right up in the audience's faces. Perhaps this is a metaphor for the presence of anxiety, depression and all forms of mental illness in society and an attempt to break down the taboo of discussing it. Also, the stage is filled with stacks of dozens of chairs and a cluster of music stands. Throughout the show they are thrown about, knocked over, torn apart and at times stacked tidily almost reflecting the mind of someone with anxiety, like organised chaos. But the vast sweeping stage of The REP dwarfs the performers while they retain a sense of intimacy in their performances, creating a powerful contradiction.

The Heath Quartet are not providing their glorious renditions of Ligeti’s String Quartet No.2 and Beethoven’s String Quartet No. 11, Opus 95 as simply a soundtrack for the evening, but the music integrates with the performers in a unique way reflecting their mental states. They also have a powerful effect on the audience, adding suspense, surprise and uncertainty to the piece, almost like another character altogether in this show. Even when they are not playing it is difficult to differentiate them from the actors.

The cast of four portray unnamed characters with different stages of mental illness and how visibly recognisable it is within them. Miltos Yerolemou opens the show reciting Robert Burton’s The Anatomy of Melancholy. Armed with his glasses and notepad, like a therapist, he subtly portrays his character with internal pain, while Mairead McKinley is constantly wandering the stage, physically distressed with a sex-addicted personality. Nick Harris is continually fidgeting with props around him in an OCD-like manner; he also has many phobias and medications which he lists – providing a few of the laughs. Cathy Tyson subtly builds up to her heart-breaking recital of Stig Dagermann’s To Kill A Child showing a completely different side of mental illness. There is no denying that these actors are brilliantly talented in evoking this sensitive subject, which they do so with grace and subtly in a harrowing way.

For some, this production may be seen as a bit too avant-garde. It is not exactly the lightest of material to watch, the sexual language and nature is not one for the faint-hearted. Nor may it be seen as the most appealing of shows if you are not used to this type of production, but full kudos must be given to this company and Bieito in tackling such a sensitive, but prevalent subject in a deeply theatrical way. This piece may not have the best structure nor may it be completely clear of what it is, but perhaps that is its intention, as mental illness isn’t clear or structured, it is unpredictable, devastating and an ordeal of emotion. This show is brave, daring and experimental which makes it right for a non-commercial theatre like The REP to produce and is a well-programmed and thought-provoking piece during Mental Health Awareness Week.
 
The String Quaret’s Guide To Sex And Anxiety runs until Saturday 19th May at the Birmingham Repertory Theatre.

A show full of talent, fun, love and madness

This vibrant, Olivier Award-winning show was brought to the Old Rep stage this week by Youth Onstage.  The story, written by Tim Firth, premiered in 2002, the musical being rooted in music by Madness, the ska revival band that, at its peak, successfully charted in the late 70s and early 80s.

Directed by Deb Brook, the story centres around Joe Casey (James Woodward) who makes a life-changing decision on his 16th birthday.  Camden-born Casey, attempts to impress Sarah (Stacey Taras) by taking her to a building site that overlooks Casey Street, pointing out where his family live.... at no. 25.  The police turn up and, in a split second, Joe has to decide whether to make a run for it or stay and face the music. Our House follows those two possible destinies and Joe has to live with the consequences of that fateful night. The story develops with a nice twist and all is watched over by Joe's late father who pulls the two scenarios together.

In the mammoth central role, James Woodward sang and danced up a storm by successfully portraying both of the Joe's with super-fast costume and persona changes that at first could make you think there were two actors in the role.  Stacey Taras was fabulous as both versions of his girlfriend Sarah, with a pretty voice and determined yet sensitive disposition.  Joe's dad was payed brilliantly by Alex Currie who pieced the story together with songs, asides and an awful lot of door changes.  Gibsa Bah as Emmo and Matt Brook as Lewis played Joe's loyal mates with gusto, treating us to well-timed comedy and sensitive moments of true friendship.  Kia Gates as Kath, Joe's mother, and Gareth Yates as the devious Reecey were both good and strong in their roles, Kia having a delightful singing voice and engaging stage presence.  Sarah's catty friends Billie (Kitty Roberts) and Angie (Lauren Chapman) were most enjoyable to watch in their roles; funny, confident, both with excellent voices and strong dance ability.  Adam Brown played Mr Pressman boldly and with just enough verve, and the super-confident support actors and ensemble completed the cast without a weak link in the chain, sometimes undertaking costume changes at high speed to ensure the scenes flowed seamlessly.

Musically directed by David Jones, the band's strong playing ability lead the show commendably.  Choreographer, Amy Evans, designed the dance routines appropriately to the era, keeping the cast uplifted and oozing with energy and happiness - whether driving in cars, paddling boats, twirling umbrellas or dancing in the street.

Supported by a good lighting scheme and performed in a fun set consisting of brick walls and rotating doors, the show moved at a good pace without any hitches, excepting a technical issue with crackly radio mics and a signpost to HM Prison that clearly had a mind of its own although this unfortunate prop fall didn't appear to phase the actors present who continued regardless, demonstrating a high level of competency and professionalism.

In all, Youth Onstage made this a very easy show to enjoy. It was funny, lively, charismatic, moving at times and the cast certainly did justice to the music of Madness, with great renditions of Baggy Trousers, Driving In My Car, Tomorrow's Just Another Day, Wings Of A Dove and, of course, Our House. Ending in a standing ovation this young group should be very proud  as it was most definitely a show full of talent, fun, love and madness.

Runs to 12th May

Momentum Performing Arts
"...a colourful, all-singing-dancing delight."

Godspell, based on the book by John-Michael Tebelak with words and music by Stephen Schwartz, is performed at the Garrick this week by the Momentum Performing Arts group, working in association with South Staffordshire College. It’s a musical about the Gospel according to St. Matthew and has been performed successfully since first curtain up on Broadway in 1971 where it broke new ground in its portrayal of dramatised teachings and Jesus’s last days. Vaudeville-styled, the show includes many musical genres including rock, R&B and ragtime and flows with rapidly-fired sequences of well-known parables. It’s a wacky interpretation of one of humanities greatest historical events and a compelling tale of friendship, loyalty, forgiveness and love.

Directed by award-winning director Craig Sanders, this fast-paced production is bursting with energy, fun and enthusiasm, delivered by a young cast who have clearly worked hard to achieve a colourful, all-singing-dancing delight.

The stand-out star is Jesus, played by Jordan Connelly, an actor of great charisma and ability, but this is truly a full cast effort with strong support roles by Eric Hastilow as John the Baptist/Judas, Jamie Jones as Jeffrey, Daniel Roberts as Lamar, Will Allman as Herb, Rachel Newton as Robin, Leah Yates as Joanne, Abbie Mead as Peggy, Sadie Derbyshire as Sonia and Hannah Walton as Gilmer. The show is supported by a lively and competent ensemble - Alex Rozwalka Attebery, Craig Pitt, Emma Percival, Gabba Jones, Jake Rochell, Sharna Hind Friend and Yasmin Lefevre.

Well designed choreography by Helen Thom proves that you can successfully pack big moves into a small space and the production team as a whole ensures that poignant scenes flow at the perfect pace, comedy scenes are executed with perfect timing and powerful scenes are performed with just the right amount of righteousness.

Featuring hit songs Day by Day, By My Side, Save The People and All For The Best the show is musically directed by Angharad Sanders on 1st keys assisted by Kyra Povey and Kyle Allen. Daniel Roberts plays confidently on acoustic guitar and ukulele, accompanied by fellow characters on bongos, blues harp and kazoo. Some beautiful harmonies and nice wide vocal ranges carry the songs along effortlessly and the show features some quirky lighting, a commendable set design and is well costumed throughout.

Friendship, camaraderie and celebration oozes from this cast and I congratulate them all not only on their individual performances but also for achieving a group personality that perfectly delivers this joyous and entertaining production. Amen.

Runs to 11th May