We all know the song and some of us may remember the 80's movie and TV series. But Fame is once again back on stage in this new touring production from Selladoor for its 30th anniversary, proving that it really is "gonna live forever."
But does this musical still resonate just as well in 2018?
Well, the story is fairly basic, and it almost feels like we are watching a soap opera on stage as we get to know a lot of the students at the High School of Performing Arts in New York. It all seems like a showcase of talent (which demonstrated by this company is undeniably brilliant) but in the second half, we learn the struggles and difficulties that these youths are going through to try and reach their desire for fame.
However, the story isn't really the biggest draw to this show. It is the energy, passion and vibrancy of this cast bring that entertains us throughout, and boy, do they all really impress. Particular standout performances come from Jamal Cane Crawford as Tyrone, the student conflicted by his educational dilemma who excels in all styles of dancing from Dancin' on the Sidewalk to his intimate ballet scenes. Stephanie Rojas gives an outstanding performance as Carmen and is an incredible triple threat when her fame-hungry character starts to make the wrong choices, but our hearts can't help but break as she belts out In L.A. Singing sensation Mica Paris makes a delightful appearance as Miss Sherman. Her character is strict, yet maternal which shines through during her song These Are My Children and of course she is a powerhouse as the audience rises to their feet in the finale - which of course is the titular song that we all know and love.
Director and choreographer Nick Winton has mounted a production that ticks all the boxes for an entertaining evening, though there are some areas that could be tightened up for added slickness. Having said that, the lighting design by Prema Mehta is rather impressive illuminating the dancers from different angles, as well as the simple, yet stylish set design by Morgan Large made up of portraits of the school's alumni.
Going back to my earlier question about whether this show has a place today, then I suppose my answer would be; yes. The arts industry continues to be something that loads of young people strive to excel in and this show highlights the importance of balancing talent with education and health. But all that aside; for an electrifying, all-singing, all-dancing night at the theatre, this sure is the place to be.
Fame runs at The Alexandra, Birmingham until this Saturday.
The Lovely Bones seems to have always gathered a bit of a mixed reaction in its previous forms as a novel by Alice Sebold and even more so in the film adaption with Saoirse Ronan, Mark Wahlberg and Stanley Tucci. But nonetheless the novel is a number-one bestseller, so surely there must be something in this story to make it be so popular, right?
Well, this stage adaptation by Bryony Lavery and directed by Melly Still is as thrilling as one can hope, surpassing those initial mixed feelings to present this deeply tragic, yet uplifting story of 14-year-old Susie Salmon's encounter in the afterlife following her rape and murder. This production is one of those beautiful moments in the theatre where the script and production work hand-in-hand effortlessly in telling this story in a moving, electrifying and harrowing way.
Charlotte Beaumont (best known to ITV's Broadchurch fans as Chloe Latimer) gives a sensational central performance as Susie. She naturally adopts the mannerisms and behaviour of a 14-year-old girl, with a bundle of energy, naivety, innocence and a sense of humour that wouldn't look out of place on Disney Channel or Nickelodeon from 10 or 20 years ago. Which is of course what makes it utterly heartbreaking knowing that she has had her childhood taken away, watching and being invisible to her family and friends while they cope without her and her killer walks free. Beaumont never leaves the stage being physically trapped in her "heaven" (closely monitored by Franny, played by Bhawna Bhawsar) and her energy and presence is marvellous while she her character suffers this horrible situation, yet bringing an element of optimism into her afterlife.
One's skin can't help but crawl whenever Keith Dunphy enters as the creepy murdering neighbour Mr Harvey. He is obsessive, omnipresent on stage, menacing, scheming and so eerily realistic that we all hope he will receive his comeuppance for his heinous crimes. Interestingly, this story examines how grief can take various forms on different family members, such as Susie's dad Jack, played by Jack Sandle who may be weaker of health but resilient in bringing justice. Her cigarette-puffing mother Abigail, played by Emily Bevan grows more distant and down-to-earth in wanting to live her life along with Len, played by Pete Ashmore the lead cop solving her murder. Her grandmother mother Lynn, played by Susan Bovell is caring, yet one to crack the jokes about alcohol even in this tragic time. The entire company supporting Beaumont including Ayoola Smart as Susie's sister Linsdey, Karan Gill as her love interest Ray, Nathasha Cottriall as classmate Ruth are all individually fantastic, but together show a sense of community and love for this deceased young girl.
On a technical level, this production is first-class and throughout the piece, there is always something thrilling going on. The rock-gig lighting by Matt Haskins can go from stunning and vibrant during Susie's flashbacks of happier times but switches in a moment to the dull, cold blue fog being her heaven. It integrates terrifically with both Helen Skiera's almost horror movie-like sound effects and the awesome 70's to 80's soundtrack featuring hits from David Bowie to Tears For Fears as well as the incidental rock underscore by Dave Price. But the most fascinating aspect is Ana Inés Jabares-Pita effective set design of a cornfield row, dirt surrounding the vast open stage (as the action takes place in the centre, like a coffin) and a large mirror that tilts forward at the back of the stage, reflecting the ground and offering a whole new "other-worldy" perspective of Beaumont and the company.
This is certainly a story that has and probably will continue to divide opinion, due to the heavy nature and adult themes. But it is nonetheless a prevalent and complex story that is happening every day, all over the world - however, Sebold has given us an incredibly human glimpse and a celebration of life which has been adapted so brilliantly well that becomes virtually everything you want in a good piece of drama.
The Lovely Bones runs at Birmingham Repertory Theatre until Saturday 10th November.
The nativity story is something that The REP is no stranger to, having produced the highly successful Nativity! The Musical as their pre-Christmas treat last year. This year they have certainly taken a whole different view into the biblical story for this production of The Messiah. But Bah Humbug! Don’t worry all you Grinches who can’t stand the anything festive before December, there is nothing explicitly Christmassy in this show as this comical re-enactment of the nativity is so masterfully done.
Playwright and comedian Patrick Barlow is now taking the helm as director (with associate director Tom Latter) of his own 80’s comedy play which he wrote back in the days of the National Theatre of Brent, and which he also starred in alongside partner Jim Broadbent on TV. While this production is superbly directed, the writing seems just as fresh and timeless as it would have been 30 years ago. One could say it is Monty Python’s The Life of Brian meets The Play That Goes Wrong (Even the title can’t help but prompt the quote “He’s not the messiah, he’s a very naughty boy!”). However, I wouldn’t say that this piece is as side-splittingly funny as those two examples as at times, the humour is a little thin and drags on longer than it needs to. But overall, and thanks to the marvellous trio of actors it is sure to bring a grin to your face, maybe even a dozen or so chuckles.
Leading this trio of actors are well-known faces from TV; Outnumbered and Mock The Week’s Hugh Dennis and Doc Martin’s John Marquez as Maurice Rose and Ronald Bream; the “theatre company” of two who present to us the Nativity using their less-than-adequate skills, portraying a cast of thousands. It is surprising how little theatre work Dennis has done over the years as he seems right at home on stage. Maurice Rose appears as the wiser, intelligent character trying to keep the performance afloat until we eventually realise he is merely a man having a mid-life crisis – a character which Dennis wonderfully captures. In every double act, there is a less intelligent, submissive and anxious character, which Marquez brilliantly portrays as Ronald Bream; earning more of the laughs. Ultimately this play is about the two friends who find love in each other through ensuring the nativity goes ahead. They are supported by the soprano superstar Lesley Garrett, who has a glorious voice and a diva-like personality as Mrs Leonora Fflyte. When she sings acapella, there is no need for any symphony orchestra to back her as her voice is utterly divine, providing verses of well-loved hymns and carols. She also joins in some of the comedy routines, playing a third wise man and being the centrepiece of Rose and Bream’s joyous dance routine, among other mayhem.
The set is pretty simplistic, yet highly effective thanks to Francis O’Connor’s great design. A starry blue curtain is our backdrop, while a revolving stage sits in the centre and spins around the ruined pillars. The revolve may not be used until act two, but the scenes that take place on it are well worth the wait. Howard Hudson’s lighting also fittingly illuminates these terrific actors to give a flavour of each scene in the nativity story.
What is great about this production it ultimately has virtually nothing to do with religion, nor politics or any big social issues that may be lurking over our heads in these times, but it is a heart-warming portrayal of friendship and a love for each other. As a comedy; the laughs do come and go, but a huge bravo must be given to this talented trio.
The Messiah runs at the Birmingham Repertory Theatre until Saturday, prior to a UK tour and London run.
Emteaz Hussain's Blood premiered in the B2 studio space at Belgrade Theatre, Coventry this week. In a collaboration between Tamasha and Belgrade Theatre, this was a beautifully crafted show.
Set in the Midlands Pakistani community, the play looks closely at familial ties and the impact this has on a young couple who are fiercely chasing their own wants and desires. The two-hander saw Krupa Pattani playing Caneze and Adam Samuel-Bal as Sully, and their onstage chemistry brought this heartfelt story to life. You instantly connected to both of their characters and this connection was never lost. The play was sprinkled with humour and, without question, both actors captured the dark and light of the play superbly.
What at first appeared to be an interesting, yet simple set, turned out to be inspired from Sara Perks. With each scene you were transported to a new place, and through clever use of props and lighting you could instantly identify where you were.
Filled with twists and turns, it was a compelling piece of theatre and Esther Richardson's dynamic direction brought this searing play to life.
Blood runs at Belgrade Theatre, Coventry until 11 April and returns to the Midlands in May, when it plays at Birmingham Repertory Theatre from 19 - 23 May.
The Theatre Royal Stratford East production of Oh What A Lovely War, by Joan Littlewood's Theatre Workshop, opened at Belgrade Theatre, Coventry last night as part of its UK tour.
This beautifully poignant musical is still as relevant as ever, illustrated last night by a talented ensemble of performers. Summarising the First World War in just over 2 and a half hours, there is an equal mix of humour and tragedy.
Ian Reddington's comedic narration eased the change of time and place, including a hilarious mix-up with a donkey photo, but the stand-out performance came from Wendi Peters who was utterly brilliant. I'll Make a Man of You and Sister Susie's Sewing Shirts were particular highlights and Peters seamlessly transitioned between a variety of characters expertly.
Other notable performances came from Mark Prendergast delivering a beautiful rendition of When This Lousy War is Over, Alice Bailey Johnson's Keep the Home Fires Burning packed an emotional punch and Lauren Hood's Belgium Put the Kibosh on the Kaiser elicited many a laugh.
With 41 songs and numerous scene changes, the direction of this play is no mean feat, but Tony award-winning director Terry Johnson has injected a new lease of life into this revival. The set design from Lez Brotherston was inspired and made for an incredibly touching Christmas Truce scene.
As the number of soldiers died, injured and missing during WW1 scrolled across the screens, the pause in performance made it all the more impactful and was a stark reminder of the horrors of war.
This really is a gem of a play. With infectious energy, fantastic ensemble numbers and stirring harmonies, it is sure to have a successful run at the Belgrade Theatre, Coventry, as well as the rest of the tour.
Oh What A Lovely War runs at Belgrade Theatre, Coventry until 4 April and returns to the Midlands in May, when it plays at Birmingham Repertory Theatre from 5 - 9 May.
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