Blood Brothers @ The Phoenix Theatre (13.07.11)

Willy Russell’s Blood Brothers is now into its 21st year in the West End. It’s a musical that has quietly run and run, touching thousands of theatregoers without the expectation of an all star cast or flashy special effects. Indeed, Blood Brothers manages to be gritty, engaging and impressive all at the same time with the help of its intensely hummable tunes.

I found the experience of watching Blood Brothers to be akin to sitting in front of the TV after a long day at work. You relax in your seat – simply allowing the action to unfold in front of you – safe in the knowledge that the cast’s roles come so easily to them that you barely question your transportation back to 1960s Liverpool. Not that the production lacks intensity or drama, you just can’t ignore the slickness of the staging, set changes and professionalism of the cast.

There’s a stigma that comes with being a pop star in the West End. All too often tickets are sold by the promise of a famous face on a tube station poster, but then when it comes to the performance there’s little gravitas. I was thrilled to see the same cannot be said regarding ex-Atomic Kitten star Natasha Hamilton who is more than capable in the lead role of Mrs Johnstone. Hamilton is an incredibly talented actress who brings her natural motherly instinct to the role as well as her emotive singing voice in Tell Me It’s Not True.



Conversely I found less to like in the role of the Narrator (Philip Stewart). Perhaps it stems from my fear of anything too sinister but I found that the role’s constant references to the tragic conclusion hindered the lighter moments from really taking off. Stewart certainly played the storyteller with authority, however I found his presence a little unnecessary.

Stephen Palfreman’s portrayal of Mickey reinforced the sense of being in a safe pair of hands. It was obvious to see that the role of the poorer twin is a second skin to him. He certainly has the energy of an eight year old; throwing himself around the stage in his holey jumper and with his dirty face he has a freeness that his richer, more sheltered twin, Eddie, lacks.

Undoubtedly, Blood Brothers is more than a musical, it is a social commentary on the rigid class barriers. Yet it still skilfully manages to be genuinely funny and, despite the tragic climax, allows you to leave the theatre feeling uplifted by the protagonists’ friendship.

Originally published on TheatreFixblog.co.uk

Strictly Gershwin at the Royal Albert Hall (18.06.11)

I arrived at the Royal Albert Hall last week with very specific expectations for Strictly Gershwin; I wanted to be dazzled. Having sat through many a hip-hop-street-dance-style extravaganza for the last few years, I wanted to be transported back to the classic era of my favourite Hollywood musicals such as Top Hat, Singin’ In The Rain and Swing Time. Not only this, but I wanted to see this golden age of cinema crossed with technical brilliance, glamorous costuming and beautiful choreography from the English National Ballet…fortunately for me I was not disappointed.



It has been argued that Broadway melodies and pointe shoes do not necessarily mix, and yes, the fast Quickstep and cabaret numbers are danced very cleanly, with balletic like precision, but I fail to see how this is a bad thing. From the overture onwards I was caught up in the beauty and musicality of Derek Deane’s choreography to Gershwin’s familiar rhythms. This positive first impression went on only to be bettered as a faultless selection of guest artists and Gareth Valentine’s orchestra followed, creating a show that, for me, is the complete package.

Maria Friedman provides several musical interludes throughout both acts and her performances of The Man I Love and A Foggy Day certainly serve to make her more than just a filler to cover costume changes. And what costumes they are, ranging from Latin dance legend Carmen Vincelj’s black fringed creation to the ENB’s Swarovski crystal studded tutus for the perfectly staged and executed Rhapsody In Blue.

Other particular highlights include the ENB’s entertaining take on An American In Paris, filled with pram-pushing nannies, wayward cancan girls and roller skaters. Summertime is a deeply sensuous and passionate feast for the eyes, as is the greatest pleasure of the show, an exquisite rumba performed to It Ain’t Necessarily So by seven-times world Latin American champions Bryan Watson and Vincelj. Their placement, precision, pure class and style make Strictly Gershwin worth the ticket price alone.

I was dismayed to see that the Royal Albert Hall was less than filled to capacity with dance lovers and fans of the TV show alluded to in the production’s title. Fortunately, however, those out of the capital will still have an opportunity to catch this stunning show as it goes on tour throughout the rest of the year before returning to the London Coliseum in January 2012.

(Originally published on theatrefixblog.co.uk)