BARGAIN THEATRE

THE WEST END MEN

When I was given the opportunity to review The West End Men at the G Live venue in Guildford, I jumped at the chance. Not because I was a particular fan of the performers involved, but since the likes of Lee Mead and Kerry Ellis attract such a cult following, I wanted to see what all the fuss was about. 

MR KOLPERT

It’s hard to discover what Mr. Kolpert  is all about without a deep delve.  The King’s Head Theatre website is vague and general, with a hint of storyline though void of detail.  The press release likewise and the programme totally barren.  Therefore expect the unexpected must be the caveat and go with an open mind.  A large and locked trunk, placed off-centre, forms the basis of what turns out to be a black comedy translated from German.  Two couples at a dinner party, except there is no party to speak of and definitely no dinner prepared.  Cue a bewildered pizza delivery boy and much talk of a dead body.  Include lots of swearing and more than a little nudity for absolutely no reason whatever.  Throw in a game of Botticelli and you have all the ingredients.
 
This play could be funny, except director Rachel Valentine Smith has made all the characters over-act, presumably to provide emphasis in a quest for laughs.  Regrettably this strategy proves counter-productive and instead quickly becomes tedious.  It’s hard to believe in any of these folks although occasionally that matters not in comedy.  Indeed sometimes that is the very element that makes it work; John Cleese found perfection in Faulty Towers afterall, but here it falls a long way short.  Damian Lynch as the temperance architect Bastian Mole who borders on schizophrenic, for instance, certainly lays on the violence and bad temperament well but chiefly in a shocking manner rather than humorously.  Likewise, Ralf Droht (Edward Fulton), although more engagingly amusing, still somehow misses the mark.  Both try hard, but appear hindered by heavy-handed direction.  They are not helped either by a cumbersome script which relies on recycling the same few gags.  You can only laugh so many times at a misunderstood telephone conversation about a take-away pizza order for example, otherwise the joke wears a bit thin, however much it is reinvented.  Or does it?  Perhaps I’m wrong about the script, for Mr Kolpert was afterall, well received Upstairs at the Royal Court in 2000 with Richard Wilson at the helm.  
 
Violence and murder feature heavily as might be expected, but never with a wholesome sense of subtle macabre to turn this production truly black .  The resulting combination of much projectile vomiting, thrown food and copious stage blood is pretty gruesome however, but makes for a very slippery stage during the second half, causing the cast a few slips but thankfully never a fall.  My advice is not to sit in the front row with good clothes or nice shoes on and don’t even think about asking what’s in the trunk!

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REVIEWED 16/07/12
By Gareth Richardson @BargainTheatre

15th July - 5th August 2012
King’s Head Theatre, London, N1.

GATZ

Open for 23 performances and with rave reviews gushing over its sophistication, Gatz is the latest ‘must-book’ for the flush London theatre-goer.  It is not a conventional play, being an 8-hour word for word reading of the Great Gatsby, set on the stage of the Noel Coward theatre, and performed by 13 actors from the ERS theatre group of New York. Yes, 8 hours; 3 intervals.

‘But you’ve studied American Literature, you must know this?’ - so said my mother as we sat down. I explained that ‘study’ was pushing it for a term of English Literature A Level in which I read the set texts I was told to, and that F. Scott Fitzgerald’s classic had not come up. So I didn’t sit down to Gatz aware of the writing or the story, unlike the majority of people in that night. If you find yourself in my position, I’m afraid I can’t recommend it.

Hours pass slowly as the narrative crawls by. The pleasure of a book is that you can put it down, and the pleasure of theatre is watching people acting. Here you have a man reading a story out and fairly soon a random set of fellow office workers playing roles for people they are nothing like. To begin with the characters pop in out of the recital, but by act three they are standing about waiting for the adjectives for their behaviour to be read out. So you can’t put the book down or watch anyone acting. Not a happy medium; unless you think of mass as entertainment.

Newspaper reviewers have glowingly commented that Gatz showcases F. Scott Fitzgerald’s prose, but for me it’s more a weakness than a strength. Where the stale narration (‘he said’, ‘she said’) would so obviously be cut in a conventional adaptation, here it is not; conversely there are moments when the actors are being highly distracting on stage, causing irritation that you cannot focus. With the huge visual limitations of the dull office and the unadapted costumes, it’s hard to conjure the scenes in the story without listening accurately to the narration.

Traditonally you’d name drop some actors at this point, but I’m afraid there’s little to say. The narrator deserves praise for reading out the novel without much of a break; although his intonation and tone make concentrating tedious. The rest, well; with no acting in a conventional sense I found none made much impression. I also didn’t understand why such underwhelming acting was chosen for the role of Gatsby, for whom presumably we are supposed to care for.

Seats remained filled more than I expected as the hours passed. I suppose at £75 a throw it’s a bitter pill to swallow to conclude your time could be better spent. I must be honest in saying that after the end of act three and over six hours in, I could take no more. I was now watching people shuffle around the stage but focusing on the behaviour of the breathy man and fat sweet-sucking woman behind me, listening to the story had become a stress-inducing chore and that isn’t what either reading or going to the theatre should be about.

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REVIEWED 15/07/12
By Piero McCarthy

8th June - 15th July 2012
Noel Coward Theatre, London, WC2.

MACK AND MABEL

Is it something they put in the water in Southwark and Lambeth?  These two inner London boroughs certainly punch far greater than their weight when it comes to musical theatre at fringe venues.  A succession of quality and in some cases, award-winning productions, have formed from seeds that germinate here and the latest to join the pedigree is Mack And Mabel at Southwark Playhouse, produced by Danielle Torento.  Director Thom Southerland and choreographer Lee Proud give a feast for the eyes with a hard-working and eager cast keen to deliver.  

Norman Bowman impresses immensely.  His role as movie-maker Mack Sennett is totally believable, I bought into him from the first second and that remained with me until the last.  His strong voice, presence and posture fills the cavernous auditorium and although perhaps the story has no happy ending, he ensures the audience leave with a smile on their faces.  Laura Pitt-Pulford is the cherry on top of the sundae as Mabel Normand, the sandwich delivery girl who makes it big in silent movies after Mack spots that something special in her.  Although affinity with her character takes a short while to mature, by the time Pitt-Pulford gets to her big solo ‘Wherever He Ain’t’, she has the room hanging off every word she sings.  Aptly seeming to come from nowhere, taking everyone by surprise, just like Mabel does herself. 

Jerry Herman’s score is one of his strongest and must be a pleasure for Michael Bradley to work with as Musical Director.  A large, unseen band add to the ‘big production’ atmosphere.  There are many ensemble numbers, freshly delivered by a company that is clearly enjoying every minute, building to a crescendo with the marvellous dance number ‘Tap Your Troubles Away’ gloriously costumed in the favoured art deco gold and black of the 1920s and delightfully choreographed by Proud.  Not an easy task on the uneven and dusty concrete floor, which presents problems even with judicious use of tap boards, but nonetheless the end result is worthy of all the effort. 

This is a busy production on many levels, with a perfectly cluttered design to represent the randomness of a US movie studio.  The decision to use a wheeled step tower is inspired and adds not only height but gravity at key moments in this well-executed drama of love, fame and (lack of) fortune.  Then, of course, there are the Keysone Cops for which this musical is possibly best known.  The build up to their second act arrival is maybe the only point in the show which isn’t quite working as well as it might.  A flurry of slapstick activity immediately before the police enter doesn’t really reach the degree of amusement it could; but just as that becomes apparent in come the cops and suddenly hilarity takes over with the glorious ‘Hit ‘Em On the Head’ routine, with masterful comic timing.  Every element looks so easily delivered but you can be sure it’s taken hours to perfect. 

The combination of great music and lyrics, charming direction and crisp choreography make it a must-see for any musical theatre fan this summer.

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REVIEWED 11/07/2012
by Gareth Richardson @BargainTheatre

5th July - 25th August
Southwark Playhouse, London, SE1.

THE HURLY BURLY SHOW

“Are there any burlesque virgins in the house?”

The first question we are asked by our beautiful compere, Miss Coco Dubois, superbly played with charm and sass by Joanna Woodward.

I am ashamed to say that I, indeed, was a burlesque virgin and the reason is plain. I have always believed it would simply not be for me.  As a strong minded woman I have always secretly thought that it was just a (slightly) classier version of stripping with dirty old men looking on therefore I would feel uncomfortable and quite frankly hate it from start to finish.

I am happy to report, I was completely and utterly wrong.

Burlesque, or certainly burlesque to this high standard, is an art form.  Performed by some of the most beautiful women I have ever seen, their bodies are their temples, and watching them move and dance in beautifully crafted costumes is nothing short of breathtaking.  There are some rather raunchy moments, however what The Hurly Burly Show manages to do with ease is mix these seamlessly into lighter, comedic encounters, which really makes the production shine as it instantly gives the girls a likeability factor…which with those bodies is no mean feat!  The production values are stunning, absolutely exquisite costumes and set make the piece come to life and invite you in.  By the end of the show, no one wanted to leave, it felt like we’d only been there 10 minutes when in reality we’d been there two hours.

What I genuinely loved most is even though for the vast majority of it the girls are wearing next to nothing, think sequined nipple tassels and crystal G-strings, you forget that they are pretty much naked, as you are stunned by the feminine athleticism of their bodies.  These women are truly magnificent, watching such skilled dancers move whilst seeing their bodies genuinely create the movement is what makes it an art form, rather than a strip show.  This is where the show’s strength lies for it’s a show for everyone, most of all women to celebrate the beauty of the female form, and let’s be honest, a woman’s body is a beautiful creation. One particular Hurly Burly girl Rachel Muldoon, who is given the accolade of ‘head’ girl, is absolutely fabulous and whenever she is on stage it is very difficult to tear your eyes from her.  She has what many performers lack, and that is, old-fashioned star quality.

Another highlight for me is a contemporary dance sequence between two girls, which stood out as beautiful choreography from additional choreographer Adam Murray.

Leading lady and creator of the show, Miss Polly Rae, has done herself proud and obviously worked very hard in creating this show and quite rightfully giving her the forum to become the British Dita Von Teese.  This show has achieved so much, earning its West End status, and I genuinely think it should be given a longer run.

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REVIEWED: 10/07/12
By Sally Bowles

2nd July - 22nd Sept 2012
Duchess Theatre, London, W1.

SFATS LIVE!

The illusive @westendproducer’s Search For A Twitter Star reached its climax at the Lyric Theatre. Not one but two potential stars have been selected from an original entry pool of over 650 hopefuls.  Ten finalists battled for the title in a full-on West End live final, delivering one song each before an audience electronic vote decided the winners.  Judging panel Louise Dearman, Mike Dixon, Gemma Lowy Hamilton and David King gave a fair amount of praise and a lot of criticism after each contestant had sung.  This was really ‘rabbit in the headlights’ stuff, stood alone on the large stage, listening as their entry was picked apart, while an audience of fans, industry professionals and the plain curious looked and listened uncomfortably.  Reading journalistic criticism of a production in the privacy of your own home is one thing and can be pretty unpleasant if the review goes against you, standing there on stage in full public view as your solo performance is publicly dissected is quite something else.  This is lonesome territory and definitely not for the feint hearted.

While some of the hopefuls have received professional theatre school education via traditional routes, others are just embarking on that path and for several, this was their first time ever on a West End stage.  Without exception, the achievement of getting through to the final ten is one to be proud of but for those yet to be formally trained, it’s quite remarkable.  Particularly given that they won’t have made those all-so-important industry contacts which come by working ‘in’ the profession, which must surely have made mustering sufficient support to get through the initial public voting stages online, a very difficult task.  Quite extraordinary then, that eighteen year old contestant Felipe Bejarano (@FelipeBejarano_) with no such qualification and making his debut on a professional stage, should win the male title.   For him, this truly is the stuff that dreams are made of and a great start to one’s career.  His crowd-pleasing performance of Jason Robert Brown’s ‘Someone To Fall Back On’ demonstrated great dynamic range and stage charisma, together with a natural warmth.

Kara Bayer (@karabayer) works in theatre, but having studied textiles and costume design she too has no traditional performing background and is currently a wardrobe assistant with Garsington Opera Company.  Nonetheless, her gutsy and convincing performance of ‘Taylor The Latte Boy’ earned her a nail-biting place in the final four, along with judges’ favourite Alexandra Da Silva (@alexdasilva27) and Benjamin Vivian-Jones (@BenVivianJones) who had also enchanted the audience enough to make it to the very last hurdle with ‘The Man That Got Away’ from A Star Is Born and ‘Stranger In This World’ from Taboo, respectively.  Kara took the female crown after a tense sing-off.

Guest appearances from Louise Dearman, Associated Studios and Patch of Blue Theatre Company provided light relief as the voting rounds took place.  
With the winners announced by presenter Aled Jones, Jon Lee and Kerry Ellis gave duets with each; no doubt a stunning experience for both Felipe and Kara who stepped up to the mark admirably.

And then, some six months or so after it all began, Search For A Twitter Star was complete.  Are we any the wiser to the identity of @Westendproducer?  Well, a rather distinguished-looking male could be seen sat somewhat aloof in a box throughout the evening, complete with laptop, teddy bear and a huge bottle of Dom.  He was never introduced to the audience, though he did take a bow.  Could that really have been him?  The mystery, it seems, is not totally over yet!  

Contestants (in order of appearance)
 
Jason Broderick @Jason_Broderick
Bindy Baker @BeeBopBind
Elliot Clay @elliotclay
Alexandra Da Silva @alexdasilva27
Mikey Wooster @MikeWooster
Kara Bayer @karabayer
Felipe Bejerano @FelipeBejarano_
Sarah Gies @Sarah_Gies
Benjamin Vivian Jones @BenVivianJones
Emily Barker @Emsbarker


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REVIEWED: 09/07/12
By Gareth Richardson @BargainTheatre

9th July 2012
Lyric Theatre, London W1.

THE ORESTEIA TRILOGY OF AESCHYLUS

The last time I gave the Trojan War any thought was sat in a year 9 history lesson, so I knew that attending an open air production of The Oresteia Trilogy of Aeschylus would be an educational experience, if nothing else. 

THE SLUTS OF SUTTON DRIVE

The UK debut of award-winning American playwright Joshua Conkel is also the world premiere of his work The Sluts Of Sutton Drive, directed by Rebecca Atkinson-Lord.  Conkel chooses to emphasise shock over substance in a chaotic plot, which touches upon several taboos but fails to grasp any in much volume.  This play is not for the easily offended, and coupled with the intimacy of this space, it could quickly become an uncomfortable experience for some, though I suspect that’s the point.

A valiant cast of five give the writing full life, Georgia Buchanan as struggling mother Stephanie Schwartz delivers an especially strong performance.  Kelly Burke as Sharice, her best friend since childhood, is equally vigorous in spirited support.  The difficulty is that there are just too many unlikely plot lines that it’s hard to reach totally affinity with any of the characters.  Eric Kofi Abrefa as the twelve year old son Jayden is totally convincing, despite appearing to be almost twice the age and four times too muscular.  However, while others around him suffer one bizarre calamity after another, his role develops little over the two acts and therefore the actor’s investment remains somewhat unharnessed as he flees to live in the woods.  Earlier though, having confessed an amusing fondness for pornography, he explains his resultant erotic urges and disrespect for women.  This is an open door for the playwright to explore a topical argument of the sexual pressure that teen girls find themselves under today versus the determination that some young males nourish for carnal lust and their brutal expectations of women to comply.  The  idea that porn is a driver for this apparent lack of care and compassion is also left undone.  Instead, the work continued to flit between themes, almost in a ‘tick-list’ fashion, leaving a disjointed and a (literally) dismembered experience.

Having exhausted a long list of sexual and violent unspeakables during the first act, culminating with the audience left to walk gingerly over a severed penis, it was difficult to predict the destination post-interval.  I had hoped that a revisit to some of the less abhorrent topics might be on the cards but I was disappointed.  Instead we were expected to give purchase to the spectre of a resurrected lover, who had returned from hell to take up residence among the faded cushions of a living room sofa.  But worry not, for there is always a naive stalker on hand in these situations, in this case a friendly postman, who is eager to enter uninvited.  Moreover, if you treat him well enough he will surely plant a bomb to eradicate the problem for you; just don’t let your friend Sharice upset him after she has gouged her husband’s eyes out.

This is not an easy play to act out and the cast should be rightfully acknowledged for their steadfast dedication to make it work.  There is no doubt that some will love this production, it is fashionably out of the ordinary and to it’s credit, takes the audience far out of their comfort zone.  However, I found it incoherent and, like a jigsaw with too many pieces, incomprehensible to decipher in any logical fashion.  It’s certainly thought provoking, but there are so many doors only half opened that I have no idea exactly what it is that I’m supposed to be thinking about.

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REVIEWED: 25/06/12
By Gareth Richardson @BargainTheatre

Sun & Mon 24th June to 9th July 2012
Finborough Theatre, London, SW10.

LITTLE WOMEN

Louisa May Alcott’s Little Women is not a book I’ve read, though for some it was compulsory classic literature, force-fed by sage school-mistresses or old maiden aunts.  Neither am I overly familiar with the compositional work of Steven Luke Walker.  However, the lure of a cast brimming with West End credits and the interesting prospect of hearing a new musical in the making proved more than ample temptation to venture into town.  There have been two previous musical adaptations of the story with varying degrees of critical success so this would clearly not be an easy nut to crack.
 
Set around 1876 in New England during the American Civil War, the plot centres around the growth of four sisters Meg, Jo, Amy and Beth, into young women.  Their lives and loves, happiness and heartaches provide a wealthy source for the lyricist and composer to pen a total of twenty two contemporary songs over two acts.  The trick though has been to introduce a sympathetically modern musical style to the Victorian tale, while retaining the nostalgic yesteryear appeal of period drama.  This is Walker’s stated objective and he has achieved it charmingly.
 
From the very beginning, an opening Christmas carol ensemble piece, I was won over.  Of course, these are still comparatively early days and the varied score is not perfect but it is hugely enjoyable and was generally well received by an enthusiastic audience.  The first act is perhaps a little long but includes some beautiful songs including a stunning duet ‘Sometimes’ sung by Sarah Lark and Nikki Davis-Jones and the gorgeously buoyant ‘First Impressions’ presented in true Julie Andrews, Mary Poppins style by Helena Blackman to great appreciation.  

The somewhat shorter second act offers more musical delights, particularly in the form of a lullaby, sung with clear and heartfelt emotion by Shona Lindsay, Gina Beck and Nikki Davis-Jones.  The men (Norman Bowman, Daniel Boys and Jon Robins) delight too with the humourous and lyric-rich parody ‘Women’. An ensemble choir of nineteen members from the Guildford School of Acting, competently led by an impressive sounding Maeve Byrne closed the show with ‘Once More’
 
Fittingly, given that the four sisters were raised alone by their mother Marmee, while their father was away at war, the evening raised funds for the Gingerbread Organisation which supports single parent families.

With a score brimming with good melodies and clever lyrics, this is a work crying out for a fully staged production.  With luck and a fair wind, it would be marvellous to see Little Women grow.

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REVIEWED: 24/06/12
By Gareth Richardson

Presented in concert on 24th July 2012 only.
Playhouse Theatre, London, WC2.

THE SUNNY SIDE OF THE STREET

Following on from the successes of Bewitched, Bothered and Bewildered and Classic Moments, Hidden Treasures at the same venue, director Tim McArthur’s third summer musical revue at Jermyn Street puts the work of Oscar and Emmy award-winning lyricist Dorothy Fields firmly in the spotlight with an impressive all-female West End cast.  Over thirty of her best songs from a career spanning five decades are loosely tagged to a story set in a pink hairdressing salon, which connects the daily lives of all five girls.  

Rosemary Ashe thrills with solos including ‘Blue Again’, ‘He Had A Refinement’ and the lovely music-hall-esque ‘A Lady Needs A Change’; she very much sets the standard.  Leanne Jones adds flair of her own though, with ‘Lovely To Look At’ and ‘Remind Me’, while Shona White’s ‘Make The Man Love Me’ is a passionately portrayed highlight.  When joined by Helen Hobson and Jane Milligan, the show really chimes as the company assemble for classic numbers such as Sweet Charity’s ‘Something Better Than This’, ‘If They Could See Me Now’ and ‘A Fine Romance’ from the movie Swingtime.  If barber shops had female quintets, I guess this would be among the best sounding.  A top hat and cane finale provides a fitting close to the sung-through presentation and allows the audience a great excuse to release their pent-up applause at curtain call.

Single piano accompaniment is perfect in such a compact venue, played brightly by musical director Sarah Travis who doubles as the salon’s feather-duster waving cleaner and even sings a few lines of her own as the evening progresses, the bubbly starts to flow and the ladies get merry.

This entertaining production both looks and sounds delightful.  If there’s a fault, it’s in relation to the hairdressing concept which is rather weak, and in that regard it’s no shampoo but lots of set (David Shield’s detailed design and costumes have a central theme, everything’s pink and it works well).  However, that is a minor matter which is amply offset by the very talented cast who provide a fitting tribute to the lady who, from very humble beginnings, left a songbook legacy that richly deserves the fresh look that this production affords it.

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REVIEWED: 21/06/12
By Gareth Richardson @BargainTheatre
 
19th June - 7th July 2012
Jermyn Street Theatre, London, SW1.

LITTLE WOMEN: IN CONCERT

Ten West End performers including two witches, one Nancy, an illegitimate French child and the mother of a dirty dancer will transport Louisa May Alcott’s Little Women from Orchard House, Massachusetts to London’s Playhouse Theatre.

Steven Luke Walker’s musical adaption will be hosted by theatre critic Mark Shenton, directed by Nicola Samer, associate director to The Ladykillers and produced by, up and coming director and producer, Paul Taylor-Mills.

The performance is musically directed by Niall Bailey with a cast led by Gina Beck, Nikki Davis-Jones, Sarah Lark, Lisa-Anne Wood and Shona Lindsay with guest appearance from Samantha Barks. The cast will be supported by a specially formed GSA ensemble.

Little Women is a much loved and respected story of domesticity, work and sisterly affection with a score that Nicola Samer believes brings it “into the modern world whilst retaining a classic musical theatre sound…[and] anyone who comes to see this concert will be able to relate with one of the characters”.

The one off performance is in aid of The Gingerbread Charity who support single parent families.

“Everyone has their own Little Women story.”
Nicola Samer

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Book tickets here: http://www.atgtickets.com/Little-Women-Tickets/15/3534/
Or call: 0844 871 7631

June 24th 2012
Playhouse Theatre, London, WC2.

THE HISTORY BOYS

Having seen both the National Theatre UK Tour and the West Yorkshire Playhouse productions of The History Boys, I couldn’t help but have high expectations when I arrived at the Greenwich Theatre Sell a Door’s version. I am sad to say this production did not live up to my high expectations and I felt it made one of Alan Bennett’s greatest works into a very laboured affair. I should probably make no secret of the fact that The History Boys is one of my favourite plays and so I may be more easily disappointed than others. But the fact is, I was disappointed.

The script itself is an actor’s dream with endless witty one liners, fierce debates and above all, wonderfully crafted characters but unfortunately it seemed this cast just did not take advantage of Bennett’s writing and just trundled along at a pace that can only be described as a slow fizzle. As always there are exceptions and today it was Amanda Reed as Mrs Lintott who brought the script to life – although it is interesting to note that she did play the same role in the West End transfer and UK tour.  As a group ‘the history boys’ were charming enough but the majority of the characters lacked personal depth. I spent most of the time willing Chris Aukett in particular to make much more of his role as Timms – the part played by James Corden in the original production. Credit absolutely must be given to Lawrence Murphy who had clearly done the leg work in making his performance as Posner go that extra mile. He created some very touching moments as the gay Jew from Sheffield (Bennett’s words – not mine!)

As eccentric English teacher Hector, Richard Rycroft approached the part with a much harsher tone than I had seen it played before. At times this worked but the role also demands a great sensitivity which allows the audience to see the relationship between teacher and student develop and flourish – a sensitivity that Rycroft didn’t have. It was for this reason that I was left feeling very cold at the end of this production. Rycroft made Hector seem like just any old teacher: something the character certainly is not.

In the play’s second act, Rudge (Alasdair Hankinson) boldly claims that history is “just one fucking thing after another” and despite the line gaining a few laughs from the audience, I couldn’t help but feel it was also reflecting my feelings towards the production as the last few scenes became somewhat monotonous. My guest actually turned to me and asked if it was nearly over.  There was little creativity in the direction and there is only so many times an audience can watch a group of boys troop on and off stage through a door or see the Headmaster trying to squeeze around the edge of the set to sit in one of the two chairs which were meant to represent the staff room.  Despite a few glimmers of life, The History Boys made for a very disappointing evening of theatre.

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REVIEWED: 19/06/12
By David Coverdale

18th - 24th June 2012
Greenwich Theatre, London, SE10. 

SPINACH

THE MYSTERY OF EDWIN DROOD

Let me start this review with one fact about me – I do not like audience participation. At least, I didn’t think I did. When I was handed a song sheet on my way into an auditorium full of cast members leading a preshow sing-a-long of Music Hall classics, I thought I was in hell. Admittedly I did not make any attempt to join in the preshow but by the interval I was too caught up in belting out songs about father decorating the parlour and some girl with long hair that my drink remained untouched – a first time for everything!

It must have been the charming first act of endless laughs and wonderfully drawn characters which caused me to let down my ‘anti-participation barrier’ as I found myself booing and cheering along with the packed out house at the show’s new home – The Arts Theatre, Leicester Square. It was very pleasing to see a theatre (albeit a smaller one) buzzing with a large crowd after spending far too many of my recent outings in sparsely populated auditoriums watching disheartened casts try their upmost to make the best of an empty midweek show.

I liked many things about this production but the one thing which left me most satisfied was the use of its ‘star name’, Wendi Peters. Yes, she may have her face and name on the poster but when it came down to her performance, she was a member of the cast who worked just as hard as anyone else and looked in her element taking part in the rousing company numbers which complimented and, to my mind, made the production. Despite her having quite an impressive theatrical background, most people will remember Peters from her days in Coronation Street and nothing made me happier to see a soap star returning to the stage who actually has the talent to carry a part. She is a revelation in the double role of Angela Prysock/Princess Puffer.

The production itself transfers brilliantly into the Arts Theatre. The cast make full use of two staircases leading from the stage to the auditorium and also appear regularly in the balcony making sure that the audience are completely involved regardless of their seats. The sound of the show really benefits from the larger sound system with the cast perfectly in balance with the brilliant orchestra under the baton of James Cleeve.

There are excellent performances overall from a very hardworking cast. My one grumble would be Daniel Robinson as Clive Paget/John Jasper who, despite seeming an incredibly talented performer with a lovely voice, didn’t quite grasp the ‘Music Hall’ style of acting as the rest of the cast did. Stand out performances for me were from Loula Geater as Janet Conover/Helena Landless and Tom Pepper as Nick Cricker/Deputy; both of whom I struggled to peel my eyes from during the scenes and production numbers.

The ‘audience vote’ towards the end of the show really makes the evening and adds such a unique touch of fun to the piece. Talking to other audience members after the show I was very pleased to hear that the ending is actually different every night, the vote is not just a very well-acted diversion!

All in all, a very enjoyable evening and a production which deserves so much more than just 35 performances in town. I whole heartedly recommend it – I will definitely be returning before it closes.

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REVIEWED: 22/05/12
By David Coverdale @davidcoverdale9

18th May - 17th June 2012
Arts Theatre, London, WC2.