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Review – Strictly Come Dancing Live, NIA, Birmingham, 21st January 2012

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Mrs C and I are huge Strictly fans so it was with great delight that we unexpectedly received two surprise tickets for last Saturday’s matinee at the NIA in Birmingham. As you would expect, the place was completely packed. What strikes you when you enter the auditorium are both the expectant buzz and the extraordinary stage. The band and judges are at one end of the arena, surrounded by an extravagant light wall, and the whole central area is devoted to dance floor. Two large video screens help you see in close detail what your eyes can’t focus on, as well as being used to give amusing backstage insights.

The host is Kate Thornton, of whom I don’t know a lot, but she’s really good at the job, as well as looking thoroughly gorgeous. Friendly and reassuring when required, but also quick-witted at stabbing a telling remark or two along the way. Actually one thing I hadn’t expected was how generally funny the whole show is. Whether it’s Kate or the judges, the dancing or the backstage shots, there is a lot to laugh at in this show, much more so in fact than on the TV programme.

Len, Bruno and Craig are the three judges and each play up their own characters admirably throughout the entire show. Len continues to rewrite the language with his strange metaphors for enthusiasm; Bruno has his over-the-top reactions and his strange body language for enthusiasm, and Craig nicely wallows in his dour reflections that may or may not encompass enthusiasm. Both Bruno and Craig “lost it” at one stage and were helpless with laughter, which was an additional delight for the audience. Craig directs the show, and has included some judgely dancing in some of the big “entr’acte” numbers, some of which he couldn’t quite perform himself, which was a laugh.

Then of course there are the contestants and their professional partners. I was quite surprised how quiet the professionals were in the post-dance chats with Kate. Personally I get attached to the professionals just as much (if not more) than with the celebrities because you get to know them over the series, so I would have perhaps liked a little more chat from them. They do have to do a lot of dancing, mind.

The show starts with a big dance from the professionals alone and to be honest, I thought it was under-rehearsed as none of them seemed to finish together and on time. I was surprised at that. They were definitely better in their individual dances with their partners and in the subsequent group dances.

From the moment the couples are introduced there is absolutely no doubt who is going to win – Harry and Aliona. There’s something about Harry (I wonder what it might be that all those middle aged women see in him) that must appeal to about 98% of the audience, as far as the allocation of whooping and cheering is concerned. To support the underdog, I was determined not to vote for him, even if he was the best, as his victory was a forgone conclusion from the start.

Each couple dances twice. First on was Robbie Savage, partnered with Katya Virshilas. What did you make of Robbie in the TV series? I thought he was surprisingly good. Well, in the middle of the live arena, he was surprisingly awful! Yes he sells himself really well, and it’s thoroughly entertaining, but actually his dance skills are Really Not There. Katya herself, whilst talking to Kate, said that Robbie basically wasn’t very good – Kate had to remind her they were meant to be on the same side.

Second were Anita Dobson and Robin Windsor. They did their Charleston, and highly enjoyable it was. I didn’t really feel that the crowd got behind them that much, probably still suffering palpitations after the sight of Robbie’s chest. The judges were pretty impressed though. Amongst the professional dancers, I do think that Robin Windsor stands out as a really strong performer.

Third was another chest opportunity, Mark Foster with Natalie Lowe. He’s the only celebrity in the show not to have been in the most recent series, and was clearly at a disadvantage, but he performed reasonably well. Natalie’s a terrific dancer, isn’t she. She even threw in a wardrobe malfunction in her second dance for good measure, so that we almost saw both their chests.

Next was – I think – Nancy dell’Olio who is dancing here with Artem Chigvintsev. I know someone who has met Nancy dell’Olio, and he says she’s frankly bonkers. I saw no reason to doubt his word. Her performance is very funny – especially the second dance when she cheats and has both Artem and Robin to help her – but she rarely dances a step. I couldn’t tell how genuine or acted Artem’s rather sad and resigned look is when Nancy says they need to change the choreography – he just gently backs away into the darkness. Very funny stuff.

Then you have what you might call “The Big Three”. Jason Donovan with Kristina Rihanoff first; they did their Wake Me Up Before You Go-Go” number and then their Argentine Tango. Jason made a slight boo-boo on the first dance, which I confess I didn’t notice, but did a sensational tango and so I decided I would vote for them.

Next was Chelsee Healey with Pasha Kovalev, who must think he has fallen on his feet considering this was his first series. They danced just as well as they did on the TV and gave a terrific show. The judges were wowed.

But everything else was eclipsed by Harry Judd and Aliona Vilani. When you watched the last series at home, you might have felt that the popularity for Jason, Chelsee and Harry was more or less even-stevens, and that only a poor performance by one of them would have led to more votes for one of their opponents. Not a bit of it. If this audience is anything to go by, Harry must have received more votes than all the others put together. You could barely hear anything else in the arena above the cheers for him, and he and Aliona executed two perfect dances, getting a maximum 60 points from the judges. He is the only celebrity participant who really could be a professional dancer. If he wants to change his career away from drumming, I reckon every door is open.

They whittled it down to a final two of Harry and Chelsee but the eventual winner was never in doubt. In a sense, the weakest part of the show is that the competition element seems a little unnecessary. The series has already taken place, and the winners and runners-up have been decided. If there had been more competitors from previous series, against whom you couldn’t so easily assess this series’ celebs (imagine if Zoe Ball and Mark Ramprakash had been part of the line-up, for example) the competition would have been more interesting. Nevertheless, it’s churlish to criticise it on those grounds. It’s a terrific lively show, colourful, spectacular, engaging and very funny too. I would certainly recommend it.

Review – Screaming Blue Murder, Underground, Derngate, Northampton, 20th January 2012

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A funny thing happened at the Screaming Blue Murder last Friday night, which is no less than you would expect with a great compere, three excellent acts and two alcohol-fuelled intervals. We’ve not been able to attend the last couple of shows so it was with some surprise that Dan Evans, compering, said he was still on the search for “the man who has been writing about him on the internet”. Mrs Chrisparkle’s penny dropped as she shuddered and whispered “keep quiet!” “So where is this Chris Sparkle?” Dan continued. It was The Moment of Outing. “It’s me!” came my voice from the third row. “You? At last I meet my nemesis!” shrieked Dan as his body contorted in a combination of victory and agony. Aaargh, I thought, this could be a very bumpy ride. But there’s no free speech without responsibility, so I faced it head on. I admit, I have been guilty of whingeing about Dan’s repeating the same jokes time and again in this blog, but then not quite as much as Dan is guilty of the afore-mentioned repeatings.

But actually Dan turned this very much to his advantage and was able to frame the compering of the show around my impertinent requirement for fresh material, which very nicely took the mick out of both of us. There was a great moment during one of his sessions when a lady from the front row suggested he did his joke about Luton and the book. A two-pronged attack! In response to which he did a great routine about why doing that joke would not work – and it was very funny. Maybe that should be a regular feature when Dan is compering in future – a request slot? Someone could ask for their favourite Old-Tyme Dan joke. Might go down a storm. As a peace-offering, at the end he gave me a copy of his book, which was very kind. But I had to return it after the show as I already bought a copy over a year ago.

Anyway, to the acts, and they were really great this week. First was Colin Owens, who had very funny insights into bad sex experiences and a nice line in combining this with his progression to baldness; very bright and inclusive, perhaps with just slightly too long a pause between some of his deliveries that made me think “oh no, please don’t lose it, it’s going really well”; but he didn’t, and it did. I loved his observations about having a Bar Mitzvah at Madame Tussauds.

Second was Susan Murray, who we had seen here before doing a lot of accent-based gags, but who did largely new material (take note!) and handled a heckler very amusingly. Mrs C appreciated her observation that you only have a landline so your mother can ring it. Good stuff, and she kept the act moving really well.

Headline act was local lad Andrew Bird. What a discovery! I don’t think any of the comics who have entertained us over the three years we’ve been coming to Screaming Blue Murder have achieved such gold-standard delivery. His timing was immaculate, pacey and flowing but never rushed, giving just the right window to appreciate the now before moving on to the next; his self-confidence meant you never had a moment’s concern for how he would structure the act although this didn’t mean he was in any way big-headed but instead was immensely likeable; and you really identified with him in the comic situations he described, because his observations were so spot-on. Mrs C and I had a prolonged good laugh walking home as we remembered his account of putting the baby in the dishwasher. It’ll have to be a very special performance that snatches this year’s Chrisparkle award from Mr Bird.

So a great night, with a huge and appreciative crowd, slightly weird for me with my unexpected role in the evening’s entertainment, but we’re really looking forward to the next one!

Review – Moscow State Circus, Babushkin Sekret, Derngate, Northampton, 16th January 2012

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You’re either a circus person or you’re not. When I was young, I wanted to run away and join the circus. When Mrs C was young, she wanted to run away and join a group of travelling accountants. Well, neither of those stories are strictly true, but you get the picture of the difference between us. Last year we – I won’t say “enjoyed” – “witnessed” is perhaps more appropriate – the performance of the Chinese State Circus at the Derngate. Mrs C made me promise absolutely “No More Circuses” as a result. Trouble is, me and the Moscow State Circus go back a long way.I saw them when I was 10 at the Wembley Empire Pool (showing my age), and again in my early 20s at the Dominion Tottenham Court Road, and both occasions they had the legendary clown Oleg Popov, who really was amazing, and who I’m delighted to read is still going strong at the age of 81. So I hoped the passing months would eradicate the bad memory of the Chinese affair and I snuck in these tickets to the Moscow State Circus in the hope that She Wouldn’t Notice Until It Was Too Late.

The Moscow State Circus really is, and always has been in my book, a class above your average circus, and I’m delighted to say I feel my decision to book was fully justified in the light of last night’s performance – and not to say a little relieved. It’s not perfect by any means. Similar to the Chinese State Circus, they do for some reason feel compelled to structure the show around a rather artificial story. Babushkin’s Secret is based on the legend of the Twelve Chairs. You’re not familiar with it? You do surprise me. Whilst it does serve as a framework as such, the twist at the end of the story makes for a very disappointing punchline in circus terms. Much better simply to get on with doing what they do best – circus acts.

Our clowning hosts are Valerik (the straight man) and Valik (the red nosed one), in real life, Valery Kashkin and Valentina Rumyantseva. They strike up a good interaction with the audience and Valerik also proves himself very deft on the stepladder and with a spot of juggling. Comparisons with Popov would be odious, but I did laugh at them, and even Mrs C was occasionally wryly amused.

Taking the acts in order of performance, we had Yana Alieva’s wonderful hula hoop act, contorting herself in a revolving ring high above the stage; then one of the real highlights of the evening, the Four Vassilievs, who do a spectacular horizontal bar act. Two of the Vassilievs are basically used as bar stands, but it is Vassiliev #3 who does the leaping and twirling who has an extraordinary skill.

According to the programme, we should then have seen the “Fat Man” doing his Revolutions; but there was no fat man last night. Maybe he was off sick. Maybe he had lost weight, suggested Mrs C. Instead we had a bonus act of a couple of Wild West rodeo lassoers and whip-crackawayers. Not sure how they would have fitted in to Babushkin’s Sekret, but we’ll move on. They were excellent – and I recognised them later on as the Veslovskiys, headed by Gennadiy Veslovskiy, who did a thrilling rollerskating act.

Then it was the turn of Sasha Doktorov and Yulia Tsurikova, incredibly skilful gymnastic acrobats revolving high above the stage, a very controlled and strong couple. Next was the Rubtsovs Skakalki, a skipping act. It’s much better than it sounds, although to be honest, I felt that if you were a skipper of this level of ability, you probably could have made the act a little more interesting. That’s just me – I’m not over-experienced in the noble art of skipping. To come to terms with her excitement at this act Mrs C started searching her pockets for a dry-cleaning ticket to read.

The second half started with a probably my favourite of the night, High Jinks with Professor Bulakov. I thought it was going to be just another clownish pratfall type act, but it develops into an immensely skilful and funny trampolining act. Won’t give the game away, but do be careful if you’re sat in the front row! Vladimir Georgievskiy is the real Professor Bulakov, and I really loved his act.

Whilst Bulakov and Valerik drown away their sorrows over a bottle of vodka, Katiya Drozdova appears as the doll on the Music Box. This is another contortionist acrobatic act, and she’s highly skilful and watchable. Sasha Doktorov comes back to reach the Twelfth Chair – and it’s an awe-inspiring display of balance and strength. Finally the Rubtsovs came back doing their Flying Jesters routine, a lot of exciting tumbling and crowd pleasing acrobatics.

As we were leaving the theatre, Professor Bulakov was having his picture taken with loads of kids. I was officially jealous. The good news is that, on the strength of this performance, Mrs C said we can see another circus in 2014. If you like your circuses, this one’s a treat.

Review of the Year 2011 – The Second Annual Chrisparkle Awards

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Welcome to the Second Annual Chrisparkle Awards, celebrating the best in entertainment in Northampton and beyond! Every show that I saw in 2011 and that I blogged (actually only one show didn’t get blogged, more of which later) is eligible for one of these delightful – and virtual – awards.

So let’s get on with it, and start off with Best Dance Production.

As last year, I actually only saw three dance productions all year and they were all excellent. But the winner has to be one of our regular favourites, Les Ballets Trockadero de Monte Carlo (aka the Trocks) for their show at the Milton Keynes Theatre in March 2011. I’m awarding joint 2nd place to the other two productions, Rambert’s Awakening tour at the Derngate, Northampton in March and Richard Alston’s current tour at the Derngate in October.

Classical Music Concert of the Year.

We saw five concerts and they were all very enjoyable.
In 3rd place, it’s the BBC Prom we saw in July featuring the City of Birmingham Symphony Orchestra and Chorus playing Prokofiev’s Alexander Nevsky and with soloist Midori doing the Walton Violin Concerto;
In 2nd place it’s the Royal Philharmonic Orchestra at the Derngate with their programme of English Classics and soloist Julian Lloyd Webber in November; but just pipping it
In 1st place it’s the RPO again at the Derngate in May with their Grand Tchaikovsky Gala, and the spectacular solo by Alessandro Taverna of Tchaikovsky’s first piano concerto.

Best Entertainment Show of the Year.

An odd category this; it includes all the non-categorisable productions one sees over the year, including pantos, revues, circuses and so on. And it proved tricky to make a decision, but a decision has been made nonetheless.
In 3rd place, the adult-only Flathampton night at the Derngate in July;
In 2nd place, Theatre MAD’s late night charity show West End Eurovision at London’s Piccadilly Theatre in April; and
In 1st place, the wonderfully varied and superb Burlesque Show at the Royal, Northampton in July.

Regrettably, here comes the first turkey of the year – I am compelled to award a Worst Entertainment Show of the Year; which sadly has to go to the Chinese State Circus show at the Derngate last January, which was so boring and basically pathetic that I couldn’t be motivated to write about it.

Best Star Standup.

A new category for this year. This is to consider the best stand-up comic on a big stage, not the comics who have appeared at the Screaming Blue Murder club (see below). All four of the star comics we saw this year were new to us as live performers, so we saw them with no previous baggage. We thought one of them was a bit disappointing, but the rest were all excellent in their own way. So the top three is:

In 3rd place, Reginald D Hunter, Sometimes Even the Devil Tells the Truth, at the Derngate in November;
In 2nd place, Al Murray’s Barrel of Fun at the Derngate in October; and
In 1st place, Jason Byrne’s Cirque du Byrne at the Derngate in September.

Best Standup at the Screaming Blue Murder nights in Northampton.

I think we’ve seen over 40 comics this year at the Screaming Blue Murder shows. I’m not going to name and shame the few who were disappointing – they know who they are. This was very hard to whittle down to a top 5, and there are many terrific acts who are missing out on their Chrisparkle gong, but here goes:
In 5th place, the Raymond and Mr Timkins Revue (14th October);
In 4th place, Swindon’s own Tony Cowards (2nd September);
In 3rd place, Cornwall’s own Paul Kerensa (4th February);
In 2nd place, the superb comic creation Loretta Maine (13th May); and
In 1st place, the very hilarious Rob Heeney (1st April).

Best New Musical.

Last year we just had a best musical but this year it has been split into Best New Musical and Best Revival Musical. Only three contenders for each award, so here goes:
In 2nd place, Stephen Sondheim’s Roadshow at the Menier Chocolate Factory in August; and
In 1st place, Hamlet the Musical at the Royal in May. Hamlet won the award on the strength that by the interval I knew I just had to have the CD.

Best Revival Musical.

In 2nd place, and fully deserving of great congratulation, was the excellent revival of Avenue Q touring at the Derngate in July.
In 1st place, and fully deserving of even more congratulation, is Stephen Sondheim’s Company at the Sheffield Crucible in December.

No need for a worst musical nomination.

Best New Play/Comedy of the Year.

Again this has been split into new play and revival categories. We saw six “new” plays this year and they were all very rewarding in their own ways, but the top three is fairly easy to agree on.
In 3rd place, Clybourne Park at Wyndham’s Theatre in London in April;
In 2nd place, Diary of a Nobody at the Royal, Northampton, in March; and
In 1st place, One Man Two Guvnors on tour at the New Alexandra Theatre in Birmingham in October.
I also want to give a mention to the excellent Terrible Advice at the Menier which only just failed to get in the top three.

Best Revival of a Play or Comedy of the Year.

Eleven contenders on the shortlist for this award, so there are some great productions who have missed out on a mention.
In 3rd place, The Years Between at the Royal, Northampton in February;
In 2nd place, Hobson’s Choice at the Sheffield Crucible in June; and
In 1st place, Racing Demon at the Sheffield Crucible in February.

Turkey time: Worst play of the year.

Four plays really didn’t come up to scratch in my book: Oxford Playhouse’s Lady in the Van was generally tedious; Warwick Arts Centre’s Government Inspector generally irritating; the Derngate’s Yes Prime Minister generally offensive; but worst of all was Smash at the Menier. How I hated that play.

Best performance by an Actress in a Musical.

For a long time through the year there was only one real contender for this award, but then along came another production and pipped her to the post!
In 3rd place, Samantha Spiro for Company at the Sheffield Crucible;
In 2nd place, Jess Robinson for Hamlet the Musical at the Royal, Northampton; and
In 1st place, Francesca Annis for Company at the Sheffield Crucible.

Best performance by an Actor in a Musical.

The same applies; two excellent performances earlier in the year trounced at Christmas!
In 3rd place, Jack Shalloo for Hamlet the Musical at the Royal, Northampton;
In 2nd place, James Fox for Chess at the Milton Keynes Theatre in January; and
In 1st place, Daniel Evans for Company at the Sheffield Crucible.

Best performance by an Actress in a Play.

Lots of fantastic performances this year but these are the lucky three:
In 3rd place, Marianne Oldham for The Years Between at the Royal, Northampton;
In 2nd place, Zoe Waites for Hobson’s Choice at the Sheffield Crucible; and
In 1st place, Gina McKee for the Donmar’s King Lear at the Milton Keynes Theatre in January.

Best performance by an Actor in a Play.

Again many great performances pass without a mention, but the top three are:
In 3rd place Malcolm Sinclair for Racing Demon at the Sheffield Crucible (and also Rattigan’s Nijinsky at Chichester in August);
In 2nd place, James Corden for One Man Two Guvnors at the New Alexandra in Birmingham; and
In 1st place, Derek Jacobi for King Lear at the Milton Keynes Theatre. Daft really – how can you compare James Corden and Derek Jacobi? I’ve gone with Mr Jacobi’s fresh and insightful reading as opposed to Mr Corden’s onstage fireworks. I also want to give a mention to the excellent Jamie Parker for Racing Demon too.

Best Ensemble Performance by the Company.

This is for where a company works seamlessly together, something I always really admire in a performance!
In 3rd place, Diary of a Nobody at the Royal, Northampton;
In 2nd place, Propeller’s Henry V on tour at the Milton Keynes Theatre in December; and
In 1st place, Hamlet the Musical at the Royal, Northampton.

Favourite theatre of the year.

Very torn. Last year I had no question about awarding the Chrisparkle to the Royal, Northampton. But this year I feel it should go to the Sheffield Crucible for consistency of excellence.

It’s been a great year of theatregoing, thank you for your interest in my reviews and I hope 2012 will be a bumper year of theatre glory!