Tag Archives: Derngate

Review – Ben Elton, Authentic Stupidity Tour, Royal and Derngate, Northampton, 6th November 2024

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The day after the United States voted convicted felon Donald Trump back in for a second term of office, the inventor of political correctness, Ben Elton, brought his Authentic Stupidity show to the Royal and Derngate, Northampton. What a time to be alive! The whole premise of this new show is that, whilst we’re all concerned about the rise of Artificial Intelligence, the damages caused by Authentic Stupidity far outweigh a clever computer; and given recent events, it’s hard to argue against it.

The last time I saw Ben Elton he was hovering around the foyer of the Queen Elizabeth Hall in 1983 at a star-studded evening of music and comedy in aid of the El Salvador Solidarity Campaign. Ah, the happy days of political optimism – boy, we stuck it to the fascists that night. Decades later, the fight goes on, and Mr Elton is still full of fire and fury at the age of 65, although he’s moved on from Mrs Thatch (I think we all have) and has entered that period of bewilderment at the world, that we can all appreciate.

On stage for the best part of two and a half hours, his energy, sincerity and commitment to the show are palpable. He rips through his material at a cracking pace – so much so that occasionally you start to tune out because he just has so much to say. He doesn’t want to turn into a grumpy old man, but he is proof that, with the best will in the world, it’s impossible not to. What’s different about his material from other comics of a similar age, facing similar bewilderment at progress and, dare I say it, woke, is that despite his confusion, he accepts it, admires it, and wants to run with it; he just doesn’t know how.

When, for example, did a meal at a restaurant stop being about the food and service, and start being about vibe? And whilst he is of course happy for the ever-burgeoning letters tacked on to the rainbow acronym to keep increasing, he wonders if he could add BSC to the end of the list (you’ll have to see his show to discover what that stands for).

One of Ben Elton’s many comedic gifts is his ability to go on at length about very relatable subjects and explore their most ludicrous aspects. It’s true, for example, how proprietorial we become when we’ve put our refuse bins outside the night before collection, peering through the curtains to make sure no one’s nicked them, or – even worse – put extra rubbish in them. It’s also true that, when one’s wife wakes up in the night having heard a sound, it’s always the man that has to go and investigate.

He also has a considerably long sequence of material regarding assisted dying, with specific reference to Dame Esther Rantzen’s campaign; these are things you definitely start to think about when you reach your mid-60s. It’s a difficult subject to be funny about, but Mr E achieves it with consummate ease. And you’ll never guess who his favourite James Bond is!

Now he’s reached official retirement age, Ben Elton shows no signs of slowing down – he’s as fired up and as energetic as ever. To keep up that intensity of comic delivery for two and a half hours is a true test of stamina – he’ll need that for the rest of the tour, which continues until February. Highly recommended!

Review – Dom Joly, The Conspiracy Tour, Royal and Derngate, Northampton, 3rd November 2024

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Can you believe it’s 25 years since Trigger Happy TV – which made Dom Joly a household name – first started broadcasting, since when he’s had several TV shows, written many books, and done a couple of live tours. The Conspiracy Tour marks his return to the stage after many years absence and – as he admits himself – is basically a book tour, publicising his new opus The Conspiracy Tourist, where he meets conspiracy theorists around the world from the bizarre to the bonkers, and even the occasionally perfectly sane.

He cuts a commanding figure on stage; relaxed, confident and thoroughly at ease. He maintains he doesn’t tell jokes – probably true – but that doesn’t stop the evening (or the first half at least) from having plenty to laugh at. He presents us with an inverse pyramid of theories; at the upside down apex, ideas which are within a hair’s breadth of reality. At the other end of the scale, stuff that’s completely doolally. And he takes us through a few of these ideas to test their reasonableness, and then raconteur his way through his experiences, trying to prove or disprove them.

For example, did you know that some people think that Finland doesn’t exist? That it’s an invention between the Russians and the Japanese to fish the waters of the Baltic and then secretly transport their catch eastwards? They believe that anyone who says they are a Finn is really a Swede. Hmmm. Well, I’ve been to Finland three times and can attest there is definitely land there. And would they really doubt the word of the great Lasse Viren? That one’s bonkers.

But what about Denver International Airport? No one doubts that its existence, but what secrets might it be hiding? Do you believe in UFOs? Dom Joly’s been to Roswell to find out (so that we don’t have to). And how about the assassination of JFK? At the top of the scale is where the Illuminati sit side-by-side with the Flat-Earthers, and Mr J has even been to Fogo Island, Newfoundland, where that latter group believe one of the four literal corners of the earth is situated (Clue: it isn’t.) There’s no doubt that he’s put the work in to make his book a definitive account of conspiracy theories and, as a comedy lecture, the first half works well.

However, after the interval things fall apart somewhat. After a lengthy introductory video, we meet Dr Julian Northcote, conspiracy theorist extraordinaire, who regales us with a few stories and attempts to prove his ridiculous ideas. Spoiler: it’s Dom Joly in a wig and glasses doing what feels like an impersonation of a Harry Enfield character. Once he’s been bundled off stage for improper behaviour, Mr Joly returns for a Q&A session; this always strikes me as being a way of a performer saying I can’t quite work out how to end this show, so you end it for me. There were a few questions about conspiracy theories, about which Mr J was rather dismissive, I thought; and a few questions about the Trigger Happy days with which he was more comfortable. It ended with a final look at conspiracy theories and the promise of an assignation in the foyer to buy his book and take selfies. And, to be fair, he had quite a queue forming when we left.

A curate’s egg of an evening, but when Mr Joly gets going on the subject of his expeditions to sort the wheat from the conspiracy chaff, he’s on great form. Only a couple more shows left of his tour now – in Carlisle and Stockton-on-Tees.

Review – Our Little Hour, Royal and Derngate, Northampton, 31st October 2024

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If you made a list of people who really ought to be famous in Britain’s recent history – but aren’t – Walter Tull would be somewhere near the top. A local hero in Northampton, we have a statue of him at the Guildhall, and there’s a Walter Tull House and even Walter Tull Way skirts around Northampton Town’s football ground at Sixfields. But who was he?

That’s the question that Dougie Blaxland and Chris Anthony answer in their quite brilliant and intimate musical play Our Little Hour, commissioned by Show Racism The Red Card in association with Live Wire Theatre, and currently ending its run with three nights at the Royal and Derngate. Walter Tull was one of five children born in Folkestone, in 1888 to Barbados-born Daniel and Alice; when he was seven Alice died of cancer and his father remarried Clara, her cousin. They had another child, but then Daniel died shortly afterwards. Clara found it impossible to look after the entire family, so Walter and his older brother Edward were sent to a Home in Bethnal Green.

The play takes us from Walter’s carefree early childhood days, through the heartache of losing his parents and being sent away to a strict orphanage, to his successful football career. Walter always had an impressive talent for football, which came to fruition when he played first for non-league Clapton, then Tottenham Hotspurs no less, and finally moving to Northampton Town (big local cheers) where he settled down – and fell in love with his landlady, Emily, in Rushden. But then the First World War came, and Tull enlisted with the Army. He rose to prominence with his gallantry and leadership skills, becoming the first black Commissioned Officer in the Army. His bravery on the Italian Front led him to being recommended for the Military Cross; but he was killed in action in March 1918 before it could be awarded.

On a simple set, with just a few props but some very effective lighting, the cast of three enact the life of Tull with superb characterisations, impeccable clarity of speech and stunning vocal harmonies. Dougie Blaxland’s text is elegantly written and deals with difficult subjects like racism, injustice and grief with subtlety and delicacy, and Chris Anthony’s score dovetails perfectly into the story, and, like any good musical, always drives the narrative forwards. It reminded me strongly of arguably the best show in the genre, Howard Goodall’s The Hired Man, with its piano accompaniments and plaintive storytelling; and whilst it doesn’t have the impact of that groundbreaking show, it still packs a punch. That’s not a grotesque, painful punch, but a graceful, subtle punch that always lands its blow with precision and a lightness of touch. An example of this is the scene where Tull is writing home from the Front – his letters to Emily talk about how beautiful the countryside is and what the food is like; and are recited side-by-side with his letters to his brother which tell the brutality of war.

Leon Newman, Neil Reidman and Susie Broadbent work together as a seamless ensemble of three but also shine in their own individual roles. Mr Newman is outstanding as Walter, exuding a charismatic nobility and honesty that truly impresses. He is also excellent as the firm but fair Reverend in charge of the Folkestone church and who deposits the Tull boys in the orphanage; and as the Glaswegian Warnock who adopts Edward Tull – who himself went on to become the first mixed-heritage person to qualify as a dentist in Britain.

Susie Broadbent gives us a terrific range of characters including Alice and Clara Tull, the no-nonsense matron at the orphanage, and a very funny contribution as the manager of Spurs. Neil Reidman is great as the spirited (and spiritual) Daniel Tull, the orphanage boss, and as Herbert Chapman, the manager of Northampton Town. It’s impossible to list all their roles, because there are so many, each one clearly characterised so we never have any doubt as to whom they are portraying.

If I have a criticism, it would be that it’s a little hard to get a sense of the timings involved in Tull’s story. The play doesn’t, for example, convey the fact that Tull played for Northampton for four seasons with 111 first-team appearances; it feels more like he was only there briefly before the war started. And Emily mispronounces the name of the River Nene, which is a capital offence in Northampton! At times extremely sad, but also extraordinarily uplifting, this is a beautiful, simple but impressive production which fills a gap in our history. The run ends on Saturday 2nd November, but hopefully this marvellous show and its terrific performances will have a life in the future.

Five Alive, Let Theatre Thrive!

Review – Never Let Me Go, Royal and Derngate, Northampton, 24th October 2024

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Never Let Me GoI’d neither read the original book of Kazuo Ishiguro’s Never Let Me Go, nor seen the film, so had no expectations of what might be in this play, co-produced by the Royal and Derngate, Rose Theatre, Bristol Old Vic and Malvern Theatres. Suzanne Heathcote’s excellent stage adaptation is a complicated, multi-layered story that develops on a number of timescales and in many different locations, and this production tells its tale with admirable clarity.

The CottageThis England of the 1980s and 90s is a country with a subset of non-people, cloned with the sole purpose to provide organs so that the “real” inhabitants can survive disease, catastrophe and the aging process. These subhumans are separated from the earliest age, brought up and educated separately, designed to go straight from school to “the cottages”, where, rather like the characters in Pulp’s Common People, they “dance and drink and screw because there’s nothing else to do”.

DonationThey then become carers for those starting their donating “careers”; and once they get called up they spend their lives in and out of hospital, having organs removed with no regard for their own needs. Occasionally they don’t survive the first harvesting, and it’s pretty much accepted that no one gets past their fourth donation-transaction. They don’t then die, they complete. There’s no sympathy for this subset of people, and in fact they’re pretty much despised by the public. It’s a horrendously savage and bitter take on the human condition, and I found the story profoundly unsettling, unpleasant, and above all, sad.

Clone KidsOne of the most quotable quotes I ever heard was the playwright Edward Bond, in his original author’s note accompanying his play Saved: “Clutching at straws is the only realistic thing to do.” And it’s true; we do spend our lives clutching at straws, whether it’s the hope that “everything will be alright in the end”, or that the awful job will get better eventually, or that if we say our prayers we’ll go to heaven. Ishiguro’s characters, given an unusually artistic and rewarding education at the private Hailsham School, are led to believe that if they excel at art, their works will be displayed in a gallery; others can see into their souls and if it’s clear that they are in love, they may be granted a deferral from their eventually unavoidable purpose in life. Clutching at straws, indeed.

Carer and DonorThe story concentrates on Kathy H (none of the clones have surnames, just identifying letters) who takes to the role of carer with an enthusiasm and commitment that the others simply lack. The play starts with her taking her latest donor through his procedures, but when he finds out that she went to Hailsham he is curious to know more about what it was like. Thus the narrative takes us back to her schooldays, the early friendships and rivalries, and the relationships with the guardians. It then progresses through her time at the cottage, and into being a carer for several years. But there’s never any doubt as to her eventual fate, and the play nicely ends where it starts with the same actor who was her donor in the first scene now being her carer in the last.

Nice setThere’s much to admire in this production. Tom Piper’s set, ostensibly located in a hospital, with five double doors in a semi-circle, also doubles up beautifully as the school and other locations; combined with Joshua Carr’s lighting and Carolyn Downing’s sound, it also conveys beautifully the wide expanse of beach that provides a brief moment of respite for Kathy, Ruth and Tommy.

Ruth, Kathy and TommyThere are also some fantastic performances from the busy cast, many of whom take on several roles. Nell Barlow is superb throughout as Kathy H, rarely off stage, an upbeat characterisation of someone who sees the best in others and always tries to accentuate the positive, even when it causes her own personal pain and grief. There are also brilliant performances by Angus Imrie as Tommy D, the sporty Hailsham kid who had anger management issues and always carries a torch for Kathy, and Matilda Baines as Ruth C, Kathy’s childhood best friend who barely suppresses a cruel and manipulative streak. There’s a moment when the adult Kathy and Tommy locate Hailsham head guardian Miss Emily, who explains some of the background that they could never understand as children. Susan Aderin gives an agonisingly heart-wrenching performance as Miss Emily in this most thrilling scene of the play. But the entire cast give an excellent performance throughout.

Kathy and RuthThere is one directorial affectation, however, that drove me to distraction. Almost every scene ends with a character saying the first line of the next scene. That may not sound like much of a problem, but in practice it exasperated me – an unnecessary, and regularly predictable gimmick. I couldn’t see the point of it at the time, and I still can’t. In fact, it set my back up so much that I found it hard to warm to the production until after the interval, when the device is used less frequently. That aside, it’s a thought-provoking, powerful play that poses many questions about the purpose of life and our relationships with each other. Having started life at the Rose Theatre Kingston, it is just about to end its run at the Royal and Derngate Northampton, but its tour continues to Malvern and the Bristol Old Vic, finishing at the Chichester Festival Theatre at the end of November.

Production photos by Hugo Glendenning

4-starsFour They’re Jolly Good Fellows!

Review – Russell Hicks, Happy to be Here, Royal and Derngate, Northampton, 20th October 2024

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It’s been ten years since we first saw Russell Hicks, since when he has been a mainstay in our comedy list of must-see favourites. A regular pop-up at comedy clubs, this is his first proper UK tour; it’s ten years since he moved here, and he’s clearly decided that he’s Happy to be Here (as that’s the title of the show). Of course, all proper UK tours have a support act; and his is Russell Hicks, in the form of an introduction, who comes on for twenty-five minutes for a bit of banter and get-to-know-you. After the interval he returns as Russell Hicks, headliner, where he actually appears to have some pre-prepared material. I know! I couldn’t believe it either.

If you’ve seen him before, you’ll know that he’s all about reacting to whatever accidental comedy gems the audience throws at him – and he’ll run with them as surely and swiftly as if Usain Bolt were nipping at his heels. The man has an extraordinary memory and attention to detail; the tiniest fact that might have been briefly mentioned an hour and a half earlier and to which no one paid any real attention, will suddenly reappear as a callback from the Gods. An undeniable fact: sit anywhere near the front and it’s likely you will be part of the action. Fortunately, he comes across as hugely likeable, so he can get away with the most merciless of teasing; and whilst he does have a slight sense of danger about him, none of his humour is ever cruel. In fact, the badinage is often supportive and kindly.

From conversations with audience members, we learned how Iain is a football darts kind of guy, Marco is from Germany but has an Italian name because it was trendy at the time, Sam is a 20 year old electrician with the world at his feet, Danielle and Ryan were probably at it in the car during the interval, the man from Turkey has been here 29 years and is with Him Tim, and the couple in the front row had separate children (and pets) and lived in Rushden, which, apparently, is located just on the other side of the emergency exit. The show is nothing if not informative.

As indicated earlier, it’s not all audience-riffing. Ten years of living in Britain has revealed to him the true British behaviour on board trains – especially the late night ones, the nonsense of him passing his driving test on Skye, the differences between boy and girl children, and an appreciation for all the accents that the United Kingdom boasts. Such a shame he can only do one of them – norf London geezer (or for women, Essex girls). A brief brush with American politics shows why he can’t really disapprove of Donald Trump – it’s a tongue in cheek moment, don’t worry.

Above all, he is really happy to be here, and we’re very happy to have him. All that thinking on his feet must be exhausting – as a result no two Russell Hicks shows are ever the same, but they’re always full of laughter. As an example, he must have mined at least ten minutes of material from speculating on the differences between shows in the Royal (very aspirational), in the Derngate (not at all aspirational), and in what he called the Cinema Room, where he found himself – in reality, the rather unforgiving Screen 2 of the Northampton Filmhouse, whose career as a comedy venue will hopefully come to an end soon when the Underground finally reopens after they’ve got rid of all that RAAC. Whatever the venue, as an Official Hicksie (that’s what we are, apparently), he’s always welcome. The Happy to be Here tour continues on-and-off throughout the UK until April 2025, and you’d be daft to miss it.

Review – My Eyes Are Up Here, Sarah Keyworth, Royal and Derngate, Northampton, 27th September 2024

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What a remarkable ascent up the greasy pole of comedy success Sarah Keyworth has achieved over the last couple of years! It was only last September that we saw them at the Charles Bradlaugh pub in Northampton. Now they are taking their successful Edinburgh show on tour around the country, including a sold-out date at the London Palladium next February! That’s some achievement, and fully deserved for what must be one of the most assured comedians on the scene.

But first, our support act was Louise Atkinson, a bright and boisterous stage presence who grabs our attention from the start. Instantly likeable, she blames her behaviour on the fact that she lives by herself and so needs to talk to people whenever she can. She engaged the services of front row ex-policeman Stuart to alert her when she might trip over her microphone wire or potentially split her trousers; he was to shout Bollock! if it was to happen; she didn’t, but he did. She describes herself as the Yorkshire Shakira – it’s all in the hips – and has some brilliant material about the way people look, and much more besides. She offered us an alternative ending to her show – we opted for a mind blowing way of showing passive aggression in a text. Very funny throughout, we’d look to see her doing a full show if the opportunity arises!

As soon as Sarah Keyworth walks out on stage, you know you’re in for a good time, because they’re just so amazingly reassuring to the audience. They were obviously very well brought up in a very nice family, because their innate politeness just shines through, both in the pre-prepared material and any off-the-cuff interaction with the audience. If they talk to you, it’s always thank you for coming and lovely to meet you and it is a genuinely welcoming feeling; you never get the sense that it’s put on just for the show. That makes their brilliant routine about the pitfalls of managing a lesbian foursome even more hilarious, because you can just imagine them trying to be the perfect host, making sure everyone has all their needs attended to.

At the heart of My Eyes Are Up Here is the story of the elective surgery that Sarah Keyworth had last year to have a double mastectomy. This is never something that anyone would undertake lightly. It seems that ever since they were a child, Sarah has rebelled against anything girly, including wearing the horrible dress that constituted their first school uniform. Their hero – as far as an ideal body look was concerned – was their older brother Tom, and you can tell they are genuinely thrilled to be looking more like him than ever before.

Although there is a serious element to the show, it is also crammed with heaps of fun and the laughs come thick and fast. They have a brilliant positive spin that they put on any negative comments received by online trolls, plus a moment or two to celebrate good men which is nothing if not inclusive, and a wonderful account of inviting a male stripper to a hen do in a Devon caravan. Much of their material reverts to their relationship with their mother, who sounds like a most remarkable woman, and there’s an amazing feelgood ending to the show which makes everyone go home feeling happy.

Sarah Keyworth’s My Eyes Are Up Here UK and Ireland tour continues through till March 2025, but with many venues already sold out; and don’t even think of trying to come to the Palladium.

Review – Screaming Blue Murder, Screen 2 at the Filmhouse, Royal and Derngate, Northampton, 15th September 2024

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Forgive me Father, it’s been four months since my last Screaming Blue Murder. And haven’t things changed since then? Sadly, not all for the best (frankly, not at all for the best), but more of that later. One aspect that remains as constant as the Northern Star, is the presence of MC Dan Evans, the host with the most; indeed, one sometimes wonders where we would be without him. As always, Dan got to grips with discovering the ins-and-outs of the audience members, including the young man who worked in the warehouse and his other half who worked in The Artichoke (don’t know it, but it sounds posh), and the man from Rugby who accidentally arrived a week early for a show in the Royal, but thought he’d take his chance with a spot of comedy instead.

Our first act was Becky Umbers, a diminutive New Zealander with a bright personality and a gurgly voice. I’m not being rude here – Ms Umbers devotes at least 30% of her act to various observations about her vocal tones; she readily admits even other New Zealanders can’t understand her sometimes. She has a nicely confiding style and some unique stories, all of which, you sense, are probably pretty much true. It’s with a certain degree of shame that she tells us of the road trip where – basically – she knocks down a kiwi; no, not one of her fellow citizens but a real kiwi, which is probably a worse crime as they’re endangered. Delivered with confidence and an endearing personality, it was slightly low on laughter, but that was probably due to the size of the audience (clue: it wasn’t a big audience.)

Next up we had Gbemi Oladipo, a lively Nigerian in a jumper almost as loud as him. He bursts forth on the stage with no holds barred and delivers a serious of sharply comic observations with attack and a huge sense of fun. He plays off the audience with ease and is quick to pick up on any verbal (or even visual) reactions anyone might have to his stories. I loved his material about the ignominy of dying on a Ryanair flight, and why, at his age, he’s decided it’s time for him to start drinking. He has a very engaging stage persona and we’d be very happy to see him again.

Our final act was… no, there was no final act. Since Screaming Blue Murder has transferred to the Filmhouse – temporarily we hope, whilst the Underground space is finally made safe from all that RAAC – it’s bucked the trend of most other comedy nights and gone from three to two comedians (but for no reduction in ticket price, I notice). To be fair, although Screen 2 is not the ideal venue for a comedy night, needs must and it has enabled Screaming Blue and other comedy performers to continue to come to the Royal and Derngate throughout this period; keeping the brand alive, so to speak.

But there are other signs that standards are declining. Nothing to do with Mr Evans or the acts who are appearing; but simple things like a confusion over when the show should start (7.30pm on the ticket, 8.00pm on the website), the music playing as you enter the auditorium was extracts from Madame Butterfly (we had that at my mum’s funeral – not very conducive to loosening one’s chuckle muscles), moving from Friday night (carefree) to Sunday night (a school night) and scheduling SBMs so that they clash with big names next door in the main theatre – Milton Jones had a full house in the Derngate at the same time. The audience at last night’s Screaming Blue numbered about 22, which is frankly pitiful; what’s worse is that it was probably the largest audience in there since the move to the Filmhouse.

Screaming Blue Murder has such a fine tradition of providing excellent value, top quality comedy shows that it’s a real shame that it’s suffering in this way. The one thing that would improve the experience would be for more people to attend, so come on, people of Northampton, Your Screaming Blue Needs You! But a return to three comedians would also be an improvement – it’s a standard structure for a comedy show with proven success. Get the basics right, and happy comedy nights will follow! Having said all that, we can’t come to the next show on 13 October, which is a shame because it features the superb Markus Birdman and Jenny Collier, so it will be a riot. But you should!

Review – Pretty Woman, Royal and Derngate, Northampton, 9th September 2024

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I admit, gentle reader, that I had low hopes of this touring production of Pretty Woman The Musical. I have vague memories of seeing the film over thirty years ago, and it was enjoyable but, for me, not remotely memorable. Then when it was announced a few years ago that the film would be turned into a stage musical, once more I despaired at the lack of originality in writing new musicals; must they always be rehashes of movies? Doesn’t the world have enough recycled juke box musicals?

CompanyBut that was the theatre snob in me talking. With no prior knowledge of anything to do with the stage show, I was surprised – and delighted – to discover this is not a juke box musical at all. All the songs (except Roy Orbison’s Pretty Woman, more of which later) are original and written by that highly successful singer/songwriter Bryan Adams and his regular co-writer, Jim Vallance.

Edward and VivianIt’s a fairly faithful adaptation of the original film: rich executive Edward Lewis stumbles into a relationship with sassy but hard-up sex worker Vivian Ward because a gearstick in a car is just too much for him to cope with, and she knows how to work one. He pays for her to stay with him for a week at the Beverly Wilshire Hotel, he buys her some top quality outfits, she accompanies him to a few social events (where business deals are closed, of course) and all seems to be going well between them. But then he admits to his lawyer, Philip Stuckey, that she’s neither corporate spy nor business wild child, but a prostitute whom he picked up on Hollywood Boulevard. Stuckey’s no gentleman and instantly reveals to Vivian that he knows all about her. Betrayed, Vivian determines to return to her usual work and lifestyle; but surely it has a happy ending?

Mr ThompsonDavid Rockwell’s design creates a sense of Beverly Wilshire elegance with just some simple scenery set against vivid primary colour backgrounds, beautifully lit (or indeed, deliberately not lit) by Kenneth Posner and Philip S Rosenberg’s lighting design which creates atmospheric silhouettes of the performers to contrast with those luscious warm colours. True, the palm trees seem a little wobbly at times, but, you know, that’s the magic of theatre. Jerry Mitchell’s original choreography is fresh and quirky; elegant for the posh hotel setting and streetwise for the down-at-heel Hollywood Boulevard scenes. Tom Rogers’ costume design gives Vivian some outfits to die for – that red opera dress is surely a keeper – and Griff Johnson’s musical direction beefs out the songs with rocky pizzazz and a lightly humorous touch.

Happy Man and CompanyThe score has a few forgettable songs but plenty of others that both light up the stage and linger in the mind: Vivian’s opening song Anywhere But Here, and Edward’s Something About Her both set up the story beautifully; Edward’s Freedom is a glorious piece of music, and the finale number Together Forever provides a great finish. Bizarrely, given all the original music that precedes it, the use of Pretty Woman as the post-curtain call number seems strangely anachronistic and out of place – and doesn’t come across with the same level of energy as the rest of the score. But I guess the title of the show means it’s compulsory! I must include a word here about the sound quality; sometimes in these big shows there’s some over-amplification and undesired reverb, so that you can’t hear the words. Not a bit of it in Pretty Woman – it’s as clear as a bell, performed at a perfect volume and a delight to listen to.

Happy ManThere’s a refreshing element of fourth wall breaking, primarily relating to the presence of Strictly Come Dancing alumnus Ore Oduba, who’s required to put in a lot of pretty nifty dancing; he gives a tremendous performance as the Happy Man (a kind of Hollywood Everyman character) and Mr Thompson, the Hotel Manager, regularly recognising that the audience has come to see a show and that they’re the ones performing it. There’s a very funny start to Act Two when one of the ensemble comes on stage to start a rousing performance of the song Pretty Woman, much to the crowd’s delight, only for Mr Oduba to intercede and put a stop to it. If you’re going to create artifice, you might as well revel in it.

Kit and GiulioAmber Davies is superb as Vivian; funny, cheeky, unpredictable and streetwise – yet, when the moment requires it, supremely elegant and classy. She has a terrific stage presence, and her voice is stunning. There’s an excellent chemistry between her and Oliver Savile, as Edward; again, he has a fantastic voice, and they harmonise perfectly. Natalie Paris brings power and comedy to the role of Kit, and there’s great support from Ben Darcy as a surprisingly evil Philip Stuckey, FinaleLila Falce-Bass (on her professional debut) who gives us a crowd-pleasing opera-singing Violetta, and Noah Harrison, whose impish bellboy Giulio steals every scene.

The tour started almost a year ago, and after this week in Northampton, has just a couple more dates now, in Leicester and Sheffield, finishing at the end of September. Great commitment and performances from the ensemble and all the cast make this a thoroughly entertaining treat night out.

Production photos by Marc Brenner

4-starsFour They’re Jolly Good Fellows!

Review – Madagascar the Musical, Royal and Derngate, Northampton, 18th July 2024

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There was a very excitable buzz at the Royal and Derngate for the opening night of Madagascar the Musical, a stage spin-off from the successful 2005 film, which has been touring the world for the past six years. And although we didn’t have any children to bring with us to the show, the enthusiasm and enjoyment of those present was very contagious!

MadagascarIn case you don’t know; four special friends live at New York’s Central Park Zoo – Marty, the zebra, Gloria the hippo, Melman the giraffe, and, star attraction at the zoo, Alex the lion. Marty pines for a lost life in the wilds of Africa, rather than being clamped behind bars in a zoo – not that his other friends are bothered by it at all. However, when the penguins decide to escape to Antarctica, Marty decides he’d like just a day of freedom and so makes a break for Grand Central Station with the intention of visiting Connecticut. When the others follow him, they end up captured and sent on a ship – and when they get off, they’re in Madagascar! Julien, king of the lemurs, allows them to stay at his encampment, but the adventure does not stop there…

AlexFrom an adult point of view it’s all too easy to pick holes in the story, but I’m sure this is not an issue for the show’s target audience – which I would estimate to be around 4 to 10 years old. And there’s still plenty for everyone to appreciate. Tom Rogers’ vibrant, colourful set gives a good sense of the different locations and allows loads of space for the characters to get some good singing and dancing in. The costumes are also colourful and good fun, and there’s some enjoyable puppetry representing the penguins, the chimp and the lemurs.

MartyThe show does highlight a few important messages that you’re never too young to appreciate. I particularly enjoyed the opening, which started with the Born Free theme but then showed Marty being incarcerated in the zoo against his will. And there’s a recurrent theme about how valuable good friendships are, and the importance of trust and loyalty. Even when the starving Alex can’t help but look at Marty as a potential meal, and though Marty is terrified by the danger he knows he is in, he nevertheless continues to be loyal to his best friend. It’s all rather charming really.

Gloria and MelmanThe characterisations are very entertaining; Jarnéia Richard-Noel’s Gloria is a fun-loving, boisterous hippo but with a streak of common sense, Joshua Oakes-Rogers’ hypochondriac Melman is obsessed with his health and avoids aspartame, Francisco Gomes’ earnest Marty is honest, decent and loves to party, and Joseph Hewlett’s Alex is the vainest of lions but incredibly friendly and polite; giving Marty an “Alex the Lion” t-shirt on his birthday is just typical of the man. Lion. I mean lion.

King JulienAnd then there’s Karim Zeroual’s hilarious presentation of King Julien, wearing a deft costume that initially denies common sense but allows him to move it move it with the best of them! Which brings us on to the music, an essential element of the fun of the show, together with the excellent dancing and choreography.

Marty and AlexI confess I didn’t have much hope for this show, but it exceeded my expectations enormously. We came away with a smile on our faces, a spring in our step, and memories of a few very funny scenes. And, by the sound of the uproarious reception it received at the end, we weren’t the only ones. I know comparisons are odious, Marty and Penguinsbut if you compare this show with, say, Shrek the Musical – this one comes up tops for production values, performance and message.

Madagascar the Musical continues at the Royal and Derngate until Sunday, then on to Nottingham, Southend, Glasgow, Aberdeen and Southampton. It’s lots of fun – and the youngsters will love it.

Production photos by Phil Tragen

4-starsFour They’re Jolly Good Fellows!

Review – Birmingham Royal Ballet BRB2, Carlos Acosta’s Classical Selection, Royal and Derngate, Northampton, 25th May 2024

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Almost thirty years ago (gasp!) the Royal Ballet started their occasional touring production of Dance Bites; regular visitors to the Swan Theatre, High Wycombe (our nearest decent theatre at the time) over a period of four years we enjoyed the likes of Darcey Bussell, Adam Cooper, Jonathan Cope, Deborah Bull and the two Billys (Trevitt and Nunn) performing short, stunning pieces, largely choreographed by the new young stars of the day. They were fantastic nights out, and the memory of them remains a true pleasure.

Fast forward to today, and Carlos Acosta has put together a programme of twelve short pieces for his Classical Selection tour, performed by some of the younger members of the Birmingham Royal Ballet – BRB2, a name modelled, no doubt, on the fantastic NDT2, the youth department of the Nederlands Dans Theater who have always been at the forefront of showcasing their young dancers. So we were very much looking forward to seeing what BRB2 can do – and it was a thrilling performance.

With a combination of recorded soundtracks and live music from Jeanette Wong on the piano and Antonia Novais on the cello, the dancers covered a whole range of styles from the ultimate classic Swan Lake to modern interpretations of Edith Piaf and Jacques Brel. The first half of the show was devoted to traditional classical ballet – with just a hint of modernity; the second half to contemporary dance – with just the occasional hint of classicism. It’s a superb blend.

The presentation of the show is refreshingly unstuffy. I’m a big fan of going full pelt on classical ballet, with several dancers modestly surrounding the main performer and graciously recognising their talent, pausing for a round of applause every few minutes. It’s stylised, rewarding, and unique. But the presentation of this show is the complete opposite – and it really works. The curtain rises to reveal a long barre at the back of the stage, towards which the dancers unceremoniously make their way, change out of their day clothes and do a gentle warm-up, whilst chatting to and supporting each other. Then a curtain falls in front of the barre and the first pair of dancers emerge to perform their piece.

When it’s over, they take their applause, and then we see them make their way back to the freshly revealed barre, clearly discussing how the performance went. This structure continues throughout the first half; in the second half, the barre is occasionally removed for a blue background that provides the scenery for a few short dances that merge into each other. At the end, they all return to the barre, pack up their dance bags and drift off into the wings. It’s a very unshowy approach, very much in keeping with the youth of the performers. And don’t worry, you do get the chance to give them a final big round of applause at the end.

The first dance was the pas de deux from Rhapsody, choreographed by Ashton, and danced superbly by Alisa Garkavenko and Mason King; then came the pas de deux from La Sylphide danced with charm and grace by Sophie Walters, and a bravura performance from Tom Hazelby. Next came the Act II pas de deux from Swan Lake, with Maïlène Katoch exquisite in her balance and expression, faultlessly supported by Alfie Shacklock: for me the best partnering of the first act. Alexandra Manuel and Oscar Kempsey-Fagg then performed Dying Swans. Not just the traditional Saint-Saëns/Fokine swan but accompanied by an Acosta-choreographed contemporary addition; I was uncertain of this duet at first but quickly realised how clever the updating of it is. The first act finished with the return of Alisa Garkavenko and Mason King in the pas de deux from Diana and Actaeon; both on terrific form and with some crowd pleasingly elegant and dynamic solos.

After the interval, the mood changed with the return of Alexandra Manuel and Oscar Kempsey-Fagg in Ben Stevenson’s End of Time, performed to the third movement of Rachmaninov’s Cello Sonata in in G Minor. Simply but stunningly staged, it was another immaculate performance of a truly powerful dance. The mood then changed again as the set became an Argentinian nightclub with Gustavo Mollajoli’s crackingly exciting A Buenos Aires, a cunning combination of tango with classic and contemporary styles, rivetingly performed by Maïlène Katoch and Tom Hazelby. Then Ariana Allen performed a truly eloquent solo to Edith Piaf’s Je ne regrette rien, followed by an (almost) show-stealing dance by Jack Easton as Brel’s drunken antagonist in Les Bourgeois, combining brilliant dance with comic characterisation.

The final three pieces were a simply romantic dance to the second intermezzo of Bizet’s Carmen, choreographed by Carlos Acosta and movingly danced by  Alexandra Manuel and Oscar Kempsey-Fagg; then a more challenging modern piece choreographed by Will Tucket entitled Mirrored, danced by Frieda Kaden and Jack Easton to music by Ravel. The finale came with Jorge Garcia’s joyful Majisimo, with four couples dancing to several styles from across Spain in a combination of classical and contemporary choreography – a true crowd pleaser to finish.

It’s a terrific way to expose the younger dancers to a variety of styles and audiences, and they all thoroughly earn their stripes! These are not ballet stars yet; but many of them will be. If I were to highlight the dancers whom I think have the full potential to make it big, I would plump for Alexandra Manuel, Maïlène Katoch, Jack Easton and Tom Hazelby; but everyone gives an immense performance and show the Birmingham Royal Ballet to be in the rudest of health! Their tour continues to Canterbury and Peterborough – very well worth catching!

4-starsFour They’re Jolly Good Fellows!