THE MOUSETRAP - THEATRE REVIEW

THE MOUSETRAP AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Monday 27 May - Saturday 1 June 2013

Performance Reviewed: Tuesday 28 May

Reviewed by Kyle Pedley

As one of her most prolific and familiar works, The Mousetrap is quintessential Agatha Christie fare and for those few who are not already familiar with the production or its story, they should nonetheless have a good idea of what to expect going in. A group of assorted strangers stranded in a stately guest home, each bringing their own particular brand of suspicion and secrets to the fray, links to a tragedy of yesteryear and a much more recent strangling nearby, enough red herrings and twists to keep Marple or Poirot on their feet, it remains in many ways the archetypal and definitive murder mystery experience, and yet one that has defied the odds (Christie herself initially predicted the show would only last 8 months) and evolved into something of a curious, almost inexplicable paradox and enigma in and of itself - a murder mystery play with a single outcome that has nonetheless gone on to become the longest running show of any kind anywhere in the world. Ever. And now, as a further testimony to its longevity and success it is being celebrated with this diamond anniversary production, which itself is quite surprisingly the first time the show has toured the UK.

THE HANGOVER PART III - FILM REVIEW

THE HANGOVER PART III

Release Date: 23 May 2013 (UK)
Director: Todd Phillips
Running Time: 100 Minutes
Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, John Goodman
Screening Reviewed: London FDA Press Screening

Reviewed by Henry Kelly

The Hangover was one of the big suprise hits of 2009; a shock filled R-rated comedy with an incoherent yet likeable plot that had an instantly relatable ethos to anyone who had woken up after an alcohol fueled night of regret. A more divisive sequel followed in 2011 and now with the release of The Hangover: Part III the franchise is concluding. With that conclusion comes the expected resolution and reflection of its central characters. The main problem this presents is simply that the first film never had anything particularly meaningful to say, meaning director Todd Phillips and co-writer Craig Mazin have to inject some heavier ideas that attempt to widen its dramatic approach but stunt the films comedic potential in the process.

The Hangover: Part III begins with an action set-piece that in many ways sets the tone for the rest of the movie. Chow (Ken Jeong), a minor character in the original, but now a featured protagonist, escapes from a Bangkok prison in the midst of a dangerous riot. It’s a well shot and adequately thrilling opening, but one that certainly doesn’t feel like the beginning of a comedy film. The proceeding plot then diverts from the norm of revolving around a central wedding, and rather instead focuses on Alan’s (Zach Galifianakis) descending mental state and Chow’s escape from prison that coincide to send the Wolfpack on another adventure. 

SPAMALOT - THEATRE REVIEW

SPAMALOT AT THE PLAYHOUSE THEATRE, LONDON

Theatre Run: Continuing
Performance Reviewed: Monday 20 May 2013

Reviewed by Kyle Pedley

It’s impossible to deny the massive cultural impact Cleese, Idle, Palin and pals had on the comedy landscape with their brilliantly original and decidedly before-it’s-time output of the 70’s, 80’s with Monty Python and beyond, and it’s no hyperbole to say the impact of their invention and inspired ludicrousness can still be felt in a swathe of comedy performers, shows and writing to this day, so it is with little surprise that Spamalot remains one of the most eccentric, self-reflexive and downright postmodern shows in the West End. It is also a heck of a lot of fun, being disarmingly witty, frequently hilarious and gloriously silly from the off. Loosely following (or ‘lovingly rips off’ as the show prefers) the plot of the 1975 Python classic Monty Python and the Holy Grail, following the exploits of King Arthur and his colourful troupe of knights on their hunt for the titular chalice, consequently replicating some of the films most beloved sequences whilst allowing for cameos from favourites such as the The Black Knight (complete with detachable limbs) and the shrubbery-demanding ‘Knights who say Ni’. 

DERREN BROWN: INFAMOUS - TOUR REVIEW

DERREN BROWN: INFAMOUS AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Monday 13 - Saturday 25 May 2013

Performance Reviewed: Thursday 16 May

Reviewed by Kyle Pedley

The shows of Derren Brown are oft difficult beasts to judge and review - partly because to divulge too much in the way of details and happenings would not only ruin the experience but also given the inquisitive and at times bafflingly cranial nature of the set pieces, mental gymnastics and psychology he employs any attempts to suitably explain or articulate what you can expect to see and experience would doubtless do the man, his showmanship and craft a disservice.

9 to 5 THE MUSICAL - THEATRE REVIEW

9 TO 5 THE MUSICAL AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Monday 13 - Saturday 18 May 2013
Performance Reviewed: Tuesday 14 May (Press Night)

Reviewed by Kyle Pedley

9 to 5 The Musical returns to the Midlands, and indeed (A)musings this week as it begins its tenure at the Wolverhampton Grand Theatre, bringing with it its irrepressible slice of fun, sass and spirit that has lost none of its fire since I last reviewed the show back in December. For those who have not yet experienced the production, practically all of what was said in the original review still holds true, and for those who have, this is definitely a show that holds up to a second viewing perfectly - so winning and vibrant are the performances, catchy and peppy the showtunes and set pieces and generally infectiously feel-good is the evening as a whole. 

MIDNIGHT TANGO - THEATRE REVIEW

MIDNIGHT TANGO AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Tuesday 7 - Saturday 11 May 2013
Performance Reviewed: Tuesday 7 May (Press Night)

Reviewed by Kyle Pedley

Whilst it may be loathed by dance aficionados and purists (though is there anything self-proclaimed ‘purists’ don’t loathe?), there’s no denying the impact Strictly Come Dancing has had in once again returning ballroom dancing and its ilk back onto the collective consciousness. The latest ripple of this cultural proliferation comes in the form of the rather brilliant Midnight Tango, a wonderfully confident and focused piece of dance theatre which shares more in common with the likes of silent cinema of the early 20th Century than it does the conventional musicals and dramas currently doing the rounds on the boards. It’s a deliciously vivid and distinctive piece, a wonderful night’s entertainment even for those such as myself who are not ardent dance enthusiasts or viewers of the show, and a real celebration of the technique, artistry and versatility of dance as a means to tell a story, convey character and evoke mood. And, of course, the Strictly ties are more than present, headlined as it is by the ever popular Vincent Simone and Flavia Cacace, runner-up and winner of last years series of the show respectively, who more than demonstrate the merit behind their popularity.