ROCK OF AGES - THEATRE REVIEW

ROCK OF AGES AT THE BIRMINGHAM NEW ALEXANDRA THEATRE

Theatre Run: Monday 12 - Saturday 17 May 2014
Performance Reviewed: Monday 12 May 2014 (Press Night)

Reviewed by Kyle Pedley

Rock of Ages is a difficult beast to pigeonhole. It doesn’t so much suffer from an identity crisis as an identity overload, jostling with so many characters and subplots that can’t seem to decide if they’re being deliberately parodic or so-satirical-it’s-ultimately-sincere, and a fiercely postmodern approach that bandies around with tone so schizophrenically it sometimes feels more akin to musical theatre whiplash than anything else. The smash hits of the 80’s are in there too, and are plentiful, though some of the arrangements are disappointingly short and the whole ‘Rock’ through-line sometimes feels more of a clumsy afterthought than a titular McGuffin. Fortunately, for all the tonal incongruences and haphazardness of it’s plot, Rock of Ages does at least crucially make good on it’s promise of a fun, infectious and ultimately rather irrepressible evening of solid music and vibrant, high energy (see: super-charged) entertainment.

GHOST - THEATRE PREVIEW

CITY GETS IN THE 'SPIRIT' AS GHOST THE MUSICAL ARRIVES IN BIRMINGHAM FOR CHRISTMAS!

Celebrated tearjerker musical, based on the 1990 Oscar-Winning hit film starring Patrick Swayze, Demi Moore and Whoopi Goldberg arrives at the New Alexandra Theatre this week to begin an extended Christmas and New Year Run!

Dates: Tuesday 17 December 2013 - Sunday 05 January 2014

Preview by Kyle Pedley

Theatre fans in Birmingham and beyond had best get their hankies and tissues at the ready this Christmas and New Year season as one of the most celebrated touring musical theatre productions of the year returns to the Midlands to see out 2013 and welcome in the New Year in the city's New Alexandra Theatre. Technically audacious and visually stunning, our previous review of this same touring production gave it a coveted 5 out of 5 stars, citing it as "Single-handedly the most ambitious, bombastically visceral and tirelessly inventive touring musical production[s] we've had the pleasure of experiencing.... an at-times breathtakingly dynamic and kinetic explosion and exploration of eye-candy and splendour".

THREE PHANTOMS - THEATRE REVIEW

THREE PHANTOMS AT THE WOLVERHAMPTON GRAND THEATRE

Performance Reviewed - Saturday 14 September 2013

Reviewed by Kyle Pedley

Musical gala evenings and touring concerts have continued to prove popular around the country in recent years, with this weekend seeing the arrival of Three Phantoms at the Wolverhampton Grand, bringing with it a splash of operatic flair and style along with the impressive vocals and (mostly) superlative line-up of hits and favourites from the musicals. 

EVITA - THEATRE REVIEW

EVITA AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Monday 19 - Saturday 31 August
Performance Reviewed: Tuesday 20 August (Press Night)

Reviewed by Kyle Pedley

Once again the theatrical juggernaut of Andrew Lloyd Webber comes to the Midlands as his musical biopic of Argentinian First Lady Eva Peron arrives in Wolverhampton in the form of the ever popular Evita. One of Lloyd Webber’s most prolific and celebrated shows and part of his select early trifecta of collaborations with lyricist Tim Rice, this latest UK tour, courtesy of the illustrious Bill Kenwright and company, is a bold, sweeping and ambitious treat that boasts tremendous staging and production design, a wealth of now ubiquitous and beloved musical numbers, and a truly astonishing central performance which all culminate in one of the most opulent, impressive and majestic touring productions of recent memory.

THEATRE INTERVIEW - Marti Pellow (Evita)

EVITA INTERVIEWS:
Part Two - Marti Pellow (Che)

Heading to the Wolverhampton Grand as part of its latest UK tour, Tim Rice and Andrew Lloyd-Webber's Evita is one of musical theatres most prolific and enduring success stories. In anticipation and celebration of the shows arrival in the Midlands, we headed to the Empire Theatre in Liverpool to interview it's two leads.

In this first part, Kyle interviewed Madalena Alberto, who is playing the titular role of Eva Peron (part one interview can be found HERE). This time round, Kyle chats to Wet, Wet, Wet frontman and growing musical theatre regular Marti Pellow, who plays Che in the touring production...

By Kyle Pedley.

Interview Conducted Thursday 27th June 2013.

Marti Pellow as 'Che' in Evita

Marti Pellow has been many things to music over the course of his now 30 year career. His musical journey began as frontman of the massively successful Wet, Wet, Wet, who rose to pop superstardom in the late 80‘s and early 90’s, most prolifically with their 1994 behemoth ‘Love Is All Around’, which celebrated such a prolonged run in the UK charts that Pellow himself insisted on it’s deletion. After Wet, Wet, Wet (or at least until they reformed in 2004), he went on to celebrate subsequent success as a solo artist with a string of releases. And, as of the past decade, he has gradually become something of a musical theatre regular, notching up major roles on both the West End and Broadway, beginning with manipulative, debonair lawyer Billy Flynn in Chicago.

“I’ll be forever indebted to Kander and Ebb!” Pellow exclaims, praising the musical team responsible for the score and songs of his musical theatre debut, “I fell in love with their score and that was the start of it... and here I am ten years and umpteen musicals later!”

THEATRE INTERVIEW - Madalena Alberto (Evita)

EVITA INTERVIEWS:
Part One - Madalena Alberto (Eva Peron)

Heading to the Wolverhampton Grand as part of its latest UK tour, Tim Rice and Andrew Lloyd-Webber's Evita is one of musical theatres most prolific and enduring success stories. In anticipation and celebration of the shows arrival in the Midlands, we headed to the Empire Theatre in Liverpool to interview it's two leads.

In this first part, Kyle recounts his experience getting to meet and chat to Madalena Alberto, who is taking on the challenge of portraying one of the industries most acclaimed and coveted roles...

By Kyle Pedley.
Interview Conducted Thursday 27th June 2013.

Madalena Alberto as Eva Peron
in Evita, alongside co-star
Marti Pellow as 'Che'

It’s a dreary afternoon in June, typical British summer weather having brought with it a blanket of cloud and a continual deluge outdoors, casting a grey pall and darkness inside the ornate and suitably grand interior of Liverpool’s Empire Theatre. My fellow journalists and I lament the weather being so miserable for our trip to the former European Capital of Culture to see the latest incarnation of Tim Rice and Lord Lloyd-Webber’s musical colossus ‘Evita’ and to interview it’s two leads.

Yet despite the rain and gloom, none of it seems to be phasing Madalena Alberto, who arrives with an effortless warmth and radiance, casually dressed yet undeniably comely, and who despite growing up in the sunnier climes of Lisbon, is quick to sing the praises of her new home-from-home.

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’. 

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. 

FOOTLOOSE - THEATRE REVIEW

FOOTLOOSE AT THE WOLVERHAMPTON GRAND THEATRE

Theatre Run: Tuesday 12 - Saturday 16 March
Performance Reviewed: Tuesday 12 March (Press Night)

Reviewed by Kyle Pedley

Occasionally when reviewing theatre professionally it is easy to lose sight of the passion, energy and aspirations that go in to practically every production regardless of scale, budget or location. Shows can be enjoyed, appreciated and lauded for their achievements, but it can take an experience like this vibrant, upbeat production of Footloose to serve as a reminder of the sense of camraderie, raw enthusiasm and unified excitement that company theatre really seems to celebrate and spotlight.

ROCKY HORROR SHOW - THEATRE REVIEW

ROCKY HORROR SHOW AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Monday 28 January - Saturday 2 February 2013
Performance Viewed: Monday 28 January (Press Night)

Reviewed by Kyle Pedley

There are very few, if any, theatre (and film) productions which foster such a frenzy of audience interaction and anticipation than the Rocky Horror name, and it’s a thrill to see that 40 years later, as the stage show once again goes on tour to celebrate the milestone that it has lost none of this excitement and fervour. With almost as much spectacle and entertainment from the audience as the show itself, newcomers and veterans alike will find themselves having an inimitable, incomparable theatre experience. 

Whilst its plot remains as brilliantly postmodern and obtuse as ever, the soundtrack is the real draw and still holds up as strong as ever, with such eclectic favourites as ‘The Timewarp’, ‘Sweet Transvestite’ and ‘Hot Patootie’ genuinely getting the audience to their feet and being delivered by a cast and company on fine form. Ben Forster, recent winner of ITV’s Superstar and Roxanne Pallett of Emmerdale fame make a fitting Brad and Janet, with Forster in particular benefiting from the inclusion of Brad-centric solo ‘Once in a while’ which was omitted from the movie and some stage productions but is a welcome moment of pause amongst the second act madness to once again ground the central relationship, and a number which Forster nails both emotionally and vocally. Pallett sells the mousey, naive, wholesome Janet of the outset well, but really comes into her own as the character transforms into a belting, sultry siren, exuding confidence, presence and raw sex appeal that even Susan Sarandon’s definitive Janet of the movie couldn’t quite reach.

9 TO 5 THE MUSICAL - THEATRE REVIEW

9 TO 5 THE MUSICAL AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Monday 17 December 2012 - Saturday 5 January 2013

Performance Viewed: Wednesday 19 December (Gala Press Night)

Reviewed by Kyle Pedley

9 to 5 The Musical is something of a double dose of musical ‘jukeboxing’, being both based on the existing 1980 comedy film of the same name and also taking its soundtrack mostly from the queen of country’s two most recent LP’s Backwoods Barbie and Better Day. Throw in it being derived from an original Broadway production, and you’d be forgiven for thinking the show had an uphill climb to bring anything original or fresh to audiences. Following the exploits of three female co-workers in the male-dominated playground of the late 1970’s workplace where bigotry and sexism remained the de facto norm, rampant and unchecked, mostly at the hands of their womanising, cheating scoundrel of a boss, and you also have a safe bet of knowing how the story is going to play out (and chances are you’ll be right).

AMERICAN IDIOT - THEATRE REVIEW

AMERICAN IDIOT AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: Monday 26 November - Saturday 1 December
Performance Viewed: Monday 26 November (Press Night)

Reviewed by Kyle Pedley

American Idiot is an ilk of production that many would unfairly dismiss at face value. From the offset it is loud, bombastic, decidedly adult in tone and content and never particularly subtle or subdued. Much like a typical teenager if you will, and the parallel to the core audience of the shows soundtrack, courtesy of US hit band Green Day, is apparent throughout; this is a show with its finger on the pulse of youthful idealism, naivety and existential frustration. And yet for all of it’s brash excess, it is a production which brims with authenticity, has moments of genuine tenderness without resorting to atypical musical theatre schmaltz, and is a remarkably confident and original example of theatrical storytelling and entertainment. This is not a theatrical shoehorning of narrative, choreography and the music of Green Day into an awkward whole as can so often be the case when shows’ utilise pre-existing music for their soundtracks, but rather a wholly complete, vibrant and brilliantly expressive exploration of a simple yet beautifully executed tale in a manner which champions and explores the unique strengths and advantages of musical theatre as an art form.

Dipping into post 9/11 America, the story follows the paths of three friends Johnny (Alex Nee), Tunny (Thomas Hettrick) and Will (Casey O’Farrell) as they embark on very separate, yet equally resonant and relevant, paths at the exciting, ambitious and suitably angst-fuelled start of their American adulthood. In spite of the productions title, and knowing critiques and digs at the American psyche, politics and popular culture within the songs throughout, the simplicity of the story being told and the brilliance with which it is communicated almost exclusively by song and staging elevates it to a much more universal and effective level. Any overt socio-political commentary takes a backseat to the reality of aspirations and youthful rebellion, the destructive descent into drugs and hedonism of the big city lifestyle, the idea versus actuality of military enrollment and a plethora of other innately human and instantly relatable ideas.

American Idiot explores these with almost inexhaustible energy and invention, including some genuinely dazzling staging, set design and choreography which sees characters leap and bound from balconies, staircases and even shopping trollies without harness or preparation, flip, jump and even fly through a myriad of continually creative and kinetic numbers which repeatedly entertain and occasionally amaze yet never lose sight of what is being communicated. And as if often the case with such a charged experience, when it pauses for breath and hits its more serious and tender moments, they are all the more profound and moving as a result. It’s rousing yet purposeful, poignant without being preachy and filled with some terrific choreography, direction and imagery that, like the story being told, needs little-to-no dialogue to be instantly impactful. 

SHREK THE MUSICAL - THEATRE REVIEW

SHREK THE MUSICAL AT THE THEATRE ROYAL DRURY LANE, LONDON

Theatre Run: Continuing
Performance Viewed: Matinee, Sunday 18 November 2012 (as press)

Reviewed by Kyle Pedley

Shrek the Musical was always going to be a relatively easy sell, but not necessarily so artistically sound. The original 2001 smash hit movie was a fresh, unexpected riff on the fairytales of old and their Disney re-imaginings; witty, playfully irreverent and treading the perfect balance of appeal for young and old alike. So much of it’s dialogue, humour and characters have become instantly recognisable, quotable and inimitable that it was difficult to imagine a stage-bound musical adaptation being anything other than a slavishly loyal re-tread with key sequences stretched out to accommodate a showtune or 17.

Fortunately, Shrek the Musical manages to mostly carve out its own identity whilst staying true to the film whilst rekindling a dash of the originals wit and post-modern spark by turning it’s parodic, referential gaze to other West End/Broadway shows and peeling back a few more of those onion layers of it’s key characters. It’s two leads, Shrek and Fiona, for instance, are given slightly more established backstories that instantly cement them as kindred spirits, a neat touch that is now surprising in its obviousness and absence from the movie, and villain-of-the-piece Lord Farquaad is likewise given some exposition which, rife with irony and allusions to the fairytale creatures he is so intent on expelling from his kingdom, is again a clever, illuminating addition.

LES MISERABLES - THEATRE REVIEW

LES MISERABLES AT THE QUEEN'S THEATRE, LONDON

Theatre Run: Continual
Performance Viewed: Matinee, Wednesday 10 October 2012 (as press)

Reviewed by Kyle Pedley

Les Miserables is one of those seminal entities already etched firmly into the history of musicals - becoming ‘now the longest running musical in the world’ (according to the show’s official website) and it isn’t hard to see why. This is classic, grandiose and affecting musical theatre at it’s most raw and bombastic, and this original production, now in it’s 28th year and currently residing at the Queen’s Theatre, London, has lost none of it’s relevance, impact or almost incomparable quality.

For a show of so many years the most notable praise must go first and foremost to it’s ambition and spectacle. Where the producers, designers et al could quite comfortably have leant on the shows legacy and repute to acquire it’s audience, instead this current production continually impresses and at times amazes with faultless costume design, remarkable technical artistry and an almost astonishing number of elaborate, complicated sets that surpass practically anything currently on show in the West End. With almost every scene transition comes a moving, turning, growing location; piecing itself together and moving into place, the whole production continually feeling vibrant and alive as a result.  The seamless and utterly convincing sense of place that is evoked throughout, from the hushed chambers of the Bishop of Digne through to the bustling, elaborate slums of Paris and militaristic fortifications of the revolutionaries barricade, displays a craftsmanship and scope that is thankfully met by Les Miserables’ sweeping story, engaging and diverse cast of characters, a now-classical score and a genuinely terrific cast bringing it all to life with power, conviction and heart.

9 TO 5: THE MUSICAL - PRESS LAUNCH PREVIEW

9 TO 5: THE MUSICAL AT THE NEW ALEXANDRA THEATRE, BIRMINGHAM

Theatre Run: 17 December 2012 - 5 Jan 2013

Previewed by Kyle Pedley

This Friday saw the press launch for 9 to 5: The Musical prior to it’s UK touring run, including a Christmas tenure at the New Alexandra Theatre, Birmingham beginning December 14.

On hand to preview the show were its cast, including Footballers Wives and The Bill alumni Ben Richards, West End veteran Jackie Clune, Natalie Casey who most will know from Two Pints of Lager and a Packet of Crisps and Television and Theatre supremo Bonnie Langford, and director Jeff Calhoun who brought a winning enthusiasm and self-deprecating charm to the launch very much in-line with what one has come to expect from Ms. Parton herself.