Reviewed by Alison Smith 
23rd July 2019

The audience of Motown The Musical is dazzled by the
clothes, the music, the choreography and the physicality and yet there is
something missing: a lack of emotion and feeling. I was wowed by the sheer
energy and talent of the cast, but the story line is thin, the dialogue poor -
and sometimes not audible. I wasn’t moved by Berry Gordy’s struggle to leave
the car production factory in Detroit, I didn’t care that the bands left BG for
better offers nor that Diana Ross left him. And when BG finally decided to go
to the 25 year celebration, it was no big deal – but did give another reason
for the full cast finale. The great triumph of Gordy – that he brought black
people and their music into the public consciousness at that time – cannot be
denied, and more needed to be made of his triumph in Motown The Musical.

However, the show is joyful and great for nostalgic, soul
music fans- Hitsville itself. From the outset the male dancers, perfectly in
step in their patent shoes and slick suits, perfectly in harmony in their
voices, are highlighted against a vivid background. The choice of songs was
successful – although I would have liked to hear fewer, yet complete, songs –
and the male groups – The Temptations and The Four Tops, capture the 60s
completely. Of course The Jackson Five, with the endearing and talented Daniel
Cort as the young Michael, won over the hearts of the audience. The stars –
Smokey Robinson (Nathan Lewis), Diana Ross (Karis Anderson ) and the amazing
Daniel Haswell as Stevie Wonder – have wonderful voices ,timing and charisma.
And the seemingly tireless Edward Baruwa as Berry Gordy, almost continuously on
stage, has  a voice, an energy and a
stage presence which are unforgettable.

Mention must also be made of the wonderful band under the
direction of Griff Johnson; their interpretation of such exuberant songs as Dancing in the Street, ABC, Please Mr Postman and I heard it
through the Grapevine  symbolize the
essence of  the Legendary Motown
Catalogue.

The set (David Korins) and the lighting (Natasha Katz) are
excellent throughout the musical – atmospheric and redolent of that era.

 The
stage design is simple; the set is generally stark but with amazing
kaleidoscopic projection back drops and sliding panels, but the simple settings
offset the action and give the dancers plenty room to perform their precise
routines.

One lasting positive of Motown was the improvement of race
relations through the black music reaching a wide audience in the 60’s and 70’s
and, in a much smaller way, this musical showcases a talented group of young
black British singers and dancers. Let’s hope we see more of them more
frequently.

 

Motown The Musical is at MK Theatre until Saturday 3rd
August

www.atgtickets.com

0844 877 7652

Booking fee applies

The Bodyguard  - The Musical at Milton Keynes Theatre

The Bodyguard has more the
feel of a pop concert than a musical.  It
has spectacle, polish and incredible choreography. From the offset we are there
with the flames and flashing lights and backing singers and dancers and, of
course the wonderful music. Alexandra Burke, is well cast as diva Rachel; her
powerful voice and singing performance are impressive. Her spoken sections
where she needs to do a bit of acting are a little less impressive, but nonetheless
she gives it her all, bringing a more homely aspect to the character of Rachel
than appears in the film. Being on stage throughout almost the whole show and
having to perform sixteen numbers, including the iconic ‘I will always love
you’, requires unlimited energy and Burke delivers.

Without doubt the stage is
Alexandra Burke’s home and I can think of a number of other classic musical
theatre roles that she is perfect for and will grow into over her hopefully
long career. There’s no doubt she proved her mettle here tonight. In fact I
preferred her interpretation and the production of some of the usually more overblown
Houston numbers; Burke brought a subtle take to them. But whilst Burke is most
suited to the central role it is Micha Richardson (Nicki Marron) who perhaps
seems more confident on stage and perhaps more relaxed. With outstanding vocals
for all her work she matches Burke and at times puts her slightly in the
shadows.

The bodyguard, Frank Farmer,
is played with great charisma by Benoît Maréchal. He plays the role perfectly –
self-effacing, but efficient and strong. Of course in contrast to the energy of
Burke he appears somewhat wooden and emotionless at times – one wonders how
they end up in bed, but familiarity and all that….. The thin storyline remains;
famous singer’s management hire ex-secret service agent to protect said singer
from obsessed stalker. There is an immediate dislike of singer for bodyguard
and vice versa but this soon gives way to love and then to sadness. But the
narrative is of minor importance – it is the music that dominates and fills the
theatre.

 As for the rest of the musical - the staging
and lighting are complicated with dramatic cinematic projections and split
stages. No expense was spared on the décor including lavish boudoir and cosy
rural retreat. Karen Bruce has done  a
marvellous job with the choreography and the orchestra under Michael Riley
never misses a beat.

This is one of the best
musicals I have seen; go and see it if you can.

The Bodyguard the musical is
at Milton Keynes Theatre until Saturday 23rd March

 

www.atgtickets.com

0844 871 7652

The Rocky Horror Show

Milton Keynes Theatre

Reviewed by Alison Smith

Well, The Rocky Horror Show is a ‘mind flip’ to beat all mind flips, and the MK Theatre audience certainly flipped tonight!  Many in the audience were sexily clad in stilettos and suspenders, boas and basques to rival the on-stage guests at Frank N Furter’s party; the audience even had the dance moves and kept The Narrator (Dom Joly) on his toes with their heckling (dealt with by Joly with skilful aplomb and topical repartée,
although at times looking slightly embarrassed).

 In 1973, Richard O’Brian’s Rocky Horror Show challenged audiences with its portrayal of sexual fluidity; now over 40 years later transgender issues have become mainstream and this spectacular musical entertains more than shocks.  And it entertains impressively because of its enduring mixture of Sci-Fi, horror and rock and roll. The show is visually stunning - a great set, atmospheric lighting, spectacular choreography, weird
and wonderful costumes; it is raunchy and surreal, but mostly just hilarious.

The plot itself is weak. Brad (Ben Adams) and his fiancée Janet (Joanna Clifton), clean college kids, seek help at the mansion of Frank N Furter, a crazy, cross-dressing scientist. That evening he is hosting a party to unveil
his new creation, gold booted, skimpily dressed, Rocky Horror (Callum Evans), a man to surpass all men, if only physically. And into Frank’s alternative sexual world come the naïve, geeky pair, who are both quickly seduced by Frank and enticed into his alien, ghoul filled universe, rather like a pantomime for consenting adults.

Frank is portrayed convincingly by Steven Webb. Webb is
wonderful as Frank. He has a powerful voice with a great range, sharp comic timing, and his movements and gestures are outrageously camp but throughout the musical he also manages to maintain an undercurrent of malevolence. His entourage are also exceptional, Riff Raff, the swaggering servant (Kristina Lavercombe) and Columbia (Miracle Chance) are both weird and wonderful.  All the cast throw themselves into their
roles with enthusiasm and energy and convey the idea that to be different from mainstream society is perfectly acceptable.

This musical, produced by Christopher Luscombe, is a real theatrical experience.  Long may it continue to entertain.

The Rocky Horror Show is at Milton Keynes Theatre until Saturday 9th February

www.atgtickets.com

0844 871 7652

Booking fee applies

Matthew Bourne’s Swan Lake

Reviewed by Alison Smith 30th January 2019

Matthew Bourne’s Swan Lake, is far removed from
traditional performances of this world famous ballet. The modern yet dateless
décor and costumes – a mobile phone rings but the settings are redolent of
trappings of passé courtly distinctions – underline the theme that broken
beings are universal, that tragedy strikes universally. In this society, the
Queen has power and privilege, the young men are dashing, the young women
beautiful and independent. And yet one young man is   very troubled. The Prince, the main
protagonist (Liam Mower) suffers. The Queen, his mother (Katrina Lyndon) is
cold and uncaring and rejects any physical contact with him – although she has
no such qualms about being touched by, or touching. other young men. His goofy
girlfriend (Carrie Willis) is shallow and materialistic. Is it then surprising
that the Prince looks for contact from another being? His mental turmoil leads
him to drink and despair and ultimately into the arms of The Swan, a powerful,
dominating creature whose tragic death leads that of the broken-hearted Prince.

The performance is not bleak. There is much wit and
humour – the girlfriend’s gaffes, the corgi, the dancing in the Swank Bar, the
desperate antics of the Queen, the caricature that is the Private Secretary
(Jordon Packer). But it is the dancing which is intoxicating and above all else
that of The Swan and his human form, the Stranger (Max Westwell). Westwell’s
technical skill and athleticism are remarkable. As The Swan he swoops, stomps
and hisses; as the Stranger in Act 3 he oozes virility and aggression; he
stalks and disrupts, an attitude which ultimately results in tragedy. His flock
are of his ilk – menacing and vicious. In the final act they are rat-like in
their appearance from under the bed, inside the bed and from the wings - their
ferality frightening and tragic.

Bourne’s
Swan Lake is thrilling and mesmerising. The dancing is both beautiful and

sinister; the representation of love and its possible
aftermath is heartfelt. It is an inspirational, powerful, passionate ballet. It
is a must-see.

 

At MK Theatre until Saturday 2nd February