As 1980’s pop recedes into ancient history so the play with the playful Spoonerism title based around the almost eponymous Eighties hit band embarks on a nationwide tour.
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All Photos Richard Lakos
Bollywood style has been first a South east Asian , and then an imported, favourite, for a long time. This week its hits the mainstream and Derby.
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Frankie Goes to Bollywood, is a spectacular musical from Rifco Theatre Company, and a vibrant celebration of British South Asian culture. It cleverly fuses modern contemporary storytelling with the established traditions of Bollywood cinema. It is also not afraid to borrow thematically from previous stories on fame and adulation including Lloyd Webber’s Sunset Boulevard and Evita, the seventies film Stardust, with a bit of Korean K Pop thrown in.
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Conceived by Rifco’s Artistic Director, Pravesh Kumar MBE, and inspired by his decade working in the heart of Bollywood, the hit musical was written and directed by Pravesh Kumar, songs & lyrics by Tasha Taylor Johnson and songs & music by Niraj Chag, the production follows a young dreamer with big ambitions as she journeys into the heart of the Bollywood film industry.
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This was my first live, full exposure to a Bollywood show so my interest, curiosity and expectation was high. How would it compare to traditional Western big production musicals?
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Counterintuitively, the action starts in Huddersfield before traversing the globe to its homeland in Mumbai,India, to focus on Frankie, played by Elinor Hallett as a child, telling her mother of her dreams of being a Bollywood Hero. Frankie quickly grows up, played by Sarah Pearson, and a bereaved Frankie is now serving popcorn with her cousin at a Huddersfield cinema
We follow the story of Frankie, a young British Asian woman, with little interest in fame, who finds herself becoming a star in the complicated, corrupt, male dominated world of film making in India. Which is no different from the fame machine in any part of the world
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Cousin Goldy, played by Katie Stasi, also dreams of being in the movies, but fate intervenes and Frankie is the one who gets the opportunity to go to Bollywood and become a movie star. But will Frankie find her dream and remain true to herself, will she be the Warrior she always thought she was or will she get chewed up by the relentless pressure that is the production of movies in Bollywood? Will the brown Sugar girls team hold? Will Frankie find herself too brown to be British and too British to be brown
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The answer comes swathed in sparkle, glitz and glamour. Costume designer Andy Kumar’s imagination is to the fore, as are the backstage costume changers with dazzling colours, sequins, high heels , and more sequins. All revolving on and off stage with bewildering speed.
The choreography is mesmerising, courtesy of choreographers Nicola Mac and Anna Maria Barber. Watch out for the airborne transatlantic dance transporting Frankie to Bollywood . But this show is not just about the girls.
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Luke Suri shines as Shona, camp, dazzling and energetic. Raju King, the aging Bollywood lothario is played by Ankur Sabharwal who provides the laughs with a very good running joke about shampoo.
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Bollywood drama demands that the hero or heroine triumphs leaving the virtuous protagonists to live happily ever after- and this show follows that script . A show to savour, combining laugh out loud comedy , the seamy side of Bollywood, and putting on the Ritz glitz. A terrific production driven by concealed live onstage musicians
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Irish music found its place with Riverdance, English traditional music with Brassed off, English Pop music with Sunny Afternoon and now Frankie Goes to Bollywood establishes South east Asian popular music in its own right on the stage of British Musical theatre. “Frankie” shimmies and sashays at Derby until Saturday 16th before continuing on nationwide tour.
If you are reading this in New York the Tony awards nominations have been announced .
The magnificent Giant, which originally opened at London’s Royal Court, is in the
running for best play. American star John Lithgow is in contention for his shattering
portrayal of Roald Dahl, as is Aya Cash for her performance as a publishing executive,
Nicholas Hytner is nominated as director.
Meanwhile, that modest little British fable Two Strangers (Carry a Cake Across New
York) is up for eight awards, including best musical,
Watch out foro the extraordinarily witty Schmigadoon! And spoof Titanique
In further British success, Mark Strong and Lesley Manville are singled out for their roles
in Robert Icke’s modern-dress take on Oedipus (which receives seven nominations.
And Andrew Lloyd Webber, will be pleased to see the reboot Cats: The Jellicle Ball listed
for best revival of a musical. (It’s up against Ragtime and The Rocky Horror Show.)
Nominations for the 2025-2026 Season
American Theatre Wing’s Tony Awards®
Presented by The Broadway League and the American Theatre Wing
Best Book of a Musical
The Lost Boys
David Hornsby and Chris Hoch
Schmigadoon!
Cinco Paul
Titaníque
Marla Mindelle, Constantine Rousouli and Tye Blue
Two Strangers (Carry a Cake Across New York)
Jim Barne and Kit Buchan
Best Original Score (Music and/or Lyrics) Written for the Theatre
Arthur Miller’s Death of a Salesman
Music: Caroline Shaw
August Wilson’s Joe Turner’s Come and Gone
Music: Steve Bargonetti
The Lost Boys
Music & Lyrics: The Rescues
Schmigadoon!
Music & Lyrics: Cinco Paul
Two Strangers (Carry a Cake Across New York)
Music & Lyrics: Jim Barne and Kit Buchan
Best Performance by an Actor in a Leading Role in a Play
Will Harrison, Punch
Nathan Lane, Arthur Miller’s Death of a Salesman
John Lithgow, Giant
Daniel Radcliffe, Every Brilliant Thing
Mark Strong, Oedipus
Best Performance by an Actress in a Leading Role in a Play
Rose Byrne, Fallen Angels
Carrie Coon, Bug
Susannah Flood, Liberation
Lesley Manville, Oedipus
Kelli O’Hara, Fallen Angels
Best Performance by an Actor in a Leading Role in a Musical
Nicholas Christopher, Chess
Luke Evans, Richard O’Brien’s The Rocky Horror Show
Joshua Henry, Ragtime
Sam Tutty, Two Strangers (Carry a Cake Across New York)
Brandon Uranowitz, Ragtime
Best Performance by an Actress in a Leading Role in a Musical
Sara Chase, Schmigadoon!
Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show
Caissie Levy, Ragtime
Marla Mindelle, Titaníque
Christiani Pitts, Two Strangers (Carry a Cake Across New York)
Best Performance by an Actor in a Featured Role in a Play
Christopher Abbott, Arthur Miller’s Death of a Salesman
Danny Burstein, Marjorie Prime
Brandon J. Dirden, Waiting for Godot
Alden Ehrenreich, Becky Shaw
Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone
Richard Thomas, The Balusters
Best Performance by an Actress in a Featured Role in a Play
Betsy Aidem, Liberation
Marylouise Burke, The Balusters
Aya Cash, Giant
Laurie Metcalf, Arthur Miller’s Death of a Salesman
June Squibb, Marjorie Prime
Best Performance by an Actor in a Featured Role in a Musical
Ali Louis Bourzgui, The Lost Boys
André De Shields, Cats: The Jellicle Ball
Bryce Pinkham, Chess
Ben Levi Ross, Ragtime
Layton Williams, Titaníque
Best Performance by an Actress in a Featured Role in a Musical
Shoshana Bean, The Lost Boys
Hannah Cruz, Chess
Rachel Dratch, Richard O’Brien’s The Rocky Horror Show
Ana Gasteyer, Schmigadoon!
Nichelle Lewis, Ragtime
Best Scenic Design of a Play
Hildegard Bechtler, Oedipus
Takeshi Kata, Bug
Chloe Lamford, Arthur Miller’s Death of a Salesman
David Korins, Dog Day Afternoon
David Rockwell, Fallen Angels
Best Scenic Design of a Musical
dots, Richard O’Brien’s The Rocky Horror Show
Soutra Gilmour, Two Strangers (Carry a Cake Across New York)
Rachel Hauck, Cats: The Jellicle Ball
Dane Laffrey, The Lost Boys
Scott Pask, Schmigadoon!
Best Costume Design of a Play
Brenda Abbandandolo, Dog Day Afternoon
Qween Jean, Liberation
Jeff Mahshie, Fallen Angels
Emilio Sosa, The Balusters
Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone
Best Costume Design of a Musical
Linda Cho, Ragtime
Linda Cho, Schmigadoon!
Qween Jean, Cats: The Jellicle Ball
Ryan Park, The Lost Boys
David I. Reynoso, Richard O’Brien’s The Rocky Horror Show
Best Lighting Design of a Play
Isabella Byrd, Dog Day Afternoon
Natasha Chivers, Oedipus
Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone
Heather Gilbert, Bug
Heather Gilbert, The Fear of 13
Jack Knowles, Arthur Miller’s Death of a Salesman
Best Lighting Design of a Musical
Kevin Adams, Chess
Jane Cox, Richard O’Brien’s The Rocky Horror Show
Donald Holder, Schmigadoon!
Adam Honoré, Cats: The Jellicle Ball
Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime
Jen Schriever and Michael Arden, The Lost Boys
Best Sound Design of a Play
Justin Ellington, August Wilson’s Joe Turner’s Come and Gone
Tom Gibbons, Oedipus
Lee Kinney, The Fear of 13
Josh Schmidt, Bug
Mikaal Sulaiman, Arthur Miller’s Death of a Salesman
Best Sound Design of a Musical
Kai Harada, Cats: The Jellicle Ball
Kai Harada, Ragtime
Adam Fisher, The Lost Boys
Brian Ronan, Richard O’Brien’s The Rocky Horror Show
Walter Trarbach, Schmigadoon!
Best Direction of a Play
Nicholas Hytner, Giant
Robert Icke, Oedipus
Kenny Leon, The Balusters
Joe Mantello, Arthur Miller’s Death of a Salesman
Whitney White, Liberation
Best Direction of a Musical
Michael Arden, The Lost Boys
Lear deBessonet, Ragtime
Christopher Gattelli, Schmigadoon!
Tim Jackson, Two Strangers (Carry a Cake Across New York)
Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball
Best Choreography
Christopher Gattelli, Schmigadoon!
Ellenore Scott, Ragtime
Ani Taj, Richard O’Brien’s The Rocky Horror Show
Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball
Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys
Best Orchestrations
Doug Besterman and Mike Morris, Schmigadoon!
Ethan Popp, Adrianne “AG” Gonzalez, Gabriel Mann, Kyler England, The Lost Boys
Lux Pyramid, Two Strangers (Carry a Cake Across New York)
Brian Usifer, Chess
Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball
Best Play
The Balusters
Author: David Lindsay-Abaire
Producers: Manhattan Theatre Club, Nicki Hunter, Chris Jennings
Giant
Author: Mark Rosenblatt
Producers: Brian & Dayna Lee, Stephanie Kramer & Nicole Kramer, Josh Fiedler & Robyn Goodman, Royal Court Theatre, Tilted, Federman Koenigsberg TS Perakos, Scott M Delman & Timothy C. Headington, Stephanie P. McClelland, Jessica R. Jenen & Linda B. Rubin, Tom Smedes & Peter Stern, Mark Rubinstein LTD, Pam Hurst-Della Pietra & Stephen Della Pietra, Ruth Hendel, Daryl Roth, Tom Tuft, Four Front Productions, A Golden Ticket Production, Willette Klausner & Tom D’Angora, Kuhnsabi Furman Furie, Alex Levy & Shari Redstone, Oddly Specific Productions, Rialto Productions, Winkler & Smalberg, The Shubert Organization, James L. Nederlander, John Gore Organization
Liberation
Author: Bess Wohl
Producers: Daryl Roth, Eva Price, Rachel Sussman, Jenny Gersten, Betsy Dollinger, FineWomen Productions, Craig Balsam/Broadway Women’s Fund, Jessica Goldman Foung/Rachel Styne, Michelle Noh/Todd B. Rubin, Gold Sky Productions, MHSSP Productions, Creative Partners Productions, Sheri Henriksen, Hopkins Haffner Wright, Pam Hurst-Della Pietra, Ellie Hurwitz, Willette Klausner, Hilary Ley Jager, Los Angeles Media Fund, Jonathan Littman, Isabelle Mann, Practical Mayhem, Jenna Segal, Tracy Semler, Marcy Syms, The Weisbrots, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave
Little Bear Ridge Road
Author: Samuel D. Hunter
Producers: Scott Rudin, Barry Diller
Best Musical
The Lost Boys
Producers: James Carpinello, Marcus Chait, Patrick Wilson, James L. Nederlander, At Rise Creative, Ayesha & Stephen Curry, Lauren Shuler Donner, Neil Patrick Harris, Douglas Sills, Slash, Kiefer Sutherland, Steve Young, Amy & Grady Burnett, Allison Bloom & Gabriel Mann, Hunter Arnold/Broadway Strategic Return Fund, Eastern Standard Time, DJD Productions/ZK Productions, Jay Marcus/Carl Moellenberg, Stark Sands, Jordan Silver/Kerri Mandelbaum, James Bolosh & Hillary Wyatt, Decca Broadway/Federal Films, Creative Partners Productions, Independent Presenters Network, The John Gore Organization, Stewart F. Lane/Bonnie Comley/Leah Lane, Greg & Lisa Love, MacPac Entertainment, Murray Entertainment, Inc., Oddly Specific Productions, The Shubert Organization, Toho Co Ltd., We R Broadway Artists Alliance, Stage Entertainment, Carrie & Joe Staley, W Thompson Family, Drew Elhamalawy/Kirsten & David Abdo, Brandon Blaser/Davis-Carroll, Crossroads Live/Marla McNally Phillips, Anthony & Maria Diaco/D’Angora Padgett Productions, Nancy Glass/Handler-Pawliuk Family, Grove Entertainment/KLIVE Entertainment, Howard-DePhillips/Jamie Stone O’Brien, Pam Hurst-Della Pietra & Stephen Della Pietra/ Polly & Ed Han, Willette Klausner/Waikit Lau, Knudsen-Weissberger Productions/April Dovey Productions, Nabatoff-Caise/Sean Nyberg, Andy Raab/Ratelle-Eliason, Orfeh/Braedon Young, David & Megan Scacco/Jason & Sarah Sobel, Jason Taylor/Michael Graf, An 11:11 Experience, Devin Keudell, Warner Bros. Theatre Ventures
Schmigadoon!
Producers: Lorne Michaels, No Guarantees Productions, Micah Frank, Caroline Maroney, Marylee Fairbanks, James L. Nederlander, SAMS Entertainment, Charles D. Urstadt, Bradford & Melissa Coolidge, Jeffrey Finn, John Gore Organization, Theatrical Rights Worldwide, Cinco Paul, Andrew Singer, Willette Klausner/Kolson-Prisand, Leah Bergoffen/Andrew Paradis, Wendy Bingham Cox/Jodi Oh, Jamie deRoy/TT Partners, Donnelly Harris/Roth-Manella Productions, Marc David Levine/Jack Sullivan, JMB Collective/Jillian Robbins, Broadway Video, Apple TV, Universal Theatrical Group
Titaníque
Producers: Eva Price, Diamond Dog Entertainment, Marla Mindelle, Constantine Rousouli, Tye Blue, OD Company/OD Universe & Co., MEP, James L. Nederlander, Tristan Schukraft, Joey Fatone & Joe Mulvihill, Matt Rogers, Bowen Yang, Deborah Cox & Melissa Haizlip, Patty Baker, James Berwind, Broadway MDs, Crossroads Live, Ken Davenport, Hungryman Entertainment, John Gore Organization, Perakos-Fellman Adventures, Rogers & Spiro, Monica Saunders-Weinberg, ShowTown Productions & Matthew Sycle, Tom Tuft, JC Chasez/Boucher & Grant, IPN/NSST Entertainment, Jelmoni & Lazar/Lauren Kennedy Brady, D’Angora Padgett Productions/Willette Klausner, Scott & Mark Hoying/Manhead Merch, Griffin Schultz/Donald Smith, FGSW Productions/Iris Smith
Two Strangers (Carry a Cake Across New York)
Producers: Kevin McCollum, Tim Johanson, Glass Half Full Productions, Jamie Wilson Productions, Evan McGill, Dennis Trunfio, Abrams Corr Riemer Productions, Marc David Levine & Stephen S. Miller, Laura Lonergan, James L. Nederlander, Michael Patrick & Paul Gavriani, Merrie L. Davis/Tony Spinosa & Barbara Gallay, Walport Productions, Agrawal & PBT/JKDNV Productions, Aleff & Nothing Ventured/Flatto Turchin, Pam & Stephen Della Pietra, Nicole Eisenberg/Willette & Manny Klausner, Liddell Shilaimon/John Voege, Cecilia Lin/Wanyue Jie, Kevin Shen/We Believe, The Transatlantic Alliance/IPN, Oki Wallace-Phoebe/Laurie Tisch & Greg Field, Clemmie Forfar, Oliver Mackwood, Victoria Weinberg, Lucas McMahon, The Kiln Theatre
Best Revival of a Play
Arthur Miller’s Death of a Salesman
Producers: Scott Rudin, Barry Diller, Roy Furman, Composite Capital Partners, Cue to Cue Productions, Thomas Tuft, John Gore Organization, Peter May, The Shubert Organization, Jane Bergère, Corey Brunish & Spencer Dress, Lynne & Marvin Garelick, Bruce Robert Harris & Sean Nyberg, Alex Levy & Shari Redstone, Lloyd Tichio Productions, William C. Martin, Scott H. Mauro, Jeffrey Schoenberg, Emerald Drive, Al Nocciolino
Becky Shaw
Author: Gina Gionfriddo
Producers: Second Stage Theater, Evan Cabnet, Adam Siegel, Creative Partners Productions
Every Brilliant Thing
Author: Duncan Macmillan with Jonny Donahoe
Producers: Second Half Productions, Seaview, Gavin Kalin Productions, Pam Hurst-Della Pietra & Stephen Della Pietra, Rodeo Productions and Tilted, Winkler & Smalberg, ZL Productions, Tom Tuft, Larry Lelli, Grace Street Creative, Salem Productions, Barbara Chiodo, Cohen-Gutterman Productions, The Array IX, Julie Boardman, Kate Cannova, Creative Partners Productions, JMB Collective, Mickey Liddell & Pete Shilaimon, Oren Michels, Carl Moellenberg, Origin Story Productions, Roth-Manella Productions, Echo Lake Entertainment, P3 Productions, Jamie deRoy, FineWomen Productions
Fallen Angels
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel
Oedipus
Author: Robert Icke
Producers: Sonia Friedman Productions, Sue Wagner, John Johnson, Patrick Catullo, Jillian Robbins, Winkler & Smalberg, Stephanie P. McClelland, Alan Shorr, Tilted, Mickey Liddell & Pete Shilaimon, Jon B. Platt, John Gore Organization, Scott Abrams, No Guarantees, Adam Zell & Company, Christopher Ketner & Hunter Regian, Carl Moellenberg & Ricardo Hornos, Barbara Chiodo, Linda B. Rudin & PRLH Productions, The Shubert Organization, Nederlander Presentations, Willette & Manny Klausner, Charles & Charles, deRoy Adler, Garcia Haung, Kierstead & Laurence, Koenigsberg Federman Riley, Art Koski, Nick Padgett & Tom D’Angora, Carl & Jennifer Pasbjerg, Marj Press, John Voege, Richard Batchelder, William Berlind, Dodge Hall Productions, Craig Balsam & Bellanca Smigel Rutter, Goldfischer Sabi Turchin, Ordinary Magic & The Transatlantic Alliance, Ilona Rozwadowska & Max Cantor, The Araca Group, Jonathan Demar, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave
Best Revival of a Musical
Cats: The Jellicle Ball
Producers: Michael Harrison, Mike Bosner, Lloyd Webber Harrison Musicals, Cynthia Erivo, Get Lifted, LaChanze, Jeremy Pope, Law Roach, Lena Waithe, Origin Story Productions, Miranda Gohh, George Strus, William Berlind, Timothy Bloom/Martinez Grimmett Productions/Drama Club Productions, Adam Kantor & Charly Jaffe, Alex Levy & Shari Redstone, Kevin Cahoon, AEG Presents/Jay Marciano, D’Angora Padgett Productions/Open Horizon, Gavin Kalin Productions, Jake Hine, Nederlander Presentations, Scott Mauro Entertainment/Leachman Feigelson Productions, Lindsay Holmes, Sean Nyberg, MeoWZ Productions, Nelson & Tao, TFLO Theatricals, artEquity Acton, Bob Boyett, Chimney Town, Cloth Fair Productions, Crooked Letter, DJD Productions, DudaMarcus, EK Productions, Lian Bloch Gill, Grace Street Creative, Lisa Hane, Harris Lanedo Productions, Hill Steinfast, John Gore Organization, Key to the City Productions, Willette Klausner, KLive Entertainment, L+E+N+Z Entertainment, LBH Productions, Christina Liceaga, LTJOF Productions, Lucky Tea Productions, Gates McCaffrey, Mount Caperton Productions, Mumby Foung, Mark Musico, Debbie Ohanian, Ryan R. Ratelle, Adam Riemer, Second Set, The Shubert Organization, The Brians, The Theater Offensive, Theatre Producers of Color, Andy Jones, The Perelman Performing Arts Center/PAC NYC
Ragtime
Producers: Lincoln Center Theater, Lear deBessonet, Mike Schleifer, Bartlett Sher, Nicole Kastrinos, Naomi Grabel, Maria Manuela Goyanes, Tom Kirdahy, Kevin Ryan, Robert Greenblatt, Lamar Richardson, Thomas M. Neff, Roy and Jill Furman, Stephanie P. McClelland, Michael Page, Acton Rothschild Productions/Willette and Manny Klausner, Alexander-Taylor Deignan/Jay and Mary Sullivan, D’Angora Padgett Productions/Janet and Marvin Rosen, Maggio Lane/Rubin Bolosh, Peter May/Coluzzi Cohen
Richard O’Brien’s The Rocky Horror Show
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel, Trafalgar Entertainment, The Dodgers
In a remarkable coup for the Garrick this is the Uk professional premiere of the off Broadway hit musical Disenchanted.
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The 2022 Disenchanted film was an American Walt Disney live-action/animated musical fantasy comedy film and the sequel to the 2007 film Enchanted set in a fairytale castle.
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An imagined sequel, this is a musical fairy tale that bites back. There are no simpering helpless hopeless damsels in distress here- and the princes are nowhere to be seen
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Imagine the Spice girls meet the cast of “Six” with Girl Power to the fore, the excellent three piece on- stage band are women too. All of the lazy princess tropes are forgotten. Cinderella has burst out of the kitchen and sleeping beauty is wide awake. As for Rapunzel, well you wouldn’t want to cross her.
Rapunzel making sure you are paying attention.
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Each character tells their own story with a powerful original musical score including the Little Mermaid, Pocahontas ,the Princess Who Kissed the Frog and a comic Teutonic Rapunzel who steals the show.
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The show combines, panto, pop concert, cabaret, with stand up comedy but crucially has heart and inspiringly declares that it’s never too late to re-write our own endings.
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It boasts two secret weapons. In a brand new show, inevitably the audience is adjusting to the format. Just before the interval any adjustment time is sidelined by the arrival of Jewelle Hutchinson as the princess who kissed a frog.
Jewelle Hutchinson dazzles with her costume and voice.
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With a voice so powerful the rest of Lichfield must have suffered an electricity shortage she blasted the show into the interval with great vocals and personal presence, the lift she provided to the show and audience was palpable. In the second half Eliza Bowden seizes the limelight as Rapunzel with Germanic zeal and efficiency. Make sure you have done your bit in the audience for the call and response sections – as she doesn’t tolerate any slackers.
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Dennis Giacino and Fiely Matias are responsible for the Book, Music and Lyrics which skip along briskly for a show that does not outstay its welcome at just under two hours including interval and is very funny. The copyright gags are amusing and droll. . The set design is utilitarian, the costuming lavish, no princess is going to tolerate skimping on the dress budget.
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The audience was predominantly a traditional mature one. However I sneaked in a nine and ten year old ( the advisory is fourteen) and they loved it. The brief profanity was nothing they had not heard in the playground that day. The empowerment message resonated strongly with them and it may be that the producers might want to find a way to reach out to that audience in the future.
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Disenchanted runs until Saturday 2nd May before heading for the Edinburgh festival. Director Daniel Buckroyd has done a superb job with the show which I suspect will be critically acclaimed north of the border. Outstanding, refreshing entertainment which deserved its prolonged standing ovation leaving us all definitely Enchanted.
The story is that of Phineas Taylor Barnum (1810-91) who ‘humbugged’ his way through life, written by Mark Bramble, Michael Stewart and Cy Coleman.
It premiered on Broadway in 1980, where it starred Jim Dale as Barnum, it came to the London Palladium the following year with Michael Crawford who estblished himself, and the show, as box office gold.
In the current revival, Lee Mead takes the titular role. He has enjoyed a distinguished career in musical theatre after winning the television talent show Any Dream Will Do. He went on to enjoy a short lived marriage with Denise Van Outen- how much luck does any man need?
The show is predicated on spectacle that is delivered in spades. It is a visual extravaganza with the circus sequences expertly expounded , the costuming a cornucopia of colour and styles designed by Lee Newby. Mead inevitably dominates but is ably accompanied by. Monique Young is believable as Barnum’s wife, Charity. Penny Ashmore, as opera singer Jenny Lind with whom Barnum falls in love, is convincing as a Swede and vocalist. Fergus Rattigan entertains as Tom Thumb.
Dominique Planter, as Joice Heth, the ‘oldest woman in the world’ and one of Barnum’s first “humbugs”, sings brilliantly channelling her inner Ella Fitzgerald. the music is played by the ensemble on stage playing over 150 musical instruments during the course of the show, including mass Kazoo in effort, the Sousaphone for “Come Follow The Band” at the start of Act Two, and the harp beautifully played by Jenny Lind/Penny Ashmore.
Oti Mabuse’s choreography is busy and omnipresent, Lee Newby’s multilevel circus-themed set is copiously utilised and Jai Morjaria’s lighting is dazzling. The circus element is assisted by by Zippo’s Circus and the National Centre for Circus Art.
But for me the show was style over substance. After the initial visual impact the first half at almost an hour and a quarter dragged , ghe shorter fifty minute second half was much stronger. Considering that there were thrre writers, the narrative was poor, lacking pace, drama and conviction. The American backdrop was out of touch with the prevailing anti American zeitgeist. As a child I was lucky enough to see the Barnum and Bailey three ring circus in America, that childhood awe is now long since tarnished. I would not see it again. These days a mass standing ovation is almost de rigeur for shows, on Friday night it was limited to polite applause.
This was my fifth visit to the show, but my second in four days having previously seen it at the Leicester Curve, a modern theatre. Wolverhampton grand is a traditional theatre- and Grand! Richard O’Brien‘s audacious musical The Rocky Horror Show has had a cult following since it first opened in London in 1973. It lovingly parodies B-movie horror and science fiction clichés. An all-American couple are forced to seek refuge at a mysterious castle after a flat tyre sees them stranded on a stormy night. What they discover there will change them forever in what is essentially an adult pantomime
As Roxy the Usherette appears in front of the curtain, we are transported back to 1950s America. Laura Bird sings ‘Science Fiction’ perfectly, recalling those iconic but trashy films and setting the scene as the curtain draws back to reveal Brad and Janet driving home from a wedding.
Rocky Horror is as much about the audience as the performance and Wolverhampton were up for it in wall to wall wigs and stockings Then, when the cast sings the iconic ‘Time Warp’ about 20 minutes in, much of the audience stands up and joins infor an ensemble Rocky love in.
The ‘horror’ starts when Brad and Janet arrive at Dr Frank-N-Furter’s castle and a large gothic front door comes forward. Riff Raff opens the door ‘What’s your favourite Lionel Richie number?’ shouts someone from the audience. ‘Hello’ says Riff Raff to Brad and Janet.
Jackie Clune is a withering Narrator, although the apparent ad libs were expose by the wholesale repetition of her lines from leicester a few days before. But she nonetheless was superb in the role,
The set is B-movie tackiness. Wall decorations in the hallway revolve to become over-the-top laboratory equipment and a huge strip of cinema film maintains the theme. The entrance of Frank‑N‑Furter sees the audience in ecstatics and Stephen Webb plays him with full gusto wearing a leather basque, fishnet stockings and a mischievous grin.
The mad scientist’s creation, Rocky, is played by Morgan Jackson who has the perfect physicality for the role and delivers seemingly effortless acrobatic dancing. His impressive entrance is on a revolving full-size Vitruvian man prop, lit with neon.
The show replicated the one in Leicester minus the Saturday night buzz, but “Im going home” by Frank really landed tonight. Another great show
This was my fourth visit over the years to The Rocky Horror Show and my first to the Curve at Leicester for the final night of the week long run at the venue. over half of the audience were dressed for the occasion . On my left Sandra was all gold lame, to my right fish net clad Victoria a construction firm employee was pleased to swap her work boots for stiletto heels and feather boa
Over fifty years on from its debut performance the formula endures ; a catchy rock soundtrack, audience participation and cult appeal. not only do the audience know the libretto, they also know all the ad libs too, updating them where appropriate. The former prince Andrew is not spared.
Unusally the show opens with arguably its best song.Laura Bird is exquisitely sexy and alluring as she welcomes the audience with the opening number ‘Science Fiction: Double Feature’ with superb vocals and, legs and are then introduced to Brad (James Bisp) and Janet (Haley Flaherty) the wholesome all-American couple who are in for a very dark night indeed.
Central to the show’s success is the Narrator played with consummate ease and a twinkle, by Mandy and Motherland actor Jackie Clune.
Clune is magnificent handling the audience call and response with ease, and dealing with new heckles with caustic aplomb.
The role of Riff Raff, is lessened in this production, made most famous by the author and originator of the part, i Ryan Carter-Wilson is functional with Magenta (Laura Bird after a quick change) and the tragic but delightful Columbia (Daisy Steere) dutifully at his side.
Frank ‘n’ Furter , played by Stephen Webb sashays and strolls like a perverted peacock, enjoying every minute of his lurid role.
The band , led by musical director Adam Smith, as part of a five strong team offered stirring support from the gallery. A cracking show and experience which was lapped up by the Saturday night crowd.
David Bowie performs at Deutschlandhalle, Berlin, on 16 May 1978 as part of his Isolar II world tour. Image: ARTCO-Berlin/ullstein bild via Getty Images
Bowie and fame
The short answer is “we don’t know.”
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His most explicit pean to fame, the eponymous song, is pretty unattractive lyrically, but driven by an hypnotic Alomar backbeat. Created at a time when he was drenched in drink and drugs, the plight of millionaire rock stars in their limousines, plush hotels, with fast women and men, didn’t bother me. David always had his luxury home in Switzerland when it all became too much and the cocoon of a first class cunard suite to travel there.
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Bowie successfully, and ruthlessly pursued fame leaving those that aided and abetted his journey by the wayside. Unquestionably Tony DeFries was architect in chief, his Mainman offices in London, New York and Tokyo providing the launch pads to success, Angie, Ronno and Alomar being jettisoned like expended booster rockets when required.
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David understood contemporary celebrity as well as anyone. What is astonishing is his celebrity in so many different fields. David the songwriter ( Space oddity, Life on Mars, The Man Who sold the World, Dudes), David the Popstar ( Ziggy), David the Media darling ( the Panorama interview), David the lady Diana look alike ( live Aid/ Serious Moonlight era) , David the Film Star ( The Man Who fell to earth et al), David the Childrens’ hero ( Laughing Gnome, Peter and the Wolf, Labyrinth), David the Theatre stage star ( Elephant Man), David the Messiah to the masses ( Live Aid, Serious Moonlight Tour, Glastonbury2) David alternative Music hero ( Low and Heroes), David Saviour of failing careers ( Mott the Hoople, Lulu, Iggy Pop). It is an astonishing list, I could go on…
Intellectually David was a grasshopper moving from place to place, a cultural magpie, picking up ideas, using them, then trying something else. His flirtation with fascism was disastrous, he almost starred in an aborted Camerson Crowe film about the Spanish Civil war as an anti fascist, but the Low heroes earthquake very effectively erased memories of the past.
Almost as remarkable as David’s success with fame was his ability to dodge it. He spent 18 months with Cameron Crowe in LA, providing him with a biographical manuscript and no-one knew. His three years in Berlin are largely a mystery with three women who featured in it, RSC actor Clare Shenstone, transsexual performer and legendary nightclub owner Romy Haag and former journalist Sarah-Rena Hine – all of whom knew Bowie intimately, remarkably coy. Did David save Iggy? Did Iggy save David? Or did a Berlin awash with heroin consume them? No videos, a handful of photos.
Fame? What’s your name?
Heroes?
The vocals songs on the Heroes album are more conventional than on Low, and album which was groundbreaking
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The song Heroes did not leap out as a standard at the time, as an album track, it is a straight forwards romantic love song underpinned by Fripp’ s guitar. The single edit is awful.
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However live it took on a life of its own, becoming a song of hope and loss, the phrasing on Stage is quite different to the studio take. Great songs transcend their original birth and are capable of becoming something much greater ( “Somewhere over the rainbow”).
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Bowie had a knack for being able to do this- think of “Space oddity”, “The Man wgho sold the world” “Rebel rebel”, Fashion”, “Fame “ and “Lets dance”. All transcend their original incarnations to become non time specific.
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Post 9/11, it morphed again when Bowie played it at the dong for New York Concert to become a song for all heroes. Its bombastic tenor thereafter was not to my taste altering as Springsteen’s “Born in th USA” did in similar circumstances over time.
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It is noteworthy that his German language single vocal in “Helden”, recorded during the period in which he lived in Berlin is very good. I suspect that the fact that CoCo was both a fluent German and French speaker helped his multilingual versions.
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So it is arguable that there are four “versions” of Heroes on the table
***** This was the third time I had seen the show on this tour, and the fourth overall. It continues to grow on me.
For a detailed review search for the Nottingham Theatre and Alex theatre, Birmingham shows.
What stood out this time was quality of Ray Davies song writing and the coherence of the song choice. The end is a little forced and rushed but after two hours all good things must end.
The Friday night finale of “Lola” was electrifying, energising the entire theatre. before that “I go to sleep” was sublime. The entire cast gave it their all for the closing mash up of tunes- of course we needed “You really Got Me” one more time.
Unusually for a jukebox musical there is a story, and it is well told, and well acted. Continues on nationwide tour
As the Rock era draws to a close, heroes are thinner on the ground. Unusually, Ashcroft has had two bites at the cherry, first as an Indy icon with the Verve, then after a period in the wilderness ,and a career pivoting stint supporting Oasis as a solo superstar. Stadiums and festivals are unforgiving places, intolerant of those that are merely filling in time before the main event. Ashcroft triumphed. Tonight I saw why.
Saturday night for a bank holiday weekend in Birmingham England’s second city and a 16000 sell out. No wonder as he came on he made his way to the front of the stage and took a minute to savour the atmosphere and occasion before blitzing the evening.
One thing he can never be accused of is modesty. Billed as Richard Ashcroft, not the Richard Ashcroft band, his initials are emblazoned in lights as the backdrop. He doesn’t introduce or name check his backing singers, the five piece string section, or band. This is him- and he pulls it off. No snazzy stage, no glitzy costumes. Just shades, jeans and t shirt and hoody for him.
What he did have was a killer set of songs, many stretched out, all improved for live performance. “Music is power” and “Break the night with Colour” became ten minute opuses. Two hours of compelling genius. “Hold on” was Springsteenesque in its call to arms cry.
Yes he does love the “all along the watchtower” chord changes ( weeping willow and others), and the lyrical nod to Reach out ill be There in Cmon people is shameless. But he gladly name checked Joan Armatrading for Lover and William Blake for the imperious History.
Wrexham’s the Royston Club held their own as the opening act with a sharp thirty minutes
The East Midlands has been treated to Shakespeare’s greatest hits just recently. A few weeks ago the RSC brought Hamlet to Nottingham. Now Derby theatre in conjunction with Hull Truck Theatre , and Octagon Theatre Bolton, offer us Macbeth
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The Tragedy of Macbeth is thought to have been first performed in 1606 and dramatizes the physically violent and damaging psychological effects of political ambition and power. It is Shakespeare’s shortest tragedy written during the reign of King James I, and contains the most allusions to James, patron of Shakespeare’s acting company. In the era of the predominance of Donald Trump this cautionary tale of the dangers of power could not be more prescient.
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If you don’t know the plot, where have you been for the last four hundred and twenty years?
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The set is spartan, industrial and austere. Grey flagstones are speckled with weeds against a backdrop of doorways and an iron staircase illuminated by eerie lamplight. This is no luxury castle. Is it a bunker? Is it a barracks? Is it a prison? Is it an underground carpark? It is brutal, and unforgiving- just like the play. There are lots of doors, some dead ends, some exits, some entrances, just like the choices facing the play’s characters. The multiple multi level doors and doorways create a sense that whatever route or door is taken, the fate of the characters is sealed. Hell is murky
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Costuming and weaponry is modern as is the overall tenor of proceedings. Rachel Canning does a skilful job with her set and costume design to underscore that. Rarely do I namecheck fight directors. With the suitably exotically named Haruka KurodaI , I make an exception. The closing showdown is terrific, visceral, muscular and tense, enormously aided by the physical presence of Oliver Alvin Wilson in the titular role. The ensuing bloodbath makes Quentin Tarantino look tame.
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The main protagonists are Macbeth (Oliver Alvin-Wilson) and his conniving wife, Lady Macbeth, played by Derby theatre favourite Jo Mousley.
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Not only does Alvin Wilson have an imposing physique, he also has the ability to roll hubris, ambition and vulnerability into a compelling performance. That performance is hugely energised by Jo Mousley who smoulders as Lady Macbeth.
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In the 1970’s Helen Mirren gave a career defining performance as a gangster’s moll in the film; “The Long Good Friday”. Mousley’s performance is a raven haired spin on that. Sexy, sassy, and assured, she brings 21st Century Girl Power to a 17th century creation. Yet still she also convinces in her white nightgown , disintegrating amidst the wreckage of her plotting, centre stage. It is a wonderfully executed scene.
Director, Mark Babych, has managed to update this tragedy without losing its essence, aided and abetted by an unusually strong ensemble cast- the witches themselves chilling and thrilling. It lasts a taut two hours and thirty minutes including interval and runs until Saturday 18th April
Garyswordz 