Posts with the label edinburgh playhouse
Showing posts with label edinburgh playhouse. Show all posts
Showing posts with label edinburgh playhouse. Show all posts
Thursday, 21 February 2019
Jersey Boys (UK Tour), Edinburgh Playhouse | Review
Jersey Boys (UK Tour)
Edinburgh Playhouse
Reviewed on Wednesday 20th February 2019 by Liv Ancell
★★★
The latest touring show to grace the Edinburgh Playhouse with a two-week residence is the all-singing show, Jersey Boys. Although, upon curtains up, you could be mistaken for thinking you had perhaps turned up to the wrong show by accident, with an off-theme French contemporary rap song (Ces soirées-là ) kicking off the show - the relevance of course, being that the Jersey Boys’ original songwriting and melodies are frequently covered and adapted by modern artists to this day. With this firmly established, we immediately move back to the 1960s where the story of the Jersey Boys - this being of course the collective term for the four iconic Newark lads who formed the rock and roll group The Four Seasons - all began...
The layout of the performance is such that a different band member in term breaks the fourth wall and introduces parts of the story, or cuts in and interjects the action with a retrospective narrative. They do this in turns and add in their side of the story, but the first up is Tommy Devito, who was one of the groups founding members and in the stage version, is the loudest and most animated of the four protagonists (played by Simon Bailey).
As Tommy takes us back to the early days of ‘The Lovers’, we begin to learn more about the ups-and-downs the band navigated on their way to stardom, set against the backdrop of Italian-American life in 1960s Newark, New Jersey.
The songs throughout are sung expertly, keeping true to the band members’ Jersey accents and famous tones and pitches. To master historical regional accents must be no easy feat, but the cast had the audience well convinced.
The actors are all meticulous in their portrayals, which is made even more apparent when the screen at the back of the stage projects the real life performance from the 1960s, synced in time above the actors’ own rendition. Indeed, Michael Watson (Frankie Valli), Declan Egan (Bob Gaudio), Lewis Griffiths (Nick Massi) and Simon Bailey (Tommy DeVito) all put in truly stellar performances, with the energy kept high throughout and displayed fantastic comedy timing.
While I have seen many retrospective artist/band stories translated to the stage, this one was possibly the version which glazed the most over the more emotive scenes and elements of the story. In this adaptation, there is no doubt that the iconic songs of the Four Seasons are the real focus.
For the audience, who were mostly made up of slightly older theatre-goers, this was a welcome move. Renditions of Bye Bye Baby, Can’t Take my Eyes off You and December 1963 (Oh What a Night) had the audience delighted, with the warm feeling of nostalgia palpable in the stalls, circle and balcony.
For me however, stage biopics about the life and hits of Carole King and Cilla Black were a more rapturous journey to sit back and watch; emotive scenes were explored in depth, with the audience really riding the highs and lows of the protagonists. In this version however, scenes which should have had the audience sympathising at great lengths with the characters (I won’t spoil anything…) were instead given very little stage time, squeezed between hits guaranteed to get the audience going.
In terms of staging, an industrial static set-up dominates the stage, serving well at times as a prison and a recording studio. However, the set wasn’t particularly versatile or inventive. The screen backdrop was intended to assist in varying up the settings, although there were a few times when seemingly random pop-art pieces were flashed onto this screen in the middle of scenes. This was rather a gimicky addition which didn’t add to the sense of time and place, and only served to distract.
There’s no doubt, this is a true feel good musical which will have you tapping your toes, but if you’re after a rollercoaster journey of emotion, this one probably isn’t for you.
Jersey Boys runs at the Edinburgh Playhouse until March 2nd
photo credit: Rob MacDougall
Thursday, 13 December 2018
Kinky Boots (UK Tour), Edinburgh Playhouse | Review
Kinky Boots (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 11th December 2018 by Liv Ancell
★★★★★
Audiences at the Edinburgh Playhouse are being transported straight to the Price & Sons Shoe Factory in Northampton this December, to a time and place where drag queens and shoemakers collide in spectacular fashion, in what is a truly unique and special tale.
Kinky Boots has boldly strutted into town and delighted the Edinburgh Playhouse’s audiences since opening night on 11th December. With original music & lyrics by Cyndi Lauper performed by a diverse cast eager to impress, it is impossible not to get swept up in the drama and excitement of this unique spectacle.
The promise of the show’s eponymous red kinky boots seems far off at first, as the curtain rises to reveal the gritty factory belonging to Price & Sons, practical shoemakers. Here we meet Charlie Price, who was portrayed brilliantly by the energetic and tone-perfect Joel Harper-Jackson.
Set design (by Tim McQuillen-Wright) convincingly transforms the stage between its main two states: a working shoe factory and an intimate drag club. This reinforces the contrast between the very different worlds of protagonists Charlie and Lola, as the story dips in and out of Charlie’s tough reality and the exciting world of the exotic drag queen, Lola.
Speaking of Lola, Kayi Ushe who played the show’s famous red-boot bearer on the night stole the show in spectacular fashion. With his perfectly placed sashays, sassy one liners and full range of emotions, Kayi Ushe put on a winning performance in what is undeniably an extremely demanding role. From booty drops to belting out ballads, deadpan put-downs and effortless switches between the character’s macho masculine and drag-queen personas - sometimes done in the very same breath - the audience was absolutely blown away by the level of talent and professionalism Kayi brought to the performance.
Another notable performance in the show was that of Coronation Street veteran Paula Lane, who stepped into the fun role of homegrown Northampton pocket rocket Lauren. Her rendition of The History of Wrong Guys - just one of the show’s long list of incredibly catchy tunes - was underpinned by well-delivered slapstick elements which caused hilarity among the audience.
Lola’s cast of utterly fabulous drag queens, a.k.a The Angels, proved that when drag and theatre cross-over, the result is electric. Played by the kick-ass combination of Connor Collins, John J. Dempsey, Damon Gould, Joshua Lovell, Chileshé Mondelle, and Toyan Thomas-Browne, The Angels left the audience in utter wonderment with their sharply executed choreography. Their performance should almost come with a warning that mere mortals should not attempt their high-tempo sequences of squats, drops, jumps, sashays and moves at home. Not to mention the Angels’ costumes (costumes by Gregg Barnes) which would have put even Ru Paul’s Drag Race contestants to shame, with their dazzling glitter and unashamed flamboyance.
The story of Kinky Boots has its glorious ups, its poignant downs, and beautiful nuances of human emotion which eclipse the themes of loss, love, acceptance and even, the challenges of running a family business. The cast perfectly led us along the full spectrum of emotions, and put on a visual feast for the whole audience. A particular highlight for me in terms of staging was the boxing scene, where strobe lights helped to paint a particularly tense and dramatic scene.
I’ll leave the rest under wraps; this show is an absolute treasure box of surprises, laughs, and delights. The cast and production is of the highest standards and quality rarely seen outside of the West End or Broadway. If you’re looking for a little sparkle and escapism on a cold December evening in Edinburgh, there truly is no better place to be.
Kinky Boots runs at the Edinburgh Playhouse until January 5th 2019
photo credit: Helen Maybanks
Wednesday, 11 July 2018
The Band (UK Tour), Edinburgh Playhouse | Review
The Band (UK Tour)
London Palladium
Reviewed on Tuesday 10th July 2018 by Fiona Wickerson
★★★★
The story opens with the main protagonist proclaiming how she grew up with ‘The Band’ and judging by the enthusiastic cheers from the audience it seemed pretty clear that many of them did too! The opening few scenes are full of fun and pace, as we see the bubbling enthusiasm of a group of five best friends, obsessed with seeing The Band for the first time. The dialogue was witty and the actors charmingly recreated the energetic enthusiasm found only in 16 year-old teenagers.
‘The Band’ themselves appear regularly, in true musical fashion, to perform all of Take That’s greatest hits. Wearing the classic outfits and performing the deliberatively overly-choreographed dance routines, they really captured the spirit of Take That in their heyday.
In sharp contrast to the sweet enthusiasm of the first few scenes, tragedy strikes, and the friendship group breaks apart. The Band’s acoustic, haunting singing worked beautifully and the mournful scenes of transition were handled with tenderness and emotion.
Fast forward twenty-five years and the once-girls have all settled into very different lives, in very different places. The older Rachel, (played by Rachel Lumberg) performs with wonderful realism, portraying the balance of a woman who has had a happy life, but has never been able to quite let go of the sadness that haunted her teenage years. As the friends come back together for the first time in twenty-five years, the show really starts to come into its own. Every member of the audience could find something in common with the forgotten dreams of youth and the paths you never thought you would walk down.
Queue some very humorous scenes involving a water fountain and the audience were completely charmed by the four women. It seems a little ironic that in a musical called The Band, from which a TV series has sought out the five winning members, the five boys were actually in the background for the majority of the story. The leading ladies absolutely stole the show, quite rightly, with their brilliant comic timing, sincere emotion and charismatic stage presence. In fact, it really worked for the performance that the boys and the main characters never directly interacted with each other. ‘The Band’ were always a dream for the girls-now-women, and though very important to their lives, it was the friendships underneath that the women realise they should never have lost.
With only 16 performers in the entire show, the cast did an excellent job of creating the on-stage energy normally only found in much larger cast productions. The quick costume changes and creative use of props made the stage feel full of life. The show was a sell-out and I have rarely seen an audience so engaged and invested in a show. The rip-roaring finale scene had the audience on their feet and the night ended on a real high – success!
The Band runs at the Edinburgh Playhouse until 14th July before continuing it's tour.
Tuesday, 13 March 2018
Hairspray (UK Tour), Edinburgh Playhouse | Review
Hairspray (UK Tour)
Edinburgh Playhouse
Reviewed on Monday 12th March 2018 by Michèle Duck & Viv Conway
★★★★★
The funny, daring and radical story of Hairspray truly dances to its own beat. After the last curtain fell at the Edinburgh Playhouse, the residue of hope of change was left in the air. Mark Goucher, Matthew Gale and Laurence Myers present the story of Hairspray with an exceptional cast and orchestra, based on the New Line Cinema film by John Waters.
The musical tells the story of racial segregation in America and the fight for racial equality. From mentions of Rosa Parks and Martin Luther King, the audience are reminded of a struggle that although portrayed as historic, is still relevant today all over the world. The story of bravery, friendship and ‘doing what is right’, is told in a charming and compelling manner through the lyrics of Scott Whittman and Marc Shaiman. The story is told through the bright, naïve eyes of Tracy Turnblad and her passion for dancing. As Tracy’s understanding of herself and world widens, her ambition grows into a galvanising desire for change.
It is hard to know where to start with such a talented and energetic cast. Every cast member brought life and vitality to the performance and executed the complex choreography with vigour, precision and enjoyment in equal measure.
A particularly captivating and poignant performance from Motormough Maybelle (Brenda Edwards) in I Know Where I’ve Been, caused the audience to tangibly hold a collective breath. Her words wove a story of segregation which although targeted to the 1960s, still rings true in the current global climate. This song tells a heartfelt story of loss and struggle and the promise of a better life. One wonders when we may truly get to the ‘Promised Land’ that Martin Luther King described in his speech the day before he was assassinated.
Edna and Wilbur Turnblad (Matt Rixton and Norman Pace) were a down to earth, honest and side-splitting double act, which really brought life and humour to the show. Whether forgetting their lines was intentional or not, their realistic and relaxed roles bounced (literally) off each other in a light-hearted and warm rendition of You’re Timeless to Me.
Annalise Liard-Bailey brilliantly executed her goofy portrayal of the ‘best-friend’, Penny Pingleton with perfect mix of humour, talent and relatableness. Laird-Bailey is one to watch.
However, the stand out performance of the show came from Seaweed (Layton Williams). Williams brought his character to life, and before the audience knew it, Seaweed became the leading man. Between his back flips, his energetic and sensual rendition of Run and Tell That, William’s raw talent and clear love of musical theatre shone though, infecting the audience with his energy. This leading role take-over was very appropriate considering the shows storyline of the journey to equality.
Overall, the 2018 cast of Hairspray tells a family friendly and warm hearted story. Through its upbeat songs (who doesn’t love a singalong encore), the audience are left with the important underlying message of standing up for what you believe is right, no matter your size. After all, all that really matters is the size of your heart.
Hairspray runs at the Edinburgh Playhouse until March 17th before continuing it's tour.
photo credit: Darren Bell
Wednesday, 29 November 2017
Beautiful: The Carole King Musical (UK Tour), Edinburgh Playhouse | Review
Beautiful: The Carole King Musical (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 28th November 2017 by Liv Ancell
★★★★★
Wasting no time in getting started, the Carole King musical opened with the protagonist (played by the talented Bronté Barbé) sitting behind a grand piano at the Carnegie Hall concert, a highlight of King’s solo singing career. During these first few moments of the show we see Carole at her pinnacle – a headline concert.
Some world-class singing, along with a quick comical address to the audience, and whoosh! The piano glides to the back of the stage, while the forefront is seamlessly transformed into a mid-century apartment in Brooklyn. In an astonishing demonstration of hurried backstage dressing, Carole emerges just moments later, transformed into the gawky 16-year old college student with big ambitions.
And so the show really begins, as we follow the peppy and promising teenager from the very beginnings of her musical ambitions. Throughout the show, we are to see several more versions of Carole. From naïve teenager to career-woman, mother, divorcée and reborn singer – Bronté’s unwavering Brooklyn accent and incredible acting talent carried the audience right the way through the character’s incredible journey.
From joy to dejection, every facet of emotion was expertly communicated by this veritable stage star; from gestures to posture and tone, the calibre of acting on show made the audience really get behind the character. When Carole suffered a set-back, the audience collectively mourned for her. When Carole rejoiced, the audience rejoiced. The connection between Bronté and the audience was pure and deep, emphasising the quality of talent possessed by the actress.
My favourite aspect of the show was the flashy transitions between song-writing and performance. Carole and her husband Gerry Goffin, who was her partner in a work sense, too had a believable on-stage chemistry. The very moment that our ingénues completed the writing of each song (her the melodies and him the words), the chosen artists suddenly appeared to perform Carole and Gerry’s works. These quick ‘cut-betweens’ intersected the story, providing moments of sheer joy, and often comedy, as the audience enjoyed upbeat, all-dancing, all-singing renditions by the likes of The Shirelles and The Drifters.
Carole and Jerry’s counterparts, songwriting duo Barry Mann and Cynthia Well – who were great friends of Carole and Jerry – are the subjects of a sideline love story. The ambitious go-getter Cynthia and hypochondriac musician Barry provide many moments of comedy, and are instantly likeable.
As Carole strikes out on her own in Act 2, the audience see even more of the endless talent possessed by this legendary artist. More confident, less naïve and wiser, the character doesn’t hold back and the real potential of her talent is unlocked. This show is a beautiful journey of talent and dreams, a journey who’s ending would not seem quite so special if the moments of sadness and despair had not appeared along the way.
A packed Edinburgh Playhouse rose to their feet to toast the young talents of the show. The main characters and the ensemble really seemed to understand the complexities of the relationships and the time period which the show spanned. The execution of this show was flawless; from staging to lighting, to the script and the arrangements.
I whole-heartedly recommend this show to anybody – even if the name Carole King is unknown to you prior to seeing the show, I can guarantee hits such as the Locomotion and Will You Love Me Tomorrow will jog your memory and give you a new found sense of appreciation of this song writing and singing legend.
Wednesday, 15 November 2017
Cabaret (UK Tour), Edinburgh Playhouse | Review
Cabaret (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★
With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.
What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.
Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.
Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.
This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.
The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.
The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!
Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.
Photo credit: Pamela Raith
Wednesday, 25 October 2017
Million Dollar Quartet (UK Tour), Edinburgh Playhouse | Review
Million Dollar Quartet (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 24th October 2017 by Liv Ancell
★★★
Memorialising the famous jam session of 1956, where fate brought together legends Elvis Presley, Johnny Cash, Carl Perkins and newcomer Jerry Lee Lewis, Million Dollar Quartet is an energetic show which rattles through instantly recognisable hits from the golden age of rock n’roll at a lightning-fast rate.
Martin Kemp plays the ‘ringmaster’ of the show, Southern music mogul Sam Phillips. The man who brought them all together under his grass-roots label Sun Records, he also provides commentary as to the back stories of the four stars, frequently breaking the fourth wall and treating the audience like an old friend.
This is a fast-paced show with little time for dialogue; the first half is a mere 40 minutes of back-to-back tunes, with little time for talking. During this time, the characters share a little camaraderie, but the focus is on the hits. The spectacular array of voices as well as world class musicians in the tiny recording studio set turns the theatre show into a veritable live rock concert.
The leg-shaking, foot-tapping firecracker, Jerry Lee Lewis, is portrayed with limitless vitality by Martin Kaye - a role he has been playing since 2013, but astonishingly, not a single iota of his energetic and charismatic presence has waned in this time. He really stole the show and was an audience favourite - his cheeky and youthful, unpolished and unfiltered personality was both refreshing and infectious.
The other actors had clearly studied the iconic voices of their roles in great depth, with Robbie Durham (Cash), Matthew Wycliffe (Perkins) and Rhys Whitfield (Presley) all achieving near-perfect matches of their famous characters, even mimicking their stage presence and movements. Katie Ray played a supporting role of Dyanne, but when she did take to the microphone, the versatility and depth of her voice shone through. My only criticism of Katie Ray would be that her accent strayed from American to English at times, which was a little confusing.
The pace slows in the second half, as the session slowly winds down and reality sets in. It becomes clear that the session that we have witnessed was a remarkable and fleeting moment in history, where these four stars came together under one roof, united by the music they loved.
The ending was extremely ambiguous; for the last half an hour, it wasn’t clear quite when the show was going to end. The story ended, and the characters bowed. This was immediately followed by an impromptu seeming concert, allowing each of the 4 a solo to really showcase their talents, which whipped the audience into a frenzy. During this time, the lighting effects were amped up with extra rigging lowered, as we were no longer witnessing a performance in the confines of the recording studio.
In terms of staging and lighting throughout, it was relatively low key, with no transitions in staging. The singular static setting meant that a small recording studio was recreated on stage, which was a small place for such a big sound. This reinforced however how small-town Phillips’ recording studio really was though, making this encounter all the more unbelievable.
Overall, the talents in this show were incredible - particularly Martin Kaye’s performance in which playing complex scores on the piano while jumping around animatedly somehow seemed effortless. More dialogue and more of a back story would have perhaps given the show a little more depth and narrative however, but if you simply want to see a performance which showcases these artists or this style of music, Million Dollar Quartet is guaranteed to rock your socks off!
Wednesday, 4 October 2017
Sunset Boulevard (UK Tour), Edinburgh Playhouse | Review
Sunset Boulevard (UK Tour)
Edinburgh Playhouse
★★★★
Sunset Boulevard is a thrilling ride through the film industry of mid-century America, filled with the song, dance and cultural ephemera of the era. It’s an intoxicating spectacle that is both entrancing and, in parts, exhausting.
The production takes place in Hollywood on the cusp of the 1940s and 1950s. The show’s intermission pointedly falls at a New Year’s party in 1949 in a manner symbolic of the story’s main theme of the passing of one era to the next.
The time period and location is a particularly rich seam for the set design which, especially in the opening moments, is a flurry of transitions. The audience is taken from the gates of Paramount studio to production lots, writer’s rooms and soundstages in the space of a matter of minutes. Furthermore, artifacts of film production are woven intelligently into the set throughout. One driving scene in particular employed footage of busy Los Angeles streets projected behind the protagonist’s vehicle while shadowed cameramen revolved around him in a way that recalls the early special effects of the time. It could easily have been confusing, the fact that it wasn’t is testament to the care with which each aspect of the set had been considered.
As one might expect given the story, the music throughout the show was constantly evocative of the period and brilliantly performed by the band. One aspect to note is that your enjoyment of the show may in part depend on how you feel about Andrew Lloyd Webber, who supplies the music in the production and isn’t always for everyone.
Danny Mac as protagonist Joe Gillis was well cast and particularly excelled at both the breezy 50s dialog exchanged with members of the supporting cast and his rendition of the title song ‘Sunset Boulevard’. Predictably a cheer went up around the hall as the actor, who appeared on Strictly Come Dancing, danced a tango. His interaction with romantic interest Molly Lynch as Betty Schaefer was a touch lacking, but this relationship is not really the centrepiece of the story and as such both the songs and dialog were a little perfunctory. Special mention should be given to both the singing and acting of Adam Pearce as Max Von Meyerling, who deflty straddled the line between chilling and endearing and very nearly stole the show. However Ria Jones as the needy and demented Norma Desmond was superb throughout, delivering a deeply poignant performance.
Thursday, 21 September 2017
Cilla (UK Tour), Edinburgh Playhouse | Review
Cilla: The Musical (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 19th September 2017 by Liv Ancell
★★★★
I have to start with a confession: I’m a typical millennial who’s only exposure to the life’s work of Cilla Black prior to watching this show was watching her as the feisty host of Blind Dates when I was a kid. The extent of my research before turning up to the theatre was a quick Spotify search, followed by a couple of obligatory listens.
However, the excitement and glamour of this show not only won over the audience - the majority of which were in their 50s and 60s, turning up in force to pay tribute of to a much-loved entertainer of their days - but it succeeded in winning over my millennial heart, too.
One feature of the production which thoroughly deserves a mention is the set design, the brainchild of Gary McCann and lighting designer Nick Richings. The show’s concentric arches lent so much depth to the Playhouse stage, while the clever use of lighting gave the audience many unexpected delights.
From a brick-walled Merseyside club, to the red-curtained London Palladium, to a psychedelic TV set in far-flung New York: the light effects and set changes transported the audience along with Cilla on her categorical rise to fame. The changes were seamless, genius, and utterly magical, transforming the stage from a wood-panelled 60s recording studio to a street of terraced houses in the blink of an eye.
Onto the show’s protagonist. Our Liverpool legend was embodied perfectly by Kara Lily Hayworth, who not only took the whirlwind of costume changes (seriously, I lost count) in her expert stride, but a challenging repertoire of Cilla Black songs and covers (I lost count of how many songs she belted out) too.
The audience was enraptured from start to finish by her breath-taking exhibition of ballads which ranged from rock to pop and showed no signs of flagging throughout. Mastering a 60s Scouse accent and even retaining it while singing is no easy feat, and Hayworth stunned with her performance in what must be a seriously challenging and demanding role.
Despite my no-show to the swingin’ decades of the 60s, even I was pleased to be able to recognise some of the show’s characters. The Beatles and Brian Epstein, their legendary manager, feature heavily throughout the story as contemporaries of Cilla. The show’s Beatles were so brilliantly cast that at one point my companion whispered, “That guy looks so much like Paul McCartney that it’s actually freaking me out”.
Carl Au gave an endearing performance as Bobby Willis; charming the audience from beginning to end as Cilla’s loyal companion. His solo performances are well worth the wait; in Act 2 Bobby realises his own singing ambitions and performs a lovely rendition of “A Taste of Honey”. Meanwhile, Cilla’s parents bring a comedy aspect to the show with their hilarious repeated one-liners which had the audience in stitches every time.
Her death a couple of years ago brought sadness to many hearts across this nation, and this show looks to celebrate her incredible talent. Cilla will stun and surprise you from start to finish, with its catchy tunes and rise-to-fame story. With its chintzy and glamorous sets, excellent supporting cast and jaw-dropping lead, this show will leave you awe-struck - and it certainly won’t disappoint you, whether you’re a Cilla fan or just an unwitting millennial like myself.
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