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Showing posts sorted by date for query hope priddle. Sort by relevance Show all posts

Saturday, 10 June 2023

We Will Rock You at the London Coliseum review: Still Has 'A Kind Of Magic'


We Will Rock You
London Coliseum
★★★

After a ten year absence from the West End, the ‘show must go on’ for We Will Rock You (WWRY) as it takes up its summer residency at the London Coliseum. Set on the iPlanet, a corporate cyberspace where live music is forbidden, this iconic musical follows a group of rebellious bohemians in their search to rediscover the legendary art of rock and roll.

Unfortunately, jukebox musicals have come a long way since WWRY last graced the West End. Unlike newer examples such as &Juliet which prioritise cohesive and earnest story-telling, Ben Elton’s book is inarguably weak. It’s tiring to watch several scenes cynically shoehorned in to allow for a fan-favourites to feature in the show. Musical numbers often feel bookended awkwardly between immature dialogue, rather than moving the narrative along through song. However, these criticisms have been levelled at the show since its first inception, so no surprises there!

This production is clunky and cringeworthy at times. Scenes at GlobalSoft, Gaga High and Gaga Mall are cheapened by dated, distracting graphics and garish costumes. While clearly a deliberate aesthetic, for a show set decades from now it presents a futuristic vision that is firmly rooted in past. Fortunately, the overall design improves greatly when we’re invited into the rebel stronghold at Heartbreak Hotel. The set, designed by Stufish Entertainment Architects, becomes warm and inviting, with miscellaneous scraps and festoon lights cluttering the stage.

If the world of GlobalSoft is silly and contrived, then sadly so is their leader. A WWRY veteran, Brenda Edwards is vocally strong but her Killer Queen is more pantomime villain than ruthless technocrat. Lee Mead is woefully underused. He brings gravitas to his role as sidekick Commander Khashoggi and his performance of the Seven Seas of Rye is a great fun to watch as he peacocks across the stage with an air of gleeful sadism.

The show finally finds its heart when we meet the Bohemians, the first act belonging entirely to Christine Allado as Meat and her spellbinding delivery of No One But You. She is joined by the brilliant Adrian Hansel as hopeful believer Brit, creating a truly dynamic duo.

Elena Skye shines as Scaramouche. She’s feisty and spunky, with cracking comic timing and stellar vocals. Ian McIntosh gives an outstanding performance as the unsuspecting messiah of rock Galileo. He is an absolute vocal powerhouse, having the audience eating out the palm of his hand on more than one occasion. Together their chemistry is palpable and their bickering rendition of Hammer To Fall is a real treat.

Special mention must go to Ben Elton as rebel leader Pop. A singer he is not but he remains a joy to watch as he lives his best life in a world of his own creation.

At risk of being a relic of jukebox musicals past, WWRY still holds up as a night of rousing entertainment and the payoff is immense when it finally reaches its electric and euphoric finale of Queen’s greatest hits. Overall, it’s safe to say it still has ‘a kind of magic’ that will bring audiences back time and time again.

Reviewed on Friday 9th June 2023 by Hope Priddle
photo credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}
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Wednesday, 15 March 2023

Girl From The North Country (Tour), New Wimbledon Theatre | Review


Girl From The North Country (Tour)
New Wimbledon Theatre
★★★★★

Set to Bob Dylan’s poetic and politically charged back catalogue, Girl from the North Country introduces us to a rabble of lost souls at Nick Laine’s destitute guesthouse in 1930s Minnesota. Laine’s wife Elizabeth, adopted daughter Marianne and son Gene live alongside a host of wayward drifters, all with their own secrets and stories to share. Connor McPherson’s book is simple yet elegant; tragic anecdotes unravel across the next two and half hours, each punctuated by a song from Dylan’s discography. The musical numbers do not necessarily move the plot forward but are instead perfectly used to capture microcosmic moments in time.

Girl from the North Country is a real character piece, allowing a talented ensemble cast to individually shine. Frances McNamee gives a heartbreaking turn as Nick’s sick wife Elizabeth, masterfully shifting between moments of lucidity and child-like tantrums. Her performances of ‘Rolling Stone’ and ‘Forever Young’ are particularly spellbinding. Justina Kehinde shines as the spirited and effervescent Marianne, whilst Eve Norris (Katherine Draper) and Gregor Milne (Gene Laine) deliver an easy, understated version of ‘I Want You’ in Act one.
Dylan’s best known songs have been transformed tremendously by Simon Hale. Many take on an almost choral quality, including a stunning acapella section which closes the show and numbers lead by the soulful Maria Omakinwa as long-term resident and Nick’s lover, Mrs Nielsen. Other numbers are jaunty and percussive, creating a wonderfully varied musical landscape.

Rae Smith’s set and costume design are austere and efficient but entirely period appropriate, whilst Mark Henderson’s clever use of recurring spotlights against a backdrop of haunting silhouettes give several numbers an almost confessional feel. Time appears to stop still as interior monologues are shared under a stark beam of light. A twenty-strong ensemble fills an otherwise sparse stage; they execute Lucy Hind’s choreography with gumption, convulsing in sync as if we’re witnessing an evangelical awakening.

This production feels prophetic, visceral and cathartic all at once. Like an open wound, it pours with the voices of the lonely and disenfranchised during one of America’s darkest decades. However, there are several revelatory, uplifting moments and welcome flashes of caustic humour. Girl from the North Country is a moving testament to the tenacity of the human condition and a truly class act.

Reviewed on Tuesday 14th March 2023 by Hope Priddle

{AD PR Invite- tickets gifted in exchange for honest review}


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Wednesday, 3 August 2022

Billy Elliot the Musical, Leicester Curve | Review


Billy Elliot the Musical
Leicester Curve 
Reviewed on Saturday 30th July 2022 by Hope Priddle
★★★★

After a staggering eleven years in the West End, Billy Elliot the Musical returns in an ambitious new Made at Curve production, directed by Nikolai Foster. Billy Elliot is the uplifting tale of a working-class boy from northeast England who discovers a love of dance during the Miners’ Strike of 1984/85. With a grieving family and embittered community at the heart of this narrative, Billy Elliot celebrates the vital, restorative potential of art and the value of coming together. With many of us bearing witness to the rising cost-of-living, an assault on the arts and a summer of strikes, it is no surprise that this musical - inspired by Stephen Daldry’s legendary film - continues to resonate.

While this Made at Curve production features book and lyrics by Lee Hall, and music by Elton John, it marks a radical break from the original production, with warmth and intimacy replaced by an allover grittier aesthetic. Tender moments such as The Letter were sadly eclipsed, not least by the Curve’s cavernous stage. However, this vastness is extremely effectual in capturing Billy’s loneliness and the colossal feat ahead of him.

Alongside Ben Cracknell’s impressive lighting design, Michael Taylor’s set is highly effective. Though the severe industrial scaffolding lacks a homely sense of place, it intimates towards a more universal working-class experience. The use of a mineshaft as Billy’s home is inspired, whilst moving railings are used to great effect in numbers such as Solidarity and Angry Dance, creating cage-like prisons which mirror the claustrophobic, limited world from which Billy is trying to break free.

The score sounds bigger this time around, with jazzy synthesized accompaniments a welcome addition. The tempo has been upped leaving several numbers feeing rushed. He Could Be A Star, a heartbreaking number in which Billy’s father desperately contemplates crossing the picket, is not given time to breathe, whilst Born to Boogie is treated as brief musical interlude rather than a tiring ballet bootcamp. Nevertheless, the ensemble moments swell and soar. The Stars Look Down is an extraordinarily emotive and impactful opening number, ushering in what remains a truly triumphant score.

Ironically, dance is no longer the focus of this production. Breathtaking ballet routines have been removed in favour of more instinctual and age appropriate movements. It is hard not to miss Billy furiously tapping against a barricade of riot shields with razor sharp precision during the Angry Dance and Hind’s choreography does feel a bit flat. However, this earthly and grounded style still makes sense in context.

The adult cast are incredibly strong; Joe Caffrey reprises his touching and empathetic performance as Billy’s grieving father, while Luke Baker delivers a passionate turn as brother Tony. Sally Anne Triplett offers just the right measure of chain-smoking cynicism and tough love as Mrs. Wilkinson. Lastly, Leo Hollingsworth and Bobby Donald were charming, cheeky and confident as Billy and Michael, capturing our hearts with a magical friendship that was a true delight to watch.

Changes aside, Billy Elliot the Musical still packs a mighty punch. Made in Curve have done an impressive job at reimagining this well-loved musical and brought with it a much needed celebration of determination, difference and daring to dream.

photo credit: Marc Brenner
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Thursday, 21 April 2022

The Cher Show (Tour), Leicester Curve | Review


The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★

After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.

This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.

The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.

As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.


It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.

Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.

Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.

The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.

photo credit: Pamela Raith
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Wednesday, 13 April 2022

Zorro, Charing Cross Theatre | Review


Zorro
Charing Cross Theatre
Reviewed on Tuesday 12th April 2022 by Hope Priddle
★★★★★

Last seen in London in 2008, Zorro is back and ready to bring a taste of Spain to the Charing Cross Theatre! Set to a legendary soundtrack by the Gipsy Kings, this sizzling show follows the mysterious masked vigilante El Zorro in his efforts to defend the Pueblo of Los Angeles from a ruthless autocratic leader. Written by Stephen Clarke and Helen Edmundson, the book is pacey and exhilarating. Whilst drama and action undeniably motivate this production, it really shines in the quiet moments of passion and pathos between our central lovers.

Ben Purkiss is perfectly cast in the titular role. He is utterly endearing as the charismatic and courageous Diego, but he transforms into the suave crusader with ease. Alex Gibson-Giorgio gives an accomplished performance as the tormented tyrant, and Diego’s estranged brother, Ramon. Gibson-Giorgio masterfully conveys Ramon’s internal conflict, inviting sympathy despite his character’s irredeemable actions. Special mention must go to Marc Pickering as Garcia, who is tremendous as our comedic antagonist. Not only does he play the fool, but his character has real heart and displays a truly rewarding arc.

Despite its name, this production is all about its women. Phoebe Panaretos is a complete tour-de-force as the sensual, strong-willed Gyspy queen Inez. Her voice is rich and full-bodied, stealing the showing on more than one occasion. Panaretos leads a rousing rendition of Bamboleo at the end of Act One, captivating her audience in every way possible. Paige Fenlon is similarly exquisite as Diego’s childhood friend Louisa. Louisa may appear innocent on first introduction, but a fire quickly ignites inside of her as she leads the Pueblo uprising. Fenlon’s heavenly vocals soar as her character finds her voice.

Panaretos and Fenlon are supported by a searing female ensemble who truly are the lifeblood of this production. Their vital choreography and visceral harmonious drive the action forward. During Libertad, the ensemble cries sympathetically as one, moving as a single pulsating body under sanguine lighting designed by Matthew Haskins.

Creative elements work in harmony to create a production which is immersive and evocative. The traverse staging, admittedly typical of productions at this venue, works to enclose the Pueblo and create a homely, intimate feel. Set and Costume Designer Rosa Maggiora does a tremendous job of world building. A multi-levelled set elevates the action, whilst aisles and doorways are used effectively for either flamboyant or stealthy entrances and exits. An actor-muso approach greatly compliments this production. Talented ensemble members play classical guitar and trumpets, recreating the sounds of 19th Century California. Moreover, the very stage itself becomes an instrument, integral as brass or string. As the cast stamp and stomp across the floor, they ‘play’ the boards and percussive sound fills the rafters.

With thrilling stage combat (Renny Krupinski) and impactful flamenco routines (Cressida Carre) led by the commanding Ajjaz Awad, this dynamic production is packed full of colour, texture and noise. It fully embraces its audience, sweeping them up into the spirited world of Spanish Gypsies and swashbuckling heroes.

photo credit: Pamela Raith
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Thursday, 16 September 2021

Bat Out of Hell (Tour), Manchester Opera House | Review



Bat Out of Hell (UK Tour) 
Manchester Opera House
Reviewed on Saturday 11th September by Hope Priddle
★★★★★

Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend. A stunning realisation of Jim Steinman’s life’s work and Meat Loaf’s iconic trilogy, the rock-opera is set in the dystopian city of Obsidian, a wasteland governed by the despotic Falco in the wake of a chemical war. Falco embarks upon a campaign to rebuild his metropole, which has since been overrun by a gang of feral, mutated youths – The Lost - frozen forever at the age of eighteen. As their leader Strat falls for the tyrant’s daughter Raven, an epic drama unfolds.


Bat Out Of Hell has undergone numerous changes across its various iterations; this new touring production is no exception, having been understandably shortened and scaled back. The book, which was already somewhat nonsensical, has suffered because of this. Amendments to the script, which were clearly made to clarify and accelerate the storyline, are overly literal, with clunky dialogue often betraying the visceral atavism of Steinman’s poetry. However, it’s foolish to think that anyone coming to see Bat Out Of Hell is after a refined and sophisticated narrative. Bat Out Of Hell is bursting with knowing irony and sarcasm – it has its tongue firmly situated in its cheek throughout. It’s a magical fever dream that invites you to suspend your disbelief.


Incoherency is irrelevant when you have a cast as stellar as this one - a cast who perform with such raw passion and hunger, you absolutely cannot take your eyes off them. As the black-hearted leader of The Lost and ultimate manic pixie dream boy, Glenn Adamson is mesmerising as Strat. His powerful performance of the titular song blew the roof of the Manchester Opera House. Adamson shares sizzling chemistry with Martha Kirby, our atypical teenage ingénue Raven, who perfectly captures the character’s fearless spirit and delivers flawless vocals. Rob Fowler and Sharon Sexton triumph as Raven’s parents, Falco and Sloane. While the couple are outrageously comic and camp, their failing marriage inspires genuine pathos as they reflect upon What Part of My Body Hurts the Most. Sultry and savvy, Joelle Moses embodies the role of Zahara; James Chisholm is charming as  tough yet huge-hearted Jagwire, and Killian Thomas Lefevre plays a wholly endearing Tink, the youngest member of The Lost. Whilst supporting characters Valkyrie (Kellie Gnauck) and Ledoux (Danny Whelan) demonstrate stunning vocal prowess, the loss of an all-male rendition of Objects In The Rear View Mirror during the second-act, is felt massively.  In previous productions, the number provided an emotional antidote to examples of sexually-charged masculinity and it was always refreshing to see raging machismo tempered by platonic male love.


The ensemble are electric, executing Xena Gusthart’s dynamic choreography with real attitude. They are complimented by a spectacular use of multi-media effects, including live video. Action is televised, Big-Brother style, across the auditorium, with an on-stage camera woman magnifying the drama. Given that the cast have free-reign over Jon Bausor’s multi-levelled post apocalyptic playground, this technique proves highly effective in capturing every little detail. The show is a huge assault on the senses, in the best way possible; expect a cacophony of colour, light, sound (and fire)!


If you’re after an evening like no other, exploding with hedonistic pleasure and unadulterated euphoria, head out on your Harley and get yourself a ticket…before they’re too hot to handle. 


Bat Out of Hell is currently touring the UK and Ireland


photo credit: Chris Davis Studio

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Thursday, 9 September 2021

Waitress, New Wimbledon Theatre | Review


Waitress (UK Tour) 
New Wimbledon Theatre
Reviewed on Tuesday 7th September by Hope Priddle
★★★★

On the menu at Wimbledon Theatre this week, Waitress the Musical follows Jenna Hunterson (Lucie Jones), an aspiring baker who, with the support of her colleagues and dreamy gynecologist, imagines an escape from her provincial life and unhappy marriage. Based on the 2007 film by the late Adrienne Shelly, Waitress is a bittersweet story of friendship, love and finding yourself, with (nearly) all the ingredients for a tasty theatrical treat.

 

Music and lyrics by Sara Bareilles add flavour and spice to this quaint story; her playful, folk-pop score is full of frolicking motifs, followed by some gorgeous reflective numbers. They accompany a book by Jessie Nelson which is delightfully witty and whimsical throughout, but sometimes suffers from its more casual tone. 

 

We are introduced to a collective of characters who are wholly endearing yet undeniably flawed, and it is refreshing to spend time with such imperfect and compromised characters. However, their poor choices often lack consequence and the stakes never quite feel high enough. Likewise, the shows treatment of domestic violence is lacking. Her abusive marriage to tip-stealing husband Earl - played by Tamlyn Henderson, who nonetheless deftly balances the fine line between comedic stock villain and insidious manipulator - is explored in a just a few short scenes which are uncomfortably inserted into the narrative. Though pitched as a feminist drama, any moral message is half baked.

 

Jones steals our heart as weary waitress Jenna, giving a sensitive and nuanced performance which perfectly reflects the heartache, anguish and disappointment of our begrudgingly pregnant protagonist. Her buttery vocals are rich and controlled; her control and clarity unsurpassed. Jones’ soaring rendition of She Used To Be Mine across a silent auditorium scored a well-deserved mid-show ovation.

 

Jenna’s colleagues are equally well cast. Evelyn Hoskins is totally loveable as the adorably anxious Dawn, whose slow burning affection and excitement for new beau Ogie, brought to life with a welcome touch of innocence and youthfulness by George Crawford, is joyous to watch. Sandra Marvin similarly packs a punch as the feisty, lively yet loyal Becky. 

 

The duo provides comfort and advice to the expectant mother as she cautiously begins to imagine a new life for herself and her baby. Waitress offers such a lovely, intimate insight into female friendship, and it is in these quieter moments that the show really lands. As Dr Pomatter, Jenna’s forbidden love interest, Matt Willis proves himself to be a highly capable actor, capturing the character’s goofy and bumbling demeanour with ease. It is just a shame that his slightly nasally vocals are lost in his duets with Jones.

 

Lorin Latarro’s choreography is inspired, with instructive and empathetic gesturing by the ensemble used to cleverly mirror the movements of the lead characters. As Jenna goes into labour during Contraction Ballet, a female quartet pulsate and swell perfectly in time. The ensemble is so in sync throughout and are truly mesmerising to watch.

 

Latarro’s routines are complemented by tastefully restrained lighting design (Ken Billington) that features but a series of coloured spotlights. Likewise, both set (Scott Pask) and costume (Suttirat Anne Larlarb) are simplistic, if not a tad twee, but offer a sense of familiarity and warmth which gives the show heart. A final special mention must go to on-stage band that seamlessly integrate themselves into the diner landscape – you wonder if their music is meant to be diegetic given how often we see into Jenna’s mind as she creates her fantastical pies.  

 

Waitress isn’t perfect, but it most certainly serves the audience with a little slice of happiness pie. Surely they’ll be coming back for second helpings?


Photo credit: Johan Persson

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Monday, 24 February 2020

The Pirate Queen, London Coliseum | Review


The Pirate Queen (Concert)
London Coliseum
Reviewed on Sunday 23rd February 2020 by Hope Priddle
★★★★

The Pirate Queen sailed into the London Coliseum for a one off charity concert in aid of Leukaemia UK. Set in 16th Century Ireland, Boublil and Schönberg's musical tells the real life story of fearless mariner Grace O’Malley as she embarks upon a heroic struggle to defend her homeland from English rule. A tale of politics and passion, The Pirate Queen is an inspiring story of one woman’s efforts to determine her own destiny in a world run by men.

Rachel Tucker shines in the titular role. Tucker is feisty and fearless, perfectly capturing O’Malley’s youthful optimism in the opening scenes of Act 1. Her voice soars across the auditorium as she performs Woman. Likewise, Tucker beautifully explores O’Malley’s tender side as a mother, daughter and lover. The intimate duets she shares with Jai McDowall as sweetheart Tiernan and Father Dubhdara, played powerfully by Earl Carpenter, are highly moving.

Hannah Waddingham had a hard task playing Queen Elizabeth I, an imperious foil to Tucker’s spirited O’Malley. However, she undoubtedly excelled in this role. Waddingham was poised and dignified, commanding every scene with her impressive operatic prowess.

Daniel Boys provided excellent comedic relief as the unfoundedly arrogant and hapless Lord Bingham, one of two antagonists alongside Grace’s husband and eventual betrayer Donal, played by the terrific Matt Pagan.

It is however, Jai McDowall as Tiernan who steals the show with his rendition of I’ll Be There. He is endearing and charismatic as O’Malley’s sweetheart who proves his unconditional love for his Pirate Queen on more than one occasion.


The ensemble and choir are vocally assured and provide some beautiful harmonies. They are best showcased in a rousing rendition of Sail to the Stars which brings the first act to a swelling crescendo.

Special plaudits must also go to choreographer Jack Ludwig, who’s sharp and spritely Irish dance numbers inject the piece with joyful energy.

Technical elements work together to elevate this semi-staged production, despite a few niggles with mics early on. Lighting and visuals by Ben Rogers are simple yet effective. Painterly illustrations depicting the Irish Coast and English Royal Court provide a pleasing backdrop, while the use of coloured lighting seamlessly signals a shift between land and sea. A single purple spotlight shone upon Elizabeth and Grace as they converse in Act 2 was an especially nice touch; this royal hue indicated a meeting of two equals, both noble in character if not in title.

Fran Levin’s costumes are timely and sympathetic, yet mostly modest. Hannah Waddingham is an exception here; she looks suitably regal in Elizabeth’s embellished gown towering over O Malley’s boyish and diminutive frame.

Though the performances are indeed outstanding, the score so often borrows melodies from Les Misérables and Miss Saigon that it becomes somewhat predictable. Boys’ll be Boys is a fun but ultimately trifling homage to Master of the House. In short, unashamedly familiar tunes followed by unfamiliar lyrics resulted in an effect which was at times jarring.

While audiences may find this musical too repetitive to work as a fully realised production, The Pirate Queen provided an evening of outstanding vocal talent and swashbuckling storytelling.

photo credit: Earl Carpenter
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