Mamma Mia! performed at The Royal Concert Hall Nottingham on Wednesday 15th June 2016

Review by Sandra Cooper

We laughed, we cried, and we fell in love all over again with the ultimate feel good show, Mamma Mia! at The Royal Concert Hall last night. First unleashed on the world in 1999 it has gone on to play to more than 60 million people worldwide since its debut, and this enchanting tale of family and friendship unfolding on an idyllic Greek island is every bit as heart-warming, not to mention hilarious, as the popular 2008 film.

The story revolves around independent single mother Donna, who owns a small hotel on a Greek island and who is reluctantly arranging the wedding of her young spirited daughter, Sophie. But on the eve of her wedding, Sophie’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited twenty years ago.

For Sophie’s wedding, Donna has invited her two lifelong best friends; practical and no nonsense Rosie and wealthy multi divorcee Tanya from her one time backing band, Donna And The Dynamos, and the fun begins.

With the plot set to Abba’s timeless songs, real life couple Sara Poyzer and Richard Standing play former Donna and Sam. Their chemistry on stage is palpable and sparks fly as they bicker, blame and ultimately fall in love all over again.

Lucy May Baker plays the role of Sophie with naivety and warmth and she has a great voice to boot. Whilst the relationship with her mother is the backbone of the story, when Donna sings Slipping Through My Fingers as she gets her little girl ready for her wedding day, it’s hard not to get a lump in your throat.

Tim Walton had us charmed as fey Harry Bright and Christopher Hollis was entertaining as rugged Bill Austin. But stand out credit has to go to Jacqueline Braun and Emma Clifford who play Rosie and Tanya, as their routines brought the house down with laughter especially as Tanya teases an overzealous groomsman to Does Your Mother Know, whilst Rosie’s version of Take A Chance On Me was both hilarious and endearing in equal measures. Their numbers together are in turn touching, energetic and outrageously funny with their renditions of Dancing Queen and Super Trouper eliciting spontaneous cheering and applause.

Playful, whimsical and fast paced, Mamma Mia! is expertly staged with everyday items becoming the microphone of choice. From hairdryers and drills to snorkel masks, nothing is out of bounds when there is a 70’s tune to belt out. The supporting cast were brilliant at keeping the party atmosphere going, especially in the Hen and Stag scenes complete with deep sea divers and salsa dancing.

But the highlight of the show was Donna’s powerful and incredibly moving Winner Takes It All which had everyone on the edge of their seats, before she and her friends got lycra’d up for the Waterloo finale, bringing the entire audience to their feet.

If you enjoy a good night out, a sing along and a show that doesn’t take itself too seriously, then Mamma Mia! is a must night out.

Chitty Chitty Bang Bang performed at The Theatre Royal Nottingham on Wednesday 18^th May 2016

Review by Sandra Cooper

Phantasmagorical! There’s only one word which befits an utterly fantastic show which has been fine tuned to perfection. Despite a star studded cast, it is the car which is the star in this wonderful tale of the adventures of one family and their flying car.

Becoming bewitched by a wrecked old ex-champion racing car which is threatened with the scrap heap, widowed Caractacus Potts, an inventor and parent to his two young children, manages to get the money together to buy it, and Chitty Chitty Bang Bang is given a new lease of life.

Chitty takes off over the stage in the highlight of a cleverly staged production under the direction of James Brinning. The use of video projection makes you believe you really are on Beachy Head in a motor car, and being chased by a pirate ship.

Lee Mead is completely charming as Caractacus Potts, the broken hearted and slightly bonkers inventor and dad to Jeremy and Jemina. Each of his scenes with the youngsters Henry Kent and Lucy Sherman is touching as he brings bags of humour to the role as well as showing that he can certainly sing.

The talented ten year old Potts children impresses in all of their scenes, particularly in the Truly Scrumptious song alongside Carrie Hope Fletcher, who lives up to her scrumptious billing, and upbeat dance number Posh alongside the batty but endearing Grandpa, played brilliantly by Andy Hockley.

A fictional cold middle European country called Vulgaria sends secret agent duo Boris and Goran to steal Chitty. Sam Harrison and Scott Paige steal every scene that they are in as they make a brilliant comic double act when they set out on their spy mission. They disguise themselves first as English people and then as bushes. Englishness as a theme gets plenty of puncturing.

Baron and Baroness Bomburst are eccentric with Shaun Williamson in the role of the idiotic and childish Baron and Michelle Collins giving a hilarious performance playing the child hating spoilt brat Baroness. Matt Gillett as the evil child catcher was so realistic that he made you want to boo him every time he came onto the stage.

Choreographer Stephen Mear ensured that the talented ensemble showed off their considerable skills without stealing the limelight from those in the main roles. With a score that included the favourites Me Ol’ Bamboo, You Too and Hushabye Mountain performed by a very talented live band, there was nothing not to like about this fun filled night at the theatre.

Particularly beautiful was the Doll On A Music Box scene, where Fletcher and Mead were completely enthralling as the dolls, before it all came to a triumphant happy ending.

Ian Fleming created James Bond for the grown-ups and dreamt up this potty story for a younger audience. Young or old, judging by last night’s reception, he would be very proud at how it has all turned out. With tickets going faster than you can say Chitty Chitty Bang Bang, a good suggestion is that you snap yours up Toot Sweet.

Priscilla Queen Of The Desert performed at The Royal Concert Hall Nottingham on Monday 18^th January 2016

Review by Sandra Cooper

To say that Priscilla Queen Of The Desert is a little bit camp, would be like saying that Hamlet is a little bit tragic.

Based loosely on the 1994 film of the same name, it tells a story of two drag queens and a transsexual who aboard their battered bus christened ‘Priscilla’, travel the 2000 miles from Sydney to Alice Springs, with the trio’s mileage being ultimately as much about self-discovery as the journey itself.

Jason Donovan plays Tick, who earns his living as a drag queen (Mitzi) at a Sydney Club. He gets a call from his wife asking him to play a series of dates in Alice Springs and to meet his six year old son for the first time.

Accompanying him is Adam, a delightful petulant Kylie-obsessed drag queen known as Felicia, who on the night was played superbly by stand in Robin Mills. But it was Simon Green who stole the scenes as transsexual Bernadette, capturing the grace, dignity, wit and wisdom of someone who has lived life to the full. Her flooring of a red neck bigot was a highlight in a show full of highlights.

With vibrantly coloured costumes, wigs, hats and shoes, including bell bottomed, platform heeled onesies and a mini dress made from flip flops; costume directors Tim Chappel and Lizzy Gardiner’s imaginations must have been in over drive.

There was also a score of disco floor fillers from I Love The Night Life (Disco Round) to MacArthur Park. With other well-known numbers like I Will Survive, Don’t Leave Me This Way, Go West, Hot Stuff and a few Kylie classics along the way, you couldn’t help but tap your feet.

Although Donovan’s singing voice wasn’t the most powerful of those on stage, he used it to good effect in numbers like Say A Little Prayer and Always On My Mind, and threw himself wholeheartedly into the energetic dance routines as well as bringing tenderness to the reunion with his son.

As unhappily married mechanic Bob, Philip Childs also delivers a poignant performance, jumping the matrimonial ship to join the bus. His mail order wife Cynthia, exuberantly played by Julie Yammanee was hilarious in her Pop Muzak routine.

Callam MacDonald had a ball in his role as Sydney drag queen, Miss Understanding, belting out What’s Love Got To Do With It, in a stonking, stomping and extremely funny take on Tina Turner. Another piece of class comedy was unleashed by Catherine Mort as a butch, bosom bouncing Shirley, throwing her weight about in a seedy bar in Broken Hill.

Whilst social attitudes and gay rights have moved on since Stephen Elliott’s film classic, this musical odyssey still touches on homophobia; illuminating the downside of parading sexual differences. The road trip was at the very least thought provoking as the tender scene after Adam has been beaten up shows. Their vulnerability was there for all to see as the very moving Bernadette told her travelling companions, “Never forget the cost of our choices”.

This was a flamboyant, funny and entertaining show. Tick was reunited with his son who accepts him for what he is; Bernadette finds love with Bob and the delightful Felicia achieves a life time ambition of singing a Kylie song on Ayers Rock whilst dressed in a frock. It was a remarkable journey and at the end of the evening the audience were up on its feet dancing in the aisles, and there is no better recommendation for a fun night out than that.

Mack & Mabel performed at The Theatre Royal Nottingham on Tuesday 24^th November 2015

Review by Sandra Cooper

Nottingham’s Theatre Royal has only gone and done it again, by nabbing the first showing of Mack & Mabel straight after it premiered at The Chichester Festival Theatre. Ever since its Broadway failure in 1974, people have been trying to resuscitate this Jerry Herman musical, but I cannot imagine a more lavish attempt than this one by the wonderful director, Jonathan Church.

A true story told in flashback, with a defeated Mack Sennett, bankrupt and about to lose his studio; reminiscing about the glamour of Hollywood’s Golden Age, where the fun of the silent screen dominated, and where he plied his comic craft. With uncompromising narrative, it is quickly apparent that Sennett is not a particularly warm person; in fact he is tyrannical, arrogant and egotistical.

But there are warm moments when we see his relationship with waitress turned silent film star Mabel Normand, who he kept as a mistress for years. Her journey from stardom to a junkie alcoholic has a real sadness about it, especially as she died after making one last film with Sennett that was never released; so don’t expect a happy ending.

Michael Ball is an exceptional utterly convincing Mack. He completely gets under the skin of the character, finding precisely the right level to pitch every moment of anger, driven determination and offhand callousness.

In a dazzling first half he delivers the opening song, Movies Were Movies which sets the bar for the rest of the show. Whilst exploring the couple’s amorous relationship, he also delivers a brilliant, I Won’t Send Roses, to the vulnerable Mabel, who is played admirably by Rebecca Lachance. She later gets her own solo song with Time Heals Everything, which had the audience transfixed.

Stephen Mear’s choreography is outstanding, no more so than the climatic first half number where Sennett’s bathing beauties don’t merely toss beach balls about but use them as choreographic weapons.

After the interval there is a homage to The Keystone Cops (who Sennett made famous, as he did Charlie Chaplin) which involved much truncheon twirling mayhem as Hit ‘Em On The Road was belted out. There was the show stopping dance number in praise of the joy of tap dancing, that was gloriously led here by Anna-Jane Casey, twinkling away like a night sky, the chorus line around her in kinky bell-hop gear, sporting identical Louise Brooks bobs.

Robert Jones’ simple yet very effective stage design is gloriously glamourous. It includes two extraordinarily illusions of a train hurtling through the plains, and an ocean going liner which seems to move along at a gentle pace. His costumes are gorgeous and period perfect. Ball is given flattering and quite beautiful 3 piece suits to wear. Mabel is blessed with gorgeous outfits and there is just immaculate attention to details in the dozens of costumes the ensemble wear, from bathing suits to black tie, with police uniforms and busboy livery along the way.

Throughout Ball keeps it all going and is exceptional. He uses his big, bright voice deftly, producing clear, strong notes and perfectly supported passages of soft and delicate singing. His work in I Wanna Make The World Laugh and especially I Promise You a Happy Ending is remarkable. He is no slouch in the dance department either, surprisingly nimble and energetic.

But Ball has some tremendous support. The ensemble singing is terrific with not a note lost. Gunner Cauthery is splendid as Frank, the office assistant. Mark Insoe oozes charm from every pore as WB Taylor, whilst Alex Gianni and Timothy Quinlan are perfect as the money men.

But the evening belongs to Ball. His charisma, stamina and overwhelming skill leaves a permanent impression. With Herman’s score and lyrics, it’s another Theatre Royal treat.

The Bodyguard performed at The Royal Concert Hall Nottingham on Wednesday 14^th October 2015.

Review by Sandra Cooper

The Bodyguard started in the most dramatic fashion ever, with a bang that shook the audience into silence as we saw the menacing stalker shot to death by the former Secret Service Agent, Frank Farmer.

And from that moment on, the show was pure entertainment. A giant screen back stage showed glamourous close ups of the Oscar winning diva, Rachel Marron, with facts and figures of her global success; 25 million albums sold, 12 number one hits and 6 Grammys, which all served to build up the excitement and tension around the Royal Concert Hall.

As the sliding partition slowly revealed the raunchy opening number, Queen Of The Night, we were transported to a genuine rock gig, with its glittering costumes, flashing lights, soaring flames, a dance ensemble and a brilliant eight piece orchestra.

From then on the story gently unfolded. The Bodyguard is based upon the 1992 iconic movie starring Whitney Houston and Kevin Costner and tells the tale of Frank Farmer, hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge, but what they don’t expect is to fall in love. With that film being the second highest grossing film of that year and the sound track selling 45 million copies worldwide, the Director of this stage adaptation, Thea Sharrock, had no easy task. But with this show, she has undoubtedly pulled it off.

With Alexander Burke, winner of the 2008 X Factor, playing the powerful Rachel, this show could only be a massive hit. She turned in a glamorous and gorgeous performance and of course her excellent voice carried the powerful songs with ease. Because it is the songs that really tell the story of The Bodyguard; from the great anthem I Will Always Love You to the final version of I Wanna Dance With Somebody, they were presented here with a level of sheer glitz that fairly takes your breath away. But it was not just the power ballads that had our attention; her version of One Moment In Time, accompanied by a gun toting stalker, was extraordinarily tense and had us on the edge of our seats.

But the stage did not just belong to Burke. There were shades of Costner in Stuart Reid as Frank Farmer as he takes on the very serious role. So it was an absolute delight to see his less serious side with his dreadful singing in the karaoke bar which was completely credible and comical.

Rising star of the show was undoubtedly Melissa James as Nicki Marron, sister to Rachel. She is the poor relation who is as talented as her sister but who never gets the limelight and sings in a downtown bar. She also hankers for Farmer too; a love interest which sadly never comes to fruition. James’ voice was crystal clear, and her rendition of Saving All My Love was so beautiful and moving, it very nearly stole the show.

The show never stays still for a minute. The action moves from karaoke bar to Rachel’s lavish mansion, from bedrooms to an Academy Award Ceremony, all done with a sequence of intricate sliding scenery and the excellent use of projected images.

But the stage tonight without doubt belonged to Alexander Burke. As she rose up on a pedestal from the front of the stage, to sing I Will Always Love You, the audience were on their feet and cheering well before she had even got to that note, which she held with outstanding ease. This capacity Royal Concert Hall audience had clearly been dazzled by this classy performance and gave this very talented Company a well-earned standing ovation all the way from the Stalls to the back of Tier 2.

The Good Old Days Of Variety performed at The Royal Concert Hall Nottingham on Tuesday 29^th September 2015

Images and Review by Kevin Cooper

The Good Old Days Of Variety offered an afternoon of pure nostalgia at the Royal Concert Hall yesterday, as a mainly mature audience were taken gently on a trip down memory lane.

Based upon the format of the BBC’s The Good Old Days, this show drifted seamlessly from one artist to another, as comedian Neil Hurst aka The Chairman introduced each of them with his comedic wit.

First up was Wink Taylor, who writes for Sooty and Basil Brush. His impressions of Billy Connolly and Ronnie Corbett put this audience at ease and in no time at all there was some serious chuckling going on. Old Time Music Hall cannot escape some singing and this show was no exception. Mark Andrews prompted the first singalong with songs like You Made Me Love You (I Didn’t Want To Do It) and old time favourite, Waiting At The Church.

Glitz and glamour was brought to the proceedings in the form of the lovely Wendy Abrahams, who delighted us with When I Fall In Love, whilst encouraging the audience to wave their arms and sing to We’ll Gather Lilacs In The Spring.

Yorkshire comedian Johhnie Casson was in danger of stealing the show, as his slapstick but clean humour entertained this now warmed up crowd.

But the star of the show was without doubt the lovely Anita Harris. Now in her 73^rd year, she simply wowed this audience as she came onto the stage looking very dapper in a tuxedo before entertaining this crowd with delights like Burlington Bertie From Bow, Smile and After The Ball.

With all the artists coming back after the interval to continue with the entertainment, they provided an afternoon of laughter and song. They also showed that age is certainly no barrier for having a great time.

Dirty Dancing performed at The Theatre Royal Nottingham on Thursday 28^th May 2015.

Review by Sandra Cooper

At the Theatre Royal on Thursday night, every seat was taken in anticipation of the classic story of Dirty Dancing, and it lived up to everyone’s expectation.

The original 1987 film, one of the most successful independent movies of all time, propelled the late Patrick Swayze to international megastar status, and this cast did it proud. Set at the height of the American civil rights movement in 1963, this is a classic love conquers all tale.

For those unfamiliar with the film, and there must only be a few out there, it is set at Kellermans, an upmarket vacation resort. Doctor Houseman, his wife and two daughters, Frances ‘Baby’ and Lisa visit the resort for their annual family holiday.

As the story progresses, the innocent Baby falls in love with one of the dancers employed to keep the guests happy and amused. The audience is enraptured as they too fall in love with Johnny Castle and the vulnerable Baby, played with gusto by Jessie Hart. Lewis Kirk, as Johnny is outstanding and his dance moves are simply mesmerising.

Dirty Dancing is a show built upon impeccable choreography and Kate Champion’s work shines through in a myriad of technique and styles. A highlight was the mambo danced between Kirk and Claire Rogers who played Penny Johnson which was the equal of any performance by the professionals on Strictly Come Dancing. Rogers made a striking impact; a trained ballerina with legs up to her chin, she was both elegant and sassy.

Director Sarah Tipple and her team do deserve credit for finding ways to distinguish the show from the movie, and the use of live music is one of them. The show has an eight member orchestra which were on show throughout, and the young and energetic cast sashayed away to numbers like Big Boys Don’t Cry, Be My Baby and Hungry Eyes.

The staging and design were also first class, with the use of visuals, a rotating centre stage and LED screens adding an extra dimension to the show. The recreation of the film’s famous sea sequence added humour and worked perfectly.

But as with the film, we had to wait until the end for that famous number; (I’ve Had) The Time Of My Life, and as Johnny lifted Baby high into the air, this audience erupted and were on their feet to show their appreciation. It was truly a great theatre moment.

In the movie Swayze oozed sex appeal, but on stage Kirk was a magnificent beast, with a fine body and brilliant dance moves. Making it look very easy, this was a night of dirty but very dazzling dancing.

Oklahoma! performed at The Theatre Royal Nottingham on Wednesday 29^th April 2015

[See image gallery at www.ukmusicreviews.co.uk]

Review by Sandra Cooper

For a musical widely reckoned to have ushered in a musical theatre revolution when Rodgers and Hammerstein’s first collaboration premiered in 1943, it is amazing that it has stood the test of time, and perhaps with the exception of Seven Brides For Seven Brothers, Oklahoma! is the most deliciously brainless of all musicals, and has a warmth and charm that endears it to current theatre audiences.

The story itself remains quite simple; young cowboy Curly and pioneer Laurie, tease, flirt and goad each other and otherwise go out of their way to avoid admitting their obvious mutual attraction. But hired hand Jud Fry nurses a much less wholesome desire for Laurie and his obsession starts to boil over into a serious threat. Meanwhile in the comic subplot, cowboy Will Parker tries to prove himself worthy of his sweetheart Ado Annie before her father can marry her off via shotgun to an unwilling Persian peddler, Ali Hakim.

Whilst the story remains the same, this new production has been given a few neat little tweaks by director Rachel Kavanagh, with brilliant dance routines from choreographer Drew McOnie and a timber interlocking set designed by Francis O’Conner, which is the best I have seen for a long time.

Ashley Day cuts a perfectly dashing figure as Curly; a leading man of the old school with his handsome features and fine resonant voice. From his opening strains of Oh! What A Beautiful Mornin’, he had this audience onside. Charlotte Wakefield’s picture perfect Laurey was also a thoroughbred delight, even though she undoubtedly had the tougher role. She has to compete with a larger than life Lucy May Barker as the fickle Ado Annie, the floozy who can’t say no, who when on stage with her prize bull of a suitor, Will Parker played by James O’Connell, the comedy is endless as he tries to save $50 so that he can marry her.

Belinda Lang was in fine fettle as clucking Aunt Eller, who nailed the fiercely protective loyalty that the old woman showed towards her niece, whilst Gary Wilmot was a sideshow treat as the amusing Ali Hakim who slithers out of a succession of accidental betrothals. There was also the powerful performance, full of menace and true terror from Nic Greenshield as the hired hand Jud Fry and whose delivery of Lonely Room managed to portray a deeply damaged man.

Other numbers like People Will Say We’re In Love showcased the divine singing of Charlotte Wakefield, with her handling of the harmonies proving a gorgeous take on the classic tune. There were other memorable numbers such as The Surrey With The Fringe On Top, Many A New Day and The Farmer And The Cowboy which have clearly stood the test of time.

Along with the memorable songs was Drew McOnie’s magnificent choreography, as he captured the humour of It’s A Scandal! It’s A Outrage! in a whirl of chaps, petticoats and bloomers, whilst the ballet sequence that closed Act 1 was truly a dream.

This musical may be over 70 years old, but I defy anyone not to emerge at the end with a great big smile plastered over their face. I am sure this is exactly what Rodgers and Hammerstein envisaged when they wrote this evergreen classic all those years ago. It was just haybales of fun.

BARNUM PERFORMED AT THE THEATRE ROYAL NOTTINGHAM ON WEDNESDAY 4^TH FEBRUARY 2015

  [See image gallery at www.ukmusicreviews.co.uk]

Review by Sandra Cooper

Brian Conley plays the colourful Barnum as Cameron Mackintosh’s magical show found its way to the Theatre Royal Nottingham, to surprise, entertain and deliver a rather large slice of good old fashioned fun.

Conley and Phineas T Barnum have much in common. Like Barnum before him, Conley is a great showman and knows instinctively how to work an audience. So if ever a performer was born to play the part of the circus legend, it is Conley who grabs the audience from his very first entrance to his final exit.

For those unfamiliar with the story, Barnum originated from humble sideshow beginnings where he persuaded customers to part with their dimes to see a ‘mermaid’, to a partnership with James A Bailey and the creation of the phenomenal Barnum and Bailey travelling circus, with a foray into politics in between. This show allows us to follow this legendary showman’s life as he lit up the world with colour, warmth and the excitement of his imagination.

From the outset a very strong supporting ensemble of acrobatic cast members turned the Theatre into an explosion of dance and circus before the show had even started. They juggled, performed on trapeze, ropes and ribbons, played instruments, were acrobats and tumblers and I am fairly certain I saw someone on stilts in the Circle, but with so much going on, I couldn’t be sure.

It was sheer entertainment from the off. We met some of the characters from Barnum’s shows such as Joice Heth played by the very talented Landi Oshinowo, who was the oldest woman alive at 160, or possibly a hundred years old as George Washington’s nurse, depending upon Barnum’s particular line of humbug that day.

And there was General Tom Thumb who was neither a general nor called Tom Thumb, but in an age of side shows, that hardly mattered. Played by the diminutive Mikey Jay-Heath, he was engulfed by a big chair to add to the illusion, with soldiers and Conley appearing on stage on stilts to emphasise his small size.

We also had the largest elephant in the world which was so big that only his feet and trunk would fit onto the stage, and a circus wagon which disgorged different acts. In all, it was spectacular stagecraft.

Although Barnum never actually said “there’s a sucker born every minute”, it is a refrain that runs through the show in tandem with “humbug” to describe the hype and exaggerations that he employs to seduce the punters. Whilst Barnum’s enthusiasm for the sublime never wavers, it is set against the grounding advice of his wife, Chairy, played by West End and Broadway star, Linzi Hateley. She had a wonderful confident manner and her voice was simply delightful.

Amidst all of the chaos, it was this relationship between Conley and Hateley that seemed the most real. We were sucked into their relationship as the chemistry on stage was there to be seen. We were routing for them that much that when Barnum succumbed to the delightful charms of the Swedish Nightingale Jenny Lind, played by Kimberly Blake, there were portions of the audience who wanted to boo.

Chairy’s presence was such that her death scene, as she walked into a darkness lit by glowing juggling balls, was just a beautiful piece of theatre.

Throughout, Cy Coleman’s music and Michael Stewart’s lyrics brilliantly conjured spit and sawdust and old fashioned razzmatazz. Come Follow The Band was a standout ensemble piece, whilst the haunting melody of The Colours Of My Life was particularly striking. There was also a piece of skilled choreography from Andrew Wright which saw the cast throwing around 24 bricks throughout the number, One Brick At A Time, finishing with them all in order to spell out Barnum Museum at the end.

Whilst the cast numbered 23 together with an 11 piece orchestra, it was Conley who stole the show. He wholeheartedly threw himself into the role which demanded more than simply being able to sing and dance. He had to manage some effective magic; turning a flaming twist of paper into a rose, walking on stilts and that always dangerous tight rope walk which he managed on the third attempt. He carried the audience in the palm of his hand and with such warmth and charisma, it was impossible not to love him.

This show was great fun and cracking entertainment. So if the opportunity arises, roll up, roll up to see the greatest show on earth, as Mr Barnum would have modestly put it. You most certainly will not be disappointed.

Top Hat performed at The Theatre Royal Nottingham on Tuesday 4^th November 2014

[See image gallery at www.ukmusicreviews.co.uk]

Review by Sandra Cooper

Following its triumphant Olivier Award winning West End run, Top Hat is back on tour bringing the West End to your doorstep. Taking the audience back to Hollywood’s golden age of the 1930’s, the plot follows famous American tap dancer Jerry Travers, as he travels to London to make his West End debut, but becomes distracted when he meets the girl of his dreams, swish model, Dale Tremont.

What follows is a harmlessly humorous story of love, glamour and mistaken identity, as Tremont erroneously believes that her ardent pursuer, Travers, is married to a friend of hers.

The musical’s new stars, Alan Burkitt (who understudied the role in the West End) and Charlotte Gooch (who reprises her West End performance), shine as Jerry and Dale; recapturing the musical’s original music. Burkett and Gooch were born to star opposite each other. Their chemistry couldn’t have been stronger, particularly during their divine dance numbers; together they are utterly mesmerising.

There were also some other terrific performances; Clive Hayward as the hen pecked theatre producer Horace Hardwick and Rebecca Thornhill as his clever and witty wife were both wonderfully funny. Sebastien Torkia was hilariously over the top as the vain and vengeful Italian fashion designer, Alberto Beddini, and there was the lovely comic turn from John Conroy, who brought a delicious suggestion of Charles Hawtry in the Carry On Films to the very funny butler, Bates.

Immersing the audience was Hildegard Bechtler’s art deco design set, which was a stylish delight, whisking us from grand hotels in London and Venice by way of an ingenious sequence set aboard an aeroplane. With shimmering chandeliers to the string of lighting off Broadway, there were mountains of tiny details and hidden gags within the show, creating a feast for your eyes whilst the vocal talents of the cast brought the talent to the ears.

With his wonderful costumes, Jon Morrel captured the feel of each character, even the ensemble were perfectly outfitted with outfits that dazzled and added refinement whilst at the same time, complimenting the choreography beautifully.

This was escapism at its most elegant. We had telegrams instead of texts; satin and silk dresses instead of skinny jeans and even smoking breathed an air of confidence instead of ill health. My how times have changed.

But what hasn’t changed however, is the quality of Irving Berlin’s classic songs, and Bill Deamer’s choreography which it must be said, barely moved a millimetre out of synch all night. Naturally Cheek To Cheek and Let’s Face The Music And Dance were the songs most graciously entertained, and there’s no doubt that the infectious tap dancing will make you sign up to dancing classes as soon as you leave the Theatre. Wild About You saw Tremont being elegantly spun around in feathers, whilst you can never hear too often Berlin standards like Isn’t This A Lovely Day (To Be Caught In The Rain?).

But it was Top Hat, White Tie And Tails that everyone wanted to see and we were not disappointed. The hypnotic tap of the immaculately dressed dancers was the song of the show. This production was class at its finest with slapstick and wit injected to fully immerse the audience. With tops and tails for the gentlemen and alluring feathers and cocktail gowns for the ladies, Top Hat was an evening to dress your best for.

There may be troubles ahead, but that’s only for those who do not immediately grab a ticket for this stunning production.