Review of Beauty and the Beast by 'Muddy Stilettos':
The Artrix, Bromsgrove, is delighted to host the fabulous Queensbridge Musical Theatre Society this week with their production of the Disney classic, Beauty and the Beast.
We had the pleasure to be there on opening night and were totally enchanted by what we saw. From the moment we walked in to the Artrix foyer, we were greeted by a beautiful array of decorations, and it was a lovely touch to be given a rose alongside the show programme. It is obvious that the crew have been working tirelessly on getting the set together – the settings are spectacular and breathe life into the show. The props, costumes, lighting and sound provide the perfect backdrop for the performance, giving a nod to the setting first created by Disney.
From start to finish, the play was sprinkled with Disney magic, to delight both the children and adults of the audience. The story stays true to the original version, focusing on Belle, so called because of her beauty, wishing for more from her life. Local stud, Gaston, wants to marry her, but she refuses, knowing it would not bring her happiness. When her father gets imprisoned in a castle by a scary ‘beast’, Belle sets off to save him and makes a deal with the beast that she will stay with him if he lets her father go. Much to her surprise, she realises that this horrendous monster is not a monster after all – but a loving and kind prince who was turned into the beast by a curse. Complete with memorable songs, lovable characters and an important message about beauty coming from within, it is obvious why theatre companies love to perform this timeless classic.
Directed by Jack Gregson, Queensbridge's version of Beauty and the Beast is jam-packed with a hugely talented cast. Both the acting and singing from the main parts down to the ensemble, were phenomenal, and it was clear that each member of the cast was a perfect choice for their roles. Belle is played by the beautiful Bethany Scott, who was enchanting to watch. Gaston is played by the charismatic Jon Mulkeen and the talent of the beast played by Ed Blann shone through. The stage dynamic between father and son team Billy and Paul Stait (playing CLumiere and Cogworth respectively) is obvious with some great humour between the two characters. Stunning performances from Alex Stait in her role as Mrs Potts and Ruby Buckley/Joey Ryder as her lovable son Chip, plus plenty of sass brought by Emily Cottrell as Babette.
Don’t miss out on seeing this beautiful rendition of the timeless tale brought to life on the stage.
The Artrix, Bromsgrove, is delighted to host the fabulous Queensbridge Musical Theatre Society this week with their production of the Disney classic, Beauty and the Beast.
We had the pleasure to be there on opening night and were totally enchanted by what we saw. From the moment we walked in to the Artrix foyer, we were greeted by a beautiful array of decorations, and it was a lovely touch to be given a rose alongside the show programme. It is obvious that the crew have been working tirelessly on getting the set together – the settings are spectacular and breathe life into the show. The props, costumes, lighting and sound provide the perfect backdrop for the performance, giving a nod to the setting first created by Disney.
From start to finish, the play was sprinkled with Disney magic, to delight both the children and adults of the audience. The story stays true to the original version, focusing on Belle, so called because of her beauty, wishing for more from her life. Local stud, Gaston, wants to marry her, but she refuses, knowing it would not bring her happiness. When her father gets imprisoned in a castle by a scary ‘beast’, Belle sets off to save him and makes a deal with the beast that she will stay with him if he lets her father go. Much to her surprise, she realises that this horrendous monster is not a monster after all – but a loving and kind prince who was turned into the beast by a curse. Complete with memorable songs, lovable characters and an important message about beauty coming from within, it is obvious why theatre companies love to perform this timeless classic.
Directed by Jack Gregson, Queensbridge's version of Beauty and the Beast is jam-packed with a hugely talented cast. Both the acting and singing from the main parts down to the ensemble, were phenomenal, and it was clear that each member of the cast was a perfect choice for their roles. Belle is played by the beautiful Bethany Scott, who was enchanting to watch. Gaston is played by the charismatic Jon Mulkeen and the talent of the beast played by Ed Blann shone through. The stage dynamic between father and son team Billy and Paul Stait (playing CLumiere and Cogworth respectively) is obvious with some great humour between the two characters. Stunning performances from Alex Stait in her role as Mrs Potts and Ruby Buckley/Joey Ryder as her lovable son Chip, plus plenty of sass brought by Emily Cottrell as Babette.
Don’t miss out on seeing this beautiful rendition of the timeless tale brought to life on the stage.
Review of The Addams Family by NODA:
Two different worlds were about to collide in this musical comedy. Will love triumph, or did everyone go home vaguely depressed?
Personally, I feel this show is very much like marmite; you either love it or hate it. I'm very pleased to say it's one of my all-time favourites and I was very much looking forward to seeing it again.
Well directed by Sabrina Sacco whose vision managed to incorporate the large number of Ancestors, or should I say ‘Dancestors’ that were present as spirits in a number of scenes; wearing an assortment of amazing costumes. As a wardrobe mistress myself I would have no hesitation in describing them as exceptional!
Michelle Hughes and her assistant Dan Hughes who also played the role of Lucas gave the choreography a lively modern feel, it was noticeable the hard work and effort that would have been needed by everyone during rehearsals.
Musical director Steve Greenway completed the talented production team. The Central Park Band sounded fabulous, be it a little loud for the audience on some occasions, it was probably because they were having so much fun.
The well cast ‘Family’ gave strong performances without exception, I must congratulate them as their characterisations never faltered, even though I’m sure they just wanted to laugh out loud many times.
Paul Stait was brilliant as Gomez. I have seen him play a few very different roles now, however I think this is his best to date. There was no mistaking the on-stage chemistry with Catherine Greenway who was playing Morticia; her movements purposefully inhibited in her tight costume until ‘Tango De Amor’. I really liked her characterisation leaving the audience with no doubt of how much trouble Gomez would be in when she found out he was keeping a secret from her.
One of my favourite performances was that of Evangeline Stait, who gave a wonderful poker face portrayal of Wednesday Adams.
We also saw Thomas Hughes as Pugsley. I would also like to mention other cameo performances from Fran Foster who played Grandma, also Gilly Harris as Alice and Gareth Knipe as Mal. I loved both the setting and content of ‘Full Disclosure’.
In every production I see, there is always one or maybe two characters that, from the audience's point of view, almost steal the show as that’s who you vividly remember. From the moment they set foot on the stage to the moment the curtain closes. On this occasion it was Ed Blann as Uncle Fester (randomly in love with the moon) and Steve Harris as the painstakingly awkward Lurch who both ensured that the audience were truly entertained on their every entrance.
Finally, to answer the question, did everyone go home vaguely depressed? Oh no we most definitely did not … when you’re an Addams, the whole production was a resounding triumph from start to finish.
Thank you for inviting me once again.
Joyce Eyre.
Two different worlds were about to collide in this musical comedy. Will love triumph, or did everyone go home vaguely depressed?
Personally, I feel this show is very much like marmite; you either love it or hate it. I'm very pleased to say it's one of my all-time favourites and I was very much looking forward to seeing it again.
Well directed by Sabrina Sacco whose vision managed to incorporate the large number of Ancestors, or should I say ‘Dancestors’ that were present as spirits in a number of scenes; wearing an assortment of amazing costumes. As a wardrobe mistress myself I would have no hesitation in describing them as exceptional!
Michelle Hughes and her assistant Dan Hughes who also played the role of Lucas gave the choreography a lively modern feel, it was noticeable the hard work and effort that would have been needed by everyone during rehearsals.
Musical director Steve Greenway completed the talented production team. The Central Park Band sounded fabulous, be it a little loud for the audience on some occasions, it was probably because they were having so much fun.
The well cast ‘Family’ gave strong performances without exception, I must congratulate them as their characterisations never faltered, even though I’m sure they just wanted to laugh out loud many times.
Paul Stait was brilliant as Gomez. I have seen him play a few very different roles now, however I think this is his best to date. There was no mistaking the on-stage chemistry with Catherine Greenway who was playing Morticia; her movements purposefully inhibited in her tight costume until ‘Tango De Amor’. I really liked her characterisation leaving the audience with no doubt of how much trouble Gomez would be in when she found out he was keeping a secret from her.
One of my favourite performances was that of Evangeline Stait, who gave a wonderful poker face portrayal of Wednesday Adams.
We also saw Thomas Hughes as Pugsley. I would also like to mention other cameo performances from Fran Foster who played Grandma, also Gilly Harris as Alice and Gareth Knipe as Mal. I loved both the setting and content of ‘Full Disclosure’.
In every production I see, there is always one or maybe two characters that, from the audience's point of view, almost steal the show as that’s who you vividly remember. From the moment they set foot on the stage to the moment the curtain closes. On this occasion it was Ed Blann as Uncle Fester (randomly in love with the moon) and Steve Harris as the painstakingly awkward Lurch who both ensured that the audience were truly entertained on their every entrance.
Finally, to answer the question, did everyone go home vaguely depressed? Oh no we most definitely did not … when you’re an Addams, the whole production was a resounding triumph from start to finish.
Thank you for inviting me once again.
Joyce Eyre.
Review of Made in Dagenham by Birmingham District Theatre Guild:
Based on the 2010 film of the same name, Made in Dagenham is drawn from the real-life 1968 sewing machinists strike at the Ford factory in Dagenham, Essex. This strike was influential in the passing of the Equal Pay Act of 1970. The musical focuses on the leader of the strike, Rita O’Grady, as she encourages the women of the Ford factory to walk out after they are re-classified as unskilled workers, while their male counterparts see their wages increase.
After Rita is patronised and snubbed by the factory at a union meeting, the women’s grievances over their worker status turn into a fight for equal pay. Determined not to be treated like the poor relation, the women vote unanimously to strike (“Everybody Out”) and encourage the women at the Liverpool factory to strike also. However when the American bosses fly in and lay off 5,000 men as a result, including Rita’s husband Eddie, cracks begin to show in the women’s solidarity.
Risking her marriage and friendships, Rita continues her efforts for equality and gives a rousing speech at a televised Trade Union Conference (“Stand Up”), leading to the passing of equal pay within the union. As Eddie finally recognizes his wife’s achievements, the women celebrate their life-changing success.
It’s worth pointing out that I have seen this musical using this set elsewhere but I was more than happy to see it again. In a very non-professional way, I will confess, this is one of my favourite musicals and QMTS didn’t disappoint. From the opening ‘Busy Woman’ we set the tone for the whole evening. Smart use of the functional set, pace and performance from all. Costume and make up hit the mark with this late 60’s styled show. Personally I would have liked more music to cover scene changes totally, but all were handled well and as slick as possible. Lighting was generally very good, the only issue really worth pointing out was that the space down stage of the orchestra, directly in front of the audience, wasn't lit at all. A couple of small sequences were performed out here – mainly using Harrold Wilson, sadly we couldn’t see him. This was a very minor problem and didn’t distract from the enjoyment of the piece.
Choreography was smooth with a well drilled cast and chorus performing with no issues. Everything happened as naturally as possible, especially difficult with such a large cast on stage.
Main Principals -
Plunged into a late 1960s world of Bernie Inns, Cortinas and extreme sexism, we meet Rita and Eddie, both workers at the Ford factory. As the central couple, Anna Beesley and Ed Blann have both the voices and the chemistry to lead this talented cast. They are both magnificent, conveying the pride and problems of working-class parents, whilst delivering compelling acting and vocal performances.I found them totally believable in the world the director created on stage.
Supporting cast and chorus
There were many ensemble numbers within this show and they all worked well, delivering the atmosphere and exuberance of the period. Within those numbers, 'Pay Day’ stood out as did ‘Union Song’. Some of the roles which stood out included Paul Stait as Harold Wilson, Catherine Greenway as Barbara Castle and Gilly Harris as Connie, but where would be without Tracey Scott's performance of Beryl? Cameron John’s Tooley opens Act two with a bang, all the stars and stripes did leave me thinking of Donald Trump(but let's not hold that against him) To be honest, all of the supporting cast deserve huge praise. Steve Harris, Emily Fouracre, Karina Harris, Milly Owen, Liam Hall, Imogen Grumley Traynor and Mr Cortina Man Cameron Dews. A special mention for the younger cast members, Billy and Sophie – Fantastic job both, I did totally believe you were brother and sister.
With such a large company and chorus as this I know that I have failed to identify all of those deserving of comment. All I can say is that everyone who took part played their characters in ways that were very much appreciated.
Summing up….
The show is loud, lively and energetic. The acting, singing, dancing, set, costumes and props all came together and enhanced this production. The audience were totally entertained which was reflected in the standing ovation given before they left the theatre with that good feeling of euphoria. Congratulations to everyone, now back to my Babycham and tupperware parties.
Based on the 2010 film of the same name, Made in Dagenham is drawn from the real-life 1968 sewing machinists strike at the Ford factory in Dagenham, Essex. This strike was influential in the passing of the Equal Pay Act of 1970. The musical focuses on the leader of the strike, Rita O’Grady, as she encourages the women of the Ford factory to walk out after they are re-classified as unskilled workers, while their male counterparts see their wages increase.
After Rita is patronised and snubbed by the factory at a union meeting, the women’s grievances over their worker status turn into a fight for equal pay. Determined not to be treated like the poor relation, the women vote unanimously to strike (“Everybody Out”) and encourage the women at the Liverpool factory to strike also. However when the American bosses fly in and lay off 5,000 men as a result, including Rita’s husband Eddie, cracks begin to show in the women’s solidarity.
Risking her marriage and friendships, Rita continues her efforts for equality and gives a rousing speech at a televised Trade Union Conference (“Stand Up”), leading to the passing of equal pay within the union. As Eddie finally recognizes his wife’s achievements, the women celebrate their life-changing success.
It’s worth pointing out that I have seen this musical using this set elsewhere but I was more than happy to see it again. In a very non-professional way, I will confess, this is one of my favourite musicals and QMTS didn’t disappoint. From the opening ‘Busy Woman’ we set the tone for the whole evening. Smart use of the functional set, pace and performance from all. Costume and make up hit the mark with this late 60’s styled show. Personally I would have liked more music to cover scene changes totally, but all were handled well and as slick as possible. Lighting was generally very good, the only issue really worth pointing out was that the space down stage of the orchestra, directly in front of the audience, wasn't lit at all. A couple of small sequences were performed out here – mainly using Harrold Wilson, sadly we couldn’t see him. This was a very minor problem and didn’t distract from the enjoyment of the piece.
Choreography was smooth with a well drilled cast and chorus performing with no issues. Everything happened as naturally as possible, especially difficult with such a large cast on stage.
Main Principals -
Plunged into a late 1960s world of Bernie Inns, Cortinas and extreme sexism, we meet Rita and Eddie, both workers at the Ford factory. As the central couple, Anna Beesley and Ed Blann have both the voices and the chemistry to lead this talented cast. They are both magnificent, conveying the pride and problems of working-class parents, whilst delivering compelling acting and vocal performances.I found them totally believable in the world the director created on stage.
Supporting cast and chorus
There were many ensemble numbers within this show and they all worked well, delivering the atmosphere and exuberance of the period. Within those numbers, 'Pay Day’ stood out as did ‘Union Song’. Some of the roles which stood out included Paul Stait as Harold Wilson, Catherine Greenway as Barbara Castle and Gilly Harris as Connie, but where would be without Tracey Scott's performance of Beryl? Cameron John’s Tooley opens Act two with a bang, all the stars and stripes did leave me thinking of Donald Trump(but let's not hold that against him) To be honest, all of the supporting cast deserve huge praise. Steve Harris, Emily Fouracre, Karina Harris, Milly Owen, Liam Hall, Imogen Grumley Traynor and Mr Cortina Man Cameron Dews. A special mention for the younger cast members, Billy and Sophie – Fantastic job both, I did totally believe you were brother and sister.
With such a large company and chorus as this I know that I have failed to identify all of those deserving of comment. All I can say is that everyone who took part played their characters in ways that were very much appreciated.
Summing up….
The show is loud, lively and energetic. The acting, singing, dancing, set, costumes and props all came together and enhanced this production. The audience were totally entertained which was reflected in the standing ovation given before they left the theatre with that good feeling of euphoria. Congratulations to everyone, now back to my Babycham and tupperware parties.
Review of Sweet Charity by NODA:
This was another well cast production by the society, again utilising some of the more experienced members of the society whilst developing newer members who had been given two of the lead roles. Sarah Odom was excellent throughout, I loved her portrayal of the naive Charity Hope Valentine and she was perfectly paired with Sam Troke as the neurotic Oscar. One of my favourite scenes being the one where they were stuck in the lift on their way to some random evening class, could it be true love for Charity at last?
Sarah was well supported by many dance hall friends; especially Karina Harris and Emily Fouracre playing Nikki & Helene respectively. They were both constantly giving out well-meaning advice whilst knowing Charity always had a tendency to be living in somewhat of a dream world most of the time. So much so that when Charity actually meets superstar Vittorio Vidal, (Paul Stait), they don’t believe her - even though he had given her his Top hat and cane! Paul’s Italian accent was sustained throughout.
The large ensemble had been expertly put through their paces with some simple but effective choreography by Natalie Baines who again made the most of the dancers, movers and shakers in the musical numbers to great effect.
The orchestra were under the control of Stephen Greenway and I must add at no point did I feel they were overpowering the singers as is often the case these days.
Very well thought through modern approach by the Director Leonie Jai Hamilton, I personally embrace this use of minimal set as it showcases the performers.
Some of my favourite numbers from the evening: the girls’ ‘Big Spender’; Charity’s ‘If They Could See me Now’; ‘There’s Got to be Something Better Than This’; and not forgetting ‘The Rhythm of Life’.
The audience were very appreciative of an enjoyable evening’s entertainment, with family and friends whooping during the bows. I love it when you leave the theatre on a high and Sweet Charity certainly left that impression with people humming 'Rhythm of Life' whilst paying for the car park.
Thank you once again for your kind invitation, congratulations to all concerned.
Many thanks, Joyce
This was another well cast production by the society, again utilising some of the more experienced members of the society whilst developing newer members who had been given two of the lead roles. Sarah Odom was excellent throughout, I loved her portrayal of the naive Charity Hope Valentine and she was perfectly paired with Sam Troke as the neurotic Oscar. One of my favourite scenes being the one where they were stuck in the lift on their way to some random evening class, could it be true love for Charity at last?
Sarah was well supported by many dance hall friends; especially Karina Harris and Emily Fouracre playing Nikki & Helene respectively. They were both constantly giving out well-meaning advice whilst knowing Charity always had a tendency to be living in somewhat of a dream world most of the time. So much so that when Charity actually meets superstar Vittorio Vidal, (Paul Stait), they don’t believe her - even though he had given her his Top hat and cane! Paul’s Italian accent was sustained throughout.
The large ensemble had been expertly put through their paces with some simple but effective choreography by Natalie Baines who again made the most of the dancers, movers and shakers in the musical numbers to great effect.
The orchestra were under the control of Stephen Greenway and I must add at no point did I feel they were overpowering the singers as is often the case these days.
Very well thought through modern approach by the Director Leonie Jai Hamilton, I personally embrace this use of minimal set as it showcases the performers.
Some of my favourite numbers from the evening: the girls’ ‘Big Spender’; Charity’s ‘If They Could See me Now’; ‘There’s Got to be Something Better Than This’; and not forgetting ‘The Rhythm of Life’.
The audience were very appreciative of an enjoyable evening’s entertainment, with family and friends whooping during the bows. I love it when you leave the theatre on a high and Sweet Charity certainly left that impression with people humming 'Rhythm of Life' whilst paying for the car park.
Thank you once again for your kind invitation, congratulations to all concerned.
Many thanks, Joyce