Blood Brothers, Phoenix Theatre



Blood Brothers is a show that is quite close to my heart; having seen the show many times and having quite a personal connection with it. Knowing one of the actresses who has played Mrs Johnstone for a number of years, also now some of the crew, I am quite fortunate to be able to see the show and have seen it on a regular basis.

I think we are all familiar of the timeless tale of the Johnstone twins, who are separated at birth because their mother couldn't afford to keep them both. Their lives then intertwine and one is more privileged than the other and the outcome has a tragic ending. I have been lucky enough now to see Lyn Paul, Maureen Nolan, Linda Nolan, Niki Evans and tonight Natasha Hamilton in the role of Mrs Johnstone.

Going back to when I heard they were casting Melanie C of the Spice Girls in the role I absolutely dreaded and avoided seeing the production. Never a fan of her "whiny" voice in the band, I thought this was celebrity stunt casting at its highest. But, having researched Willy Russell and Bill Kenwright's intentions behind casting for Mrs Johnstone, they have always wanted a singer to play the role.



Natasha Hamilton as Mrs Johnstone



So when I saw Natasha Hamilton was to play the role I was quite excited. For me it was the perfect compromise, although Atomic Kitten was a successful band, I felt she had been cast for her vocal ability rather than her past credentials. I always enjoyed her solo work on television with BBC’s Just the Two of Us and I think she is a very attractive lady too. I seem to be right, the warmth and soul within Natasha's husky and powerful voice was perfectly suited to the role. For a former pop princess, she was not afraid to project emotion through her voice by cracking and wobbling on notes, which helped to evoke a more truthful performance.

The only reservation I had with Natasha Hamilton is that my favourite Mrs J's have previously been older; Lyn Paul being in her 60's when she last played the role. I have to say this was completely blown out of the water and it brought different elements to the character. I found the naivety she brought to the role especially good, which I think the older actress cannot portray because they have more life experience. The only small fault I found with Natasha's performance was at times I felt she was a fraction static on stage, sometimes I felt it added to the performance and sometimes it looked a bit wooden. I think as she settles into the role even more though, things will become a lot more natural, after all this is her West End debut.

Also within the production tonight, I found the connection between the Narrator and Mrs Lyons much stronger than I have seen previously. I saw the narrator much more as a conscience and at the points where he intertwined with the characters even more poignant with Mrs Lyons descent into madness even more dramatic. Both Philip Stewart and our understudy Mrs Lyons Polli Redstone, sang with ease and a vocal finesse.

Steven Palfremans, Mickey was brilliant too; you can definitely see his long association with the production has allowed his relationship with the character to blossom over the years. The contrast between his happy child to manically depressed middle aged man felt ever more the tragic, with the scene he shares with Linda within their own home heart wrenching.



Stephen Palfreman, Natasha Hamilton, Simon Willmont



Mention must also be made to Simon Willmont who was the perfect contrast to Palfremans Mickey, as the cute child to bumbling public school boy.

Some people find the heavy synth drums and echo effects on the microphones dated, but I quite enjoy them and find it very much of the period of the piece. I do however think the set is starting to look a tad shabby and could do with a facelift, but after nearly 25 years who wouldn't!

The only tiny fault was with the audience, although on the whole OK, at points they were chatty and quite noisy, mostly being filled with students and tourists. Tourists I am finding at the moment a particular annoyance at shows.

Overall, I can go and see Blood Brothers quite freely without a bother, I think the real life element of it brings it down to earth and is what makes it timeless. It's a musical that's quite raw and doesn't rely on gimmick or effect this is why I think it has stood the test of time and still packs them in today.

Blithe Spirit, Apollo Theatre

Priscilla Queen of the Desert - The Musical, Palace Theatre

Ghost Stories, The Duke of York Theatre

Probably the most terrified I have ever been in the theatre this production certainly had every member of the audience on the edge of their seat, me including. From screaming out loud, to jaw dropping shock - everyone reacted to this truly scary set of stories.

The story had an extremely original set up, with the whole theatre being converted into an almost Thorpe Park-like atmosphere, with yellow and black tape across the walls, flickering lights, eerie noises and numbers scratched on the walls. Then in contrast to this the show opened and we were addressed in rather a university lecture type manner. Luring the audience into a false sense of security, even though most of us were built up on the hype of this show and were drinking up all the information, presented as facts to us.

The Professor character played an extraordinary part, mimicking the annoying plainness of David Brent and the intensity of Derren Brown. It was also interesting to see that the actor playing this part works often with Derren Brown with the creations of his shows and also co-wrote this production.

It is hard to go into any detail about this production because I do not want to give it away for people. I would not suggest this is one for you to be deeply moved by, but the thoughts certainly linger and you may have to sleep with the light on. I must however highlight the fact of the pure creativity and extraordinary terror created on stage. It is definitely the show to see if you like being frightened.

The combinations of haunted houses, theme park rides and horror movies all combined seem to encapsulate the thoughts of this production. My pulse definitely raced and I was genuinely scared.

I will perhaps indicate that the three stories are quite regular set ups of typical horror films and revolve around children, babies and a broken down car - all of which can be related to the average horror. But must again stress at the fear created within the auditorium, any suggestion of something remotely unnerving happen; we would all jump back in horror.

Trying not to give the huge twist away at the end I will hint that the seemingly detached professor is then brought into the main crux of the stories and all the clues link up and tie all the plots together in a truly dramatic and on-the-edge-of-your-seat type way.

Some of the illusions included within the production I am still sat wondering how they were ever done. I also enjoyed the slick movement of the trucks on stage, which helped to seamlessly move the plot along as the tension increased.

Credit must go to the four main actors for their monologue style deliveries, and their abilities, with the help of some extra special effects, to have the audience in the palm of their hands.

Flasdance the Musical, Shaftesbury Theatre

End of the Rainbow, Trafalgar Studios

Having heard the hype surrounding this production I was very intrigued to go and see what it was all about. Having never been the to Trafalgar Studio's either, this was a completely new experience for me.

Everyone wants a piece of this show and sharing the auditorium with me was the Strictly Come Dancing dancer Matthew Cutler, one of the Dorothy's from the BBC's Over the Rainbow and the legend himself Ronnie Corbett.

The open set was a lavish hotel room and it looked rather set, so I wasn't expecting any scene changed. In row D I had a perfect seat being on the same level as the stage.

The story is set around the come back of the phenomenal Judy Garland, and we then go on a roller coaster along with her and the people closest to her; her fiance Mickey Deans and her pianist Antony. The contrast between the electrifying sudden performances to the dramas of the hotel room this had the audience rivetted from the moment it began.

Tracie Bennet's performance as Garland is probably one of the best female performances I have ever seen and she certainly deserves her Olivier award nomination for Best Actress. I have never seen such a physical performance and you can see she put her heart and soul into it. I was compelled and the audience laughed along with her and cried alike.

I think her performance was heightened by the clever subtleties of Hilton Mcrae and Stephen Hagan.

One of the most tragic stories around and I urge one and all to go and see this gem of a production.

Blasted, Lyric Hammersmith

Simply gripped by the gruesome goings on of this play the production of Sarah Kane's Blasted was phenominal. Usually someone that without an interval I start to get restless and distracted but I was gripped to this play from start to finish, for the full hour and forty five minutes.

Having not seen a Sarah Kane play been produced before and only having studied extracts within classes I didn't know quite what to expect, I was half expecting a disjointed production of just ridiculous spectacle and then the other a harrowing, complex plots that were virtually impossibly to follow - how wrong I was on both counts!

Although this play was harrowing and the production challenges they had to explore on stage from a hotel being exploded to the ground to a dead baby being eaten on stage. Some looked through their fingers and others open mouthed this production certainly created an impression.

It has to be commented though that it wasn't just the challenges faced on stage but the story line I too was suprised at. The complexity of Kane's writing although brutal was almost beautiful and her deliberate choice of words helped the actor's characters develop and morph throughout the production showing all sides of their personalities. The lines were so economically written that each had purpose and power which drove the story line forward. The context of which could be applied in almost any country or era, but it is believed Kane was commenting on the Bosnian war.

Danny Webb was brilliant in his leading role I believed every word that left his mouth, from hating him at the beginning of the play to feeling great empathy for his defencelessness toward the end. The racist, homophobic, sexist stereotypical Nothern lout at the beginning slowly crumbled before our eyes as he slowly lost his dignity and toward the end felt quite sorry for him. It was tragic to see the downfall of such a pathetic man before our eyes.

Lydia Wilson as the young Cate played the young girl with special needs, a stutter and epilepsy we almost felt was being abused and used at the beginning of the play. Sometimes could not work out if she was a prostitute or had just been lured in by the creepy old man. Her character had the ability to switch between a childish, vulnerable defenceless girl to a wild and almost insane passionate woman who was very aware of what she was doing. Such a challenging role for a young actress something I think she managed to pull off well although at times I think was overshadowed by Webb's performance, arguably what should happen with him being a stronger character, but their relationship together I felt believable.

I felt it so interesting to see the similarities between the two characters too and I almost felt that is why they had such a passionate relationship one minute they would be fighting the next they would be having sex.

It must be also mentioned of Aiden Kelly who played the soldier. At the moment he was raping the character of Iam lamenting over the death of his beloved you almost felt sorry for his loss and I feel he had some of the most difficult lines to deliver within the play and this was the part that most toyed with my emotion.

This production was nothing like I had ever seen, such a contrast from any play and although shocking, it was almost tasteful in its delivery and everything that took part on stage was totally believable. It provoked reaction from everyone in the audience, such hard hitting subjects on stage one almost feels disgusting for saying it was brilliant, but I suppose that's a good thing!