Some Musicals Were Born to Follow, This One Was Born to Lead

 To a casual observer, a musical comedy about a world war sounds like an endeavour doomed to fail. After all, particularly in this day and age, what humour is there to derive from war? 

Operation Mincemeat is a theatre show unlike any other. It has a cast of five, who change characters as easily as day turns into night. What this cast do is something extraordinary. They take a dark, fearful period in history, and a plot that had all the potential to fail and cost us the war, and turn it into a piece of theatre that is side splittingly funny, but also isn't afraid to tap into raw emotion every now and then. 

The plot is around a scheme devised by the British to fool Hitler and his armies to divert them away from Sicily, where we planned to invade, and direct them to Sardinia. How do they plan to do this? Well, I won't spoil it, but it does involve creativity and genius that we forget sometimes the army, MI5, and other intelligent agencies build their strategies from. 

It's not necessarily the strategy and how it's enacted that makes this such a wonderful piece of theatre, however, because what really needs to sell a piece of theatre about the war is the humans in the thick of it.

You can't, after all, do any piece of theatre about the war and not focus on the human side of it, not just the decisions made in the name of protecting our lands and our freedoms, but what was lost along the path to victory.

Dear Bill, for example, was a poignant song that could've sounded very silly in the wrong hands, but the way it was sung it quickly became clear that whilst the intention was to initially demonstrate an example of a letter a loved one may write to their partner fighting in the war, it drew from experience and that made it a thousand times more powerful. The fact the audience held their breath all the way through the song is testimony to how emotional and moving the song was. 

The forces behind the musical were Natasha Hodgson, David Cumming, Felix Hagan and Zoe Robert. I think the fact there is such a thriving fandom behind the musical is a testimony to how their brains and creativity work. A new musical can either sink or float in this industry, and this musical has already taken on a new life of its own, with each performance a new take on the script, and with the difference range of characters and cast combinations, you are never likely to see the same musical twice. 

The cast I got to see was Natasha Hodgson, David Cumming, Claire Marie-Hall, Christian Andrews and Zoe Roberts, and each of them shone spectacularly in their roles, encompassing each new character with as much ease as it took to slide on a new piece of costume. Each comedy line went down a treat with the audience, and the rawest moments equally were treated with due care and respect, as, after all, it was a theatre show born from one of life's most difficult periods. 

Songs like Born to Lead and A Glitzy Finale opened and closed the show in spectacular fashion, summarising the start and end points of the characters in this period, whilst paying respectful tribute to the real life people behind the roles.

There is a danger sometimes if we make a musical about a real life event, it takes something away from the reality, because real life is not a song and dance, it isn't a string of silly quips and quick costume changes.

War as we are seeing every day in some part of the world or other, is brutal and sad and tragic and desperate. We don't always see the heroes behind the scenes who draft the battle plans, who make the life and death decisions, who weigh up ethical conundrums against the preservation of life; we just see the men carrying out the orders. 

What Operation Mincemeat does well I think is that it brings these heroes in the shadows forward, and makes sure they are recognised and appreciated. I think musicals can spark life into history, as is proven by the success of the musicals Six and Les Mis, even if you have to insert some fiction to give it that little spark. We just have to recognise the reality behind the story as well as enjoy the amazing performances the cast give us.

After all, real life war, real life history, is not something to sing or dance about, but even in the darkest of times, hope is a prevalent force, and that is something to celebrate and give a stage for. The moments of victory in between the struggles and defeats, is what life is truly worth living for. Operation Mincemeat not only showcases this point, but it does its best to educate and enchant its audience from the very first note, to the last bow. 

The cast, creators, musicians, directors and all other creative forces should be very proud. Their own little operation, Operation Putting On An Amazing Show, was a triumph. I cannot wait to see it again and again and again. 

⭐⭐⭐⭐⭐

A "Giant" Triumph - Jack and the Beanstalk Pantomime Review

To a casual observer, pantomimes are an annual event, something you are inevitably dragged to at some stage in your life, and whilst they are fun to watch, it's sometimes disregarded as an art form, even mocked. 

Here is how the pantomime at De Montford Hall in Leicester proves pantomimes are so much more than what we give them credit for.

The cast for starters were a treasure all of their own. Sam Bailey, a former X Factor winner, absolutely shone in the role of Fairy Flutterby, and whilst her voice was never up for debate as to how great it is, what took me by surprise was how she wore pantomime like a second skin; she just slipped into another character the way her voice can slip into any song with ease. 

Jarred Christmas stole the show for me. His every day career as a comedian was always going to help and not hinder a role in a pantomime, but what is a skill that should never go unappreciated is the way to adapt yourself and the comedy you present to a younger audience. At every stage of the show, he invited the audience in to every joke, and made sure everyone was included into the story, and did it all with a twinkle in his eye. His character, "Lazy Larry", was, ironically, never lazy in making every joke, every line hit, and pushing the story along. 

Scott Mills was a pantomime newbie, but was always going to be a big crowd pleaser because of his role in radio. Whilst it was clear it was his time doing a pantomime, it was also clear he enjoyed every minute of it, and he was a pleasant surprise and a welcome addition to the cast. The show also didn't waste any chance to highlight his radio background, and made references to it that strangely enough made sense in the world that had been created.

This is the beauty of pantomime in a nutshell: it shoehorns references in that will delight the audience, whilst not taking away from the story itself. 

A1's Mark Read, and Christina Harris, made up our Jack and Jill. They were charming in their prospective roles and, again, the show didn't shy away from highlighting Mark's pop background, and in fact made it a key point of his character, as he was constantly referencing 90s songs. I thought that was a rather clever quirk to include, as it was another point to engage the audience, which is always vital in a pantomime. 

I can't go on about a pantomime without referencing the dame, which is a very tricky role to absolutely nail. The audience has to be aware, even the children, that the dame is a man playing a woman, but in such a way that the woman is too ridiculous a figure to even be real, which is where the humor comes from. Jack Ballard was absolutely fantastic and made Dame Trott a ridiculous but warm hearted character that we all could laugh at and root for in the same breath. 

I also have to comment that Mark Beauchamp made an excellent baddy as Fleshcreep. He knew how to play to the audience, even when perhaps the audience weren't as reactive as they could've been. It was just so convincing a role, and it made it easy to react to as an audience.

The set was absolutely gorgeous, the choice of music absolutely outstanding as well. I particularly loved the "Tonight Belongs to You" choice to close out Act 1. Being a huge fan of "The Prom" musical, not only did I love the song already, but I loved the twist in words to make it all about Jack as he ascended the beanstalk. 

All in all, it was a fantastic show, I had a massive smile on my face from the start to the end. Every cast member, from the ensemble, to the leads, acted as if this show had to be the very best one of their lives. Pantomime is an amazing art form because there's something for everyone: rude jokes for the adults, slapstick for the children, and music and dancing to entertain everyone.

The key to a good pantomime I believe is showing your audience you are having a good time. If they buy that, they will buy into all the other magic that is created on stage. I have never seen a pantomime that has not put a smile on its audiences' faces. This one created smiles, laughter and pure joy, three things the world can never have enough of. 

⭐⭐⭐⭐⭐

A Practically Perfect Con In Every Way - Musical Con 2023 Review

 To a casual observer and, indeed, on paper, a musical theatre convention does not sound like it would work, and I will be the first to admit that was my initial thought when I first heard about it. 

It seemed unfathomable to me that an event I'd normally associate with comic books and celebrating the works of shows and films, as well as the actors, artists and staff involved in the making of said shows and films, would be able to work in celebrating musical theatre. Now that I have been to one, I have come to one conclusion:

This is a phenomenon that needs to start catching on. 

Musical theatre is something almost everyone has experienced in one form or another, whether you have gone to the theatre on a special evening out, or whether you have forged your career in helping one come to life on stage. To some, it may seem like an art form that is best left forgotten about, but to the vast majority of people, it's an art form that I feel is still vastly underappreciated. 

Musical Con was an event that from the very start, went off very smoothly which, if you know anything about comic cons in general, is a very rare thing for any event to achieve. It was based at London Excel, and on a weekend where there were at least two other events happening simultaneously, so it was clear we were all in for a busy and crowded weekend. Saying this, however, I found the queuing system was not at all as bad as I had imagined, with there being three separate and distinct queues for VIP ticket holders, standard ticket holders, and access pass holders, and the queuing time was made easier by the fact there were dance troupes and choirs singing and dancing to ensure our energy levels and excitement were all up by the time we were allowed in. 

Once inside, it was a well spread out event, with stalls selling different musical theatre branded merchandise, and colleges there to promote their musical theatre programs all scattered out so you could meander through at your own pace and see what everyone was offering. There was a giant Aladdin lamp as well, which whilst promoting the "Aladdin" musical production about to tour in the UK also served as a unique feature, where you could rub it and the television screens above it would tell you if you'd won a prize. 

Just like normal conventions, there were poster boards and props where you could take photos in front of. My particular favourites were the "Newsies" themed board, and the "Everybody's Talking About Jamie" area, which came complete with a pair of stunning red heels and a mirror you could pose in front of. I also couldn't resist grabbing a microphone and busting a pose in front of the giant "Six" poster that 

There were also showcases of new and upcoming musicals. If you have seen my other posts, you'll know I was very hyped about "Ride" so I was thrilled that got a mention, and also "The Book Thief" which, particularly in these unsettling times, has a message that we need now more than ever about choosing love over hate. I also had some new musicals to add to my list, which I think is perhaps the best thing to have come out of this exciting event, even if I know my bank account will suffer down the line.
 

There were autograph and photo opportunities with some of the stars of the musical theatre productions we know and well, as well as master classes and workshops to hone and learn some vital skills for any budding actors. I enjoyed the Acting Through Song workshop with "Newsies" star, Ryan Kopel, which was all about learning how to take a performative song, and enhancing how you told the story within that song to your audience. 

There were also interesting panel talks, detailing about some behind the scenes processes, and how the theatre dealt with important and real life issues, such as accessibility needs, and helping support and celebrate the LGBTQ+ community. This was particularly interesting because for a lot of audiences, you take the show that's produced at face value, you don't think about everything that goes into making the show, or the issues that can help or hinder a show's creation, so this made me sit up a little bit and learn to appreciate the people who worked behind the scenes and backstage on a new level. After all, you need just as much, if not more, magic off stage as you do on stage, to make the final product work and shine. 

Finally, there were performances by some west end legends, such as Erin Caldwell, who some people may know from "Heathers", whilst some may know her as Jane Seymour in the UK tour of "Six", or Jon Robyns, who wsas in "Les Mis" and, more recently, "Phantom of the Opera", Alice Fearn from "Come From Away" and "Wicked", and many more. Each dazzled the stage and took everyone's breath away with some powerful performances that just made me love the theatre even more than I already do. 

This was a collaborative effort from so many people, and I cannot thank all those who were involved enough because it heightened my love of the theatre. I could gush on and on about why this was so special, but I think the simplest way to put it is that it was a home for the weekend for musical theatre fans, and made us all unite to celebrate who we all are and who we could be in the future. 

Long may the love and celebration of musicals continue. 

Musical Quote of the Moment

 "Look at where you are, look at where you started. The fact that you're alive is a miracle. Just stay alive, that would be enough." - Elizabeth Schuyler, Hamilton 

Why Being Geek Is Chic

 To a casual observer, if you are sitting beside someone in a Spiderman outfit, and that someone is neither a child nor someone filming a scene for the next (in a very long line) of superhero films, you may fight the urge to roll your eyes and think, god, get a job. 

There's a stereotype behind the words geek and nerd, that unfortunately television shows and films have played a big part behind reinforcing, which make you instantly think of socially awkward adults, who just happen to also wear glasses and are fluent in the language of technology, living in a basement somewhere, playing Dungeons & Dragons, and who also make superheroes their entire personality. 

Here is why I think the words geek and nerd need a 2023 update. 

To me, these words are synonymous with passion, a thirst to be a part of something bigger than ourselves, and community, all desirable qualities to possess or foster in an individual. So, why are these same traits in the context of fandom painted as being something to laugh at, even mock?

I have always loved conventions, Comic Con being the main brand you would have heard even if you have never partaken in one. Ironically, on television shows if fandoms are referenced, it's in a dismissive way, or in an obsessive way that paints all passionate fans in the same light. There are different degrees of liking something, the same way there are different ways you can regard another human being. None of these should be disrespected or made fun of, because everything we react to on screen or off screen speaks to our own experiences, our own hearts, and how we view the world, and no two people will ever share the same opinions on everything, which frankly is why humanity can both be brilliant and insane at the same time. 

Conventions are places where community is the word, and it doesn't matter whether the show you're there to see has long since been cancelled, or has been ongoing since television was first on the spectrum of human consciousness, there is something for everyone there. That is the beauty of these events.

I have seen people go just to cosplay (the act of dressing up as a particular character, item, or concept associated with a particular show or film), rather than go to meet a particular actor or actress; I have seen people go just to reconnect with a friend they only see a handful of times because of how far they live apart from each other. 

I am proud to say I have met some really good friends through television shows, Lost being the pivotal one. It allowed me to be part of a community that would often engage in online discourse, which was always respectful despite the differing opinions of the storylines / characters, as well as sharing their own fan art and videos dedicated to certain characters or plots. Some of these videos or art enhanced what had already been shown, whilst others allowed you to enter an alternate universe and imagine what else could have been had the writers gone down a different path, or taken their characters another way.

Conventions give fans a safe space to enjoy the fandoms they have connected with for one reason or another. You may have the perfect life, you may have had a royal flush in the game of life, or you may find that loneliness is something that creeps into every crevice of your world, and you need an escape more than the world needs a break from all the evilness that befalls it every day, either way once you step into the world of a convention, whether it is a Comic Con or another brand of convention, you can find a place where you belong.

In a world that tries to pull us apart and divide us, isn't it a joy to find things that connects us? Why isn't this celebrated, and encouraged? You can be a cold hearted cynic, someone deeply embedded in the political landscape, or you could be someone that detaches completely from all of life's worries, who finds joy in every little thing; in that moment, it doesn't matter your affiliations, you are united by a love of that show or film that made something inside you spark into life. 

Theatre is widely talked about as being something that people find joy and connect to, so why can't it be a more mainstream thing to talk about conventions with the same energy and enthusiasm? I can tell you almost all of my happiest memories on my travels have been around conventions, or in the fandoms I've found, because this is where I've found people who have shaped the person I am, in one way or another. 

The mad thing is everyone is part of a fandom, whether they know it or not. You will have had conversations with relatives, friends, even bosses and teachers, where they have mentioned enjoying a show or film, and even if they don't share your exact thoughts or go as deeply into the matter as you may do, if they enjoy it they are a part of that fandom, and I think sometimes that needs to be recognised more. 

In short, our time on this earth is limited and precious. Anything that inspires us to feel more deeply, create, or connect with other people should be celebrated. Conventions do this extremely well, and even the most introverted of us can find something to enjoy in this environment. I will advocate for conventions just as strongly as I do for theatre, because it's in this place I found myself, and it's a place where I like myself, and I think in a world where it's easy to hate yourself every day, we need to find ways to love ourselves, and each other. 

I can't count the amount of people I've been inspired by at these conventions, not only for the amazing costumes I've seen people create, but also because I've seen people who are so shy and so withdrawn, come to life, and ask questions in rooms filled with thousands of people, and blossom. Confidence forms in communities, and the more we find people we can relate to and enjoy life with, the better people we become, and the better this world becomes.

To paraphrase a famous biblical quote, the geeks shall inherit the earth, and we will make it beautiful and be our own superheroes. Let's face it, if anything needs a reboot right now, it's earth. 

Seizing the Day (and My Heart) - Newsies, a review

To a casual observer, a show centered around a strike for unfair pay and general working conditions is a bit too on the nose when you consider what is happening all around the world right now.

But I say, this is exactly what we need right now. 

If you're not paying attention, here in the UK we have had junior doctors strike, train drivers strike, teachers strike; you name the profession, there's undoubtedly been talk of a strike at some stage in the past few years, if not an actual strike. In America, actors and writers and anybody behind the scenes of our favourite television shows and films are banding together to demand fair payment for the undeniable contributions they have made. 

We are living in a time where people are finally realising their worth, finally seeing that the hand they have got is not the one they need to settle for, and finally waking up to the fact that the work they do is not appreciated like it should be.  It's like a game of Monopoly, where the richest hold all the cards, and the rest of us are just traipsing around the board, trying not to get screwed but finding ourselves screwed on every square all the same. 

There's one line in Newsies which I feels echoes this very sentiment, and summarises perfectly this new dawn of people rising up and claiming their rights to a fair and square deal, no matter what profession they work in. 

"The world will feel the fire and finally know." 

What this show does an absolutely brilliant job of showing is that even the smallest person can change the course of history, and when you have a worthy cause, it's all the more reason to fight and not sit back and let your rights get taken away, or walked all over.

Newsies is a show I fell in love with back in February. I was determined to see it again so I took a trip to see it on it's penultimate show day. When the music started, and the first of the cast made their way to the stage, I was reminded instantly why it's such an amazing show.

The whole show is very immersive, with the seating at the Wembley Park Theatre all around the stage. The cast make the most of making sure the audience are part of the action, and you are instantly drawn in. There's no ifs, ands or buts. Newsies steals the show from the very first scene.

Of course, I could write paragraphs and paragraphs about the choreography alone. It is meticulously planned so that you could watch the show a thousand times, and still have someone or something different to focus on in every scene. Each cast member delivers a powerful performance, from the excitement at starting work for the day in the song Carrying the Banner, to the thrill of getting a moment of fame in King of New York, to the anger at being walked all over in The World Will Know. 

I think the main take away from Newsies is it's a plucky little musical but with big heart and big songs, with dance numbers that had the audience cheering after every single song. There are probably only a handful of musicals that have been able to achieve this affect. 

What also works really well is how the stage is managed during scene changes. There's never a lull moment, even during the quieter, more solemn moments. I always do try and take in everything in a show anyway, because I think it's crucial to acknowledge all the behind-the-scenes cast as well as the ones you see and hear on the stage, but I do think Newsies is a musical that you can't help but marvel at everything, from the choreography, to the props and scenery itself; from the musical arrangement, to the lighting and everything else in between. No one player stands alone in making this a triumph.

Michael Ahomka-Lindsay and Lindsay Atherton were the key players in this show, playing Jack Kelly and Katherine Plumber respectively. Their chemistry was perfect, and both delivered powerful performances. I would also like to pay tribute to Ryan Kopel, who played Davey, because he demonstrated the transformation of Davey from just someone who was trying to make a living to support his parents, to a key figure in getting the Newsies union formed and up and running with Jack Kelly, and it was a sublime performance.

As I say, there was no weak performer amongst the cast. I could just rave for days and days about the cast who played the rest of the Newsies, because the sheer energy they had, and the enthusiasm they showed at every moment of the show, was infectious. I saw people bopping along to every tune, and grinning along with every interaction, however minor, they shared with the cast. 

It's a rare thing to find a new musical that sits and fits in your heart so well. Newsies delivers not only newspapers, but joy, hope, and the message that if your cause is worthy, and you can rally enough people to it, you can achieve anything, and this is why despite how doom-and-gloom the world seems at the moment, I still have hope for a better tomorrow. I can't not give this musical five stars for that alone. 

⭐⭐⭐⭐⭐

Thank You for the Music(al)

To a casual observer, a musical is very much a marmite type of theatre. You either love it, or you hate it. 

I always think of a musical like a tree; it has to find its roots before it resembles anything even remotely passable as a piece of theatre. The fascination with musicals for me stems from the fact that at its heart, a musical is a ridiculous concept. I mean, it's not commonplace for people to sing their way through a situation or a meeting, and, if you tried, you'd be laughed out of society for good. 

The thing that makes musicals work is ironically the thing that makes some people despise them. You lose the art of reality in a musical. In a play, unless the concept is wildly abstract, you
can imagine the scenarios presented before you are taking place in real life, albeit in a different corner of time and space, whether you relate to them or not. 

I always say about people who hate musicals the same thing I say about people who hate reading books: you just haven't found the right one. I believe this wholeheartedly, even if it sounds a trite cliched. I also think that there is always at least one musical that will transform, or has transformed, who you are, for good.

Now, my 'top ten musical' list has changed a little over the years, and I suspect this will continue to change the more theatre I consume, but there is a musical I will always adore slightly more than any other. 

Joseph and the Amazing Technicolour Dreamcoat.

If you don't believe me, I can link you to the very facebook post where I shamelessly flaunted my second trip to see Joseph and the Amazing Technicolour Dreamcoat at the London Palladium in the space of a week. Granted, I had been booked to see a different show that day, which unfortunately got cancelled due to illness (three guesses as to which newsworthy disease this may be referring to), but the point is when I thought about a replacement show, it didn't take me a moment to land on seeing Joseph again.

I grew up on the Donny Osmond film. My sister and I grew up together watching it, bonding over it, laughing at the same parts, imitating the actors to such a degree that our impressions carried us through life to the point where we can quote it still, and not just the songs but the way the characters performed certain lines, certain phrases. 

This is why it holds such a special place in my heart. A show about family made memories for MY family. 

So, what's the point of this article? I'm not here to persuade you on musicals if you absolutely to-your-bone hate them, but I think there's a case to be made that sometimes what makes a musical is that one moment, that one song or character that connects you in a way no other media has been able to imitate.

Some people see themselves in a Schuyler sister. Others may resonate with a Tudor queen (or six). Some people's stories are mirrored in the backdrop of Rydell High School, in a glittering emerald city, or tucked away in the shop of a former drag queen. 

Whatever your story or circumstance, a musical has more than likely covered it in some form, and if it hasn't, well the future is still unfolding as we speak. Musicals are being born every day like babies; all we can do is nurture and cherish each one, whether they are destined for the West End and Broadway, or whether they remain on one humble little stage. 

I do challenge people to find a musical they connect to, even if that ends up being the only one you ever see. If you're not sure if you'll love it or not, all I can say is take that leap of faith. 

I can one hundred percent say I would not be the person I am today if it weren't for the humble musical. I can't pretend to be good enough for a West End stage, but I will always do my best to be a star of a West End audience member. 

In a way, that is the part I was born to play.