Reviews

When you settle down to watch a panto at Liverpool’s Royal Court Theatre, you just know it’s not going to be a typical “he’s behind you” kind of show. You’re only going to take your grandma if she’s very broad-minded, and you are defo going to leave the kids at home watching CBeebies.

Having characters like Dick Head, Helmut Shine, and Bradley Fitzwarren, joining the Cat, King Rat and the Fairy, left writer Kevin Fearon ample opportunity for smut and innuendo.

The plot very loosely follows the traditional premise of young Dick (played by Adam McCoy) striving to become Mayor. Not so much to preside over the gold-paved streets of London,  more the rat-infested roads of Liverpool, and he is on a mission to wrest the city from the clutches of the evil King Rat, who is brought to life on stage by the inimitable Andrew Schofield.

Dick’s companion pussy is portrayed by a delightfully feline Jamie Clarke, whose sister Hayley Sheen takes the part of the lovely Alice. The protagonist’s seemingly impossible mission is brought closer to fruition thanks to the dusting of magic sprinkled from the wand of the green-haired Fairy, played by Paige Fenlon.

From the moment the curtain rises, the tale unfolds to the euphonious sounds of pop and rock classics spanning many decades.

As is tradition at this fabulous theatre, the band is on stage throughout, with four talented musicians providing the energetic backing for the cast’s fabulous vocals, many of which could earn a “golden buzzer” in any TV talent show. Notably, the sweet mellifluous tones of siblings Hayley and Jamie, and the wonderfully omnipotent voice of Lindzi Germain, who plays Dick’s larger-than-life mother, Holly Head.

The pace never lets up, with the entire cast nailing every dance move in the choreography, plus some riveting routines from the Ratettes, three of the sexiest rodents ever seen above or below stage.

One-liners come thick and fast, laced with double-entendre and innuendo. It’s comedy in the very best Royal Court tradition, and the audience loves it. Liam Tobin delivers wonderfully caustic quips as he portrays both Bradley Fitzwarren and none other than Wolfgang Amadeus Mozart.

There are so many stand-out moments, one of the most memorable being where Dick puts so much feeling into his heartfelt reprise of the famous Titanic “I’m Flying” scene while keeping abreast of the panto’s storyline.

Honestly, I can’t praise this show enough, from Keven Fearon’s script, brought to life by director Mark Chatterton and presented to perfection by the talented cast, to the score compiled by musical director Howard Gray, skilfully performed by Greg Joy, Chris Nicholls, Mike Woodvine, and the most animated keyboard player you’ll ever see, “Bouncing” Ben Gladwin.

“The Scouse Dick Whittington” deserves a solid FIVE STARS from me, and if you don’t make an effort to go and see it, you’ll be missing out on the best adult panto of the year. It runs until the 27th of January, and you can purchase tickets from the Royal Court Box Office.

x

For those who vividly recall the 1980s, Alan Bleasdale’s BBC drama series, “Boys from the Black Stuff”, resonates as an incisive commentary on Thatcher’s Britain. It was an era wherein the moniker “working class” seemed almost satirical, given the alarming unemployment rates.

Bleasdale’s potent catchphrases, “Gizza Job” and “I can do that”, beautifully encapsulated the profound desperation felt by many, especially our central character, Yosser Hughes in his desperate quest for employment, and is etched in the collective memory of a generation.

Even though The Royal Court, since its 2006 renaissance, has long coveted a stage rendition of the five part BBC television drama, it took the collaborative efforts of director Kate Wasserberg and writer James Graham to convince the sceptical Bleasdale.

But how gratifying it is that they succeeded to bring about a triumphant transformation of the TV classic to a theatrical tour de force!

Actor Barry Sloan (above), renowned for his transatlantic TV exploits, donned the heavy mantle of Yosser with aplomb. Though perhaps his uncanny resemblance to the legendary Bernard Hill did play a part in his casting, it was his Liverpudlian roots that truly infused authenticity and palpable fervour into his portrayal.

A delightful nod to the original comes in the form of Royal Court regular, Andrew Schofield (right), who, having graced the TV series as a fresh-faced young constable, now returns in the sagely role of George, offering a performance brimming with kindness and depth.

Wasserberg’s astute direction ensures that the ensemble cast elevates Graham’s screenplay to its deserving stature, echoing Bleasdale’s quintessential tone. The narrative unfolds with a palpable intensity, arresting the audience’s attention.

A commendation must be made for the ingenious choreography of the fight sequences, and the slow-motion depiction by stellar actor George Caple, of Snowy Malone’s tragic descent to his death from a balcony, was both visceral and artful.

Yet, amidst the raw power, restraint was exercised impeccably. The repetition of “gizza job” was masterfully balanced, preventing it from veering into cliché territory. And the culmination, with Hughes’ almost nonchalant “I can do that”, just before the final curtain, was a stroke of sheer brilliance.

“Boys from the Black Stuff” graces The Royal Court until October 28th. In this critic’s eyes, it’s not just a play; it’s an event, a historical echo, a rhapsody of emotions.

And it deserves nothing short of Five Hairy Photographer Stars. Attend, for it truly is a theatrical spectacle not to be missed.

Prepare to be transported back in time at Liverpool’s esteemed Royal Court Theatre, where an enchanting musical spectacle awaits you. If you haven’t experienced the magic of this production, dear audience, it’s high time you did! Oh, what a delight awaits, for this vibrant offering is bound to captivate your senses and leave you yearning for more.

For those who, like me, first embraced the enchantment of pop music during the late fifties and early sixties, courtesy of the iconic TV program Six-Five Special, prepare to embark on an evening drenched in nostalgia. “The Vernons Girls” unfolds before your eyes, a vivacious tribute tracing the journey of this beloved girl band.

Initially a 60-member choir comprised of employees from the revered Vernons Football Pools company in Liverpool, they blossomed into a sensational vocal ensemble of sixteen young women who took the pop world by storm. Their magnetic presence graced countless television shows, including the legendary “Oh Boy!” where they shared the stage with luminaries of that era—Marty Wilde, Joe Brown, Billy Fury, and Long John Baldry, to name a few.

Under the expert guidance of director Bob Eaton and musical director Jessica Dives, the musical prowess displayed by the gifted cast of eleven talented performers is truly awe-inspiring. Seamlessly transitioning from saxophone to guitar, drums to bass, these skilled artists effortlessly demonstrate their multifaceted abilities.

With each note sung and every dance step executed, they breathe life into the narrative.

Not only do they present a repertoire of the Vernons Girls’ own melodious creations, but they also offer a bountiful selection of the era’s most iconic hits, having served as esteemed session singers for the prestigious Decca label.

Allow yourself to succumb to the irresistible allure of this latest gem presented by the Royal Court. From the moment the first note graces your ears, your feet will be tapping uncontrollably, swept away by a symphony of melodies.

Brace yourself, dear theatregoer, for an evening that will fill your head with the most infectious earworms of yesteryear. As the final curtain falls, you’ll depart, your heart brimming with joy and a newfound appreciation for the timeless classics that defined an era.

Make haste, for the clock is ticking! Liverpool’s Royal Court Theatre beckons, promising an unforgettable journey through the annals of pop music history.

Fancy touch of escapism? Then look no further than the hilarious and entertaining musical comedy, “A Thong for Europe”, currently showing at Liverpool’s Royal Court Theatre.

Although it’s being staged to coincide with the city hosting Eurovision, the plot has very little to do with the actual song contest, focusing instead on the lives and loves of a gaggle of Eurovision groupies who manage to sneak backstage (or under the stage, to be precise) at Liverpool’s M&S Bank Area for the duration of the contest.

The show starts off with a bang as Lindzi Germain’s character, Lulu, delivers the eulogy at her mother’s funeral. But her mother, Steph, manages to escape her coffin, hell-bent on attending to some unfinished business.

Played by the talented Eithne Browne, Steph is a diehard Eurovision fan who has watched the contest on the small screen since its black-and-white inception. She even named her daughter Lulu after giving birth to the sound of “Boom Bang-a-Bang” in 1969.

Such is her determination to watch Eurovision live in person, especially now that it has come to her hometown, Steph is not inclined to let the small inconvenience of having died, stop her from attending.

I very much doubt Eithne Browne has ever “corpsed” on stage, but this time she began the play as a corpse and remained a corpse for the duration. And I must admit, she was dead good at it.

The comedy really takes off as the Euro Groupies hide backstage and Lulu is the only one who can see and hear her ghostly mother – until Beryl comes on the scene, that is. Emma Bispham plays Beryl, a singer from an obscure new European country called Balkania, and it turns out that she too can engage with Steph, adding new twists, turns and intrigue to the plot.

The entire spiritual proceedings are presided over by the Archangel, played by Keddy Sutton, who also miraculously morphs into the singer Sonia from time to time.

Written by Merseyside writer Jonathan Harvey, “A Thong for Europe” is on par with the best of the Royal Court’s musical comedies. The music is uplifting and features almost every popular Eurovision song from the past few decades, and the humour is side-splitting.

One of the most memorable scenes is when the camp Terry, played by Andro Cowperthwaite, “comes out” as being straight, leading to shock, disbelief, and eventual acceptance from his loved ones, cleverly exploring the reverse situation of a time before LGB was normalized.

Overall, “A Thong for Europe” is an absolute riot and a must-see for any fan of musical comedy.

It runs at Liverpool’s Royal Court Theatre until the 27^th of May. Don’t miss out on the chance to laugh your way through this hilarious Eurovision-inspired comedy.

As someone who has never been to a bingo hall in my life and always swore that you’d never catch me with a dabber in my hand, I was initially hesitant to attend Press Night for Bingo Star at Liverpool’s Royal Court Theatre.

However, as I’m a big fan of the theatre’s unique brand of musical comedy, I was intrigued and decided to give it a chance.

I was not disappointed.

Bingo Star, the first full-length play by playwright Iain Christie, was lively, energetic, and raucously funny. Christie, who has spent almost twenty years as the theatre’s publicity officer, certainly knew how to give the typical Royal Court audience exactly what they wanted. Packed with lots of slapstick, the play had me laughing out loud from start to finish.

And the stream of fabulous on-stage performances of 80’s hits kept my foot tapping throughout, thanks to the awesome ivory-tickling skills of Jonathan Markwood, in the guise of the bingo hall’s Keyboard Keith.

The story revolves around the devious dealings of a slimy entrepreneur who is determined to close down the now-jaded bingo hall to extend his adjacent land development.

The cast, led by Alan Stocks as Arthur, the owner of the bingo hall, and Paul Duckworth as the two-faced Tony, was outstanding. Keddy Sutton as the hilarious Leslie and Helen Carter as the sassy songstress Debbie, both seasoned performers at the Royal Court, were brilliant, and Paige Fenlon (left), making her debut at the theatre as the sexy Bella, delivered an excellent performance, both as a singer and actor.

The comedy came fast and slick, with some wonderful one-liners, and the music was fabulous, with some outstanding vocals from Fenlon and Carter.

A rather novel aspect of the night was the fact that each member of the audience in the stalls area was given a bingo ticket and a dabber. Three real games of bingo were cleverly scripted into the show, with lucky winners walking away with fifty quid each.

Overall, “Bingo Star” is a raucously funny musical comedy that will leave you wanting more. Although I’m not planning on becoming a regular Bingo player anytime soon, I would definitely go and see this show again.

“Bingo Star” runs until April 8th, so be sure to grab your dabber and head down to the Royal Court Theatre for a night of laughs and great music.

Online tickets available from The Box Office