Julian Eaves reviews Nice Work If You Can Get It by Joe DiPietro featuring the music of George and Ira Gershwin presented by Ovation Productions Upstairs at the Gatehouse.
Julian Eaves reviews Bob Carlton’s musical Return To The Forbidden Planet presented by Ovation Productions Upstairs At The Gatehouse.
The kids will be somewhat amused by it, and you may enjoy the quips, but Bananaman probably won’t be a holiday show to remember for long.
During the show The Plaids talk about ‘the blend’ and as the show progresses you understand exactly what they mean. The musicianship onstage both vocal and instrumental is considerable.
They took firm hold of Larson’s lyrics and crescendoing rock melodies – every word, every beat, brimming with anger and exigency; his lyrics carry imperative messages that couldn’t be swallowed passively by Larson’s audiences, and capture a sense of urgency characteristic of a life lost too soon.
Bananaman is soon to be live on stage in a part parody, part slapstick comedy musical for the whole family. Bananaman, written by Leon Parris (award-winning writer and composer of Wolfboy, The Famous Five and Monte Cristo), will directed by Fred Perry (producer, director, actor and founder of Sightline Entertainment), choreographed by Grant Murphy (Cinderella – Salisbury Playhouse, Saturday Night Fever -no.1 Tour, Avenue Q, Crazy For You – Upstairs at the Gatehouse) and produced by SightLine Entertainment in partnership with DC Thomson. The hero with ‘the muscles of 20 men and the brain of 20 mussels’ began life in the Nutty comic in 1980 and was a flyaway success, transferring to The Dandy before joining the world’s longest-running comic The Beano in 2012. A send-up of the likes of Superman and Batman, he was the subject of the hugely popular television cartoon that ran between 1983 and 1986 on … Read more
Christian James is a wonderful Pinocchio. He completely captures the sense of the character’s otherness and separation (being living wood) as well as a newcomer’s desire to explore and a child’s desire to rebel. The sequence where he learns about lying and his nose growing is genuinely delightful, as is the way he quickly shaves off his extra growth before Gepetto’s return. Bronagh Lagan has presided over an excellent production of an interesting and involving musical which provides a fresh, but refreshingly old-fashioned approach to the entertainment and stimulation of (especially) young minds. You leave wanting -desperately – to be able to bring youngsters to more theatre just like this.
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