REVIEW: BAND OF GOLD @ LEEDS GRAND THEATRE

As a friend of mine from outside the UK pointed out, we Brits are obsessed with our television. Maybe it’s the fact our weather is so bad that we spend more time indoors than your average country. It has also been a feature of our devotion to our best loved television shows that we have transferred to the stage our love of our favourite small screen output. A range of adaptations varying wildly in quality from Are You Being Served? to Inspector Morse. The latest of these screen-to-stage transfers is a tough call from anybody’s perspective. Kay Mellor’s 1995 landmark drama Band Of Gold gave ITV a hit of considerable proportions which spawned two sequels. It centred around the working prostitutes of the Bradford area, their lives and troubles. The series featured the combined talents of such acting heavyweights as Geraldine James, Cathy Tyson, Barbara Dickson, Ray Stevenson, Tony Doyle as well as putting on the map the multi award-winning screen actress Samantha Morton. And although it is 22 years since we said our goodbyes to the ladies of The Lane, the show has remained a fond memory for the 13 million or so people who watched devotedly week after week. The Grand Theatre, Leeds is the venue chosen for the world premiere prior to a national tour, and the show is very Kay Mellor heavy. She’s writer, director and producer. 

The original TV cast:  Barbara Dickson as Anita, Geraldine James as Rose, Ruth Gemmell as Gina Dixon,  Cathy Tyson as Carol

 

 The evening begins with a somewhat strange and frankly unnecessary voice over from Kay Mellor herself welcoming the audience, then we are back in the early 1990s and on The Lane, a notorious area of Bradford where prostitutes ply their trade. Gina Dixon, a mother whose marriage is on the rocks and in debt with a loan shark, is getting desperate, and tries to make ends meet by selling make-up door to door. Gina meets Carol Johnson, an experienced hustler with an OCD in cleaning. Hearing how much money Carol makes for her services tempts Gina into trying her hand. But first she has to get the permission of the Queen of the Lane, Rose Garrity. Tough as nails, she knows every inch of The Lane and all the regular punters. Then there is Anita Braithwaite, mistress to local businessman George Ferguson who has set her up with a flat to conduct their liaison. Anita however is using her good fortune to let out a room to her prostitute friends for a small gratuity in order that they have some lodgings to take punters to when they have been picked up. But dark shadows are gathering for Gina, Anita, Rose and Carol. There is a killer out there waiting in the shadows. He will change the lives of all of them in one way or another. 

The class of 2019:  Keiron Richardson, Laurie Brett, Emma Osman, Sacha Parkinson, 

Gaynor Faye, Shayne Ward

Emma Osman as Carol Johnson
 

Mellor has assembled a cast who fit the lead roles perfectly. Her own daughter Gaynor Faye brings the necessary feistiness to Rose, perhaps not as world weary as her TV counterpart, but certainly has the fire within. A towering presence over The Lane. Sacha Parkinson brings just the right amount of naivety and desperation to Gina as she finds herself getting deeper and deeper into debt. Emma Osman’s Carol meanwhile exudes confidence in her chosen profession and like all of the ‘ladies of the Lane’ has a blunt way with words. The ease with which she switches mundane life with her chosen profession is part of her charm. The funniest lines all go to Laurie Brett as Anita, who in this version is a frustrated singer who has lacked any opportunity but still belts out a karaoke number. Almost certainly a nod to chanteuse Barbara Dickson having played the TV original. Brett has the comic timing down to a tea, and handles the singing with ease which allows Kay Mellor to shoe-horn in the theme from the show, the 1960s standard “Love Hurts”. Olwen May brings a nice soft touch to Joyce, Gina’s grieving mother, struggling to come to terms with her daughter’s fate. But the show is not entirely about the ladies. There are some nice turns among the men too. Keiron Richardson impresses in his first stage role as Steve, Gina’s estranged husband. Dinnerladies favourite Andrew Dunn brings his wealth of experience to councillor Ian Barraclough. A man whose cleaning contracts are sought after by dodgy businessman George Ferguson, in a nice gruff performance by Mark Sheals. X Factor and Coronation Street veteran Shayne Ward is not given masses to do as Inspector Newall but acquits himself well in a limited role. Steve Garti manages to milk the comic potential of Curly and his fetish for stockings and heels, with Joe Mallalieu making a convincing menacing presence as loan shark Mr. Moore.

 

Keiron Richardson and Gaynor Faye

Emma Osman, Laurie Brett, Gaynor Faye

Laurie Brett as Anita

 

The pace of the show fair zips along, with short scenes that are thankfully resolved quickly in a clever set design by Janet Bird with a series of sliding flats and furniture being whizzed about the stage. Hal Lindes provides the original music just as he did in the television series, which helps create the sombre atmosphere which pervades the evening. Kay Mellor though is canny enough to know that an evening of hard hitting drama might be too much for audiences, and interweaves plenty of tough talking humour into the show.  The final climatic scene perhaps needs a bit of work - too rushed and a little too obviously choreographed for my liking - but aside from that small niggle the piece retains its raw and visceral quality for the stage.

 Andrew Dunn as Ian

Sacha Parkinson as Gina and Keiron Richardson as Steve

 

Shayne Ward as Inspector Newall and Laurie Brett as Anita

Curtain call at the Grand Theatre

I have sat through many a TV-to-stage adaptation and this is without doubt among the finer examples of the genre. It stands up as a piece of theatre without the prior knowledge of the TV series, not so with many of the adaptations over the years. Kay Mellor’s name on a screen or above a theatre has always been a sign of quality, and so it emerges here. The problems presented have not gone away, and the social injustices still feel very relevant. Band Of Gold has returned tarted up for a new generation. It feels good to have it back.

Janet Bird's versatile set ready for the start of the play

 2020 Tour dates for the Band Of Gold tour can be found at the OFFICIAL WEBSITE

REVIEW: CHER - HERE WE GO AGAIN WORLD TOUR @ MANCHESTER ARENA

So, we were in a pub in Manchester,  and five Cher’s walked in and sat down for a meal. The look was distinctive. The long black curly wig that signified her 1980s renaissance. You know a genuine icon when no explanations and no surname is necessary.  Over the course of her near 60 year career Sherilyn Sarkisian has done it all - won Oscars, been awarded Grammys,  sold out arenas worldwide.  Having famously done a ‘Farewell Tour’ in 2004,  she has been back on the road with her ‘Here We Go Again’ world tour since September. 

There are several distinct phases and images throughout Cher’s glorious reign,  she was first tempted onto a record when producer Phil Spector wanted everyone in the studio to sing the backing to The Ronettes’ classic ‘Be My Baby’.  As his assistant Sonny Bono’s girlfriend,  Cher was pushed into the studio and let loose on that legendary chorus.   It was the start of a music career that by any standards has been spectacular.  Having a distinctive lower register,  Cher is one of those singers who is an original. When you hear a Cher song on the radio, it can only be one person. Outspoken, glamorous, witty.  No wonder she has amassed over the years a devoted following that is the envy of most artists.

And so having been treated to some wannabe Cher’s in the pub, it was time for the real deal.  With Paul Young having warmed up the audience with his own 1980s rosta of hits,  a video montage introduced us to the lady herself.  ‘A Woman’s World’, the 2010 lead single from her Closer To The Truth album, started off the hit fest.  Descending from the roof in a flowing blue wig and matching gown,  it was the start of a costume bonanza that Canal Street drag queens I am sure watched on with ultimate envy.  There was a long, meandering and sometimes pointless chat with the audience about turning 40 and being told she was not sexy enough to star in The Witches of Eastwick (although she did ultimately get the role).  But as ever she was empowering women to be their own person, get out and do what they want.  A sentiment echoed by Cher over the ages.  But when the chat is over she is back to being an pop-disco-rock icon,  riding a large elephant singing 'Gayatri Mantra' and ‘All or Nothing’.  The 1960s are celebrated with 'The Beat Goes On' and a poignant duet of 'I Got You Babe' with her on screen ex-husband who propelled her to stardom, the late Sonny Bono. The big screen appearances are welcomed with a cheeky ‘Welcome To Burlesque’ before donning white wig referencing her role as Ruby Sheridan, a scene stealing cameo in Mamma Mia: Here We Go Again.  A trio of ABBA hits followed in quick succession. ‘Waterloo’, ‘S.O.S.’ and of course her featured song from the movie ‘Fernando’. A sing-a-long dream for the capacity audience at the Manchester Arena.  But Cher wasn’t done yet.  A plaintive ‘After All’,  gospel tinged ‘Walking In Memphis’ and infectious ‘The Shoop Shoop Song (It’s In His Kiss)’ all followed. The camp levels were off the scale by now. Could she push it further? She could, by donning her iconic black wig and body stocking look to rock out the arena with ‘I Found Someone’ and 'If I Could Turn Back Time’.  What could top all that?  Only one song.  Still the biggest selling single in the UK by a female artist. The 1998 disco smash ‘Believe’.  And we did. 

“What is your granny doing tonight?” Cher had asked the Arena when referencing her own 73 years on the planet.  Hopefully  being as inspiring (and unashamedly camp) as Sherilyn has over six decades.  If this is Cher’s swansong to live performing, she is untouchable. In addition to touring the world (as you do) Cher has revealed she is also working on a Christmas album, a second album of ABBA classics, an autobiography and a biopic on her life. We haven't seen the last of her. Top that bitches!

REVIEW: & JULIET @ MANCHESTER OPERA HOUSE

Jukebox musicals are a blessing and a curse. You have the ones that have set the standard for the genre (Our House, Mamma Mia) and the ones that deserve to be forgotten very quickly... well I won’t start to list those! However, finding an original approach on which to hang a collection of songs has proved elusive to most. The song writing catalogue of Swedish pop maestro Max Martin doesn’t at first hand seem to be the basis of a successful musical. Sure, there are multi-million selling hits for the Backstreet Boys, Britney Spears, Katy Perry and many others. But tying them together in a musical? Mmm, problematic. Not so for writer David West Read. He has hit on the ingenious idea of surmising what might have happened if Romeo Montague  and Juliet Capulet had not killed themselves in a suicide pact at the end of Shakespeare’s literary classic. What if Juliet had decided her own destiny?

The intriguing new musical which has opened at Manchester Opera House prior to a West End run, gives us the bard himself William Shakespeare and his wife Anne Hathaway.  His solution for the ending of Romeo & Juliet doesn’t impress his much ignored wife very much, and she has ideas of her own. And so begins the journey where the Bard and the Bored battle it out for supremacy over which direction the story will take for Juliet.  They each take turns with the quill to further the story of Juliet’s story without Romeo. Maybe just as well, at Romeo's wake a number of his old flames come forward to mourn.  He had been putting it about a bit! In order to escape this unwelcome development Juliet takes herself off to Paris for some fun with her best friend, the gender fluid May, and her Nurse.  Gate crashing a rather sumptuous ball, they encounter Francois De Bois (pronounced ‘de boy’) who is immediately taken with Juliet.  But he also has a brief encounter with May, confusing his feelings further.  Meanwhile the Nurse bumps into Francois’ father,  Lance, who is an old flame which she isn’t sure she wants rekindled.  The battle of Mr. and Mrs. Shakepeare’s quill continues until a coupe de theatre which ends Act 1 and literally sets the cat among the pigeons.  Further than that I don’t want to spoiler it for those lucky enough to see this production.

Oliver Tompsett as Shakespeare

Cassidy Janson as Anne Hathaway

It is obvious that producer Max Martin and his cohorts have spent a bob or two on the production. Set (Soutra Gilmour), costumes (Paloma Young), lighting (Howard Hudson), band – none of it can be faulted.  The direction by Luke Shepherd is spot on, bringing out the many moments of comedy (some not too subtle) whilst giving the performers a chance to shine vocally when the script demands one of the 30 songs that get performed during the course of the evening.  

Tim Mahendran as Francois & Miriam Teak-Lee as Juliet

David Bedella as Lance and Melanie La Barrie as Nurse

There are a core of very fine actors,  Oliver Tompsett’s handsome bard William kicking off the evening with the Backstreet Boys’ ‘Larger Than Life’. Jordan Luke Gage as a particularly smarmy Romeo, Peter Kay-esque Tim Mahendran as Francois and double Olivier Award winner David Bedella as Nursie’s suitor Lance all give first rate performances. But the evening truly belongs to the ladies. Cassidy Janson (Anne) shows a fine talent for comedy as well as power vocals, whilst Melanie La Barrie delivers a robust no nonsense Nurse whose voice melts the heart during ‘Fuckin’ Perfect’. Arun-Blair Mangat stands tall among the ladies as May, and his ‘I’m Not A Girl, Not Yet A Woman’ rightfully brings an ovation from the mostly young audience.  But the biggest praise must go to a star in the making,  Miriam-Teak Lee as Juliet.  She is beautiful, has charisma in spades and is another performer whose voice lifts the roof off the Opera House. To hear her belt out Britney Spear’s ‘Stronger’ or Katy Perry’s ‘Roar’ is to touch heaven.  The ensemble work their socks off to back these featured turns, showing some mean dance moves by choreographer Jennifer Weber and additional harmonic style.  Lets not forget either the major contribution of the eight-strong band under the direction of Dominic Fallacro who provide the bedrock of the evening and make it almost impossible to sit still in your seat.  The production has a stamp of class throughout, and deserves to join the upper echelons of jukebox musical royalty. 

Arun Blair-Mangat as May

Jordan Luke Gage as Romeo

I feel the biggest problem to be had with the show is it’s title.  & Juliet might well suggest a dip into heavy Shakespearean iambic pentameter. However, the reality is that this is Greatest Show by way of  Upstart Crow.  Its witty, it has got songs you want to sing and dance to and a hit squad cast deliver it all with panache. Given a chance the West End will hear them ROAR.  Please let it be the hit it deserves to be!

 

 Romeo's old flames gather whilst Juliet watches

Miriam Teak-Lee roars

Further details on the show can be found at the OFFICIAL & JULIET WEBSITE