Reality TV Talent Searches

There are some reality TV shows I’ll sit and watch every week, some I’m indifferent to, and others I question the sanity and intelligence of the producers/creators. In July 2006, composer extraordinaire Andrew Lloyd Webber approached the BBC to launch a programme that would allow the public to watch a selection of talented young ladies in a series of weekly, live ‘auditions’, and then vote for who they would like to see as the new Maria Von Trapp in the West End production of The Sound of Music. Six years later, the controversy of such a method of casting is still going strong, and has come back into the spotlight with yet another reality show- a search for the lead role in Jesus Christ Superstar. This time Lloyd Webber is offering the winner the chance to perform in an arena tour, and he has also jumped ship from the BBC to ITV.

I have been reading several different responses to this more recent show, and they have varied from calling it blasphemous, to a terrible shame that the casting of musicals has been lowered to this undignified approach to finding a new leading man/lady. So I thought I’d share my point of view, and please remember it is just that- I’m not a performer, I never went to a theatre school in London, and I’ve never been, nor know anybody who has been, on the inside of one of these shows, so I’m not for one second trying to maintain that I’m completely right or 100% ‘in the know’.

I wouldn’t necessarily say that I’m against these kinds of shows and I honestly don’t think they do the damage that some are maintaining. If you think about the positive attributes- it gives those who couldn’t afford musical theatre training a chance to break into the industry thereby revealing talent that nobody knew existed and widening the search; people who have always dreamed of being on the stage but had to pursue other careers have the chance to turn back time, shall we say, and give theatre another chance; and it allows the viewers, the ones who pay to see these West End shows, to voice an opinion about who we would prefer to see in the lead role. I’ve read a couple of articles that make it sound as though the public having a say in these casting shows is one of their biggest problems. This is interesting, considering when it comes to award shows like the What’s On Stage Awards, where the winners are voted for entirely by the public, the audience’s opinion is a big deal, and is considerably relevant (if you watch interviews with the nominated actors, nearly all of them say that the reason these awards are so special is because they are voted for by the public instead of critics). So why when it comes to us having a say in the casting are we all of a sudden incapable and unqualified? It’s not like it’s entirely up to us; even though the public get a vote, each week ‘the Lord’ gets the ultimate say on who out of the least popular contestants is staying and who should go home (until the very last week) and there is always a panel of judges who tend to know what they are talking about to help us with our decision.

So far the public have chosen exceptional winners, such as Danielle Hope who at just 18 gave one of the most beautiful renditions of Somewhere Over the Rainbow I have ever heard, and Lee Mead, after winning the search for Joseph in 2007, continued to find work in popular West End shows like Wicked. But not only do the winners gain West End careers, other contestants who reach the live shows have also found themselves in show business- Samantha Barks for example did not win the search for Oliver!’s Nancy, but she gained the part of Eponine in the stage version of Les Miserables, and was recently cast in the film version alongside Russell Crowe and Hugh Jackman. I chose Samantha as the example because critic for The Stage, Mark Shenton, wrote: “It’s possible that Samantha Barks, who came third in the Oliver! contest, is destined for bigger stardom now than anyone on the reality TV shows so far”. Yes, Samantha will more than likely become a bigger star and more famous (which some celebrities consider more of a curse than a blessing) than winner of the show Jodie Prenger, but that does not mean she was more suitable for the role of Nancy- she left the programme and found her own path, and good for her. Shenton wrote previously to this that: “It’s arguable that the best person for the job isn’t necessarily the one the public chooses”, but you can say the same for private auditions where the casting directors make all the decisions; at the end of the day it’s all a matter of opinion, but if the actor sells tickets, they entertain, and they receive excellent feedback from the audience and critics, then they can’t be doing much wrong.

Jesus Christ Superstar has sparked even further debate than the previous talent shows because of already established West End performers, such as Oliver Tompsett, Alex Gaumond, and Roger Wright taking part. Shenton wrote (and he is by no means the only one saying this): “It’s certainly depressing that established talent feels it’s necessary to submit themselves to the indignity of a public popularity contest.” Firstly, I wouldn’t refer to their situation as depressing; as already stated, they are established and successful performers who have experienced the spotlight and they already know how capable they are. They are more than likely living, or have lived, their dream of being a West End star, so I’m not too quick to feel sorry for them just because their audition for this particular part involves being part of a televised talent search. I’d also like to point out that established performers are not some sort of higher being, and nor are they above going back to the beginning and auditioning with people who don’t have the training, the agent, or the experience that most West End performers have.  I don’t believe these guys see themselves as above this process either, otherwise they wouldn’t have gone ahead and auditioned for it. Here I’d like to insert a quote from Oliver Tompsett’s Facebook page that gives evidence to my point: "I have never asked for a free pass for anything & do not want to be treated any different from the next guy […] to those who think that it’s beneath them to audition in such a manner in front of the nation & show that you’re only human and share your warts and all? I only have this to say: ‘TOO CHICKEN?’ ”

Well said.

As for referring to the shows as a popularity contest, the majority of the audience doesn’t personally know the contestants on these shows, so realistically we can’t just vote for the one we think we could be friends with; we have to vote on the performances they give and the attitudes they have. We want to know that they are willing to put every ounce of effort into the role, should they be chosen for it.

Having said all this, based on the viewings of this search for Jesus Christ Superstar, the public are getting a little disinterested in this format of casting. To begin with if he wanted to continue with these searches, Lloyd Webber would have done better to stay with the BBC, because ITV have made this year’s cheesier than ever, and quite a lot of it seems disjointed and a bit rushed. Not to mention the ‘last supper’ and other religious puns are not doing the show any favours, and I can’t be doing with all the adverts every ten minutes. Let’s just say the format of the show could do with some work. Nonetheless we shouldn’t predict that ticket sales for the arena tour are also going to suffer; I believe people will still be highly interested in seeing the actual production regardless of their discontentment for the casting process. Those who are feeling as though all of musical theatre is going down the pan because of Lloyd Webber’s reality TV should remember that there are several incredible musicals and shows out there that have nothing to do with him, and they seem happy to not follow in his footsteps and continue with the traditional ways of auditioning- all is not lost!

What we should all come to accept however is that however beneficial three years of training at Arts Ed, Mountview, and LIPA etc are, it is not the only route to becoming a professional performer. It definitely works for some people, but others have their reasons for attempting a different approach. When it comes down to it, it shouldn’t matter where you start; if you have the talent, you’re prepared to work hard, and you’re ready for the multiple rejections and harsh words on your way to the top, there’s no reason why you shouldn’t take advantage of the opportunities that present themselves, televised or not. Some see these shows as an elongated advertisement for the production, but that could be what the West End needs, especially with the Olympics approaching amidst fears that shows are going to have to close because everyone’s attentions will either be on sport or on staying away from the capital. If Lloyd Webber can encourage people to see a show, and others besides, I don’t see it as something to complain about.

Rock of Ages

L-R Simon Lipkin, Justin Lee Collins, Oliver Tompsett. Photo taken from Rock of Ages London website.

Quite frankly this musical was genuinely the most fun I think I’ve ever had in the theatre; a simple and enjoyable storyline with a script permeated with uninhibited and hilarious jokes that delight your unashamed and slightly naughty funny bone.

Five-time Tony nominated musical Rock of Ages is the story of young dreamers Drew (Oliver Tompsett) and Sherrie (Natalie Andreou) who find themselves working in Dennis Dupree’s (Justin Lee Collins) Bourbon Room on the Sunset Strip of Los Angeles. Narrated by the hysterical Lonny (Simon Lipkin) we watch this city boy and small town girl strive to achieve their goals, while Dupree does his utmost best to keep his beloved bar from being closed down- enter womaniser Stacee Jaxx (Shayne Ward) whose popularity could be the Bourbon’s only chance. Containing 28 rock anthems, including Wanted Dead or Alive, The Final Countdown, Don’t Stop Believin’ and Here I Go Again, heart-racing choreography by Kelly Devine, and a cheesy but witty book by Chris D'arienzo, this show will have you out of your seats and brimming with nostalgia and cheer.

Tompsett’s vocal range is outstanding, and he gave his character the perfect balance of charm, perseverance, and at times (as most musicians who had to battle the odds at the beginning of their careers may remember) the frustration that only comes from wanting something so badly. The audience were in his corner from start to finish, and the energy Oliver has on stage makes him simply glow with excellence. Natalie’s performance was also a stand out; she has a powerful and beautiful voice, and her Sherrie is charismatic and very likable, despite the mistakes she makes on her way to Hollywood stardom. Simon Lipkin’s Lonny is cheeky, childish, and playful as the day is long; he provides the majority of the humour and he does it extremely well.

I found myself feeling extremely proud of Justin Lee Collins in this musical; having watched the programme he did for Sky about his progression from a karaoke regular to a professional performer on the West End stage, I was aware of where he started and could compare that to where he is now. It is very obvious how hard he has worked for this part, and even though his vocals were not quite on the same level of those in the cast who have perhaps received years of training in preparation for this kind of career, they were still brilliant and well suited to his part, and his acting was of an incredible standard. Rachel McFarlane (Justice) should have been in more of the show in my opinion- she is fairly absent during the first few scenes, then all of sudden out she comes with such a strong, crystal clear voice that just stunned the audience into silence (quite a considerable achievement considering how excitable they had been throughout the rest of the show).

The success of this musical rests on the cast’s abilities to sing these already established classic hits that almost everybody in the audience will know the words to, and several will be protective of their legacy. Both individually and collectively, this group of actors do an exceptional job. You do feel like you are at a best of the best rock concert, and that is also thanks to the live band who remain on stage throughout the entire performance and from the beginning are vital members of the cast- staggering performances were given by these guys as well. If you’re looking for an entertaining, loud, and lively night this is the perfect musical for you- it is one of the few currently on the West End where you can let your hair down and sing along as loudly as you’d like. Rock of Ages is the king of the crowd pleasers.

I wouldn't recommend this show for young children- but for you adults out there, here is the link to get your tickets http://www.rockofagesmusical.co.uk/

My Stage Door Experiences (all two of them)

Making my way to the stage door after watching a show was never something I had done until fairly recently when, after my second viewing of the Jersey Boys, my friend Hollie said: “you do know we have to take you to the stage door after this”. Half of me was so pleased she said this because I had really wanted to meet the actors ever since I started watching Youtube videos to find out who the Jersey Boys even were. However, the other half of me felt like she’d just said I was going to be part of an electric chair experiment- what on earth was I going to say to these people?! I can be really self-conscious when meeting new people for the first time, and I can either be stunned into silence or I’ll start talking complete nonsense; so you can imagine what I was worried I’d be like meeting people I admired so much. If it wasn’t for Hollie, I’d still be completely oblivious to the experience and I’d still be too nervous to approach it by myself. Not to mention I don’t even know where any of the theatres’ stage doors are, and as I usually go to these shows with friends who do enjoy theatre, but are perhaps not as invested in it as me, I would usually deem it unfair to make them walk up and down side streets with me looking for them.

Back to the story; the show ended and I decided yes, let’s go to the stage door and say hello (baby steps). I had a rough idea of where this door was, because I’d seen other fan’s photos and figured out which bars/shops it was opposite, so this one wasn’t much of a hassle. It turns out I really had nothing to be nervous about. The blue doors opened and the cast came out in steady flow and either greeted people they recognised and some they didn’t, or alternatively they headed off somewhere to refresh for the next show. Basically, they were just like normal human beings- who knew! The first cast member I spoke to was Matt Wycliffe, and the first thing my friend Emily told him was that I was nervous to meet him (thanks Em) and I denied it with a “nooooo I’m not, I’m fiiiiiine”, even though we all know it was actually “yessss, I really am”. Either way, it didn’t seem like he was bothered by that one bit; he signed our tickets and we had a quick chat about the liveliness of the crowd and how it makes the show even better, he gave the tickets back with a smile, and there ended my first encounter with a west end star. I survived!!  Once that was over, I realised how silly I’d been to be so worried about embarrassing myself. When you think about it, they get all sorts of people ranging from the shy to the over confident, but as long as you’re polite, kind, and you don’t start crying, the actors will nearly always be happy to speak to you.

Next to appear a short while later was Ryan Molloy- the star of the show, an original cast member, and the real Frankie Valli’s favourite Frankie Valli. As he came out he was stopped by a couple of girls for a chat, and as he walked away from them myself and Emily approached him, and I waved (it was very much a geeky, ‘I carried a watermelon’ wave) to indicate that we wanted to say hi. Once again, he was very friendly, he signed our tickets, we told him how we loved the show, and this time I even asked for a photo- such progress! There endeth my first stage door experience. The second time I went to this very same stage door was with a different friend, Emma, who loves musicals just as much as I do, and this time as well as speaking to Matt and Ryan, we caught Wayne Smith’s attention. He was such a sweetheart, and he seemed just as interested in hearing little things about us as we were listening to what he had to say.

My main point here is that stage doors are definitely worth a visit, should it be something you really want to do. It can be daunting for some, but don’t forget that even though you may be completely star struck and you fear the sudden emergence of word vomit, these actors meet a wide range of people every day, and they probably won’t even remember that really silly, irrelevant comment about baby monkeys you accidentally blurted out in excitement, but positive thoughts about the show and their performance will be appreciated. Having said this, there is such a thing as behaving unnecessarily over the top in these situations. Below is a link to a great blog post that describes Stage Door Etiquette- basically pointing out how to avoid making the experience uncomfortable for other fans and for the actors. Be yourself, be considerate, and you’re bound to make some really great memories.



Link to Stage Door Etiquette, which partly inspired me to write this post! http://confessionsofatheatregirl.wordpress.com/

West End Live 2012

Over the past weekend (June 23-24^th) London’s Trafalgar Square was engulfed by around 15,000 musical theatre enthusiasts in celebration of the extraordinary talent and vivacity of our West End. Across the two days 39 shows (every single musical running at this present time) plus recording artists, choirs, and a few theatre youngsters put on a FREE display showcasing some of their spectacular music and performers, demonstrating just how lucky we are in this country to be home to some of the best theatre the world has to offer. West End Live has been running since 2005 and started out in Leicester Square, but it became so huge that it outgrew its origins and was relocated to Trafalgar Square. I have regrettably never been before and this weekend was resounding proof that I had been missing out!

Surrounded by exhibition tents promoting other top London attractions, the big stage treated us to exhilarating performances from musicals such as Les Miserables, Matilda, Thriller Live, Billy Elliot, The Lion King, We Will Rock You, Wicked, and so many more. Crowd favourites seemed to be the Jersey Boys and Rock of Ages, both of which had everyone dancing, cheering, and singing along to the timeless songs that have been going strong for decades. Sunday’s timetable of delights also included a few solo artists such as Louise Dearman and Alex Gaumond who have recently released new albums following their thus far successful West End careers.

If you so wished you could’ve temporarily escaped the crowd and walked around the exhibitions which included Angelina Ballerina dance classes, the War Horse puppeteers who brought Joey the horse along with them so you could see for yourself the intricacies of their work and the puppets used in the show, TKTS who were selling musical theatre tickets should what you had seen that day inspired you to see an entire show, and Anthony Daniels (voice of C3PO in all six Star Wars films) even made an appearance with C3PO and R2D2 for meet and greet and photo opportunities.

The inclination to refer to West End Live as the perfect music festival is notably overbearing, however the technical side could have done with some fine tuning and there were a few too many advertisements appearing on the big screens when the majority of us were more interested in the next show about to come on stage. Nevertheless, I would recommend this event to everyone, from those who are the least bit curious about theatre to those who cannot get enough. I can guarantee you will have a fantastic time regardless of whatever the British weather brings your way; we had both sunshine and some rain this weekend, but it did not seem like anyone’s mood was dampened. I for one am already excited for West End Live 2013- hope to see you there!

One more thing- here's the video footage I took of the weekend. It's by no means all the performances, but it's the ones I could get a good view of http://www.youtube.com/watch?v=dfczn_zs7T0&feature=plcp

'Bully: The Year's Most Important Film' by Marlo Thomas

Apologies for stating the obvious, but this article was not written by me. However, this film, 'Bully',  puts a brighter than ever spotlight on a universal issue that is frustratingly and heartbreakingly common. Thomas' article is a good summary of why this film should be seen by everyone - not because it stars Hollywood's biggest heartthrob, and not because your favourite director is behind it, but because its about time significant changes are made to put a stop to bullying. It destroys lives, it ends lives, and its never been and never will be acceptable to treat people so abysmally. Below the article is the film's trailer. Please see this film, and if you have younger siblings still in school, make sure you take them with you.

Thomas' Article (originally featured in the Huffington Post):

I'm not a movie reviewer, but I strongly recommend that you take your child by the hand this weekend -- or several children -- to see the new documentary film, Bully. The only problem is, you might not be able to find the film at your neighborhood cineplex. That's because the Motion Picture Association of America has stamped the film "Unrated," after a long and noisy battle over its original R-rating. So now it is up to the individual theatre owners to decide whether or not they will exhibit Bully. I urge them to do so.
But make no mistake, even if you have to drive your kids across state lines to see the film, your kids need to be in the audience -- because, whether you know it or not, they may be among the 13 million American children affected by bullying every year. For them, this is more than just a movie. It is real life.
And in this real life, parents have been all but invisible -- invisible in the school cafeteria, invisible on the playground, invisible on the school bus and online -- unwittingly abandoning their children to face this torment alone. The film makes this painfully clear, whether it's the dad who confidently recites that timeworn rationalization about bullying -- "Kids will be kids" -- or the school administrator who blindly insists to a worried parent that her students are "good as gold on that school bus" -- intercut with a clip of a small boy being choked on that very bus. We come away from Bully feeling defeated and enraged.
Interestingly, the MPAA's controversial decision about the film's rating -- based on its use of profanity and other violent language -- could end up working in the children's favor. Research indicates that bullied kids are not comfortable revealing their dangerous predicaments to their parents. But now that the rating has forced kids to see the film with an adult, the movie can do the revealing for them. And children will at last feel their parents there, by their side, seeing and understanding what it's like to leave their house and wander unprotected into a scary world.
Adults may be horrified by what they see in Bully, but the kids know this world all too well. Directed by Lee Hirsch, the film captures the wrenching drama of schoolyard bullying -- the hitting and harassing, the tormenting and tears, the grave suffering -- in unflinching detail, as it zooms in on the daily battles waged by five bullied children, two of whom ultimately commit suicide. But sitting through the film will be worth every harrowing minute, especially to the children, whose only hope against this ever deepening crisis is the visible and vocal support of the adults in their lives.
The MPAA's decision has incited a storm of protest. When Bully was first given an R-rating, a 17-year-old Michigan high-schooler, Katy Butler -- who has been bullied herself -- posted a petition on Change.org, demanding that the MPAA change the rating. When such high-profile and conscientious activists as Meryl Streep and Johnny Depp joined in the protest, the MPAA was effectively arm-twisted into changing the movie's rating to a still restrictive "Unrated."
But while all of this debate continues, the sad fact is: children are still dying at the hands of bullying.
This is why I am urging all adults -- parents, guardians, caregivers -- to take your kids to see Bully this weekend. I also encourage educators and school administrators to arrange school-wide field trips. Because if there's one thing we've learned since launching our anti-bullying campaign last year -- with the Ad Council, the Department of Education and funders like AOL, Facebook, the Waitt Family Foundation and the Free To Be Foundation (who have been major funders of the Bully Project) -- it's that, if we are ever to eradicate this deadly, modern-day scourge, we need to face the problem head-on -- and together.
You can watch the trailer to Bully below, and see the movie at local theatres, starting this Friday.


Original Article link- http://www.huffingtonpost.com/marlo-thomas/bully_b_1382354.html

An Evening with Saturday Night Live’s Seth Meyers

Performance at Zellerbach Hall, UC Berkeley

Since 2003 Seth Meyers has been a full time cast member of sketch comedy show, Saturday Night Live, a popular late night programme broadcast on America’s NBC channel. In 2006 he was promoted to weekend co-anchor, eventually becoming the sole anchor, and is crrentlyin his sixth season as head writer. Most recently Seth headlined the 2011 White House Correspondences’ Association Dinner.

 
Meyers’ experience in getting his viewers to throw their heads back with unabashed and uncontrollable laughter was evident in his stand-up show at UC Berkeley on Tuesday night (02/21). His acute perceptiveness of human behaviour and an ability to turn something simple into something completely hilarious made him a hit with all who were in his audience; this enjoyment was indisputable due to the multiple rounds of emphatic applause that followed his ingenious punch lines. The honesty and blunt sarcasm of his jokes accompanied by flawless comedic timing made for a terrific performance and most certainly gained him a copious amount of new fans. I would include myself in that category (I have only ever seen one SNL sketch in full as, being from the UK, it hasn’t been a very prominent show on my television radar). However, after this experience, that will definitely change.

It would be fantastic for Seth Meyers to continue with live stand-up, as well as with his career as SNL’s longest running cast member. If he ever comes to a city near you, it is strongly recommended that you attend his show- hilarity from start to finish.

Legally Blonde: The Musical

Presented by the Diablo Theatre Company at the Lesher Center for the Arts, Walnut Creek.

Directed by Gia Solari

Musical Director- Sean Kana

Music and Lyrics by Laurence O’Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro Goldwyn-Mayer Motion Picture

Choreography by Renee DeWeese and Gia Solari

Cast: Bailey Hanks, Ian Leonard, Frankie Mulcahy, Lynda DiVito, Brenna Wahl, Mary Kalita, Tom Reardon, Lital Abrahams, Riley Krull, Taylor Jones.

Full cast list can be found here: http://diablotheatre.org/blog/legally-blonde-cast

“Being true to yourself never goes out of style.”

Sassy Blonde Elle Woods (Bailey Hanks) decides to follow her heart all the way from UCLA, and her Delta Nu sorority sisters, to Harvard Law School and its bright and ambitious lawyers in training. Her goal is to convince ex –boyfriend, Warner (Frankie Mulcahy), who is also matriculating at Harvard, that they are in fact perfect together and meant to be. It’s not until she is thrown out of her very first class that she realises the hard work that comes with the territory of attending a prestigious Ivy League school. What she also comes to learn, however, is that books can’t teach us everything, and that trusting your instincts can prove to be your smartest move.

Featuring original, soon-to-be stuck in your head songs such as Omigod You Guys, What You Want, and Bend and Snap, Legally Blonde: The Musical, is a girly rom-com with plenty of references to love, fashion and the strength of sisterhood. With perfectly coiffed blonde hair and her pet Chihuahua, Bruiser, by her side, Miss Woods shows those who pre-judged her that even though her interests may lie outside the world of academics, it does not mean she is incapable of achievement.

 Leading this cast is Bailey Hanks, who has previously played the role of Elle on Broadway, and whose voice was so crystal clear, and very well suited to the character’s vivacious personality. Another character that was well cast was the part of Ireland loving Paulette, portrayed by Lynda DiVito. Hairdresser Paulette almost instantly becomes friends with Elle, as they both have stories of being unlucky in love, and they both offer each other helpful advice. DiVito had excellent comedic timing and her voice was also was one of the strongest in the company. The kind hearted and shy Emmett (Ian Leonard) was a slight disappointment, not because the actor lacked talent, but because his portrayal wasn’t quite dorky or endearing enough; it’s not as easy to adore him as expected. (Spoiler alert) His romance with Elle at the end was nice, but nothing more.

The ensemble was energetic, but not faultless. The choreography and execution of steps in the first act were at times disjointed, but the routine for What You Want was sharp, clean, and enjoyable to watch. The dancing in the second act was of a much better quality; there were some excellent moves especially from a couple of the male performers. The skipping rope routine carried out on mini trampolines was very creative; although it wasn’t perfect, it was still impressive to see.

There were a couple of actors whose voices were slightly muffled and it was difficult to hear and understand what they were saying, during both speech and song. Some of the microphones in general were not in good working order, so it was a good job that the theatre itself was not any bigger, otherwise those towards the back of the auditorium would have been left very unsatisfied.

The two furry additions to the cast- Bam Bam and Lucy (Bruiser and Rufus respectively) were well behaved and there were no noticeable mishaps, although Lucy sometimes seemed nervous to be on stage, and could be seen struggling to go in a different direction to the way the actor with the lead was trying to take her. Overall, however, they were both very precious and gained a few laughs from the audience.

Legally Blonde: The Musical’s story line is not exactly demanding on the intellect, and nor is it intended to be; this show is all about the entertainment, and entertained you shall certainly be. “Get ready for some pink!” (Artistic Director, Daren A.C. Carollo).

Family friendly, suitable for ages 12 and up (suggested age by the Diablo Theatre Company).

NB: UK residents, the West End version of this show closes on April 7^th 2012, so if you are intending to watch it, book your tickets ASAP.

Ghost Light

Directed by Jonathan Moscone

Written by Tony Taccone

Scenic Design by Todd Rosenthal

Lighting Design by Christopher Akerlind

Casting by Nicole Arbusto/ Joy Dickson/ Amy Potozkin

Cast: Christopher Liam Moore, Danforth Comins, Robynn Rodriguez, Ted Deasy, Peter Frechette, Bill Geisslinger, Peter Macon, Isaac Kosydar, Tyler James Myers, Sarita Ocon.

It’s November 17^th 1978, and the mayor of San Francisco, George Moscone, is about to attend a press conference to announce the newest member to join his board of supervisors. Dan White, who resigned the board and was now being replaced, enters the City Hall through a basement window and makes his way to Moscone’s office. After a heated argument, White shoots Moscone four times, twice in the head, and then proceeds to murder liberal city leader, Harvey Milk.

‘Ghost Light’ opens with George’s teenage son, Jon, finding out about his father’s death via news bulletin on the television. Adult Jon is struggling to move forward; he cannot close the doors on the ghosts that have been haunting him since the day his father died, and this is complicating all aspects of an upcoming production of ‘Hamlet’ that he is partly responsible for, as well as his social life and his job as an acting coach.

The real Jonathan Moscone approached Tony Taccone to help him create this production on his father; it’s a story for which an entire generation of San Francisco-ians have their own memories, thoughts and emotions. The audience are invited into Jon’s eccentric world and they watch as he goes through the motions of daily life, while being haunted by unusual spirits from the afterlife.  However, there wasn’t a very distinct story line, and there were many elements of the production that were confusing and unclear. For example, we witness the haunting of a spirit, who goes by the name of ‘Loverboy’, by another spirit who is dressed like a prison guard and who mocks and terrifies the former and demands he pass on a message to Jon, but it is never explained why he specifically choose to haunt another ghost instead of going directly to Jon like he does later on in the play. We also never find out if these spirits only appear in Jon’s dreams, if they are a memory, a series of hallucinations, or a combination of the above. Taccone’s witty and intelligent writing will keep you interested, but expect a very dream like production that doesn’t always make complete sense.

Christopher Liam Moore is such a detailed performer and his portrayal of Jon was humorous and captivating; the final scene especially was very moving. During the instances where he interacts with the audience, who temporarily take on the role of the students in his acting class, Moore was fearless, and it is highly noticeable that he has great energy on stage. He was supported by a strong cast, and the lighting and staging was fluid and effective.

A brave and thought provoking piece, slow at times, but enjoyable.

Performed at the Berkeley Repertoire Theatre

The Woman in Black

Directed by James Watkins

Original book by Susan Hill

Screenplay by Jane Goldman

Starring: Daniel Radcliffe, Liz White, Ciaran Hinds, Janet McTeer, Sophie Stuckey, Misha Handley, Alisa Khazanova, Shaun Dooley.

Full list of cast and crew- http://www.imdb.com/title/tt1596365/fullcredits#cast

“During afternoon tea, there’s a shift in the air; a bone trembling chill that tells you she’s there. There are those who believe the whole town is cursed, but the house and the marsh is by far the worst. What she wants is unknown, but she always comes back; the spectre of darkness, the Woman in Black.”

Three young girls sit in the attic of their home, playing with dolls and a china tea set.

They see something, or someone, out of the corner of their eyes.

They abandon their game of make believe, walk towards three windows, and step up onto the ledge…

So begins the most recent film adaptation of the 1983 Victorian-set horror novel, written by Susan Hill: The Woman in Black. A scorned spirit of a mother who lost her young son under tragic circumstances is haunting the remote, fictional town of Crythin Gifford. A sighting of the Woman in Black by an adult foreshadows the death of a child belonging to any one of the families living in fear of the vengeful figure. She is able to manipulate the children, however, and causes them to commit an apparent suicide.

Daniel Radcliffe takes the part of the young lawyer and single father, Arthur Kipps, who visits the town to deal with the paperwork of a recently deceased widow, Alice Drablow (Alisa Khazanova). The fearful attitude of the town’s residents may come across as very unwelcoming, but Kipps is in for a chilling surprise upon entering the grounds of Eel Marsh.

Radcliffe’s performance is commendable and he successfully carries the film as a protagonist whose eyes and ears are the main insight into the supernatural goings on. There were one or two line deliveries which came across as a ‘Potterism’, but overall he was impressive, especially with his facial expressions and reactions. His idea of casting his real life Godson, Misha Handley, as his adorable on-screen son, Joseph Kipps, was a good one, as the chemistry between them came across very well.  Despite the small amount of screen time, it is apparent that Misha has promising talent and that he is comfortable in front of the cameras.

Radcliffe is not the only well-known name to be involved with this motion picture; Ciaran Hinds (Calendar Girls, The Phantom of the Opera) plays Kipps’ only friend in the town, Sam Daily. Daily, whose only son drowned, and whose wife believes their son’s spirit often tries to speak through her, offers Kipps a place to stay and drives him to the house when others do not dare.

The variation of the camera angles were creative- either enabling the audience to see through Kipps’ eyes or to observe what he cannot see, for example, that the Woman in Black (Liz White) is standing right behind him. Cinematographer, Tim Maurice-Jones, also deserves some credit for his shots of the isolating marsh lands, which add to the bleakness and Arthur’s sense of being completely alone while facing this terrifying ghost with an immortal grudge.

So many ‘scary’ films depend too much on the gore and have too much fun smearing fake blood everywhere in order for their film to be affiliated with the horror genre. Hill’s story, on the other hand, is as frightening as the ghostly faces and screams, and there were many moments of suspense to keep the adrenaline going throughout. The script itself is fairly simplistic, but that is hardly noticeable and well covered up behind the tension. Lovers of old school horror will especially enjoy this one.

(If you are prone to nightmares or night terrors, I would probably give this one a miss, as there is some footage which will only serve to make them worse. Then again if you feel up to the challenge you should go along, but take a cushion)!

Jersey Boys

WINNER OF 53 AWARDS WORLDWIDE

Directed by- Des Mcanuff

Book by- Marshall Brickman and Rick Elice

Composer- Bob Gaudio

Lyricist- Bob Crewe

Choreographer- Sergio Trujillo

Starring: Ryan Molloy, Jon Boydon, Matthew Wycliffe, Eugene McCoy, Jon Lee, Wayne Smith, Mark Isherwood, Tom Oakley, Michael Conway, Carl Au, Charlie Bull, Mark Carroll, Chris Gardner, Lucinda Gill, Lauren Hall, Trina Hill, Paul Iveson, Stuart Milligan, Jake Samuels, Jo Servi, Ben Wheeler, Rachael Wooding.

Current London cast, L-R: Eugene McCoy, Ryan Molloy, Matthew Wycliffe, Jon Boydon. Photo from the Jersey Boys London website.

David Beckham has seen it 10 times, Strictly Come Dancing’s Natalie Lowe has seen it 6 times, I myself have seen it 3 times, Cilla Black has seen it at least twice, and I have seen on Facebook and Twitter a few people mention that they have just watched their 100^th performance.

I am talking, as always, about the West End’s Jersey Boys- the story of the rise to fame of the rock n’ roll group Frankie Valli and the Four Seasons. I can almost guarantee that you’ve heard of them, if not (my condolences), it is more than likely that you will recognise at least one of their songs; you just would not have primarily attributed it to them. A popular reaction to this show, aside from ‘that was incredible’, is ‘I had no idea they wrote that song!’ Well believe it or not, with the exception of the first couple of toe tapping tunes, all of the songs featured in this show can be traced back to the writing talents of one Bob Gaudio, who, as well as being an original and vital Four Seasons member, was also involved in the production of this multi award winning musical.

Originally opening on Broadway in 2005, Jersey Boys exudes sophistication, charm, and swagger, while opening your eyes to nitty-grity 1960’s Belville, New Jersey- a town which offers no easy life for those who reside there. Despite all they were faced with, four young guys from the mean streets came together and created pure magic; Frankie Valli and the Four Seasons became one of the greatest pop sensations in music history. Their achievements were astonishing, one of the most prominent being their induction into the Rock n’ Roll Hall of Fame, and yet no one could have predicted it considering at least of half of the band members were in and out of jail like it was a supermarket because of affiliations with tough gangs. After seeing this show, the names Frankie, Bob, Tommy, and Nick will make a permanent mark on your memory.

Each and every cast member in the London version deserves recognition for their talent. It’s common to begin with the leads, but I’d first like to highlight the hard work of the three female cast members, who between them take on around fifty roles throughout the show.  Although playing minor characters, if they came onto the stage and accidentally portrayed the wrong personality, it could affect and/or ruin the whole dynamic of the scene, so their ability to take on all those parts and successfully act out such a wide range of characteristics just shows how talented they are. The other swing members also show this diversity and I congratulate them all as they do make the show what it is.

Now for the four male leads. I have seen both Ryan Molloy and Jon Lee as Frankie Valli, and both are fantastic and play the role in their own way, so it is worth catching both of them in the part if you decide to see it more than once (which I would be willing to put money on that you will). Tom Oakley and Michael Conway have also played the ‘V-man’ and I’ve been told they are also ones to watch, although I have not yet had the pleasure. There is just something about Ryan’s portrayal that is breath-taking, and the fact that a large proportion of female audience members are left swooning over him does not hurt either. His falsetto is pitch perfect, and he is as believable as 16 year old Frankie as he is as 30 something year old Frankie. He was definitely meant to play this role, and I imagine the casting directors are aware their lucky stars were in line when they found him.

Next we have Jon Boydon who has absolute control over the part of Tommy DeVito; the guy who likes to take the credit for bringing the band together. He is slick, and he is clever in many ways, but like a lot of human beings he makes mistakes, some graver than others. Jon, who has recently released a solo album that I would also recommend, has a powerful and charismatic voice, and I don’t think even the meanest critics could find much fault with his acting ability no matter how hard they may try. Eugene McCoy offers a lot of humour to the show as the harmony genius Nick Massi- this guy is probably like someone you know who usually doesn’t say much or complain often but, when they do say something, it’s memorable for one reason or another. Eugene’s delivery of lines was one of my favourite elements of the show and he does have a unique tone to his singing voice that you can’t get from lessons. Lastly we have Matt Wycliffe as Bob Gaudio, without whom the simple yet stunningly catchy melodies of hits such as Oh what a night, Sherry and Can’t take my eyes off of you would not exist. Matt is no stranger to portraying extremely successful singer/songwriters as he previously took on the role of Buddy Holly in The Buddy Holly Story. Perhaps the most innocent of the group members, Bob is charming, talented, and you adore him for the songs he brought into this world. Matt is as close to perfect for this role as anyone can get- I could listen to his suave singing all day, and his cheeky grin is utterly endearing.

Jersey Boys has since been shown around the world with various casts, including places such as Las Vegas, New Zealand, and Australia, and is still going strong in both New York and London. I cannot recommend this show enough; not only will the music blow you away, the story is fascinating and inspiring. Unlike a lot of musicals, where the characters just sing their lives to you as though it is the norm and because it is expected from the genre, in this show you get to find out the backstory of the songs; you find out how the lyrics came to be, what the songs are really about, and with this they hit you emotionally as well as make you want to get up out of your chair and claim the aisle as your dance floor. It is, in a word, sensational.  Learn more and get yourself a ticket here- http://jerseyboyslondon.com/default.asp

Photo from the Jersey Boys London website

NB: Don’t be shy of the seats in the bottom left hand corner of the seating plan; they are usually green coloured and cost around £45. The ticket website says that their view is restricted due to set, however I have sat in seats E3 and E4 on my last two visits, and the total time of action that you are unable to see due to set obstruction is only around ten seconds. If you are on a budget I would suggest these seats (rows E and F especially)- the majority of the show happens centre stage and they do provide a great view, yet you’re paying around £20 less than the person sat two seats to your left.

http://www.jerseyboysinfo.com/watch/ < this is not the London cast, but I like this trailer!