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Posts Tagged ‘Katie Moore’

I’ve been listening to Sting’s CD of music from this show for five years, waiting for a UK production. Mystifyingly, it premiered in the US in 2014, trying out in Chicago before opening on Broadway. It’s so quintessentially British, I just can’t imagine it on Broadway. This new production, with a new book, opened where it belongs in Newcastle and is now touring the UK. I caught it in Northampton and for me it’s up there with other great British musicals like The Hired Man and Billy Elliott, with a score that’s as good as the former and better than the latter.

Like Billy, it places a personal story alongside recent social history. Teenage Gideon goes off to sea, seeking a better life than the shipyards of Wallsend can provide, leaving more than his girlfriend Meg behind. He returns seventeen years later to sort out his late dad’s house and tries to reconnect with Meg, now a thirty-something business-woman and single mother. In the shipyard, the ship they’re about to finish hasn’t been sold and is instead to be dismantled, and the shipyard closed. This is Thatcher’s Britain. The workers are having none of it and led by foreman Jackie and Shop Steward Billy, with support from the townswomen, led by Jackie’s wife Peggy, they take risky and defiant action.

Sting’s score and lyrics are terrific, and the new book by director Lorne Campbell is excellent, not afraid to wear it’s heart on its sleeve and concluding with a rousing political rallying call. I loved Rob Mathes folky orchestrations which Richard John’s band played beautifully. The design by 59 Productions is stunning, with projections creating the ship and shipyard, terraced rows, street scenes and interiors of houses and the pub. The final scene takes your breathe away. Even the choreography of Lucy Hind has a foot-stomping folk aesthetic and an edginess about it. Campbell’s superb production has Geordie blood running all the way through it.

Richard Fleeshman is excellent as the returning older Gideon and Frances McNamee sensational as feisty older Meg. Joe McGann and Charlie Hardwick make a lovely loving couple as Jackie and Peggy. Katie Moore is great too as Meg’s equally feisty teenage daughter Ellie and Joe Caffrey, not the only cast member to have done a turn in Billy Elliott, is a very passionate Billy. It’s clearly a very committed ensemble and I loved their banter with the audience before each act.

A great British musical which I hope I will see again in London, a transfer it so richly deserves, but you’d be wise to see it on tour, just in case!

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Six days in and we already have the first treat of 2012, back at the Vaudeville where Potted Panto, the last treat of 2011, was. This Bristol Old Vic production by Tom Morris is about as far as you can get from the big show values of Shrek & Matilda and the traditionality that is panto. The Walker children go off on their own by boat to an island in the lake to play. Here they fight the pirates of the Blackett sisters, who they eventually become real chums with. Even the adults, Walker mother and Blackett uncle are caught up in this imaginary world of play.

Arthur Ransom’s early 20th century story is adapted well by Helen Edmundson and given a somewhat appropriate homespun production on a simple stage where the props are assembled from everyday objects (the parrot is a tri-colour feather duster and pliers!) and the sound effects created live on stage. There’s a charming score from Neil Hannon (aka The Divine Comedy) played by on-stage musicians doubling up as actors in what has now become a familiar style. The children are played by adults.

It takes a while for your imagination to engage and your inner child to emerge, but by the end you really wish you could go back to that den in the bushes with your bestest friend and play. For it is imagination that is the essence of this show, and it completely captures what happens (well, used to happen) when children occupy themselves for hours on end in worlds they create in their heads. 32-year old actor Stewart Wright really is youngest brother Roger, those ribbons waving are a lake and the feather duster and pliers that talk really is a parrot. There is a beautiful sequence at the end where the audience join in with the ‘play’ to assist the boats on their journey.

Richard Holt, Katie Moore, Akita Henry and Stewart Walker are terrific as the Walker children, with great chemistry between them. Celia Adams and Sophie Walker are lovely as the Blackett sisters. Seven other actors play all other roles, every instrument, sing and create the sound effects. They look like they’re having as much fun as you are and it’s all very infectious.

It was the quietest family audience I’ve been in for some time, which might have something to do with their ages and backgrounds, but in my opinion has more to do with the fact that they, like me, were lost in this imaginary world, oblivious to all around them. I remember the moment when 1100 people gasped in the Olivier Theatre as a puppet horse was about to be shot, and you get the same feeling here – theatre really is magic.

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