Strewth! Priscilla's Desert Trip is Real Bonzer!

REVIEW: Priscilla Queen of the Desert - Mayflower Theatre, Wednesday 29 May, 2013

I don't think I have ever been to a theatre where people started clapping along to a song within three seconds of the show starting. But such was the great atmosphere within the Mayflower, you just knew that you were going to be swept along; the audience was onside right from the off. 

I heard laughter throughout the audience from both men and women alike. This show is bold, bright, colourful, excessive to the very excesses of excess - and most definitely NOT sophisticated! 

The story is pretty basic... three men in drag travel from Sydney to Alice Springs so that they can fulfil their dreams, do a show and so that one of them can meet up with his estranged son. There are adventures all the way as they travel in their bus. Not any old bus either, as it is cleverly used within the story through high-tech means.

But the story is also tender and moving. It's about tolerance and understanding; dealing with homophobia is a huge underlying score.

Credit is due then to the leading men (or ladies!) in Graham Weaver, Richard Grieve and Noel Sullivan (Popstars and Hear'Say) who all played with grace and sensitivity. Hats off too to Noel Sullivan in particular, because his role is split between him for the first week and Jason Donovan for the second. After 13 million record sales, we all know who Jason Donovan is; he's a mega-star. But I genuinely thought that Noel was superb.

When you think about it, tottering around on 6-inch platforms can't exactly be easy, either. The show is full of energy, and heaps of mascara. Everything seemed to glitter, even from up in the Circle, where I was sitting. Perhaps it was the best place, because the mountain of ostrich feathers that appeared later in the show almost seemed to reach in height the same level that I was sitting!

I understand there are around 500 costumes in each production. Who on earth could have thought that giant cupcakes could look so mouth-wateringly beautiful?

 I loved the 'divas' - Emma Kingston, Ellie Leah and Laura Mansell were loud and proud. And, er... dangling from the ceiling right from the off!

Out of the some 30 songs, the audience and I knew at least 29 of them. I'd forgotten just how good 'Shake Your Groove Thing' is. 

I loved the array of rainbow lights that adorned 'True Colours'... and there was dark humour with 'Don't Leave Me This Way' - and lighter humour that had the audience roaring with laughter alongside 'What's Love Got To Do With It' and the accompanying homage to Tina Turner's dance moves. 

We ALL stood up at the end to join in with 'I Will Survive' too.

Sure, this is full of adult humour and not really one for the children. I wondered at times how they managed to cover the ears of the child actor who performs.

Indeed, my other half leaned over during the 'Thai Ping-Pong Champion' routine to Pop Musik and asked: "How are you going to review THAT bit?!" Yes, it was rude. But it was also very, very funny. Frances Mayli McCann, take a bow. As indeed she did, but not maybe as you would think!

I also loved the song montage illusion sequence near the end where the actors do their floor show and the music is sped-up. It was one of those "How on earth do they do that?" moments - where you kind of guess how they do it, but are still left in wonderment at just how they actually manage to achieve it.

Not long ago, Noel Sullivan told 'Wales Online' that he was "petrified" to be taking on the role of Tick. I thought he was so good, I would venture to say that it is HE who has set the bar. Hot Stuff? Great stuff!

Noel Sullivan performs as Tick until Saturday 1 June.

Jason Donovan performs as Tick from Monday 3 June until Saturday 8 June.

Hat Fair is Back!

... and Artistic Director Kate Hazel says it's not going to rain! So you can tell this member of the Theatre Royal team to put his brolly away!

Follow this link to hear from Kate Hazel about what's on offer at the Hat Fair 2013:

http://audioboo.fm/boos/1410008-hat-fair-is-back

Follow this link to hear Kate say how they're moving on from last year - and what she's most proud of:

http://audioboo.fm/boos/1410018-hat-fair-2

Caitlin: Spirit Lives On Through Transplant

The family of the 24-year old American student Caitlin Homan who died on Thursday 16 May at Southampton General Hospital a day after being struck by a car on the Stockbridge Road near Winchester say that her spirit will live on through others through organ transplant: "Although she did not survive, her decision to become an organ donor was honored. There is hope that as many as six or seven patients will be helped from her donation."

Caitlin was a graduate student at the University of Portsmouth pursuing her PhD in Psychology. The focus of her research was on whether dogs could detect deception in humans, or as many of her supporters viewed it, whether dogs could be trained to let someone know when they detected deception.

Caitie was born and raised in Canton in Connecticut and graduated from Canton High School in 2006. She then attended University of Maine, graduating with majors in Wildlife Ecology and Psychology. During her summers there, she interned at a big cat sanctuary outside of Colorado Springs, CO. She also did two internships at the West Palm Beach Zoo in Florida.

After graduation, Caitie worked at the Lemur Conservation Foundation near Sarasota in Florida.  She began as intern and progressed to Animal Care Specialist. During her time there, she completed two research studies investigating the lemurs’ understanding of transparent barriers.

The family says that her short time in England was bountiful: "While only attending University of Portsmouth for nine months, she had many wonderful friends among her colleagues in the Psychology department.  

"She was known for her passion for animals and her sense of humor.  There is hope that a means will be found to support someone to continue her research which is considered original and creative.

"The family gives many thanks to the police officials, hospital nurses and doctors, and her many colleagues for making this difficult time so much easier."

Police continue to investigate the incident, and anyone with information is urged to call 101.

Billy - a wonderfully tangled web!

David Cradduck awards 5 stars out of 5 - and would have awarded more were it possible - and finds out how this show of small town Yorkshire was bold and big at the Theatre Royal in Winchester! Billy - performed by the Winchester Operatic Society, Thursday 16th May, 2013

I have fond and vivid memories of being taken along as a small child, to see Winchester Operatic Society (WOS or - if memory serves me correctly - WAOS in those days) performing Gilbert & Sullivan at The Guildhall. It was the early 60s, when they had already reached their half-century. I say vivid, because it was one of the most colourful, spectacular events I had ever witnessed and I became aninstant fan, both of WOS and G&S, the latter to my parents' embarrassment as I had a habit of whistling along with the overtures.

Fifty years later, not much has changed, but I do refrain from whistling, or even humming, along. Not that I would have been able to whistle or even hum along with their latest production, Billy. Actually, a lot has changed - the group's sheer audacity at tackling something as different, complex and demanding of such a high standard of acting, singing and stagecraft, the sumptuous red velvet surroundings of the Theatre Royal Winchester, and the dancing. WOS was never like this "when I were a lad”, as Billy's dad would say.

In fact I didn't really know what to expect. Initial research told me it was based on Keith Waterhouse's 1959 book Billy Liar, the story subsequently made famous by Tom Courtenay in the 60s film and stage versions and which then launched Michael Crawford's stage career in the musical version. Therefore I knew that it was a story about a young middle class northern lad, Billy Fisher, who couldn't help but weave a web of lies around him as he attempted to extricate himself from a dull job and two engagements to local lasses. Promotional material and sneak previews told me to expect comedy, music by John Barry and a lot of big chorus numbers with dancing.

What I didn't expect was to be bowled over by the whole show. It simply flashed by in a whirlwind of big ensemble numbers, slick scene changes to small, intimate two/three/four-handed scenes, with a music score, 12-piece orchestra and singing that were a joy to the ears, and truly effective lighting that enabled those scenes to look and feel different from one another. A touching, funny script ensured the audience’s attention and mirth at all times.

The simple set centred around one large piece that smoothly and quietly revolved when pushed by the cast to become the backdrop for an imaginary land called Ambrosia, Billy's front parlour (complete with flying ducks and tea cosy), with Billy's bedroom atop, a terrace of houses, a park, an office, nightclub, railway station and cemetery.

That and a few sound effects, side flats, flown flashing signs and swings, desks, chairs, park benches and some simple props, completed the illusion of 1960s small town in Yorkshire - all choreographed into place by the cast as an integral part of the action.

This was a team effort so it would be unfair to single anyone out because everyone obviously worked hard to make this the slick entertainment it surely was.

But mention must be made of Chris Horn, playing Billy, who hardly ever left the stage and whose singing, acting, Yorkshire accent and powerful performance couldn't be faulted; husband and wife Hamish and Anne McDonald who played Billy's parents, plus Liz Petley-Jones as Gran, who as a group also became, on occasions, Billy's ‘other’, imaginary family from an aristocratic background and who swapped between the two stereotypes with superb skill; Suzanne Hall who did a professional job of directing and choreographing; and Martin Paterson, musical director.

If ever there was a living, moving, colourful advertisement for getting involved in local big-show theatre, this was it. Worthy of any West End production, Billy will stay with me for a long time to come - though perhaps another fifty may be pushing it, and by then I won't have many teeth to whistle through anyway.

Well done, WOS, you have a winner to be proud of.

Music - Turn it Up!

Winchester Today's Music Editor Rebecca Rayner eats, sleeps and breathes music. Here she concentrates on looking and listening!

Slam Dunk Festival South

Beckoning in the beginning of a fantastic summer of festivals, Slam Dunk South is back for another year in Hatfield on Sunday 26th May. With American pop-punk funnymen All Time Low headlining the day, there are plenty of bands to get excited about on this year's bill.

Joining a host of previously announced bands such as Deaf Havana, Pierce The Veil and Sleeping With Sirens comes another surge of new additions to this year's already strong line-up.  

Welsh rockers Kids In Glass Houses and Bury Tomorrow, Metalcore lads from Southampton, bring a showcase of British talent to Slam Dunk.

The Aussies are also out in force with Tonight Alive, Heroes For Hire and House VS Hurricane flying the flag from down under. Canada’s biggest metal band Cancer Bats will also be bringing a supersonic blast of heavy screaming to the daylong festival.

Slam Dunk South Will be taking place: Sunday 26th May: Slam Dunk Festival South. The Forum, Hatfield

Tickets for Slam Dunk Festival are £34 or £38 including the infamous aftershow party (please note aftershow party is 18+). For details go towww.slamdunkmusic.com

: : :

Review: Don Broco, The Joiners Southampton,  20th February 2013

From the offset you could tell this was going to be a sweaty one. The Joiners was full to bursting in the anticipation to see Don Broco, the four piece Bedford rockers that seem to have become more popular in the last year than Pokémon cards were in the 90’s.

"This is the sweatiest show on this tour, if not ever" shouted Main Man Rob Damaini as mosh pits and stage divers enveloped the room.

Everyone knew what song they were set to start with; it had to be ‘Priorities’.

The band walked onto the stage with swagger, then came ‘The Walk’, a synchronised jump that goes into a full blown exaggerated walk, arms flying everywhere, legs way up in the air; the energy was infectious.

This infectious energy was the backbone of the show. The crowd were jumping so hard I could feel the floor bouncing beneath me. For anyone who is familiar with the gimmicks of Don Broco ‘s live shows, you would have been pleased to see all of them in their set. The Push up squad being one of them, with Damaini calling for the crowd to open up the floor, crowd members dropped down and started doing the push ups, there was even an overly enthusiastic response from one crowd surfer joining in by lying across his mates' shoulders and really going for it.

The set included an assortment of songs from the new album ‘Priorities’ which included  ‘The Whole Truth’ and ‘Hold On’ alongside old favorites from the bands EP’s such as ‘Dreamboy’ and crowd favorite ‘Beautiful Morning’.

Throughout the beginning of the set Damaini struggled as both his microphones faced technically difficulties. Swapping frantically back and forth between the two for a few songs obviously meant the set wasn’t as good as it could have been. The band recovered well from the hitch and provided great entertainment.

The highlight of the set was the performance of ‘Yeah Man’. As the crowd chanted in request, the band really bought the song to life. The harmonies between Damaini and Drummer Matt Donnelly were spot on adding a great depth to the song.

Damaini should be crowned king of crowd involvement as he partitioned the room in a mammoth sing along.

The girls began with a chorus of “ohhh ohh ohh ohhh ohh ohh ” with the boys joining in with a shout of ‘Yeah man” the sing along built to a dramatic climax with the entire room belting out ‘YEAH MAN” at the top of their lungs providing the feel good moment of the night.

With the single ‘Actors’ came the end of what was a truly special show full of enthusiasm, great British rock music and a whole bunch of laughs and singing along.

: : :

D.E.A.D Anniversary Show, Southampton Solent University, 26th February 2013

The small room above the Students Union of Southampton Solent University was bursting with energy for one night and one night only; a birthday bash was underway to celebrate the first birthday of local band D.E.A.D!

The 5 piece emotional rockers may have only been together for a short time and therefore need to mature and develop into their sound, but they are already showing promise of greater things to come. Their Debut self-titled E.P has been compared to the likes of My Chemical Romance by Kerrang Magazine, and the band are set to support the likes of Yashin and Attack! Attack! (UK).


The biggest attraction of watching D.E.A.D’s anniversary show was seeing just how much energy and passion was thrown into making their performance explosive. It was entertaining to watch as each one of the members took it in turns to throw themselves about the small stage, climbing up the amps in momentary lapses of chaos, they were really going for it. This attitude really complimented their sound, rough around the edges and punk-esque with a hint of polished and refined.

Between the Emo guitar solos, the lyrics about teenaged romances and afflictions of youth intertwined with the passionate signing from front man Alex Mountford; the band's appeal screams to the teenage market. Being of that age themselves that’s the world they understand and own so well.

Song Everything, Everything is ridiculously catchy and tells the tale of teenaged romance gone astray. The haunting harmonies work well together, they inject an even deeper level of sentiment and pain into the already emotionally overflowing songs.

Like a raw diamond, the band needs refinement to reach their full potential. The talent and ideas are already there, the song structures are interesting and they know how to put on a good performance, but there is something not quite finished about D.E.A.D!

With sweat dripping faces the band pause from their performance as a birthday cake is bought onto the stage. As the fans sing happy birthday to the delight of the band, I can’t help but to think how much potential D.E.A.D! has and what on earth they could achieve in just another years time.

Visit the band's Facebook Page for more information - www.facebook.com/StayClassyStayDead

: : :

Album Review

Bring Me The Horizon - Sempiternal

Bring Me The Horizon are back with their long awaited follow up to 2010’s ‘There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret’

With the screams of “This is Sempiternal!” a new era of metal comes with it. Sempiternal is a game changer, genre defining in the fact it’s a sort of easy listening metal album that hasn’t sacrificed any of the death pounding screaming, darkly emotional lyrics and breakdowns that can melt the face off any unsuspecting listener.

The album breaks into a start with a distorted dance trumpet sound in Can You Feel My Heart. It gives you a false sense of security as to what you will find on Sempiternal. “Where on earth is Oli Sykes deathly screaming?” fans may plea, well there is no lack of that.

The House Of Wolves brings the harder metal edge to the album similar to the bands previous album.

Antivist one of the heavier songs on the album brings an incomparable anger and rebellion with screams of revolution. Sykes has likely had to make a huge donation to the swear jar as there is certainly no lack of it, which actually just propels the song to another level.

The most refreshing part of Sempiternal is hearing Sykes sing, and surprisingly his vocal chords aren’t shredded to pieces by his many years of screaming as if the Dementors from Harry Potter were after him. Hollows of the words ‘We Are Powerless’, in a way comparable to that from the likes of The Killers Frontman Brandon Flowers, exudes from Hospital For Souls.

Bring Me The Horizon have really bought their ‘A’ game to the table; Sempiternal is unlike any thing before it. It mixes hallowing metal screaming and breakdowns with softer generated computer sounds.

The way Sykes can manoeuvre from ear piecing screaming to softly singing lyrics is commendable and really adds to the captivating emotion and disillusionment of society felt by the youth of today.

The track of the album is undoubtedly Shadow Moses. It captures the band at its highest point. It’d be hard to knock the Sheffield Metalcore band down now as they are showcasing just what altitudes they are capable of reaching.

: : :

Takedown Festival 2013

 On The 11th May chaos is set to descend on Southampton University with the return of Takedown Festival. Following the success of last year’s event, Takedown returns for its second year bigger and better than before. With over 30 acts set to play across the day covering a range of pop, rock, metal and punk.

Headliners The Blackout are bound to be rocking that party atmosphere with tracks of their new album ‘Start The Party’.

Don Broco, We Are The Ocean and Mallory Knox will be showcasing all that’s good about the current British rock scene, and While She Sleeps will be exhibiting the new breed of British talent in metal with their brilliant live performance and exhilarating screaming.

Death Pop band Fearless Vampire Killers, Marmozets, Arcane Roots, Your Demise, Sonic Boom Six and Burn The Fleet also join the rich line alongside many more names.

Tickets are available from Seetickets starting at £33.75

- http://www.seetickets.com/Event/TAKEDOWN-TWENTY-13/Southampton-University/695196

For more information visit their facebook page:https://www.facebook.com/Takedownfest?fref=ts

: : :

Album Review: Peace – In Love

Birmingham may be the last place on earth you imagine finding dreamy guitars and indie boys singing tales of loves lost but you couldn’t be more wrong.

Birmingham is at the heart of a new breed of indie music sweeping the UK. Peace isn’t the only band part of the emergence of the Brindie scene (Birmingham Indie); Swim Deep and Jaws closely follow behind making waves in the same direction. If Swim Deep and Jaws are making waves however, then Peace is causing a downright Tsunami with the amount of buzz they are creating.

‘In Love’ is everything you would expect from a good indie album, but not in a disappointingly formulaic way. Harrison Koisser’s vocals are very The Arctic Monkeys meets The Kooks, although the music sounds nothing like either band.

In Love breaks the boring Indie stereotype; song Delicious has a great mix of guitar parts and percussion instruments. Higher Than The Sun provides that feel good summer feeling and that impossible to forget catchy chorus. Highlight of the album is Wraith. It erupts with captivating guitar rifts and a killer hook of a chorus of "you can be my ice aged sugar…”

Easy to listen to enjoyable indie music, In Love is an album hard to hate. Very wistful with memories of summer sunshine and love lost, it’s easy to see why Peace are trailblazers of the exploding Brindie scene.

You can contact Rebecca at rebecca.rayner@winchestertoday.co.uk

The Highs and Lows of High Society

David Cradduck awards 4 stars out of 5 to the Music and Lyrics production of High Society – presented in association with Venue Cymru Llandudno - at The Mayflower, Southampton, Tuesday 7th May (opening night)

What a treat for Cole Porter and classic movie/stage fans – a colourful, all-singing, all-dancing production of a show made famous by the likes of Bing Crosby, Grace Kelly and Frank Sinatra (the 1956 film of the same name with Cole Porter score, plus Louis Armstrong on trumpet) and Cary Grant, Katherine Hepburn and James Stewart (its predecessor The Philadelphia Story, a play and film written especially for Katherine Hepburn who was suffering a period of career doldrums at the time).

The Mayflower played host to this, the second stop in a 10 week/11 venue UK tour, taking in such far flung places as Glasgow, Eastbourne and Belfast. The set, which travels with them, is a clever arrangement of revolving rostra, doors and pillars – in the first half at least, with a semi-nautical backdrop and there is many a twirling of doors, pillars, performers – some of whom move the set whilst they sing, dance and act their way through the multiple scenes.

For my liking the whole effect was stunning and very much in the right genre, but it got a little bewildering and on the odd occasion I wished the rotating doors and pillars would stop to let me catch breath and stop feeling slightly dizzy. Or was I sitting too close to the stage?

The lighting, too, was effective and no performer was ever under lit, but I would have thought that more could have made to differentiate the scenes. They all seemed a bit uniform in lighting terms and the transitions from front parlour to tennis pavilion to swimming pool all melded into one for me and I had to check with the programme to see which scene was set where.

This was a fairly lavish production, with glitzy costumes (although sporting the odd puckered seam at close range), full band accompaniment which was faultless and well balanced, an ensemble of established and accomplished actors, dancers and choreography and, of course, that music score which underpins everything.

Many a tune had people tapping along and whispering ‘I know this one!’: ‘Just one of those things’, ‘Who wants to be a millionaire?’ – don’t start me on the old BBC Family Favourites which was where I certainly remembered it from – and ‘Well, did you Evah?’ You may not recognise all the titles but most people over a certain age will certainly remember the songs when they hear them.

There was no doubt that the second half was an improvement on the first, partly because the songs were more memorable and partly because the plot which is, let’s face it, a bit thin, based on the unrequited girl-marries-boy-and-divorces- him-but-shouldn’t-have theme, becomes more interesting.

In fact the final scene is really quite cleverly constructed with some interesting mind games going on between the various principals – he who should have married her, he who wanted to marry her, he who really should have, she who wants someone else etc. Yes, this was a game of two halves and the second half scored more goals.

The acting and singing were, without doubt, professional and competent – but there were some stars that shone a little brighter in my eyes. Leading lady Sophie Bould played heroine Tracy; with a varied portfolio of big show and intimate theatre productions behind her, she was delightful, sang and acted beautifully but was equalled by her on stage sibling Dinah, played by 17-year-old Katie Lee, fresh out of Sylvia Young Theatre School and already with more confidence and precociousness than Shirley Temple.

Michael Praed as Dexter Haven was also extremely competent and had great stage presence from the moment he arrived on stage but either he had a slight cold or his voice didn’t quite match his superb acting. At least not compared with the stunning singing voice of  Kieron Crook playing the idiotic new fiancé, whose character was so silly that I wasn’t sure if it is was the role or Crook’s inability to match his acting to his voice.

The other two bright lights were undoubtedly Teddy Kempner as Uncle Willie who managed to steal the show with his comic timing, brilliant double takes and amazing dancing skills and the understated Liz Imbrie, played skilfully by Alex Young.

As for the scene stealer, it has to be the kitchen scene in Act 2, when tap dancing meets Stomp to create a memorable, foot tapping, big show number with a difference. Upturned giant saucepans, cooks playing timpani on rows of smaller utensils, dancing on table tops and a visual/audio delight will be with me long after the spotlight on the big chorus scenes have faded in my memory.

Cast and crew will all be exhausted by July, but I’m sure they won’t play to empty houses judging by the reaction from the opening night audience at the Mayflower.

(Until 11th May at the Mayflower and then on tour throughout the UK, ending in Guildford in July 2013)

Spark-tacular effects light up Cheriton

'A Bolt From The Blue' by David Tristram - Cheriton Players, Cheriton Village Hall, 24th April 2013 (Opening Night).

Sometimes you have to take risks. You have to step away from the norm and be bold. Well, this was bold. A bold decision to choose a play that's relatively new (2006) and far from what is normally tackled in Cheriton. You can just imagine the production meeting: "Right, we need an electricity pylon on stage, and you only have around 8 feet in height to make it look good!" The thing is that you know the crew behind the Cheriton Players will have taken this in their stride and they always come up with the goods. The reason being is that this pylon (for reasons which will become clear) has to be climbed, and has to be sturdy.

In fact, the effects were great. No, I'll go further than that. The visual and sound effects were superb. I note - and praise - the crew, especially surrounding the acting from Charlie Hellard (Edward) as he suffers the 'Bolt From the Blue'. The way in which the lighting and effects showed even just this one moment was thoughtfully and breathtakingly done. 

In fact, Charlie deserves full praise for completing what is a demanding role in a faultless manner. And there was a genuine "how on earth did they do that?" moment involving an exploding person. 

I have to note here too that the backstage crew's sense of humour was not lost on me... yes, I noted OMD's 'Electricity' being played during the break. Ha!

Credit also is due to David Cradduck, who took the importance of his role to the absolute limit and had his head shaved - notably raising £700-plus for Naomi House and jacksplace. In fact, he drew applause from the audience once they had realised what he had done. As for his character, well whoever heard of a bald hair specialist or a doctor who faints at the sight of blood?! It was, after all just another example of being asked to suspend our belief!

Suffice it to say that I would spoil everything by telling you the story, but I loved the routine involving the trip to hospital after the accident, and right at the very end when Edward sits 'bolt' upright... well, those who were there will appreciate what I just did!

I have to take my hat off to the Cheriton Players for attempting something so bold. There was a lack of pace in places, and pauses between scenes - but this was opening night after all and I'm sure that it shifted up a gear if the comments and the number of tweets I saw was anything to go by. The Players should be proud that Friday and Saturday were, yet again, sell-out performances well in advance of the days themselves. KG.

Staging, effects and production all deserve 5 stars.