For theatre... online, non-professional, amateur
Alternative Eurovision Song Contest

Alternative Eurovision Song Contest

Image: Les Dennis, comedian Russell Kane, comedian London Hughes and cabaret star Le Gateau Chocolat as judges and Grace Mouat (‘& Juliet, ‘Six’), singer Jordan Gray and improv legend Mike McShane


At a time when many of us are perhaps tiring just a little of streamed rather than live performance, and with the real thing tantalisingly just round the corner, it was quite a challenge for the Showstoppers team to top their 2020 Alternative Eurovision with an even better version – but they did it of course. This talented group threw everything at the project, mixing live improvisation with carefully crafted inserts and wrapping the whole thing in an interactive structure which allowed the online audience to vote and donate to charity along the way. Tickets for the event were free, but voting required a donation, with all profits going to the Care Workers Charity.

From the beginning, when we met hosts Pippa Evans and Andrew Pugsley, ably backed up by their resident Euro-statistician Tony Cordial (Philip Pellew), it was clear that this was pitch-perfect parody. The national entries were just as good (or bad) as the real thing, with opening act Marti and Marta from Austria providing a perfect blend of yodelling, lederhosen and silliness. The following acts were mostly provided by the talented Showstoppers team (14 of them), though with a few guests like Mike McShane, with his moody Icelandic offering.

These were no quick Zoom videos either, but fully costumed and with deft effects all too reminiscent of the cheesy national videos in the real thing. It was all here, especially the archetypal slow start followed by a key change and up tempo section, and some truly bizarre outfits. Each act was introduced by guest comperes Marcus Brigstocke and Rachel Paris, and at suitable intervals, celebrity guest judges like Russell Kane (or his impressive alter ego), Le Gateau Chocolat, London Hughes and Les Dennis added their comments: and that’s quite a bill.

Although Marti and Marta were archetypal Eurovision, and indeed took an early lead in the voting, there was much more to delight in, including the intense Heimlick Maneuver from Germany and the unforgettable Nana Novakovakova from the Czech Republic with her faithful penguin. My vote went to Basta di Pasta from Italy but the final voting saw a number of favourites battling it out to win the public vote and the votes from each country, with the final winner being the Latvian duo with their ode to Fish and Chips, just beating Sweden and Germany.

With 10 musicians involved as well, this show had higher production values than some newly-reduced West End musicals – no sign here of anyone looking to save money by reducing numbers. Interval entertainment included a performance from last year’s German winner, and an update on the sad tale of Bim the puppet, who has had a hard time…

From time to time, we were taken by Zoom to the Green Room to eavesdrop on the contestants and their discussions, sometimes rapidly disconnected when feelings get too strong. It was a mark of the care given to this event that this was no simple Zoom link but a carefully crafted simulation with some sneaky in-jokes in the pop-up chat.

The whole event was live-captioned and was conceived and directed by Andrew Pugsley. A great way to spend a Saturday evening; now let’s look forward to seeing this talented group back where they belong, performing live in a theatre, which they will be doing from early June (details on their website).

Alternative Eurovision 2021

A new musical, previously seen off-Broadway, about ten princesses or more – specifically 10 Disney versions of those princesses.

A new musical, previously seen off-Broadway, about ten princesses or more – specifically 10 Disney versions of those princesses.

The all-female cast are the main strength of the production, which has book, music and lyrics by Dennis T. Giacino. With Tom Jackson Greaves as Director and George Dyer as MD, the core creative team are male, making songs with refrains like Big Tits sit rather uncomfortably at times.

It is, of course, an entirely US lens through which we see these characters; there is no acknowledgement here of the more nuanced take on some princesses in UK culture over the last thirty years, with gender politics addressed in many children’s books and quite a few pantomimes, with theatres like Hackney Empire and Stratford East leading the way.

The production, filmed using green screen techniques, begins with a complex and serious statement about the issues to be raised and a suggestion of suitability only for over-16s: a mite too cautious I think. With every member of the cast a princess, it was difficult to see where a narrative arc would be found: but there wasn’t one. For the most part, the show consisted of each princess taking her turn to sing a song about her own situation, with minimal narration from Snow White, Cinderella and Sleeping Beauty, the latter being given a rather tortuous running gag about being asleep in her dressing room. Surely the whole point is that Sleeping Beauty as controller of her own destiny would not fall asleep?

The saving grace of the production – and the reason for my 4 star rating – is the talented cast of ten. They give their all in the difficult genre of filmed theatre; a particularly challenging task with an over-emphatic piece like this which would probably be much more effective in a theatre than it is on screen.

The first number complains about happy-ever-after endings always leading to marriage, and that seems to be the main theme; lead actors Jodie Steele (a very energetic Snow White), Sophie Isaacs (definitely Cinderella after the ball when disillusionment has set in) and Sleeping Beauty (Allie Daniel, doing everything she can to put over some weak lines) set the scene and pop up from time to time to introduce other characters. We never see the forces of evil, in the form of Disney executives, but they are referenced from time to time.

The music is pleasantly tuneful, often in the patter song tradition, and usually allowing words to come over clearly: important in a piece that has a message to transmit. The actors work hard to differentiate their characters, ranging from the expressive Natalie Chua as Hau Mulan pointing out that “I might be lesbian… the only princess here without the guy” to Millie O’Connell as a Southern Little Mermaid without a tail.

There are occasional group routines such as The Princess Complex, leading in to that song complaining that it is only their “big tits” that makes men worship them. The production switches between excessively broad moments like this to the presentation of Pocohantas, the only historical character portrayed, in which Grace Mouat’s plaintive solo is totally undercut by the sudden appearance of screen captions about the appalling way the real character was treated.

In a show with concerns about stereotyping it is surprising to see how Rapunzel is portrayed, after suggesting that all these princesses have Germanic origins (not in fact the case). Jenny O’Leary makes the most of the number that follows however, a good old-fashioned patter song called Not One Red Cent. More nuanced is the presentation of The Princess who kissed the Frog, who sings about being the princess “that’s finally gone black.” An impressive performance from Shanay Holmes and every word comes over.

One or two of the songs could have a life outside this show, particularly Princess Baldroulbadour’s lament about being turned into Jasmine and having her story moved from its Arabian setting. Courtney Stapleton impresses as she sings that she is a “secondary princess… the spotlight’s on the guy who rubs the lamp.” In a strong cast, perhaps the most impressive performance because it contrasts with the others is that of Aisha Jawando as Belle. She handles her song with skill and subtlety and lifts the piece on to a whole new level.

Snow White eventually gets to sing about the princes who put them all where they are (with most of the cursing bleeped out despite the 16+ rating) and Sleeping Beauty, rather surprisingly given the message of the show, sings that “when I sleep I’m perfect… I flit around with glee, In a gown by Gi-ven-chy…” However, she eventually decides she is perfect just the way she is, and the other princesses agree.

Despite the talents of the cast, towards the end of the show it all gets quite samey, and the constant mugging at the camera from the narrators becomes tiring. Hair, make-up and costumes are impressive but there was clearly no budget for props; better to do without than, for example, to just wave little plastic sharks around when the Little Mermaid appears. There is no choreography as such, although the cast all do their best to keep the show moving.

The finale, Once Upon a Time, could also work as a stand-alone number, making the point that the days of being saved by a prince are over. This show has an important message but one which has been put over more persuasively and in more complex ways by Angela Carter and others. As is so often the case, a flawed show is saved by a talented cast.

I’ve really missed Jermyn Street Theatre and it’s a pleasure to be reviewing there again – even virtually.

I’ve really missed Jermyn Street Theatre and it’s a pleasure to be reviewing there again – even virtually.

It has to be said that I haven’t really embraced digital reviewing but I’m glad I made an exception for Ian Hallard’s debut play which, as I sat  at the computer in my home office on a springlike March morning, made me laugh aloud several times and held my attention for the whole 60 minutes.

Richard, a history teacher, and Ros, a recently bereaved carer for her sister, are on a first internet date – and it has to be via Zoom because this is 2020. Hallard as Richard (“Have you ever been a Dick?”) and Sara Crowe as Ros are wonderfully awkward with each other as it becomes apparent that they have nothing in common. There’s a hilarious, dead pan faux pas about an aubergine. As the summer wears on there are more Zoom meetings – different clothes each time – with the twinned shots sometimes swapping across the screen and then eventually, once the hospitality industry re-opens, an alcohol-fuelled dinner in a restaurant with a lot of comedy about social distancing. And I shall cherish the tortoise joke for a long time.

A back story (no spoilers) gradually emerges for Richard and then things begin to take an unexpected turn. The wife Lois (Katherine Jakeways) from whom he is separated treats us to some gloriously natural, totally convincing acting. And we watch Ros, who claims to want to be adventurous but is initially nervous, ill-at-ease and clumsy, gradually find her feet. Sarah Crowe really nuances the painfulness and then the gradual change.

What a good idea for a play – topical and workable under current restrictions. Beautifully directed by Khadifa Wong it’s both entertaining and thoughtful.

  • : admin
  • : 17/03/2021
Peter Pan

Peter Pan

With the industry still a world away from being ‘back to normal’ I am absolutely thrilled to be visiting Alban Arena, to watch an OVO production, a musical version of J.M. Barrie’s classic Peter Pan. OVO is an award-winning St Albans based theatre company. Established in 2002, it has produced more than eighty shows over the past eighteen years. With this amount of experience and with them having a reputation for producing inspiring theatre my expectations are high and I’m not disappointed. As the lights dim and the action on stage begins we are invited into the magical imagination of J.M. Barrie, I’m pleased to discover this particular production, directed by Adam Nichols, is very in keeping with the traditional story.

The set is designed for practicality, to be able to move and change easily and also the same pieces to be used for multiple purposes. Everything feels organic, natural colours, simplistic designs and shapes. The music and sounds are being provided by musicians at the side of the stage in a subtle style. Each element working together creating a very wholesome undertone.

In places it slows down for too long, I understand the reasons, changing the scene or using contemporary dance to express fight scenes in slow motion, but it happens a few too many times and loses the flow and pace of the story. By doing this it also lacks the grit you would expect or desire from the pirates and fight scenes in general.

Over the years I have seen many versions of this story and therefore many Peters and I can confidently say Felipe Pacheco gives the best version I’ve witnessed. He has the right balance of the many personality traits the character entails, his energy and animation is exemplary, I actually believe he is truly Peter Pan and not an actor at all.

Flora Squires – Wendy Darling, is quite obviously a talented actor but the highlight of the show for me is when she sings. Her vocal abilities seem effortless and I could listen to her sing all evening. She provides warmth and heart to the production, the love between Wendy and Peter is portrayed quite deeply and focussed on in such a way that I have a new understanding of the complex relationship.

Having a narrator on stage throughout and fully emerged in the scenes works extremely well. Anna Franklin – Narrator, truly commands the audience to pay attention without ever being out of place in a scene, her vocal performance is also a pleasure to the ears.

Jo Servi – Gentleman Starkey is a smaller role but stands out to me, he doesn’t break character for a single minute and his vocals fill the arena even if from the side of the stage.

The cast join in musical moments by playing instruments themselves whilst scenes are changing, a bit like a merry folk band, it’s enjoyable, show cases the clearly talented cast and again brings a natural, authentic feel to the performance.

It’s definitely Peter Pan but not how it’s usually told in a conventional way, which I enjoy very much. If I were to describe it I would say it’s a grown up version, the focus is on the relationships and feelings of the characters much more than the silliness or magic of neverland. I see the characters in a new light which is fascinating but I realise it’s quite serious and heart wrenching rather than young and humorous, not a negative though by any means, just a new way of experiencing this story for myself.

  • : admin
  • : 12/12/2020
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