Michael Ball Extends Until April 2009!

Michael Ball stars as Edna Turnblad, Tracy’s larger than life mother. He has recently announced that he will continue to play the role that won him the title of BEST ACTOR IN A MUSICAL at this year’s Olivier Awards and What’s on Stage Theatregoers Choice Awards, until April 2009.

Hairspray Now Booking Until October 2009

HAIRSPRAY, the smash hit musical comedy, playing in Shaftesbury Theatre that was “WOS THEATREGOERS CHOICE AWARDS 2008” has been a great success and therefore management of the theatre has decided to prolong its run until October 2009.

Hairspray dominated this year’s theatre award ceremonies, claiming the title of Best Musical in the 2008 Olivier Awards and What’s on Stage Theatregoers Choice awards. The all-singing, all-dancing spectacular at the Shaftesbury Theatre stars Michael Ball as you’ve never seen him before, alongside critically acclaimed newcomer Leanne Jones. Now entering its 2nd smach-hit year.

Hairspray is the West End’s happiest, sunniest and funniest show!

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Ray Quinn joins the cast

Ray Quinn, making his West End debut, has joined the cast of GREASE in the role of Doody for a limited season – until 15 November 2008. Ray recently appeared on our screens in a head-to-head with Leona Lewis in the race to become X-Factor champion. He began his acting career in Channel 4’s hugely popular soap Brookside and is already the bearer of a No 1. Platinum selling album Doing It My Way’.

Having completed his own sell-out tour, Ray is now rockin ‘n’ rolling all-summer-long in GREASE.

Producer David Ian says, “I’m absolutely thrilled. This production has been wowing audiences for 15 years now and with the terrific Ray Quinn joining us as a special guest star, I know it’s the one that audiences will want for years to come!”

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Chance to be a Billy Ballet Girl

Working Title and Old Vic Productions are looking for Girls to audition for the roles of ballet girls in their West End production.

All girls must be aged 9-13, minimum grade 4 tap and ballet. Children must live within the M25 or a 60 minute easy commute from London. Max height 5FT 4.

If you are interested in auditioning then please go to: Dance Works 16, Balderton Street, London W1K 6TN.

Nearest tube station: Bond Street

SUNDAY 14th SEPTEMBER 2008

They are only available to see the first 240 girls

Please arrive at 9am to register – you will then be given a time for your group. Please expect queues and be prepared to stay all day if required. Come ready to tap first then some girls will be asked to stay on for ballet. Please bring a photo and all dance shoes – tap, ballet, jazz and pointe.

For more info please call:
Jessica Ronane, Children’s Casting Director on 0207 534 9750

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Wicked The Musical Booking Extended!

LONDON’S No.1 NEW MUSICAL ENTERS 3RD HIT YEAR. BOOKING EXTENDED TO 26 SEPTEMBER 2009. ALMOST HALF A MILLION NEW TICKETS GOING ON SALE

WICKED, the record-breaking hit musical at London’s Apollo Victoria Theatre, is one of the West End’s biggest success stories. This year alone the award-winning new musical has already taken almost £20 million at the Box Office. WICKED today announces the opening of a new booking period with tickets on sale over a year in advance for all performances until Saturday 26 September 2009. Tickets go on sale this Monday (1 September 2008).

Executive Producer Michael McCabe said: “As we enter our third year in the West End the success of Wicked continues to grow. We have enjoyed an incredibly successful 2008 and business is up week-on-week from 2007 which is an extraordinary achievement. We are now delighted to be adding our 6th booking period and putting almost half a million (460,692) new tickets on sale.”

Acknowledged as ‘the West End’s most successful musical’ (The Independent on Sunday), WICKED has already been seen by over 1.5 million people since its London premiere in September 2006, grossing £55 million at the Box Office to date (with almost £20 million taken so far in 2008 alone). The musical officially celebrates its 2nd birthday on 27 September 2008.

The production currently stars: Alexia Khadime* as Elphaba, Dianne Pilkington as Glinda, Oliver Tompsett as Fiyero, Harriet Thorpe as Madame Morrible, Desmond Barrit as The Wizard, Caroline Keiff as Nessarose, Jeremy Legat as Boq and Andy Mace as Doctor Dillamond. *Kerry Ellis returns from Broadway to star as Elphaba from 1 December 2008.

Cast subject to change from 4 May 2009.

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Joseph Reviews

Michael Coveney on Whatsonstage.com (four stars) – “Lee’s just the job. He has footballer thighs, curly black hair and a voice that never gives up even when he misses the melodic line at moments of stress. The mums will like him and other older women find him sexy. Myself, I prefer the camel, but hey, ‘Any Dream Will Do’ … The show looks so much better in the Adelphi than it did before, balancing the charm of the children’s chorus with the vaudeville excesses among the Pyramids and Egyptian café classes with a firmer control. The scale is more suited to the content, and Lee is less desperate to please than either Jason Donovan or (oh God, he was awful) Philip Schofield … It brims with witty musical invention and engagingly literate lyrics, encompassing pop styles of calypso, country music, Parisian café songs and megamix disco sounds, drawing out a fantastic all-purpose finale from such still fresh items as the irresistible ‘Any Dream Will Do’ and the sinuous ‘Close Every Door to Me’ … Rice and Lloyd Webber have written a lovely new song, ‘King of My Heart’, for the Elvis-style Pharaoh (Dean Collinson), which stitches together many fine clichés while inventing some surprise melodic leaps. Preeya Kalidas, the star of Bombay Dreams, makes up in style and beauty as the Narrator what she lacks in vocal texture, while Stephen Tate, the original Judas in Jesus Christ Superstar, is a notable Potiphar. Stunning costumes all round, too, and not just the coloured coat.”

Rhoda Koenig in the Independent – “Has Andrew Lloyd Webber managed, once again, to use a TV talent contest to make an unknown a star? Commercially, yes indeed, going by the hyperactive box office and an audience that reaches beyond the usual patrons of the West End … It seems less likely that Lee Mead will join the immortals. Lacking in character and with a tendency to give out towards the end of a line, his voice is not the world’s greatest, or even the greatest in the show … That honour belongs to Dean Collinson, whose Elvis-imitating Pharaoh matches the original with every dirty growl, falsetto flutter, and sudden, heart-stopping intimacy…But Mead more than fulfils the requirements, with a mop of dark curls, a wholesome, sweet manner, and a way of filling a pleated loincloth that will appeal to all sexes … The real star is Steven Pimlott’s production of 1991. It shows, in this revival, what gold-plated professionalism can do for even this simple story of brotherly disloyalty, dream interpretation, and an ending in which the god of vengeance takes a rare day off … It’s not only Joseph’s coat that knocks your eyes out – all the sets and costumes glow with rainbow hues and joie de vivre.”

Nicholas De Jongh in the Evening Standard (three stars) – “For those of us, aged ten and over, who do not take musicals too seriously, this earliest of Andrew Lloyd Webber and Tim Rice’s shows, still does the comic-satirical business with amusing gusto. It offers a seductive blend of camp, kitsch, and cool mockery of a few Old Testament dreamers and tough-boys, not to mention the sound of Lloyd Webber in first romantic and triumphal form …This gawdy, hand-clapping, seductive revival, based upon the popular 1991 production by Steven Pimlott who died in February, jubilantly keeps a satirical tongue in its cheek as it unfolds on a stage that does not need to bother with multi million-pound, scenic sensations … The music and the staging offers no end of appealing parody… Potiphar’s Twenties high society world looks a triumph of crazy, mixed-up taste, with men exposing bare legs and white socks, while Potiphar’s wife (Verity Bentham) plumbs the depths of come-hitherish vulgarity … Nichola Treherne is credited as associate director, but I suspect the show’s co-producer, Bill Kenwright, took a prime hand in the direction, as this evening of delightfully nuanced joie de vivre and spirited jokiness recalls elements of his own production four years ago.”

Charles Spencer in the Daily Telegraph – “I suppose one ought to be sternly disapproving about this revival of Joseph … Yet I have to admit to voting for Lee myself and to experiencing a sugar rush of pure pleasure at last night’s exuberant premiere when I found myself in the same row as the losing contestants on Any Dream Will Do. The generous enthusiasm with which they whooped and applauded Lee at the end was touching to behold … As Lee was hoisted high into the air on a terrifying piece of machinery to wild ovations during the grand finale, there was no doubt that the former understudy had proved himself a West End star. What Lee Mead has in spades is charm, crucial in a role that could easily seem unattractively priggish. He also looks good in a loin cloth, and has a powerful and expressive voice … By the end, however his vocals were beginning to sound a touch frayed and he and the management need to take care he doesn’t overstrain his greatest asset like Connie Fisher in The Sound of Music. Both Lloyd Webber and Tim Rice have gone on to bigger things than Joseph, together and apart, but this early piece … has an irresistible bloom of youth about it … What you hear is a composer delightedly discovering his gift for melody. And Tim Rice … is at his witty best, coining couplets Cole Porter might have smiled upon … Nichola Treherne has revived the late and sorely missed Steven Pimlott’s 1991 Palladium production with terrific brio and the energy level never flags … Joseph looks like being a sure-fire hit all over again.”

Quentin Letts in the Daily Mail – “Book of Genesis this ain’t. Nor is it classic musical theatre or high art. But the Joseph which opened in the West End last night, with TV find Lee Mead in the lead, is cheery, let-your-hair down fun …Trivial? You bet. Goosed to within an inch of its life? Undeniably. But it is amusing and agreeable and perfect for ten-year-olds, as well as grown-ups who have had a couple of sharp ones in the bar beforehand … Lee – he is one of those actors for whom the Mr Mead bit seems arch – is a handsome hit …The voice is weak in the lower register and at one point it almost disappeared completely, washed away by an over-pumpy band and maybe by a dry mouth. He sounded slightly blocked-nosey in the early moments. Flu, maybe … But he has stage presence and a winning way and the public, having voted for him on BBC One’s Any Dream Will Do, will forgive him much. Good. He deserves it… The cameo of the night belongs to Dean Collinson, who gives us an Elvis Presley Pharaoh. Terrific stuff…Lee himself is not a natural comedian. He does not move particularly well. But he hurls himself into the honking cacophony and is almost as gorgeous to behold as Joseph’s multi-coloured coat … Preeya Kalidas, who plays the Narrator, almost dislodged a couple of my fillings, so tunelessly did she screech one or two notes…. On either side of the stage a large choir of pop-eyed children warble away like nestlings…At first I was uncertain if their enthusiasm was infectious or mightily irritating, but I slowly thawed and by the end was humming along with the rest of the stalls…Joseph had won me round. As it will do London.”

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Les Miserables Reviews

“With much sledgehammer-like subtlety, Victor Hugo’s novel blasts onstage in a performance that, by no surprise, marks a justification for the musical’s 16th consecutive year in the West End.

Recalling that the original production was by the Royal Shakespeare Company – can its restructuring repeat such highs? – this show crushes later rivals that attempted to conquer such grandiose spectacle.

Les Miserables has a mosaic of characters – police, prostitutes and pragmatic students – woven onto an automatically dramatic backdrop of tragic revolution in France where there is glory in death for a cause.

Its real star, apart from a world-class performance by Hans-Peter Janssens as fugitive turned fighter Jean Valjean, is the pounding, slippery, exquisite score by Claude-Michel Schonberg. Like the production, it has heavy operatic influence. The music is almost incidentally orchestrated, perched to provide a clear path for the vocal crescendos. The score is also oddly uncommercial. There are few hummable choruses with plain chord structure but there are dozens of intricate, consistently strong melodies that carry Herbert Kretzmer’s digestible lyrics.

This wielding backbone is augmented by designer John Napier’s revolving stage, atmospherically effective with David Hersey’s lighting and directors John Caird and Trevor Nunn crackling over decades and cities.

Although almost every number is as strong as a finale, the passion – death, romance or obsession – often provides touching moments such as policeman Javert’s search of the dead and Valjean’s Bring Him Home.

The swinging rowdiness of Master of the House is a welcome variance from the enthralling pomposity of the show’s unrelenting ambition, which supersedes itself when Javert avows to the stars that he will hunt down Valjean. Les Mis is an overwhelming and exhilarating experience that remains a grand daddy musical. ” The Stage

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The Lion King Reviews

The Lion King roared and the West End cheered last night as this wonderful evening unravelled in the famous, restored Lyceum… Most impressively, our very own Zimbabwe-born designer, Richard Hudson, has created a fantasy world of savannah and veldt, of jungle and desert, of burnished colours and a great looming, swivelling rock that represents the seat of power. You hope all nights in the theatre will be like this… Julie Taymour, steeped in Bunraku puppets and Indonesian temple dancing, provides the most glorious commercial demonstration of the actor and the mask yet devised. You see the animal, and the actor, and you relish the manipulation and the beauty of the choreography. Watch out for a very slinky cheetah and a wicked trio of hyenas. The performance energy is not yet as high or as concentrated as it was on Broadway… Potent, popular, primitive and perennial, The Lion King restores true magic to the West End. The genius lies in the genorosity of spirit and the way it embraces so many types of song while providing an overall pictorial style. This is the ideal show for all children from eight to 80.” The Daily Mail

“Yes, this really is a musical that invents a better class of magic than those multi-million-dollar technological tricks and thrills flashing on celluloid. In a beautiful dazzle of invention and imagination, the true star of The Lion King, director Julie Taymor, has dreamed up a way of bringing an entire African jungle and its menagerie of animals thrillingly to the stage: eastern and western styles meet and merge. The Disney cartoon’s air of sweet whimsy is quite banished. With intricate mobile masks, puppets, exotic costumes and even stilts, which are all Taymor’s own creation, these jungle creatures, from prides of lions to jeering hyenas, capture a fresh dynamic theatricality. They look like a new alliance between the human and the animal as they parade, shuffle and athletically dance in Taymor’s brave new world, with its gusts of chanted African choruses. The giraffes are operated by actors on stilts concealed within the animals’ skin. The front legs of each zebra belong to performers who wear the same skin as the animal they play. Designer Richard Hudson’s jungle is equally startling, since it looks like a children’s picture-book brought to life with sudden promontories and gorges leaping into view… Taymor’s production – with its vivid set-piece parades of jungle life, birds on poles and animal silhouettes on backcloths – travels at exuberant pace, pausing for spectacular dramatics… It lights up the West End with the blaze of Taymor’s fabulous imagination.” The London Evening Standard

The Lion King roared into town last night and staked its claim as the mane attraction for the millennium. From the opening moment when the burning African sun rose on stage and a gaint elephant sashayed down the centre aisle it was clear we were in for some real Disney magic. Over £6Million has been poured into turning the hit cartoon movie into a musical. And it’s money well spent. You won’t see more colourful costumes or more imaginative back-drops anywhere else… The African music from Lebo M is stirring. Sir Elton John and Sir Tim Rice contribute showstoppers such as ‘Can You Feel The Love Tonight’. But even if you don’t go home from London’s West End humming the songs you will sing the praises of the spectacular sets and exotic costumes. It’s a fun show for all the family. The Lion King rules okay. This one will roar and roar.” The Mirror

“Disney’s mighty Lion King has roared into the West End in triumph. I was bowled over by the show when I saw the premiere in New York two years ago, and if one was going to be coldly analytical, the Broadway staging probably just has the edge when it comes to precision and sheer pizzazz… Adults will enjoy The Lion King, especially those, in the odious modern parlance, still in touch with their inner child. But it is a great family show, and the word great is no exaggeration… The triumph of Julie Taymor’s often inspirational staging is that she constantly stimulates the imagination. Throughout this show about animals, you are aware of the humans inside the ingenious costumes, and the humanity of the narrative. Many of the characters wear masks not over their faces but on top of their heads, so you see both the human and the animal simultaneously, and there is no attempt to disguise the hands operating the beautiful and ingenious puppets. In this way the viewer is drawn into the show, invited to collaborate in a communal act of story-telling, rather than being merely gobsmacked with high-tech special effects. This is theatre at its potent best. The score is one of the finest in years. The pop songs by Elton John and Tim Rice are tuneful and witty, but it would all seem a touch bland if that’s all The Lion King had to offer. Fortunately the African composer Lebo M has added superbly haunting chants and vocal arrangements that combine Zulu tradition with the vibe of the South African townships. The result is that the show is distinctively African, with a strong sense of place and ritual, and when the adult Simba comes to reclaim the Pridelands, it is impossible not to be reminded of Nelson Mandela. As always with Disney, there are moments when it all seems a bit twee, others when it is excessively PC. But the ingenuity of Taymor’s direction and costume designs, the beautiful, simple settings by Richard Hudson, the power of the narrative and the wit of the dialogue (Roger Allers and Irene Mecchi are responsible for the excellent book) easily outweigh such critical niggles… For once a mega musical lives up to the hype. This is a dazzling show with the heart of a lion.” The Daily Telegraph

“There is enough jaw-dropping theatrical spectacle in The Lion King to tickle even the most hardened theatre critic’s palate. As the procession of animals makes its way down the aisle at the beginning or the cast controls a flight of coloured birds across the auditorium after the interval, you really are transported thousands of miles away from the Strand on a drizzly London night to the primary colours and vegetation of the Africa Savannah. The grass grows upward to become a swaying part of cast head-dresses. The flying and the exuberant, impeccably lit sets are stunningly imaginative too. And all that is counterpointed by some riveting, powerfully rhythmic African-style singing – as pure as plainsong – mostly by the elastic-bodied Gugwana Dlami…” The Stage

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Hairspray The Musical Reviews

Michael Coveney on Whatsonstage.com (four stars) – “The ecstatic choreography of Jerry Mitchell combines with the delightful, primary-coloured costumes of Broadway veteran William Ivey Long to create a riotous scene at the oversize shop where mother and daughter are kitted out in style and the resident mannequins include a Supremes tribute trio. Director Jack O’Brien has tapped adventurously into the British talent pool, not only in giving the richly voiced Michael Ball a role to relish, but teaming him with the wonderfully rumpled Mel Smith as the toyshop owner husband – he brings a battered vaudevillian charm to their “Timeless to Me” duet – as well as discovering the powerhouse talent of Leanne Jones as Tracy. Tracie Bennett makes a good impression, too, as the vampiric television producer, and Elinor Collett and Adrian Hansel are a dynamic duo on the dance floor where the beat you can’t stop erases the social divide. This is indeed a rare thing: a totally daffy and delightful musical where the serious issues are as good for you as a big stick of pink candyfloss.”

Michael Billington in the Guardian (four stars) – “Where the show really scores is in its ability to integrate serious issues into a lightweight plot. Jerry Mitchell’s joyous choreography is the beating heart of the show. There is something dionysiac about it; and, if the show achieves the ecstasy one looks for in a musical, it comes largely through the dance routines. But the performances, in Jack O’Brien’s deliciously fluid production, underline the show’s basic benevolence. Leanne Jones is a remarkable Tracy with a talent as high and wide as her scooped-up hair. She puts across Marc Shaiman’s numbers with belting brio. And Michael Ball is very funny as her muscular moll of a mum who once entertained dreams of being a designer. “I thought I was going to be the biggest thing in brassieres,” Ball announces in gravel-voiced tones. What makes him so good is that he reminds us that heftiness is not incompatible with haute couture. Mel Smith, as Tracy’s joke-retailing dad, seems underemployed until he joins Ball in a front-cloth duo.”

Charles Spencer in the Daily Telegraph – “If you are up for a good time, however, and especially if you are a teenage girl who has just downed a couple of alcopops, it will strike you as heaven on earth. You will laugh, you will scream, you might even shed a sentimental tear or two. I even managed to make quite a night of it myself, and I’m male and middle-aged, as the National Theatre boss, Nicholas Hytner, is fond of pointing out … A superb pop score by Marc Shaiman and Scott Wittman, which gloriously captures the sounds of pop before the arrival of the Beatles – girl groups, rock and roll, rhythm and blues and an amazing gospel number that almost lifts the roof off the theatre … Director Jack O’Brien ensures that sentiment and laughter are mixed in just the right proportions in a show that offers a sugar-rush of pleasure … I saw Hairspray at the final preview rather than the press night, and the audience’s whooping response and spontaneous standing ovation suggest it could prove to be the big hit that has eluded the Shaftesbury for so long.”

Nicholas de Jongh in the Evening Standard (four stars) – “It comes at us in rare musical parts: the first part is low-camp satire and burlesque: Michael Ball deliciously fattened up and dragged down in bland frocks and lurid gowns, majestically slips into the role of the fat, foghorned laundress, Edna Turnblad … It is through Jones’s endearingly earnest Tracy, who dances with a lightness belying her size, that links between love, comedy and radical politicsare forged … Marc Shaiman’s urgent score, with clever, often witty lyrics written with Scott Whitman, keeps Hairspray pulsating with musical excitement as well as political anger. And Leanne Jones, as smitten, adolescent lover and Miss Teenage Hairspray, effortlessly commands the stage. She will hearten all actresses who imagine that only the pencil-thin can inherit the lead dressing room.”

Simon Edge in the Daily Express (five stars) – “Tracy herself is played by newcomer Leanne Jones, on stage for most of the night as the compulsive dancer whose natural padding cannot spoil her lust for life – or for Link. It’s an impressive, exuberant performance and you can see why the director says she was instantly right for the role. She is well supported by a large cast, including fellow newcomer Ben James-Ellis – a semi-finalist in TV’s Any Dream Will Do – as Link; the ever-wonderful Tracie Bennett as the vicious Velma Von Tussle; a gob-smacking Johnnie Fiori as the black record shop-owner Motormouth Maybelle; and the rubber-faced Mel Smith as Tracy’s salt-of-the-earth dad Wilbur. But the stand-out turn is Ball, scarcely recognisable in the drag role as Tracy’s mother Edna, complete with 54EEE bust … Don’t expect fancy effects or clever spectacle. This is good, honest song-and-dance fun, where the riot of period pastels in the costumes and sets matches the relentless up-beat of the lyrics and tunes. “Prepare for something big!” say the posters: “Big musical, big comedy, big hair!” But the biggest thing about it, apart from Michael Ball’s falsies, is its heart.”

Benedict Nightingale in the Times (four stars) “The musical is as delightful as I recall it being on Broadway three years ago and more immediate than it could ever be in the cinema. True, the tale of chubby, chunky Tracy Turnblad, who wears what looks like a lacquered wolverine on her head and thinks she resembles Jackie Kennedy, is unashamedly and, at times, absurdly sentimental. But when Leanne Jones’ Tracy is bounding about the stage exuding all-American resilience and optimism — well, she brought out the inner cheerleader I didn’t know I had … Mark O’Donnell and Thomas Meehan’s book is a salute to difference. That’s defined both as being fat, like Jones’s Tracy or Michael Ball as her gloriously bloated mother, and, more seriously, as being black in racially divided Maryland. So our heroine’s aim isn’t only to do well on the dance floor, beating her plastic-doll schoolmate Amber, but to integrate Corny Collins’s show, besting Amber’s ruthlessly ambitious, racially bigoted mother, Velma.”

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Grease the Musical Reviews

Grease was always supposed to be about an age of innocence tinged with sexual awakening, a paean to first love and first cigarettes, Cadillac cars and dance night in the school gym. Once upon a time in the West End, this seemed like a good idea; Richard Gere was the first, very good, UK Danny at the New London in 1973 (Elaine Paige had a small role).

Somehow, with the passing years and the iconic elevation of the very bad 1978 movie starring John Travolta and Olivia Newton- John, the fun has been squeezed out of it, and any residual charm in Jim Jacobs and Warren Casey’s ersatz rock and roll musical flattened in a rush to the finale of selected highlights.
As at the opening of this production by David Gilmore in 1993, I feel defeated by decibel levels and churlish with disappointment. The amplification has a tinny, invasive quality that’s the enemy of musical enjoyment, and when things quieten down a bit in the second act – you can actually hear some good rhythm guitar in “Sandy” at the drive-in movie – the songs are less good than the frantic ones.

For those who could bear to watch the entertainment abomination that was Grease Is the Word on ITV earlier this year, a verdict is required on the performances of 19 year-old Danny Bayne as Danny Zuko and 24 year-old Susan McFadden (sister of Brian McFadden, the Westlife pop singer) as Sandy Dumbrowski. That verdict is mixed. It’s impossible to isolate acting talent, or even personality impact, in the first half because the entire cast is encouraged to squeal, squawk, face-pull and cackle like a cage full of angry baboons in the zoo. No one bears even a passing resemblance to a human being.

But as Arlene Phillips’ whiplash musical staging (re-created by Stori James) kicks in, you can see that Bayne does indeed have a powerful stage presence and his command of the moves is total (it turns out he’s been British champion in hip-hop, freestyle and Latin American dance for years). McFadden’s Sandy, however, remains a dumb cluck even when she dons the black leotard and says goodbye to the wholesome image of Sandra Dee that has hampered her pulling progress. She’s sweet enough, but nothing special, and her singing lacks depth or resonance.

Terry Parsons’ design remains as colourful as it was, though the floating Cadillacs have gone and the sun shines with far less golden intensity on the bleachers. Thin strips of red neon light make a good design link between the local DJ’s recording studio and the high school, where everyone seems to be about 35 years old.

Jayde Westaby makes a mark as the suddenly pregnant Rizzo and Charlie Cameron is a prettily pneumatic Marti. Siobhan Dillon, one of the best of the runners-up in the BBC search for Maria programme, whom Grease co-producer David Ian slobbered over in the adjudications, is rather hidden away as Patty but will surely have a second chance in the near future.
– Michael Coveney

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