Two extended London trips to include other events resulted in a few extra exhilarating visits to the VPT. Full reviews of each show would run to 1000 pages (each) so just a few comments.
If you were handed a paper bag that secretly contained 8 sweets consisting of 2 x Rolos, 2 x Toffees, 2 x Mars Bars and 2 x brand new never-before-seen sweets you’d probably expect that, if you made 4 dips into that bag, you’d get at least one of the new ones. Didn’t happen, though and, later, if you were told that one of the 2 x Rolos had been replaced so that 3 of the new ones were actually in the bag, you’d be even more surprised that none of the new ones made it into your hand. Work that one out
.
On Thursday and Saturday matinees it was that extraordinary duo of Thomas and Nathan that took centre stage. Having started together as dynamite and progressed to nuclear I am struggling for a word that best describes their latest two jawdropping get-togethers. I’ll have to invent one. Thermofusionic might fit the bill.
In his review, dancingboy has excellently likened Thomas to the Mallard. This Mallard will never be seen in a siding, steamed down. Like a Great White his movement is constant, whether it just be eyes, eyebrows or facials. At the same time he has this great sense of pause. But even this pause has movement because you can see what’s coming next before it arrives. Unbelievable stuff. They should install mirrors at the back of the stage so we can see what he does during the row between the Scab and Tony over the money for the bairn.
Nathan has almost computerised, magical control of his eyes. It is uncanny, whether it be the mischievousness in the boxing hall, the sunshine and gold of Expressing and Tutu, the poignancy of the Winter scene or the loneliness of the final curtain, (in which we see his desolation multiplying even as the curtain is about to block him from view). Astonishing insight from one so young.
On Thursday and Saturday evenings Nat and Bradley were to the fore. Even now, having seen it quite a few times before, I still can’t get over the brilliance and uniqueness of Nat’s
Electricity and the manner in which he draws you into his heart before a step is danced. From the moment that the MD gives him the note those soulful eyes are aimed at you. You are being locked on like a shuttle to the Space Station. Instead of him walking towards you, now it seems like you are floating, enchanted, in his direction. When he finally has you clamped, he opens the hatch. The sheer, unadulterated joy of watching this amazing spectacle (danced to what is one the most perfectly arranged and spot-on pieces of music that has ever engulfed my ears with such pleasure) is indescribable.
I have a feeling that when Bradley walked in for the audition for Michael, the casting crew just pointed him straight to the “IN” door. A fearless, stage natural if ever there was one. The one thing that, I think, all fans agree about the show is the fact that the actors are allowed to play the roles differently, no cloning allowed. Bradley is not only unique and priceless but he gives us something new every time, most notably, in the boxing scene. It’s like Countdown. You never know what letters are being drawn next but you can’t wait to see what they are.
Lucky me I got to see all three Debbies, Connie, Hollie and Beatrice strut their excellent stuff.
In the shows I watched, there was some fantastic variety amongst the adult cast as well. Deka and David Bardsley played Dad, Craig Armstrong played (an old style) George and David Bardsley a slightly revamped (on his original) George. Ruthie and Wendy delighted us with their Mrs. W’s. Rachel Bingham provided us with an hilarious over-the top RBS Receptionist. The Ensemble members are really so good at rotating the minor roles as required which adds so much more interest for us fans.
I did notice a couple of very minor changes – there are probably others I’ve missed. In
He Could Be A Star, at the point when George interjects, Dad and Tony have exchanged places. Now, I’ve gone and forgotten what the other one was.
Chris Grahamson had a mammoth task to replace Kevin Wathen as Tony and he pulled it off in great style. Matthew Seadon-Young has a similar task and, by the end of the week, I thought he was just about getting there and, like Chris, will further develop the role to maximum effect as time goes by.
I can’t finish off without mentioning having watched the show from the Dress Circle last weekend. It had been quite some time since I watched it from up there but some good discounts were available. There is no question that, strictly speaking, the dancing cannot be seen 100% properly from near the front stalls. What we don’t see is much of the amazing foot to floor work. First up, the Ballet Girls in
Shine were sensational. When the pink dresses came on you could see the steps as well as the leaps and bounds. Similarly, for the Girls and the Ensemble in
Solidarity. The synchronisation of all those pairs of feet in the Finale was some sight. It was Brodie in action on that evening and his spin over to Mrs. Wilkinson told me that, in effect, I’ve never seen him fully head to toe in dance before. I know it sounds crazy but that’s the way it is. His delicate dancing skills and light, floating touch on the floor in
Electricity were mind-blowing. S
ky Arts eat your heart out. Although I had a great view of the full stage I couldn’t see the black board so, when he did the wall flip, it looked as if he had done a 360 out of nothing but space. I’m aiming to see more shows from there during next year to ensure enjoyment of all the performers at least once from this viewpoint and have already commenced this procedure. If you’ve never seen it from up there I guarantee you will be mightily impressed not only with the broader dancing view but the floor lighting as well and, certainly to my ears, the best sound.
If there are any of the old gang Forum members or lapsed showgoers out there you simply must get down to the VPT asap or you will regret missing the most amazing youngsters in action and an adult cast that is on fire from every corner. Plus the more intricately arranged music score that is so superior to that heard on the CD.
Finally, the Tube stations are gloriously decorated with posters of BETM at the moment. They are everywhere. It is such a great shame that the depiction of Billy on those posters couldn’t be any further the opposite to what Billy is in the actual show. Can you imagine a
Matilda poster displaying a purple-haired ear and nose pierced teenager or McDonalds advertising a Big Mac on their posters by depicting a Pepperoni Pizza!!! Nah…….me neither.
Pat