August 2014 Reviews - London
Posted: Fri Aug 08, 2014 2:51 am
Thursday Matinee 7th August
Elliott/Zach/Kyria
George: David Bardsley
Older Billy: Lee Hoy
This was a cracking show getting the first Thursday matinee of "Kids’ Month" off to a great start. It’s about three months since the new cast took over the reins and the horse is galloping along very smoothly at this point in time. Ruthie and Chris have settled into their roles after some experimentation and the big angry scenes with Deka are gripping and emotional. Ensemble members have not taken long to gel as one. The end result is a crisp and sharp three hours of high class entertainment.
Returning Small Boy, Max, was first out of the stalls and took up position in the centre of the track followed by the whole field intent on making this an exciting and thrilling event and that’s exactly what it turned out to be.
Last week we got a rare opportunity to see the BETM legend that is David Bardsley play Dad and this week he had the audience in the palm of his hand playing George, an even rarer occurrence. David plays this role with a big twinkle in his eye and his front of curtain scene after the interval was priceless. Previously I’ve mentioned the oft-times not-so-great encouragement for the audience to participate in Maggie Thatcher but David was fantastic on this today and had the clapping going hell for leather as in days of yore. Everyone joined in - not just the front few rows and an already lively audience was whipped up and readied for what was to follow. Interesting that we had three Dad actors on stage today, Deka, David and Steve Paget.
The beginning of Dad’s song, Deep into the Ground, looks to have been sorted out over the past number of weeks. The point at where the accordion enters the equation seemed to vary for a while with a kind of unevenness. From what I can deduce, Deka starts the first verse with no music accompaniment nor hint from the accordion. Mr. B, David Muscat, then hits the one chord on the accordion, Deka points over at him and continues with the song with the accordion in the background. One way or the other it sounds and fits much better.
The Ballet Girls were superb as we have come to expect and Kyria continues to impress with her version of Debbie, still climbing the wall in the toilet scene in a manner that makes my ol’ back twitch with anxiety.
Not so tall Tall Boy, Ryan, did all he was asked to do with style and I was hugely impressed by his method of impact with the curtain which was very realistic.
The Board-at-the-Door declared that the role of Billy would be played by Elliott Hanna, a somewhat simple statement of fact. A bit like stating that the starters on a menu would be asparagus soup. That’s where the simplicity ended. Displaying a stunning, staggering variety of complex talents and high ranking full blown spirit he blew this rapturous audience away with a most brilliant and perfectly paced Billy portrayal that was as good as it gets. This was not just winning the Derby. It was winning the Derby, the Grand National and the Prix de l’Arc all on the same day.
I don’t know if Elliott prefers Angry Dance or Electricity given the choice but both of them were of such quality that I wouldn’t like to be the one to have to choose. Then there was his class acting throughout, a long and spectacular spin across the stage in Solidarity and a magical Dream Ballet with Lee Hoy. The barrel roll over Lee’s back was like a sideways tornado rushing over Table Mountain.
The combination of Elliott and Zach in Expressing was great fun and the dresses were the icing on that particular cake. Zach, of course, creates such a presence of his own on stage that he makes the sun look like a 1 watt candle bulb. More tutu fun Zach-style followed the gentleness of the Winter scene and the final scene was beautifully done. The clapping started way too early but I’ve made myself immune to this by now and can ignore it and immerse myself fully in the poignancy of the moment as poor Michael is left all alone to ponder his fate.
Ann Emery is just amazing. Loved by all, her stage presence and energy has never waned. In fact, it continually goes the other way.
In racing parlance, you always know even as the horses come under starter’s orders that BETM is an odds-on favourite, always goes the distance regardless of the going and is expertly schooled by the connections. Most important of all, it always wins and the punters go home happy and en(rich)ed.
Pat
Elliott/Zach/Kyria
George: David Bardsley
Older Billy: Lee Hoy
This was a cracking show getting the first Thursday matinee of "Kids’ Month" off to a great start. It’s about three months since the new cast took over the reins and the horse is galloping along very smoothly at this point in time. Ruthie and Chris have settled into their roles after some experimentation and the big angry scenes with Deka are gripping and emotional. Ensemble members have not taken long to gel as one. The end result is a crisp and sharp three hours of high class entertainment.
Returning Small Boy, Max, was first out of the stalls and took up position in the centre of the track followed by the whole field intent on making this an exciting and thrilling event and that’s exactly what it turned out to be.
Last week we got a rare opportunity to see the BETM legend that is David Bardsley play Dad and this week he had the audience in the palm of his hand playing George, an even rarer occurrence. David plays this role with a big twinkle in his eye and his front of curtain scene after the interval was priceless. Previously I’ve mentioned the oft-times not-so-great encouragement for the audience to participate in Maggie Thatcher but David was fantastic on this today and had the clapping going hell for leather as in days of yore. Everyone joined in - not just the front few rows and an already lively audience was whipped up and readied for what was to follow. Interesting that we had three Dad actors on stage today, Deka, David and Steve Paget.
The beginning of Dad’s song, Deep into the Ground, looks to have been sorted out over the past number of weeks. The point at where the accordion enters the equation seemed to vary for a while with a kind of unevenness. From what I can deduce, Deka starts the first verse with no music accompaniment nor hint from the accordion. Mr. B, David Muscat, then hits the one chord on the accordion, Deka points over at him and continues with the song with the accordion in the background. One way or the other it sounds and fits much better.
The Ballet Girls were superb as we have come to expect and Kyria continues to impress with her version of Debbie, still climbing the wall in the toilet scene in a manner that makes my ol’ back twitch with anxiety.
Not so tall Tall Boy, Ryan, did all he was asked to do with style and I was hugely impressed by his method of impact with the curtain which was very realistic.
The Board-at-the-Door declared that the role of Billy would be played by Elliott Hanna, a somewhat simple statement of fact. A bit like stating that the starters on a menu would be asparagus soup. That’s where the simplicity ended. Displaying a stunning, staggering variety of complex talents and high ranking full blown spirit he blew this rapturous audience away with a most brilliant and perfectly paced Billy portrayal that was as good as it gets. This was not just winning the Derby. It was winning the Derby, the Grand National and the Prix de l’Arc all on the same day.
I don’t know if Elliott prefers Angry Dance or Electricity given the choice but both of them were of such quality that I wouldn’t like to be the one to have to choose. Then there was his class acting throughout, a long and spectacular spin across the stage in Solidarity and a magical Dream Ballet with Lee Hoy. The barrel roll over Lee’s back was like a sideways tornado rushing over Table Mountain.
The combination of Elliott and Zach in Expressing was great fun and the dresses were the icing on that particular cake. Zach, of course, creates such a presence of his own on stage that he makes the sun look like a 1 watt candle bulb. More tutu fun Zach-style followed the gentleness of the Winter scene and the final scene was beautifully done. The clapping started way too early but I’ve made myself immune to this by now and can ignore it and immerse myself fully in the poignancy of the moment as poor Michael is left all alone to ponder his fate.
Ann Emery is just amazing. Loved by all, her stage presence and energy has never waned. In fact, it continually goes the other way.
In racing parlance, you always know even as the horses come under starter’s orders that BETM is an odds-on favourite, always goes the distance regardless of the going and is expertly schooled by the connections. Most important of all, it always wins and the punters go home happy and en(rich)ed.
Pat