LES MISÉRABLES

LES MISÉRABLES

BOSSY at Brentwood Theatre

21.11.17

A huge challenge to fit Victor Hugo’s epic onto the tiny Brentwood stage. BOSSY, who have been here before, wisely choose to emphasise the human stories rather than the wider picture.

The barricades [anyone for tennis?] are effective, with smoke and flashing lights from the battle beyond. Good work from the student militants here, and in the stillness of Drink With Me, the ante-bellum atmosphere poignantly suggested. Huge commitment from the ensemble for At the End of the Day, and the wedding ball looked good too – lovely gowns and convincing choreography. The ending makes a real impact: the simple tableau of Valjean’s death, with the newly-weds seated in front, before the company join in one last anthem, the youngest revolutionary up aloft, desperately waving the red flag of freedom.

Props and costumes vary in their impact – the map of Paris was excellent, the red tablecloth under it somewhat too small. The gates to Valjean’s garden on the rue Plumet, as so often, prove problematical, but once they are in place, there are some fine stage pictures for the operatic quartet and trio.

An excellent cast this time out, with some fine voices, despite the relative youth of these performers. Sam Harper makes a compelling Valjean, wonderfully sung with real emotional impact – Bring Him Home predictably moving. Joe Folley is Javert; a portrait of a man obsessed, with every word carefully shaped. He even convinces us that he is staring into the abyss before his final descent into the Seine.

Katherine Dodds plays Cosette, working well with her imposing Marius [Dan Pugh]. I might have liked a less introspective Empty Chairs – the phantom faces behind, strikingly lit, should not capture all our attention. Jodie Tarrant is the tragic Fantine, giving us a well-phrased I Dreamed a Dream, though it was a shame her eyes were obscured by her hat and the lighting. A superb Eponine from Tia Stack – one of the best On My Own I’ve seen, simply staged but with 100% emotional investment. As student leader Enjolras Jamie Wilson is in fine voice, and gives a captivating depiction of youthful idealism.

Enjoyable comic relief from the Thenardiers [Rosie Griffiths as the nasty Madame, Lady Macbeth to Michael Percival’s coarse, well-sung Monsieur]. Two nice little dance numbers for them, before each is dumped to the floor.

And Sam Johnson makes a great Gavroche – more Artful Dodger than innocent Oliver – a cocky young urchin engaging with his audience and making the most of his dramatic role in the uprising, even in his violent death, left largely to the imagination.

Not the ideal venue for the musical theatre MD, but Cathy Edkins provides solid support for her young singers, mostly on keyboards, though oboe and trombone are also prominent. Les Misérables is directed by Gaynor Wilson, bringing the familiar story to life, and encouraging some fine performances from soloists and ensemble.

HAIRSPRAY

HAIRSPRAY

BOSSY at Brentwood Theatre

13.04.17

A happy, homespun Hairspray from BOSSY, in fine Sixties style, musically and wardrobe-wise.

Gaynor Wilson's production keeps the setting simple – a nice vertical bed for Tracy's awakening – while Andy Prideaux's quartet sets the musical pace, with a prominent role for that essential sax. Some impressive ensemble numbers: the mother and daughter sextet, the Council members in the title number, the joyous Can't Stop the Beat finale.

And plenty of punchy performances from an energetic cast – I saw the Thursday company. An immensely likeable Tracy from Tia Stack, pint-sized rabble rouser and would-be teenage Jezebel. She has the character to perfection, and brings energy and elan to all her numbers. Michael Percival is her mother, feisty and voluminously dressed, with Adam Ellis as her dad, the extrovert joke store manager, and Dan Pugh as her love interest, the heart-throb Link Larkin. The bigoted baddies include Ellie Lovelace's Velma – a magnetic stage presence – and her daughter Amber [Grace Frost]. A lovely, gawky Penny Pingleton from Cloe Lee, and a great glib Corny from Joe Folley.

Jeremy Lawal-Champion impresses as Seaweed, son of Motormouth Maybelle, nicely done by Tomi Bello, especially in her act two anthem, and her “big, blonde and beautiful” act one finale.

Lots of fine character work in the cast, including doubles from Will Loader as Mr Pinky and Brad, and Owen Jackson as the penitentiary official and Mr Spritzer, President of Ultra Clutch, proud sponsor of the Corny Collins TV show.

RENT

RENT

BOSSY at the Brentwood Theatre

01.10.16

Jonathan Larson's 90s hit - “musical theatre for the MTV generation” - makes heavy demands on any company bold enough to stage it. The “School Edition” we see at Brentwood makes few concessions to the age or experience of the performers: a few music cues trimmed, the text purged of bad language and the more obvious drugs references, that's all.

BOSSY give it a powerful, brutally honest staging, with some impressive performances and excellent support from the unseen band in a variety of musical styles.

The female leads are doubled. On opening night, a brilliant Mimi from Lydia Abbotts, sassy, vulnerable and impeccably sung. Drama queen Maureen done with suitably extrovert style by Ellie Rickenbach – her OTT “performance” very well sustained. Ivy League lesbian Joanne a hard character to master, but Jodie Tarrant brings a likeable directness to the role.

Mark, who narrates the story, is played by Joe Folley. A compelling performance, with huge presence and one of the best voices in a strong cast. Dan Pugh is his room-mate Roger, a believable struggling musician, he gives a confident, captivating account of the role. Benny, the landlord who sells out then sees the light, is intelligently portrayed by Michael Percival. Rob Hill's Angel is subtly and tenderly played; his duet with Collins very moving. This gay, anarchist professor of philosophy is a huge challenge. Sam Loader's finest moment comes with his funeral tribute to his lover, clutching the coat and fighting the tears.

Excellent support from the whole company; the voicemails, for instance, with a scene-stealing cameo from Tomi Bello as Alexi Darling.

The staging is imaginative and effective; only occasionally is the mood broken by darkness, silence and messy movement. The levels are well used, with colder, harder lighting for the upper stage.

The storyline, despite life-affirming dialogue and a clunky happy ending, is grim and gritty. The music is not memorable, only Seasons of Love, the simply staged anthem that opens Act Two, sticks in the mind.

So all credit to director Gaynor Wilson and MD Andy Prideaux, for giving their young cast a chance to tackle this iconic milestone in the history of the American musical.

13 THE MUSICAL

13 THE MUSICAL

BOSSY at the Brentwood Theatre

07.11.15

The first musical on Broadway with an all-teen cast. And now in Brentwood, with the energetically talented BOSSY team as the kids of Dan Quayle Junior High.

Jason Robert Brown's show tells the unremarkable story of a Jewish boy approaching his Bar Mitzvah. His parents divorce; he leaves New York with his mother for Appleton Indiana, the lamest place in the world. But along the way the songs have a lot to say about the insecurities and the emotions of those teenage years.

Jonathan O'Neill is outstanding as the angsty Evan – permanently worried about being popular, confused by the pressures from those around him. He has an easy rapport with the audience, and delivers the numbers and the gags with precision and style.

Elsewhere, the singing is confident, but not always accurate, and some of the best lines are under-delivered.

Enjoyable work, though, from Dan Pugh as Archie, the boy on crutches [his duet with Evan a musical highlight], Maisie Threadgold-Smith as Patrice, shyly flirting with the new boy on the block, Francesca Green as object of desire Kendra and Lydia Abbotts as the treacherous Lucy.

Cool jock Brett is played by Adam Ellis; amongst his gang, Sam Johnson stands out as a lively, sparky Eddie.

Gaynor Wilson's production is strong on dance and movement; the setting is simple, with revolving towers suggesting the locker room, the library, the soda machine and the school bathroom, where the girls film the cat-fight on their cell-phones. The Tell Me trio is a strong concept, expressively staged; the movie theater scene and the Getting Ready number are effective too.

The trials and tribulations of the teenager are a universal theme. Jewishness less so – the chorus of rabbis for Being A Geek is interminably unfunny.

Andy Prideaux and his band provide stylish accompaniment for this enjoyable coming-of-age musical – an excellent choice for this enterprising group of youngsters.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

BOSSY at Brentwood Theatre

27.11.2014

Bossy go back to basics for this enjoyably uncomplicated Joseph.

I remember those early performances [and recordings] before the show got bloated and starry, and Gaynor Wilson's production captures that spirit successfully: clear narration [five excellent young ladies drawing us in to the Bible story], good work from the chorus [Jacob and Daughters] and some impressive lighting – Joseph's jail, and an enormous mirror ball for his big numbers.

Jon O'Neill is an engaging Dreamer, very much the shy, rejected brother, but strong in Close Every Door and Any Dream Will Do.

Plenty more compelling performances in this young cast: Oliver Harvey's Pharaoh, Josh Rees's Potiphar with his triangular abacus and his wayward wife [Tomi Bello/Hannah Durowse], Alfie Gardner's Judah, charming in the Calypso, and Heather Nye's Simeon, an outstanding chanteuse for Canaan Days.

Andy Prideaux and his band kept the music moving along nicely, except perhaps in the disappointing encore sequence.

The coat gets equal billing in this show; most Josephs would be content with the Act One dreamcoat [ripped by jealous brothers] but Jon gets to wear the stunning threads tailored by the London College of Fashion for Aled Jones, and loaned by Brentwood Theatre Administrator Mark Reed. But that's another story …

apologies to those whose twitpics I've borrowed ...

ELTON JOHN'S AIDA

ELTON JOHN'S AIDA

BOSSY at the Brentwood Theatre

06.10.12

Carmen Jones, Miss Saigon, Rent, they've all been pinched from the Met and bastardised for Broadway. None, perhaps, as shamelessly as this reworking by Elton John and Tim Rice, a long way after Giuseppe Verdi.

Elton's melodies are not especially memorable, so it was lucky they were so well served by these young singers, leading ladies especially. Chloe Rickenbach was strong in the title role, with Rosie Tooze-East on superb vocal form as her shallow, fashion-plate rival, the Princess Amneris.

The ensemble numbers worked best dramatically, with some fine duets and an eloquent quartet ["Not Me"] for the two girls and Radames [a confident James Durowse – better in his many numbers than in the dialogue] and Mereb, given a promising performance by Jonathan O'Neill, who brought out the simple sincerity of the Nubian slave-boy.

The dialogue was sometimes hard to catch, and the chorus had few opportunities to shine, though the bathrobe number was amusing, and I think Verdi might have approved of the rousing nationalistic chorale which is the climax to Act I.

The design was striking, though the scene changes sometimes seemed awkward, and there were some magnificent costumes – I liked the subdued russet tones for the captives.

Aida was directed for BOSSY by Gaynor Wilson; Andy Prideaux was the Musical Director.

LITTLE SHOP OF HORRORS

LITTLE SHOP OF HORRORS

BOSSY at Brentwood Theatre

11.11.11

This tongue-in-cheek, slightly subversive musical homage to the cult film, is perennially popular.

BOSSY's version, in the cosy confines of Brentwood Theatre, was entertaining throughout, with a talented team of soloists, and some excellent work from the chorus. The chilling Finale Ultimo, with cloned carnivorous plants invading the auditorium, was a nice touch to end with.

Gaynor Wilson's production had a nicely designed shop for the hapless Mushnik [well characterized by Marcus Durowse] and an instantly evocative fire hydrant not so sure about the backcloth, though. But the plants [by Theatre Props, Leicester], the squat, fat, middle-sized one, and the amazing tentacled monster, were superb, and expressively voiced by Dan Glock.

The young lovers were outstanding Ross Llewellyn the nerdy, speccy Seymour, and Amy Wenham a delicate, tender Audrey. Her dastardly dentist, dismembered and fed to the voracious plant, was Curtis Brown.

The three close-harmony trios [Chiffons, Crystals and Ronettes] beautifully gowned were imaginatively used, and I liked the backing vocals from the wings.

Musically, highlights included Seymour's duet with Audrey II, and Audrey I's wistful Somewhere That's Green, reprised movingly for her final selfless sacrifice. The MD was Andy Prideaux.

OUR HOUSE

BOSSY at the Brentwood Theatre

10.11.10

The Madness Musical, all urban malice and bouncy beats, is a challenge to any group. Bossy brought to it their trademark enthusiasm, a great backing band and a large cast of suitably youthful spivs and scallies.

“Oh What Fun We Had ...”, the big ensembles came off best, especially the carnival Wings of A Dove, and the old school desks whizzing round on castors, though the vocal energy didn't always match the physical, and even that sometimes waned before the final chords. I liked the parody Who Will Buy, with newspapers, the Act One finale, and the duet It Must Be Love. The car sequence was less successful – it needed more acting and not so much cardboard car and pointless back projection.

These catchy Madness numbers are not an easy sing, and we do need to hear all the words if we are to follow the clever duality of the plot.

Perry Hughes had the demanding role of Joe, whose life divides into Good and Bad, with Livvie Milne as his girl. A strong performance from Josh Bishop as the absent Dad, watching the action from underneath the streetlamp, and excellent comedy work from the OMG Whatever Girls [Chloe Rickenbach and Laura Wood] and the gormless Emmo and Lewis [James Wilson and Ross Llewellyn].

Our House was directed for BOSSY by Gaynor Wilson, with Andy Prideaux in charge of the music. And respect to Barnett, for putting a full page ad in the programme, despite the less than glowing endorsement for property developers in the show ...

LES MISERABLES

Bossy at the Brentwood Theatre

04.11.09

Les Mis in miniature ? Victor Hugo's vast epic cries out for a big stage, but Bossy made the most of the limited space of the Brentwood Theatre, taking more than half the floor area for their ingenious in-depth set: black box, Montreuil and then finally the famous barricades.

Being so close to the performers brought its advantages [as long as the action stayed off the floor]: the words were clearly audible, and the more intimate scenes had real impact – the death of Fantine, Javert's drop and Valjean's final moments.

The score makes no allowance for immature voices; the boys especially relied on technique and characterization in their big numbers. Alexandra Phillips' Eponine had many of the evening's more memorable musical moments; Katie Lawrence, as Fantine, sang with conviction and a pleasing vocal style. The older Cosette was Laura Wood, with her younger self shared by Rosie Bloom and Georgia Chantry.

I liked Reiss Meister's Javert, with his sinister presence and cynical smile. In the demanding role of Jean Valjean, James Wilson had a very promising voice, both singing and acting, and gave us a moving Bring Him Home. And I was impressed by Sam Chapman as Marius. He has a lot to do, and sustained his character well. Empty Chairs at Empty Tables , with its “phantom shadows” was superbly done. David Gillett gave a confident double of the Bishop and Bamatabois. Master and Mistress of the House were Ollie Cross and Livvie Milne. Ollie needed to project his personality more, though his vocal performance was spot on; Livvie was wonderful in a grotesque perruque.

Among the little people, Gavroche was energetically and engagingly played by Daniel Wild, a role he shared with Tom Carswell.

David Pickthall's band was banked up stage right. The individual players could shine here too: lovely to see, and hear, the cello part so prominent.