★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

There is a moment in the second act of “Shout! The Mod Musical” when the ensemble cast come together for a rendition of Mary Hopkin’s ‘Those Were the Days’. Shrouded in poignancy, it is quite a moving moment. A mid-tempo number reflecting mid-life melancholy. The only problem, however, is that we are wondering what those days were. There is very little to look back on, such is the shallowness of Phillip George and Davis Lowenstein’s book. Mind you, there’s little room for one amidst the relentless procession of sixties hit songs. More of a musical revue than a musical. And, viewed as such, it is, in fact, multi-coloured, musical magic. The five performers burst with a kind of tutti-frutti charisma, sharing out the songs between them like kids in a candy store, or an eat-all-you-can buffet of mouth-watering harmonies.

We’re in the swinging sixties, with set and costume (uncredited) that place us in something resembling an early Top of the Pops studio. Along with James Davies’ wig and hair design, the authenticity of the period is fully created, aided further by musical director Gabrielle Ball’s no-frills, sample-free, three-piece band. The girls (we can call them that – it is the sixties) all possess an abundance of energy and singing talent that drives the show at speed through the overflowing repertoire. We are in a living jukebox, where the music is interrupted by a series of short, rather lame, comedy sketches. The premise is intriguing though. Throughout the story, the five characters send letters to Gwendolyn Holmes (voiced by Pippa Winslow), an agony aunt who works for the fictitious style magazine ‘Shout!’. They are invariably disappointed by the useless advice they are given to deal with their situations (for ‘situations’ read ‘love life’). They are nameless, identified only by the colour that they wear. Red Girl (Isabella Mason) is the ingenue of the group who has self-image issues while Orange Girl (Lauren Bimson) is the matriarchal figure struggling to cope with a philandering husband. Yellow Girl (Gabrielle Cummins) has come from across the pond, laden with her cargo of self-confidence and romantic memories. Green Girl (Lauren Allan) is the sex maniac (we can say that – it is the sixties), uninhibited, racy and full of seaside town postcard humour. Blue Girl (Madeleine Doody) is the sophisticate; well-heeled and gorgeous – and she knows it, although we later learn that there is something quite specific that she is unsure of.

A rainbow of colourful characters with whom we are able to have tremendous fun, even if there is no pot of gold at the end. There is little in the way of an arc too, so director Joseph Hodges, with choreographer Jay Gardner, rightly focus on the songs, creating a seamless medley of delight and joy. The likes of Burt Bacharach, Tony Hatch, Sandie Shaw, Neil Sedaka – and many others – are all showcased. Even John Barry, during a lovely Bond pastiche where ‘Goldfinger’ is renamed ‘Coldfinger’. True to its ensemble nature, none of the cast outshine each other, yet they all shine individually and collectively. The chemistry is there but unfortunately the script prohibits any real onstage connection. But the singers easily bypass such quibbles with their strong connection to the audience.

Yes, this show is dated. That is the whole point. At one point a rather clumsy and incongruous use of placards attempts to shoehorn in a hint of twenty-first century credo, but the show doesn’t necessarily need it. This is a musical comedy, and the irony should speak for itself. What is clear, though, is that the music not only speaks for itself. It Shouts! So go ‘Downtown’ and forget all your troubles, forget all your cares. If nothing else, it will make you feel ‘aaaaalllllright!’

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

Stuff Shakespeare, Pantomime is probably my favourite theatrical tradition. There are not many other settings where you can have babies, grandparents, and long-suffering assorted other relatives entertained for a couple of hours by good old British drag.

And Clive Rowe knows how to entertain. His stewardship at the Hackney Empire continues this year with another barnstorming performance as Mother Twanky in Aladdin. We are transported to the land of Hack-ne-lah, for a riot of fun, anti-consumerism and disco dancing. Trust me, it works!

Do I need to explain the plot? Probably not. The main additions to the traditional tale here are the sneering, evil billionaire Mildew Funk played in gloriously writhing camp fashion by George Heyworth (better known as Bourgeois in the celebrated cabaret duo Bourgeois and Maurice), who unfortunately also happens to be Jazz’s (Isabella Mason) father. He is determined to marry her off to a fellow rich man, when her heart has already been captured by the pure and kind Aladdin (Fred Double). The biggest baddie is Abby-na-zaaar! spelt properly with three ‘As’, one ‘R’, and an exclamation mark (Natasha Lewis). She is determined to become the most powerful wizard in the world, and also the best trombonist. I did not realise my panto needed brass on stage, but turns out it really does, especially accompanying a reworked Meghan Trainor song.

Aside from the magic lamp, there’s also a magic ring (the spirit of which is played by a charismatic and ditsy Ruth Lynch), who’s provenance got slightly lost in the exposition of the opening scenes, but nonetheless is charming.

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

Rounding out the cast is Rishi Manuel as Wishy, who does a great line in slapstick comedy, and pulls the audience through the obligatory participation songs. Kat B is the coolest genie I’ve ever seen, in a plunge neck disco outfit, and towering platforms.

Rowe also directs, and has assisted Will Brenton in writing the script. Once the heavy lifting of character introductions is out the way, Rowe warms the audience up with the help of a laundry list of gags – literally. Pun after pun after visual joke came tumbling out of Widow Twanky like the assorted items out of her brilliant bag lady dress, embossed with Groucci. The outfits get more and more extraordinary – Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top.

The big dance numbers also show off the talented ensemble and heighten the energy even more, grabbing the attention of even the chatty two year old sitting next to me. Myles Brown’s choreography, using professionals, (members of the Hackney Empire’s young Artist Development Programme, and the Vestry School of Dance and Performing Arts) is both polished, but also has an inclusive, community feel.

Though Widow Twanky might have moaned about the special effects budget, I was impressed by the sheer amount of pyrotechnics on show, and especially the magical carpet ride. Steve Edis’ original song here was also a welcome respite from memories of Peter Andre singing that version.

The short second act feels like it’s also had a gin at the interval, with the jokes getting more risqué, though firmly on the side of family friendly: the children around me were confused as to why I was laughing so hard at a gag about the Ultra Low Emissions Zone. I also think they might have been bypassed by the bisexual lighting and Aphrodite statue in a certain evil lair which foreshadowed a lovely romantic tryst and twist.

Hackney Empire once again presents yet another magnificent panto and Clive Rowe is truly the grand dame of panto dames. Long may his reign continue.

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

Reviewed on 27th June 2025

by Jonathan Evans

Photography by Zac Cooke

Last ten show reviewed at this venue:

SHOUT

SHOUT

SHOUT

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

ALADDIN at the Hackney Empire

Reviewed on 30th November 2023

by Rosie Thomas

Photography by Steve Gregson

Other reviews by Rosie:

Aladdin

Aladdin

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