★★★

“Flabbergast has clearly invested considerable time in the development and interpretation of this work”

As the audience enters the auditorium, Flabbergast Theatre’s seven strong ensemble is already on stage. Costumed (Henry Maynard) fundamentally in white underwear and black Doc Marten boots, their bodies show fresh red wounds. With white faces, mummy and zombie-like in appearance, the spectres fall to the ground, only to rise again, writhe and twirl in slow motion balletic forms before collapsing (movement direction Matej Matejka). Repeated over and over again the effect is mesmerizing and we know this will be no ordinary Shakespearean production.

A simple set is dominated by a vast scaffolding tower with Juliet’s bedroom, naturally, at the very top giving Romeo plenty of scope for climbing. Every inch of the Wilton’s excellent performance space – wide, deep and on multiple levels – is utilised in Henry Maynard’s impressive direction. There is beautiful and effective lighting throughout (Rachel Shipp). A pervading rich blue wash creates the dreamworld in which the action exists. But the darkness is transformed during Juliet’s lonely soliloquy into a magical luscious yellow.

Effective too is the sparing use of music (Nick Hart). English folk melody, world music, ecclesiastical chant and, in the case of the Capulet’s party, techno rave are all infused into the action to create a production that revels in its otherness.

The play begins in earnest with the choral prologue and from there things begin to falter. Each spectre speaks for themselves, the chorus is not in sync and the text is muddied. Sadly, this is to be a recurring problem throughout this performance.

Whilst fundamentally an ensemble piece, first amongst equals is Lennie Longworth (Juliet) who is a ray of sunshine. Bringing a youthful vitality to her role that at times we can believe that the young lover really is just a teenager, her ‘wherefore art thou’ plea is earnest and touching. Sadly not matched by her Romeo (Kyll Thomas-Cole) whose writhing, circling and throwing himself to the ground is given more weight than a clear and meaningful delivery of the text.

Vyte Garriga as the Nurse in a large, hooped skirt plays things perilously close to pantomime dame. The clowning skills of Simon Gleave (Mercutio) and Nadav Burstein (Tybalt) are excellent but at the cost of individual character. Daniel Chrisostomou gives a commanding performance as Friar Lawrence and whose comedic monosyllabic Peter brings out the laughs. Henry Maynard allows himself a sense of fun as Benvolio but seems less comfortable in the domineering role of Lord Capulet. All of the cast, however, perhaps with the exceptions of Lennie Longworth and, conversely, the clown behind the mask of Paris are generally unclear in their enunciation and expression.

Flabbergast has clearly invested considerable time in the development and interpretation of this work and Henry Maynard has a clear vision of how he wants dramatic theatre to be made. But when all the outside influences so dominate that some scenes are unintelligible, what is Shakespeare if we can’t hear the poetry?

This is a five-star production in its concept, movement and ensemble but ultimately let down by its two-star textual delivery.

BAT OUT OF HELL THE MUSICAL

Peacock Theatre

★★★★

“a non-stop blockbuster of a musical”

Jim Steinman’s epic rock and roll masterpiece returns to London as part of its UK tour.

Whispers of Meat Loaf’s original song greet the incoming audience, like hearing a ghost from the past. There are no doubts when the band starts to play in earnest, the bass vibrating through one’s very soul and the audience – many dressed in tour T-shirts – whoops in expectation.

The unassuming but excellent eight-piece band (MD Iestyn Griffiths) are rescued from the invisibility of a pit and displayed high above the stage action. The black stage (set and costume design Jon Bausor) is dominated by a large central sewer pipe leading into who-knows-where and opening out onto the relatively small playing space. A small back room serves as Raven’s bedroom, her bed curiously made from flight cases; a nod to the rock and roll origin of the production, perhaps. Scenes from this room are screened above the stage filmed live by an on-stage video cam-operator (video design Finn Ross).

Strands of Peter Pan, Romeo and Juliet, even West Side Story abound in the wafer-thin plot, though Jay Scheib’s direction shines. A rag-taggle group of boys and girls (The Lost) live in the sewer tunnels below a dystopian, post-apocalyptic Gotham-esque city controlled by a despot ruler who sends in his riot squad for summary beatings of the youth. He fears for the safety of his daughter Raven (Kate Tonkinson), who on the eve of her eighteenth birthday, declares her love for Strat (Glenn Adamson), the unofficial leader of the pack. Falco declares she shall never have him and so the scene of rebellious teenager versus parent who doesn’t understand is set.

Steinman’s songs are, of course, legendary and their narrative content ripe for stage performance and all our favourites are here. Paradise by the Dashboard Light – an anthem for failed marriage – is performed almost straight as from the LP. Falco (Rob Fowler) and Sloane (Sharon Sexton) make out in an open top Chevy (in flashback), awkwardly fumbling their clothing until Sloane commands Falco to ‘stop right there’. Including a girl in referee’s uniform going through the baseball commentary as Falco thinks he’s going to make it to last base, black and white baseball footage is screened above the action to reinforce the imagery. Including too a line-up of twitchy and giggling dancers, there’s so much going on in this scene that it’s hard to know where to focus. But Fowler and Sexton’s voices win-out; together the couple are superb.

The full youth ensemble in their grungy hip-hop attire (shades of Mad Max) give their all and their energy levels are phenomenal. But the choreography (Xena Gusthart) verges on the twee. There is little sense of rock and roll danger and hip thrusts are comedic rather than sexually threatening. For Crying Out Loud is the standout song as the ensemble share the solo lines, and pairings are made amongst the gang, some individual characterisation becoming evident. Bat Out of Hell closes the first act and as Strat’s ‘silver black phantom bike’ breaks up, confetti cannons fire pieces of the broken metal into the air and pyros shoot out tongues of flame. It’s wild, dramatic, over the top, and totally thrilling.

In the second act there’s time for some deceit and treachery, instigated for the best possible reasons, by Tink (the excellent Carla Bertran) but it’s a foregone conclusion that young love will out. I’d Do Anything for Love (But I Won’t Do That) is inexplicably the show’s closing number, and the only ensemble piece that feels to go on too long.

Of course, the strength of the singers is the be all for a production of this type and Glenn Adamson and especially Katie Tonkinson do not disappoint. They are both excellent throughout and well supported by the full ensemble. This is a non-stop blockbuster of a musical, sung powerfully and tunefully throughout, and danced with total commitment. An absolute blast.

ROMEO AND JULIET

Wilton’s Music Hall

★★★

“Flabbergast has clearly invested considerable time in the development and interpretation of this work”

ROMEO AND JULIET

Wilton’s Music Hall

Reviewed on 11th June 2025

by Phillip Money

Photography by Michael Lynch

Previously reviewed at this venue:

ROMEO AND JULIET

ROMEO AND JULIET

ROMEO AND JULIET

BAT OUT OF HELL THE MUSICAL

Peacock Theatre

★★★★

“a non-stop blockbuster of a musical”

BAT OUT OF HELL THE MUSICAL

Peacock Theatre then UK Tour continues

Reviewed on 22nd May 2025

by Phillip Money

Photography by Chris Davis Studio

Last ten shows reviewed at Sadler’s Wells venues:

BAT OUT OF HELL

BAT OUT OF HELL

BAT OUT OF HELL

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