Panto’s on Strike!

You cannot beat a pantomime that ends with a sing-a-long to Robbie Williams’s ‘Angels’ (though unfortunately I missed the cameo by the man himself!). Nuf said really, but as that would make for a rather shoddy blog post/review, I shall elaborate a little further.

Panto’s on Strike, showing at the Manchester Opera House until 27th November, is an adults only panto, starring Johnny Wilkes and Paddy McGuinness (who also wrote the show). They play themselves, drawn into panto-land after evil King Foo (or Foo-King), played by Brian Capron, kidnaps Princess Crystal. King Foo demands that he will only release the princess if the baddies can win in panto this year, resulting in the rest of panto-land going on strike in protest. Coleen Nolan’s fairy godmother calls on Johnny (-Who? -Robbie William’s best mate -Oh, Johnny!) and Paddy (Peter Kay’s mate) to save panto.

What follows is a show which manages to take the mickey out of panto, while still successfully keeping all the trappings of the genre – from ‘She’s (the prostitute, in this case) behind you!’, to the aforementioned sing-a-long, to a messy ‘cooking’ scene (Paddy has a rather nicer chest than I had expected – and yes that is relevant here), to a host of stupid (and crude – ‘Did she pull him off that way?’) jokes.

Overall, it was a top night out. It wasn’t (entirely) needlessly crude (despite what was said in one of the reviews I read), but used the free-reign provided by the age limit to push the jokes and innuendo a little further. (Anyone who says panto is ‘innocent’ hasn’t seen one lately. Or, at least, seen one as a grown-up capable of understanding the not-so-subtle undertones. ‘Normal’ panto is just as filthy, they just hide it better!) Anyhoo, if you enjoy panto, I highly recommend this one. If you don’t, perhaps you’ll have a little less fun. It’s silly and, to be honest, rather immature. But that’s the beauty of panto, even an adults only one. It allows you to be a child again, or at least indulge the childish part of you that still giggles at the name ‘Dick’ Whittington. Or ‘Big Dick’, as he was known in this one. And no, he wasn’t particularly tall…!

Unfortunately, or perhaps fortunately for those who don’t want any more spoilers, I left it a bit late to write this up, so I’ve forgotten most of the jokes, but I shall end with the suggestion that, if you’re a Robbie fan that is, you should watch out for the ‘bunny’ picture on the far right wall of Paddy’s flat. It amused me no end!

So, Sylvia review is still to come, I promise, and I’l try to get it posted over the weekend. Also, off to see Adriana Lecouvreur on Monday and Jason Manford on Wednesday, so expect more reviews in the not too distant future.

Anyhoo, that’s all from me for now, so til next time,

K xx

PS. Still loving ‘Progress’

PPS. I defy anyone who is both walking somewhere and listening to ‘Kidz’ at the same time not to at least be tempted to go striding down the road in time to the beat. I swear I got home in half the time, just because of the overwhelming urge to march!

Progress

So, a day late, thanks to the useless postal service, but I now have my copy of Progress, the brand new album by the newly(ish) reunited Take That. This is just a quicky (yeah right, quick, who exactly am I kidding?!) post with some first(ish) impressions (based on my thoughts after a second run through).

PROGRESS:

The Flood – Love. (Thought so on first listen. This has since been upgraded to ‘Awesome’.) One of the best Take That songs ever written. Fact.

SOS – Love. Should be the next single.

Wait – Not sure. Possibly a grower (already much better on second listen).

Kidz – Like. Reminds me a little of the Gorillaz and the teensiest bit of Britney with the la la las.

Pretty Things – Ok. Reasonably indifferent at the moment.

Happy Now – Not sure. Verse is better than the chorus. Sounds a bit Scissor Sisters-esque.

Underground Machine – Somewhere between like and love. Another grower, I think.

What Do You Want From Me - Love. Quite Markyesque, actually, and refreshingly adult. Rather heartwrenching after ‘Look Back, Don’t Stare’ though.

Affirmation – Not keen. Not really my taste. But then there has to be one.

Eight Letters – Love. Seriously, Love. Mandatory Gary ballad (with lyrics by Rob?) – lyrics, melody, vocals… beautiful.

Flowerbed (bonus track) – Like. Classic Jay track, I think. And I always do enjoy Jason on lead vocals. There’s not enough of him on this album.

A fuller review will probably follow when I have had time to fully appreciate the album. It’s definitely very different from anything Take That have done before, but as a whole, so far, I’m loving it. It’s far more upbeat and dancey than any of the previous albums and seems like a fabulous mesh between Take That of old, Take That of four and Robbie Williams of solo. If this is the sound of Take That – mark 3, then something, somewhere, has gone very, very right. It has left me in a state of almost indecent excitement for the tour next summer. In fact, my only criticism so far is that it should be several tracks longer and include a couple more with Jay and Howard on lead vocals.

On a similar theme, I also saw Take That perform on XFactor on Sunday. I quite successfully managed to watch only the ten minutes or so in which they appeared, while avoiding everything else about the show (though I didn’t quite manage to miss Cheryl Cole’s tribute-to-Star-Wars hairstyle). But I digress. My point is that I watched Take That perform as a five piece for the first time in approximately 15 years and I was totally choked up over it. It was absolutely beautiful to behold.

Robbie, the poor little lamb, looked terrified, but I thought he calmed down a lot after he made it through the first verse all on his lonesome. The gorgeous Gary looked so darn proud and happy to be there, it was magical. Dramagical in fact (you’ll have to wait for the forthcoming Hair on Tour vlog related post for an explanation of that one). Mark just looked chuffed to bits to have his old mate back on stage with him/them again. Hell, they all just looked so damn HAPPY to be there together. My heart still wants to burst out of my chest whenever I watch them. I’ve seen a fair bit of criticism over Robbie’s nerves, but a) I think he’ll get better with time and b) That’s one of the best things about the whole situation now – he has his mates up there with him to support him. And I’ll bet they want him to succeed and be happy just as much as he wants it for himself, as much as his lovely wife wants it for him and as much as us millions of fans who have waited fifteen years for this moment want it. I think he will just grow and grow and by next summer, the show that the five of them put on will be even more spectacular than the Circus tour – with or without the elephant!

Anyhoo, reviews from Panto and Sylvia coming soon, plus the aforementioned blog about Hair on Tour…

So until then, just in case you missed the event of the decade:

K xx

Look Back, Don’t Stare

So last night was the premiere of Take That’s new docu-film thingy at the BFI IMAX in Waterloo. My reasons for going were four-fold. First, it’s Take That related, nuff said. Second, there was always the possibility, however small, that the boys themselves may put in an appearance (though they didn’t ). Third, what Take That fan with time and means would pass up the opportunity to see the boys on a 20 metre tall screen, not me, that’s for certain. And finally, being out on Saturday night, I knew I was going to miss the TV premiere, so not only did this mean that I got to see the film early rather than late, I also got to see it in full, rather than the cut down version which will be shown on ITV.

I’ll admit I was a little nervous before the start, in part, because I was worried about what might come to light it what was, by all accounts, going to be a rather frank and honest film. I live in constant fear at the moment of anything that may add fuel to the Robbie-haters fire. However, I was also nervous because I was on my own (again) and I’d already spotted a few of the ‘super-fans’ (I’ve seen them before, many, many times. I’ve even met a few of them on occasion, but they’re not the most friendly bunch and succeed in making me feel rather insignificant on a regular basis. Partly because I’m not ‘fan’ enough, partly because I don’t have the time, money, knowledge or network to follow the boys quite as thoroughly as they seem to. And partly because I naturally feel insignificant anyway).

Anyways, I needn’t have worried. What followed was around 100 minutes of beauty (and plenty of nice close ups). They showed Take That’s progress as a five-piece from the initial reunion last year, right up until more recent events. It was fascinating, emotional, sweet and funny. It was polished, yet with a few raw edges. Of course, I loved watching Gary and I tend to forget how funny he can be, whether intentionally or not. I’d be more than happy to take him up on his offer of listening to him rave about whatever the little boxes were (I think they were pedals), not because I have the slightest interest, you understand, but just to listen to him talk. He could make a shopping list sound sexy. Anyways, moving on, I’ve always loved hearing Jason’s insight into things and there was plenty of it in the film. He’s always seemed to me to be a bit of a thinker and somehow deeper than the others. Though, having said that, Howard, to me, has always been deeply emotional. Not in a crying at everything way (like me ) but just that he feels things deeply. I’ve seen the quote about him considering suicide after Take That split back in ‘96 far too many times, but it makes my point, I think. As for Mark, they touched briefly on the rough year he’s had without over exposing it or making it in any way the focus. I thought it was very tastefully done. And then there’s Rob. As I was leaving, I overheard someone criticising the film for being too Robbie orientated, but having thought about it, I feel that it was inevitable as well as necessary. His return is an integral part of the Take That story from the past year and it would have seemed slightly ridiculous not to focus on it. That said, I don’t think he ‘took over’ or anything so overly dramatic. The film documented them getting to know each other again as a band, fitting Robbie into the new (noughties versus nineties) band dynamic and learning to work together again, this time as equals, to produce what I’m sure is going to be a fantastic record. It was also awesome to hear Robbie’s ‘I get embarrassingly excited when the five of us are in a room. It feels like coming home’ quote from his own lips. Personally, I was embarrassingly excited by the fact that the boys seemed to have exactly the same posh swivel chairs in the various studios that they worked in as the one I am currently sitting on in the office at work!

So, anyways, despite all that was revealed regarding Robbie (his fears, insecurities and the fact that he actually walked out at one point), it actually left me with the hope that this is truly going to be so spectacular, I can’t even begin to explain my excitement. I’d already heard 30 second clips of each track of ‘Progress’, but there was a little more revealed in the film. Needless to say, I cannot WAIT to hear the album in full. As for the tour, I’m still slightly concerned that Robbie will pull out, but I think that the other boys understand him enough now that they can and will support him. And with Ayda in the picture as well, lets just say that I think though he might consider it, and though I’m sure there will be many rows and tantrums, I still think he will walk out on stage at the Stadium of Light next year and prove to everybody that it was all worth it, that he deserves to be there and that above all, he is a damn good entertainer and a member of one of the best pop groups of all time.

In other news, I now have an extra draw to New York as the boys first got together to work as a five piece again in the Electric Lady Studio there. I would now dearly like to visit it (or at least look at the window and go ‘oooh’), however, life is still rather up in the air at the moment and I still feel unable to book The America Trip. Unsurprisingly I am not best pleased about putting it off longer and I was rather devastated to find yesterday that flights had gone up by over £100 since last week. Fortunately, it seems the airmiles flights have not been similarly affected and I can still get the same flights I initially chose for the same price as last week. However, I am now left with the dilemma of whether I should just go ahead, book and damn the consequences, or give it just a week or two more in the hope that my situation will be a little more settled and I can book in the knowledge that the trip won’t cause me too many problems. There is also the slight possibility, however, that in holding off, I may be able to go for a day or two longer and it is that, rather than my fears over inconvenience, that has put me off booking this very instant. After all a day or two more in New York is a show or two more on Broadway… And you never know who may have a gig. Anyway, it’s a rather enticing thought!

Anyhoo, as I already mentioned, I’m off to Manchester England, England (I’ve been listening to the Hair soundtrack again) this weekend for Panto’s On Strike, and I’ll get to spend some time with my grandma and cousins, who I rarely see, which will be nice. Still a little nervous about what the show will involve, and we’re in the second row so that could be a little scary if they go down the audience participation road, but hopefully it’ll just be a fun night out at the panto.

And I shall leave it at that for now.

So, until next time,

K xx

Shouting Love at the World

So, it occurred to be me (about thirty seconds ago) that even though my blog seems to have drifted pretty much entirely into musical theatre review territory, that wasn’t initially what it was intended to be. Not that it was really intended to be anything in particular, but if I can refer you to my initial post, you may notice that I have many obsessions far beyond Musical Theatre and Steel Burkhardt. It is to one of these others, then, that I turn to now.

Last Friday marked the first air play of the new Take That single ‘The Flood’. An exciting event in any Thatter’s diary, but made doubly, nay, triply more so by the fact that this was the first single featuring all five members of the original line-up since ‘Never Forget’ in 1995. Of course the huge build up and excitement was slightly dulled by the huge amount of publicity around ‘Shame’.

Now, I love Gary Barlow, Robbie Williams and Take That – both separately and together (in any combination). Seeing Gary and Robbie perform live together for the first time was something truly special (see ‘Help for Heroes concert’) and to be honest, the song they sang was never going to matter as much as the event itself. Over a decade of bad blood and rivalry washed away in a single ‘loving’ glance. It was almost poetic. As a song, ‘Shame’ was, um, reasonably good. I did enjoy it and its grown on me even more over the past weeks. And the video was epic. That said, between the two of them, I have to agree with the general public consensus and say, they should have done better. Much better.

‘The Flood’, however, is in a league of its own. It’s somehow new and exciting, while still feeling very much like classic Take That. And it also wouldn’t be amiss amongst some of Robbie’s solo stuff (particularly Intensive Care – the beginning reminds me a little of ‘Ghosts’). It’s hardly surprising that Robbie was given lead vocals on this one, but it’s nice to hear Gary’s voice on the bridge (well, when isn’t in nice to hear his voice?!). And I can quite distinctly pick out Mark’s, Howard’s and Jason’s voices during the chorus. (In fact my only issue with the song at all was the fact that I was worried about the possible anti-Robbie feeling over on the TT forum when everyone heard he’d been given the lead. Fortunately, it looks like I needn’t have worried. The reaction has been pleasingly positive, even from the critics (by critics I mean the pro-TT/anti-Rob crew, not the music critics who write for newspapers!))

I have to admit, I rarely like songs this much on first listen. I remember hearing ‘Patience’ for the first time and being just a little disappointed and unsure, but man, was that a grower. Its now one of my all time favourite tracks (by any musician/band) and always a highlight of their live shows. ‘The Flood’, by contrast was love at first listen and has continued to grow on me every time I’ve heard it since. The lyrics (the ones I’ve deciphered, at least) are beautiful and I adore the melody. I even like the electro-y aspect of it – somehow takes it up a notch, I think. And I cannot wait for the video premiere on Friday. The teaser clip on the Take That website – with the slow reveal of each member walking out of the boating shed thingemy whatsit, finally ending with Robbie to make the complete set (as it should be *sob*) – is b-e-a-u-tiful (this should be read to sound the same way Steel says it prior to ‘Don’t Put it Down’, just without the American drawl – in case you were wondering).

All in all, I’m now on tenterhooks waiting for the release of ‘Progress’ (the new album with a whole load of new tracks – yay!) and the inevitable announcement of tour dates for next year. (I’m extra excited waiting for the tour announcement as, depending on dates and locations, I’ve decided to just go for it and head off to the States earlyish next year to catch ‘Hair’ on tour (Sorry Steelicious, you’re not quite rid of me yet!). I’m thinking of Boston or Chicago at the moment, but I don’t want to miss opening night of the Take That tour, so I shall have to sit on my hands for a few more weeks and resist booking flights! NB: I’m not going just to see the show. I’m not quite that crazy (yet) and it will be a proper holiday complete with touristy sightseeing etc., hence choosing cities I’d actually like to visit!)

So, still no shows booked for this week (yet) but I’m considering going to see ‘Traces’ on Wednesday. If not, I can just spend longer getting excited for Gavin Creel at the Jazz Café. I’m back to listening to ‘Goodtimenation’ pretty much on repeat at the moment and I’m still loving it. ‘These Four Walls’ still gives me tingles and I really, really hope he sings it when I see him. That and ‘Might Still Happen’ just cos it makes me happy.

And finally, in case you’re interested, the title of this post is a line from ‘The Flood’ but it kinda fits quite nicely with all the ‘Hair’ stuff still whizzing around my head at the moment, so I thought it seemed apt.

Anyways, until next time,

K xx

PS. I’ve been scribbling a fanfiction-y style story based somewhere between reality and fantasy (co-starring Steel, of course) which I may or may not post up somewhere for general reading and ridicule. But we shall see.

PPS. Also, in the notebook that I’ve been scribbling in, there’s also a new ‘Inevitable Drunken Post’ (IDP) which I wrote Thursday night on my way home with a vague intention of typing it up when I had a spare minute. However, this allowed for an earlier than normal ‘Eventual Sober Reflection’ (ESR) and I have since decided it’s far too cringe-worthy to publish. Needless to say, it mostly involved Steel and we shall leave it at that!

PPPS. I just remembered that I’d decided to avoid mentioning Steel again in less absolutely necessary… oops. Oh well, surely it’s always necessary to add a bit of Steeliness to my posts? Maybe I should just stop tagging him in everything and then maybe no one will notice  (If I keep this up much longer I’m going to end up with a metallic theme on here instead of the current pink with purple trim.)