“. . . This production thought it had something new and original to bring to the proceedings. They wanted us to know that To Kill a Mockingbird was from a book. In fact, the whole company, with the exception of the three children and Atticus, had a copy about their persons at all times which they were at pains to demonstrate as they all took turns reading from it . . . ”
Read MoreThe Everyman’s creative director, Paul Milton, is still tapping in to his rich seam of material based on the great pre-war American songwriters. After Cole Porter and Irving Berlin, The George Gershwin Songbook is another little gem. In the previous two shows Paul managed to create a story line using just the lyrics . . . but The George Gershwin Songbook is a straight tribute with biographical details punctuating the songs.
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” . . . Last night’s two sell-out shows were a testament to the fact that people still want this sort of entertainment . . . Hats, and everything else, off to Missy Malone and her friends for their dedication to a style which, although largely gone, is not forgotten. The full house(s) last night demonstrated that her efforts are not in vain.”
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” . . . All the numbers were very theatrical and all of them could easily have come out of successful West End musicals. In fact, if you strung them together with a decent book you’d probably have a successful West End musical . . . there wasn’t a bad song among them . . . There was a good mix of humour and serious stuff and, for me, the solo numbers were almost the strongest . . . Ladies GoDiva is a class act. Helen Goldwyn’s songs are exceptionally good and the performances by all three ladies were really brilliant.”
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Blood Brothers, while not by any means a “rock opera”, certainly had Liverpool at its heart. It is the story of twin boys, separated at birth but growing up together only as the blood brothers of the title, without knowing they were true brothers.
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