Sunday, 23 March 2014

I Can't Sing: The X Factor Musical

London Palladium
Saturday 15 March 2014, 2.00pm (preview)


I Can't Sing is absolutely bonkers.

What a treat, in what are sometimes depressing times, to watch a show that will just make you giggle.

This show is a colourful, fun and technically fascinating homage to what is now, love it or loathe it, a British institution - the X Factor TV show.

It depicts a trail of hopefuls as they move from auditions to live shows, but none can compete with heroine Chenice who cannot only sing but the fact she has to unplug her grandfather's iron lung in order to use the toaster gives her the most important of qualities to be a winner - a heart-wrenching back story.

She also believes she can't sing - although I don't believe anyone who enters the X Factor thinks this - it's usually the other way round and they really can't!

But this isn't a cruel parody. It packs in all the show's cliches in such an affectionate way that it made cynical old me, someone who had long fallen out of love with the TV show, want to love it all over again.

A host of other misfits with voices which pay homage to former TV contestants including a "Tesda" checkout girl, Irish twins, Wagner and bizarrely, a rapping Quasimodo. This seems maddest of them all - until the ending, when you realise his role.

I Can't Lie - I have always been a Nigel Harman fan and he could probably just have stood on the stage doing nothing and I would have thought it wonderful just to be in his presence.

But thankfully he puts in a great performance as a heightened caricature of the original - slightly more camp - and of course better looking than the real thing. A true triple threat - Harman sings, dances and acts and generally looks fabulous, even with a preposterous set of dazzlingly white teeth.

Cynthia Erivo's Chenice is a mixture of feisty and sweet. She has a tremendous voice to boot and her relationship with Alan Morrissey's boy next door Max is a vehicle for the show romance story.

Simon Bailey's Liam O'Deary is just a fantastic parody of X-Factor presenter Dermot O'Leary - every nuance of his movement is captured. I didn't even realise Dermot did that until Bailey heightened it in an impression. His song - I Love Hugging People I don't Know - was just genius!

Other favourites for me were Barlow the Dog, cleverly worked by Simon Lipkin, Jordy, the Geordie judge and a brilliantly understated but perfect Louis (Walsh).

Charlie Baker's hunchback was another highlight simply because it was so ludicrous!

Complemented by a very strong ensemble cast, everyone just looks like they are having the time of their lives - while gently poking fun at some of the technical problems the show had in preview.

It just needs interactive voting during the interval to make it complete but that would probably be a technical headache too far!

The final Simon Cowell reveal is just mad - but strangely appropriate - and to be honest all you would expect of the hilarious writer - Harry Hill.

If you have never seen the X Factor, you may well wonder what the heck you are watching, and I'm sure some critics will get on their high horse about it but I'd just say chill out, appreciate the madness and just laugh!

Sunday, 19 February 2012

Peppa Pig's Treasure Hunt

Grove Theatre, Dunstable
Sunday 19 February 2012, 10am

Peppa Pig is a phenomenon. I don't know what it is about the little pink creature that will stop V doing whatever she is doing in her tracks and stare, but I can report that the stage production has the same effect!

She not only sat and watched the whole show intently but also, for the first time, sat on her own seat throughout.

Peppa Pig's Treasure Hunt is a simple story about, yes, you've guessed it, Peppa and her friends going on a treasure hunt! Danny Dog, Zoe Zebra and Pedro Pony join her and brother George as they all follow a map which takes them from the bushes to mountains, a wood, a pirate island and home again.

The TV characters are escorted by "Daisy", a friend of Peppa, played by real life actor Charlotte Sullivan, who drives the action and instructs the audience.

On their journey they use a wide range of transport - car, train, pirate ship and hot air balloon - all piloted, of course, by Miss Rabbit who, with her neverending plethora of jobs, is the Peppa equivalent of Myleene Klass.

As the story progresses, there are loads of catchy tunes with plenty of opportunities for the audience to join in with the words and actions and I was particularly pleased that they had worked in the Bing Bong song, my personal favourite.

They also manage to shoe horn a UV light scene into the tale. Peppa idly searches in a rock pool for the treasure - as you do - which leads to a full on under the sea scene with colourful fluorescent ocean creatures floating around a black stage.

It's a real skill to faithfully translate a cartoon onto the stage and make it believable, but this production successfully does it using puppets.

You might wonder if children, who are always very sharp about these kinds of things, would realise and / or care that they were puppets, especially as you could see who was operating them.

However, it does work, and if you've ever seen the adult show Avenue Q, you will know why.

That show makes you realise, even as adults, that while you know how the puppets are being operated, you just forget about it and enjoy the show because the story enthralls you and this Peppa show is exactly the same. The children MUST realise that they are puppets - but it doesn't bother them. It helps that the voice of Peppa is very faithfully recreated by Hannah Lucas.

V never once mentioned the people with their hands up Peppa and George's bum (and believe me she is the sort of child who would mention it!), she was more concerned about where the train and the map had gone and how "that's not treasure, that's a crab!"

"I enjoyed the show" she said.

This is all I need to class the trip as a triumph! It doesn't matter what I might have thought, as long as the person who the entertainment was aimed at, got a lot out of it!

Luckily, I enjoyed it too!

Length

The show was the perfect length for us. A first half of around 35 minutes with a 15 minute interval and then another 25 minutes or so. Given that the TV episodes are usually no more than five minutes each, it is testimony to the power of the character that Peppa can hold a child's attention for a much longer time as well.

Age range

V has just turned two and she sat all the way through it and "got" the story enough to be asking questions about the plot. Basically if your child is at an age where they really enjoy Peppa they should enjoy this version. As always, younger siblings should also do OK - it's a children's show, it's never a completely silent audience!

Other stuff

Merchandise was, as always, pretty overpriced but if you want to get something, I would go for the souvenir brochure / activity book. It's a fiver, which though expensive is not much dearer than a pre-school children's comic these days and it is very good quality.

The spinning windmill lights that are de rigour at a panto, that we paid a fiver for at In the Night Garden, were a wopping £7.00!! Sadly I felt the need to get one as we hadn't brought her comforter "toppy" with us and we needed a back up distraction! I have stopped taking "toppy" with us on trips like this as she doesn't need to sleep but I think I will take it again in the future - it really doesn't do any harm, it's not drink or drugs and it will save us a pile of cash!

As it turned out, she didn't need a distraction as the show held her full attention.

T-shirts are £10, again they are good quality but still pricey for toddler sizes. However, I preferred to get one of these than a toy because you at least get a lot of use out of it.

http://www.peppapiglive.com/index.html

Sunday, 27 November 2011

Numberjacks Live

Grove Theatre, Dunstable
Saturday 26 November 2011, 2.30pm

Wow, wow, wow, wow was all V kept saying as we took our seats and she saw five small numbers on the stage and the Numberjacks logo on a screen - so to be honest, it doesn't really matter what I think!

The TV series is a playful introduction to numbers for pre-schoolers and won the Royal Television Society Award for Best Pre-school Educational programme two years in a row. This is the first time that the CBeebies favourite has come to the stage in their first live mission - called Saving Brain Gain.

The Numberjacks are ten numbers - 0-9. On TV they are animated superheroes who solve problems for special agents, which are children who phone in to report strange goings on.

These problems are usually caused by any one of five Meanies and the colourful number characters then decide which number will help. That's the general gist of it anyway I think!

I will sum up the plot of the live show in the words of my 21-month-old daughter who has been repeating it since we left the theatre - "Number Taker. Number 4 caught in net. Rescued."

Anyhoo - in short, the number 4 was taken, appropriately enough by the Number Taker, and rescued by the Numberjacks, with the help of the audience.

The rescue involved something called Brain Gain which I think means thinking a lot! Apparently the last bit of Brain Gain left in the world anywhere was in Dunstable - which frankly made my head spin!

Personally, as an adult who doesn't really watch the show much (it usually coincides with 'dad time') I didn't always understand fully what was going on and could pick holes a mile wide in the plot - but it wasn't aimed at me so my judgement of this show comes from the look on V's face which was wonder and excitement and her engagement with it which was total!

To be fair, due to the nature of the TV series it is nigh on impossible to produce a seamless transition to the stage, not without a huge budget anyway!

So, the animated characters appear on a screen while two actors, playing characters called Jamie and Astra, tell the story and really throw themselves into it, keeping the action moving and getting the audience involved at every stage, singing, dancing and shouting. When the numbers do appear they are large padded shapes which don't talk but the young audience didn't seem to mind in the slightest.

However, what makes it a good children's show is that there's loads of audience participation - even for the adults - and when things go wrong, it's up to the children in the audience to solve the problems and put things right.

There are also a lot of pantomime elements such as "he's behind you" and even an ‘oh no it isn’t, oh yes it is’ so plenty of things to keep a boisterous audience busy.

Only two of the Meanies actually appear as characters in this show - Spooky Spoon, who keeps mixing things up and the Number Taker, who is exactly like the TV character and the spoon is a kind of puppet which appears to float thanks to the classic puppeteer in black effect.

The only thing I had been worried about beforehand was the fact that there are 'baddies' in this show and that they might be too scary.

I find the Numbertaker rather sinister myself and Spooky Spoon a bit strange but V is not bothered by them on telly so I hoped she would be OK seeing them in the flesh - so to speak. She was - although she still spoke about them all the time - and didn't stop talking about them afterwards and went to bed still talking about Spooky Spoon.

It's not a lavish production and don't expect to see the TV show completely recreated on stage but it's lively and fun and in my experience, if your child likes the TV series and/or enjoys the interactive elements of going to the theatre, it definitely does the job!

Length
Perfect - Each half was just 30 minutes with a 15 minute interval.

Age range
The show is advertised at 2-5 and I think this is fair although there were older ones there - and younger ones too as V is not yet two and was fine. There were even younger ones there who had come with older siblings and there was nothing in it inappropriate for them.

V is now 21-months-old. She last went to a show three months ago and those few months have made a world of difference to her experience. At previous shows, she has always been enthralled but after about 15/20 minutes wanted to run around as well as watch. She watched this show either from her own seat (she looked so grown up - although I did have to hold the seat flap down with my leg to stop her getting folded up in it!) or from my lap and was totally into it from the word go, pointing, clapping, joining in the actions and, in true toddler style, giving 'mummy' a running commentary on everything that was going on! A job at News24 beckons I think!

Other stuff
I think they missed a trick with having no show merchandise for sale. As usual we were expecting to be fleeced and had budgeted for it. In some ways I'm pleased we weren't but pester power means that the show itself could have raked it in.

http://www.numberjacks.co.uk/kids/njlive/live_show.htm

Wednesday, 27 July 2011

Justin Live!

Royal Spa Centre, Leamington Spa

27 July 2011 (11am)

Justin is something special!

Well, he has to be if he can get me sitting in the middle of a packed theatre full of pre-schoolers at 11.oo in the morning! Not on my own obv!

Four years ago today I was preparing for our wedding tomorrow with not even the slightest inkling of where I'd be sitting four years later! But there I was - with Mr FB and a toddler - at show watching a CBeebies fave! Who'd have thought?!

OK - I admit that I did get a hysterical fit of the giggles when Justin Fletcher burst onto the stage to an upbeat musical number and shouting "Hello Leamington Spa, are you ready to party?!" And I did mumble to Mr FB, "He's not flipping Robbie Williams, is he?!"

But as we settled into a show of songs and jokes, I saw the look on my littl'uns face and got 'with it', throwing myself into (well singing a little bit and clapping my hands) favourites such as If You're Happy and you Know It, The Hokey Cokey and Old MacDonald - my baa-ing sheep was a particular triumph!

I think if you don't have a child under three, the name of Justin Fletcher will mean diddly squat, but if you do, then he's likely to be a bit of a legend.

He is known for his slapstick routines and a wide range of characters in programmes such as Something Special - which was created for youngsters with learning difficulties but loved by all and Gigglebiz - a kind of pre-school Little Britain. He also won the first BAFTA ever given to a presenter of pre-school programmes for Something Special and in 2008 was awarded an MBE for services to children’s television.

He also voices Tweenies characters and Timmy Time and is pretty ubiquitous on CBeebies.

Indeed, my 17-month-old recognised him immediately on the stage and watched transfixed. Within minutes he was amongst the audience, standing on a chair two rows in front of her, singing and clapping as she looked up at him open mouthed, not quite believing that "Mr Tumble" was just feet away.

Justin has been recorded as saying that most children, including his own niece, think Mr Tumble is a separate character but he hasn't fooled my daughter - "Tumble dancing" she pronounced, even though he wasn't dressed as the clown - not much gets passed her and frankly freckles and a clown nose is not a heavy disguise!

She loved the nursery rhymes and the impressions of Gigglebiz faves (the time demands on a kids show wouldn't allow for full costumes and make-up) and seemed particularly entranced by his four backing dancers, dressed brightly and performing with an enthusiasm that only those in kids' shows seem to have!

He also went through all the animals using the Makaton sign language for children with learning difficulties which is used in Something Special and his slapstick humour had all the kids and a lot of the adults too laughing hysterically.

The show is just a presentation of sheer joy and I take my hat of to anyone who can sing and dance - and smile while they're doing it - at that time of the morning!

For those who have commented that I have changed - I haven't - as sitting in a theatre watching a show that is sold out and full of boisterous youngsters is not usually my ideal morning out.

But I thought the show was great and Justin is "something special" in terms of children's entertainment but I would rather it had been performed to just the three of us!

However, to see my little girl amazed by what she was seeing and not at all phased by three-year-olds running up and down the aisles, made it all worthwhile and I will put up with hundreds of screaming kids any time - just for her!

I am very pleased and proud at how well she's taken to live theatre although I think it will be a number of years before she's ready for Shakespeare as the RSC don't tend to look kindly on members of the audience giving a loud running commentary on what's happening on stage!

But bring on panto season - she's ready!!

Monday, 25 July 2011

Much Ado About Nothing

Wyndham's Theatre

23 July 2011 (Mat)


Much Ado about Tennant and Tate

It wasn't until I saw A Midsummer Night's Dream by the RSC at the Barbican at the age of 14 that I realised that Shakespeare's comedies might actually be funny. Reading them off the page in the classroom I thought that the words were very pretty but they certainly weren't hilarious. The RSC changed that for me.

Much Ado About Nothing at the Wyndhams will surely do the same for anyone who feels the same as my young teenage self.

It's vibrant, fresh, funny (obv) and a genuine feel good production that is highly likely to bring a smile to even the sourest of faces.

Putting David Tennant and Catherine Tate together as Beatrice and Benedick works superbly. The chemistry they developed in Dr Who continues on the stage (so I'm told anyway as I gave up on the inexplicable plots of that series circa 1983!)

But Mr FB assures me that they made a good team on the telly and they certainly did in this Shakespeare as the comedy revolves around and between them with large dollops of well-timed slapstick in the eavesdropping scenes and fantastic timing and intonation of the lines throughout.

Tennant looks like he is clearly enjoying himself from the moment he enters in a golf buggy and donning a blonde wig and micro mini for the masked ball to the slapstick of the scene where he is tricked into thinking Beatrice loves him - the copious amounts of paint are worthy of any panto! But he also transforms superbly into a man in love - and someone that you would really want to love back!

Tate uses all her comedy talents and timing to the full to cleverly portray a woman who uses jokes as a defence against becoming emotionally detached. She teeters on the edge of looking like she might come out with an “Am I bovvered?” at any moment but thankfully she doesn't - although I'm sure that much of the audience would have howled with laughter in much the same way they did at anything remotely funny David Tennant did, be it spoken or merely a comic glance!

Director Josie Rourke has set the action in early 1980s Gibraltar where dashing Richard Gere in An Officer and A Gentlemen-esque navy officers - presumably high-spirited post-Falklands - trick B & B into falling in love.

I loved the 80s vibe, the clothes I thought I'd forgot, the characters at the masked ball from Adam Ant to Thatcher, Hero's replica Lady Di wedding dress, the music which very cleverly sounds like famous 80s tunes but aren't quite. Who'd have thought that "Sigh No More" and a "Hey Nonny Nonny" to a disco beat would actually work!

The plot, as so often in Shakespearean comedies is preposterous in parts, but the more modern setting actually makes part of it more believable than I have ever seen before.

Beatrice's cousin Hero has supposedly betrayed her fiance Claudio with another man the night before her wedding and because the action takes place mere decades ago as opposed to centuries, it allows for a raucous hen party scene which makes the whole thing more plausible, as Hero's maid, wearing her mistresses hen veil gets off with someone else at the disco!

Among the supporting cast Tom Bateman and Sarah MacRae are an attractive Claudio and Hero and John Ramm is another comic highlight as an actually funny Dogberry played as a jobsworth who thinks he's Rambo!

Sure there will be purists who will scoff and sneer but the fact is the theatre was full and the audience were enjoying themselves immensely on a day when laughter was in short supply elsewhere. It's a lot of FUN and if it gets more people to enjoy Shakespeare then that can only be a good thing!

Sunday, 19 June 2011

In The Night Garden Live

The Pinky Ponk Show

Showdome, Woburn Abbey

18 June 2011 (1pm)

A real trip to a surreal world!

The thought of taking a toddler to the theatre is enough to fill anyone with a sense of dread, especially when you are the parent of a child who is only still for any length of time when she's asleep - or watching In The Night Garden on the telly!

Would the live version have the same soporific effect?!

Well, I am delighted to report that V's long-awaited first trip to the theatre was a resounding success, no crying, no running around at 100mph and, thankfully, no demolishing of the set!

This is probably because the it's not just the show that's for children. The entire theatre, which is an inflatable dome, is designed for children. There is a buggy park, a microwave for heating up baby food and loads of baby changing facilities.

The "seats" are rows of steps which are tiered perfectly so that if an excitable toddler wants to stand up they can still see, and there's also lots of room between the rows for children to move about if they need to. This may sound like a nightmare to some but if you're there with kids you'll understand how good this is and you wouldn't really be there without them would you!

The inflatable showdome also looks exciting as you arrive. I thought it looked like a giant white maggot but Mr FB was kinder as he thought it resembled meringue nests. As you walk in there are projections on the ceiling as the Pinky Ponk flies by and you do really feel like you're going INTO the Night Garden.

The show itself is excellent and children see all the characters that they know and love - Iggle Piggle, Upsy Daisy, Makka Pakka, the Tombliboos and the Pontipines which all appear either as costumed characters or human animations. There is also a Ninky Nonk and Pinky Ponk while the Titifers and Hah Hoos appear as projections on the ceiling and back wall.

The perspective that you get on the telly is reproduced really well. For example when Makka Pakka first appears, he (????) is huge, but when he is in a scene with the larger Iggle Piggle, a smaller puppet is used so you really get a sense of each character's size in relation to each other.

It's all very clever and well thought out and intelligently brings to life the world that is so familiar on the telly. There are also very high production values that sadly are sometimes skimped upon in other shows because it's "just for children".

But the most important question to answer is what did a 16-month-old think of it? Well, she loved it! It really warmed my heart to see her little face as it all began - sheer wonderment at the magic of it all. In fact at one point I even found myself fighting back the tears at seeing her so happy. I had wondered if she would be un-nerved by the noise and lights but not at all, she took to it all straight away.

The show is 50 minutes long which is quite a while for a child of her age to sit for but, amazingly for her - and tellingly - she sat really well for well over half of it and it was only in the last 20 minutes that she wanted to get up. Even then, it was just to stand and watch - and dance - so enthralled was she!

There was also some delightful shouting out on her part which was a joy because it showed how engaged she was with the show. There was pointing, waving, clapping, the shouting out of characters names and bidding farewell to each of them as they left the stage. (I'm sure she'll grow out of this though - shouting out "Bye, bye Hamlet" may not go down too well at the National!

And it wasn't just her. I'm afraid that I couldn't really contain myself either. I cheered when the characters came on and sang along with the songs - and this is from someone who won't even clap along to the music at a curtain call of a normal musical. I have no idea what's happened to me, but I'm not complaining!

As I had done a few interviews on the show in the week before, we were lucky enough to join some competition winners on the stage afterwards to meet the cast. This was the icing on the cake as for V it was like meeting a popstar!

She stroked Iggle Piggle and immediately engaged in conversation with Upsy Daisy - touching the character's nose and saying "nose". Upsy Daisy then also touched her nose and nodded - I think that this may have been V's first attempt at an interview! If so, she's a natural!

I had been really looking forward to this trip but at the same time was slightly worried about how it would go. It turned out that choosing this show for her first taste of dramatic art was a very smart move, and I only hope that it's just the start for her and that a lifelong appreciation of the theatre will follow!

Tuesday, 24 May 2011

Blood Brothers

Grove Theatre, Dunstable

23 May 2011

Blood, sweat and many tears

It happens every single time. I have actually lost count of the number of times that I have seen Blood Brothers. I know exactly what is going to happen and many of the lines but I still flipping cry my eyes out.

I am not normally one for multiple visits to shows unless it is truely special or has a particularly impressive cast but I make an exception for Willy Russell's wonderful piece of drama. For I'd rather call it that than a musical. It is a very powerful and emotional play, it just so happens that most of the lines are sung.

So - why is it so special?

Well, although the opening scene hints that it’s not exactly going to be a happy ending, to start with the simple, witty lyrics and lighthearted scenes imply that it is a feel good musical. It draws you into the world of the families it portrays, lulling you into a false sense of security, until it twists in the second half and turns into tragedy. But by then it’s too late - you’re completely sucked in. It really is an emotional rollercoaster!

OK, the plot may sound a bit corny. Set in Liverpool. Twins separated at birth and brought up in different environments, one rich and one poor. They grow up different – but also the same. They meet by chance and, guess what, become firm friends!

But the mothers try to keep them apart because, in fear that she will lose her son, the adoptive mother has told the real one that if the boys ever find out, they will die. It could therefore easily dissolve into cliché and sentimentality but it doesn’t. It’s heartbreaking.

It doesn’t sound very cheery does it? But it is, it’s also very funny!

In Willy Russell’s own inimitable style, the Scouse wit is beautifully timed and some of the most enjoyable scenes are where the adult actors play seven-year-olds in all their innocence. But ultimately it is the humour of the piece that makes the finale all the more shattering.

The character that embodies this change is Mickey, and in this production, as it has been many times before, he is played by Sean Jones who puts in a performance that can only be described as blimming marvellous!

I was so pleased to find that Blood Brothers was coming to Dunstable but I was ecstatic to find that Jones had returned to the cast, for in my opinion he is the best Mickey ever!

I first interviewed him about it in 2004 after seeing his performance and he had already been in the show a while. Since then he has appeared on tour and in the West End on and off for years - to me he IS Mickey!

His transformation from a lovable and witty scally to a man totally broken by his circumstances is nothing short of brilliant! His delivery and timing is flawless, his breakdown heartrending, and it is mostly down to him that I have to scurry through the foyer at the end to the safety of the
darkness of the car park at the end of every show I've seen him in!

In this production Mrs Johnstone is played by Nikki Evans, the 2007 X Factor finalist. As the mother who has to separate her twins so that her family can survive, she put her all into the role and it is clear that in musical theatre she has found a better niche than pop superstardom. And as Leon Jackson won that series, I definitely think she got the better deal - pop superstardom didn't await the winner anyway!

I thought at the start, that showing the end first could spoil things but I was wrong. It just heightens the tension, because throughout the ‘we’re poor but we’re happy’ atmosphere, there is also a foreboding feeling of inevitability, that they are tumbling ever faster towards disaster.

Like the secret that hangs over the families, the Narrator (Craig price) lurking in nearly every scene, not in the forefront, but nevertheless there, also gives you the feeling that the past just won’t go away.

There are other little clues to the final conclusion throughout the show, as the imaginary guns turn to toy guns and eventually real and deadly ones.

On the face of it, one may be tempted to think that it is all about the class divide. It is a bit, but I think it’s more than that. As the two mothers try desperately to keep the twins apart for the rest of their lives, the more they seemed forced together.

It is a good example of self-fulfilling prophecy, showing that if you believe in superstitions enough they will come true, especially, if it’s you that’s made them up in the first place. It’s a good study in how much control we actually have over our own lives.

What playwright Willy Russell has always done so well is combine being critically acclaimed with being populist. This is because he not only puts together well-crafted plays with layers of meaning, he also writes about real people with all their humour and their tragedy.

We can empathise with them because we understand them. In Blood Brothers they may have a firm Liverpudlian voice, with its dry wit and bare humanity, but the emotions that they experience can be recognised by anybody.

Another thing that I like about this as a musical is that you don’t get bits of speech that sound like a cue for a song. The dialogue and the music melt seemlessly into one another as if this was totally natural. This is probably a result of one man doing the whole thing, book, lyrics and music.

And most importantly, after a big "number" as such, the next piece of action starts immediately, there is no interuption for applause which serves to keep the rollercoaster on track with no respite.

The show has been running for over 20 years in the West End and on tour, it simply doesn't date. Even if it is set in the 60s/70s, the costumes are pretty generic, situations, such as umemployment, are still recognisable and the emotions are universal.

Think I'd better stop now - although I could wax lyrical for a few more hundred words given the chance!


Interview with Sean Jones in 2004: http://www.bbc.co.uk/threecounties/theatre/2004/02/blood_brothers_sean_jones.shtml

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