Review: Jersey Boys

Hey readers!

It's time for my review of Jersey Boys.

"They were just four ordinary guys from New Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect on stage, off stage it was a very different story -- a story that has made them an international sensation all over again."

I first saw Jersey Boys in 2015, during its initial nine-year stint in London's West End. I found the show to be extremely entertaining, and have since become rather fond of the music. Whilst the original production would go onto close two years later, it is now being revived at the Trafalgar Theatre; a brand-new West End venue which has just opened following a major multi-million pound restoration project. The revival is fairly similar to the original, though with a new cast and some alterations to the show's designs.

The main attraction of Jersey Boys is its musical score, with music by Bob Gaudio and lyrics by Bob Crewe. The show features all of the old hits from the American rock band known as 'The Four Seasons'; a group that became internationally successful in the 1960s and 1970s. The music clearly resonates with people from all across the globe, which is demonstrated by the shear popularity of the show. There have been productions of Jersey Boys in New York City, Las Vegas, Chicago, Toronto, Melbourne, Singapore, South Africa, The Netherlands, Japan, Dubai, and China, playing to sold-out audiences everywhere. The audience at the performance I attended were particularly enthralled by the music, and it is easy to see why. The majority of the songs are all very catchy, including classics such as 'Cry for Me', 'December, 1963 (Oh, What a Night)' and 'Beggin'. There are also some very heartfelt ballads to be found within the score, including 'Can't Take My Eyes Off You' and 'Fallen Angel'. 

 

In the leading role of Frankie Valli is Ben Joyce, who is making his West End debut in this production. Joyce is an excellent singer, and delivered some fantastic renditions. Beyond this, the audience were clearly enamoured with his performance, giving him a standing ovation for his delivery of 'Can't Take My Eyes Off You'. The strongest performance in the show however comes from Benjamin Yates, who portrays Tommy De Vito. Yates really encapsulated the 'tough-guy' persona needed to play Tommy, and embodied the character faultlessly. It is worth noting that he was also an excellent singer, giving an all-round brilliant performance.

The one aspect of this production which is need of some improvement is its sound design. As one might expect with a show of this nature, some audience members prove to be a little loud, attempting to sing along with the performers. This can sometimes make it a struggle for the actors to be heard, as they are having to compete with the cheers of theatregoers. This could be combatted with stronger sound, as this would ensure everything is heard clearly.

Now my final verdict on Jersey Boys. I give Jersey Boys...

Jersey Boys is very enjoyable, largely due to its fantastic musical score. If you are a fan of The Four Seasons, then this is a definite must-see.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Amélie

Hey readers!

It's time for my review of Amélie. 

"Amélie is the story of an astonishing young woman who lives quietly in the world, but loudly in her mind. She secretly improvises small, but extraordinary acts of kindness that bring happiness to those around her. But when a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Although times are hard for dreamers, Amélie is someone to believe in…"

I first saw Amélie in April 2017, during its short stint at the Walter Kerr Theatre on Broadway. At that point, my feelings regarding the show were mixed. Whilst it was very much enjoyable, I found it to be somewhat peculiar. Since then, the show has been significantly re-worked ahead of its West End transfer, with a new creative team at the helm. The orchestrations have been altered, there is an expanded repertoire of songs, and the show is now staged in the actor/muso style. These changes have largely proven worthwhile, and it is much stronger than it was before. Amélie now feels far more authentic, and the show as a whole is more endearing than it was previously. 

The story of Amélie is very charming, and it's easy to sympathise with the journey of the titular character. She's rather introverted and a little awkward, but she has a heart of gold and devotes almost all of her time to helping others. It's a sweet narrative, and if more people were like Amélie, the world would be a much nicer place. One can only hope that the show will inspire people to carry out good deeds of their own. It's also a rather romantic tale, and the love-story between the two main characters is delightful. My only quibble with the show's book is that some elements of the story could have been removed in the interest of time. The show was only one act when on Broadway, however the run-time has since been extended and it is now a musical of two-halves. Amélie may have perhaps benefitted from remaining a one-act show, as this could have helped with pacing. 

As previously mentioned, the orchestrations have been completely re-done by musical supervisor Barnaby Race. These mark a significant improvement from the Broadway production, and it now feels far more authentic to the Parisian style of music. In addition to this, the added touch of the performers playing their own instruments proved very effective. It made the entire production a lot more enchanting, and helped add to the overall atmosphere of the piece.

Audrey Brisson portrays the leading role of Amélie; a performance for which she was nominated for an Olivier Award. Brisson puts her own spin on Amélie and really makes the role her own. She has the character down to a tee; Brisson embodies Amélie's innocence very well, and encapsulates the character's quirkiness too. She is also a talented singer, showing that there are no limits to her talents. The entirety of the cast were also excellent, and the way in which they were able to act and perform their own instruments simultaneously was awe-inspiring. It is by no means an easy feat, and yet they did it faultlessly.

The scenic design, by Madeleine Girling, is very different to previous productions, but this too is an improvement. The set is very quaint, and it was the perfect way of conveying Amélie's world to the audience. In spite of the fact that it doesn't change all that much throughout the show, it was particularly effective at showcasing a variety of different locations. It was a masterful design, and proved to be an overall highlight of the entire production.

Now for my final verdict on Amélie. I give Amélie...

Amélie features some outstanding orchestrations, as well as an exceptional leading performance. The show has certainly come leaps and bounds since its original incarnation, and I am glad to have seen it flourish in this way. 

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Heathers

Hey readers!

It's time for my review of Heathers. 

"Heathers follows Veronica Sawyer, a high school “nobody” that dreams of becoming popular. Her call is finally answered when she’s accepted into the ‘Heathers’ clique, sitting at the top of the high school social pyramid. When Veronica attracts the attention of mysterious teen rebel Jason Dean, or JD for short, she’s lovestruck. But, as she begins to behave in order to fit in with the crowd, can Veronica remain true to herself. Shocking actions and testimonies await in Heathers, where it’s murder being a somebody."

I first saw Heathers in 2018 during its initial West End run at the Theatre Royal, Haymarket and thoroughly enjoyed it. Following the news that it would be revived at the exact same theatre this Summer, I jumped at the opportunity to see it again. In spite of what I had initially expected, the revival production of Heathers is even better than the original. The new cast have really pumped some new life into the show, and the production certainly feels very improved. The world has changed a great deal since the Heathers first stepped into the West End, but this is a very welcome return.

Heathers is set in 1989, and yet it feels as if the show could be taking place in the modern day. Whilst a little exaggerated at points, the characters and setting often feel very life-like, and the book, by Laurence O'Keefe and Kevin Murphy, does an excellent job at capturing the high school experience. Many teenagers across the globe have connected with Heathers on a very personal level, and this serves as a testament to the show's authenticity. Beyond this, the musical is a black comedy, and the writing does well to balance out the comedic elements of the narrative alongside darker plot points. There are some genuinely funny moments throughout, and yet the show lever loses sight of its more serious themes either. A number of really important topics are explored within Heathers, including bullying, teen suicide and school violence. Whilst they are masked by comedy, they open some interesting conversations and it's important to bring these issues to light. 

The music of Heathers is remarkable, and among my favourite musical scores of all time. The songs are predominantly of the rock genre, and there are some fantastic tunes throughout. I first listened to the Original Cast Album of Heathers in 2018, and I have yet to grow tired of the music. It was also interesting to hear the songs being performed by an entirely new cast, and to see them put their own spin on it. The lyrics also outstanding; they prove easy to relate with and are particularly skilled at conveying various emotions. A few highlights include 'Freeze Your Brain', 'Dead Girl Walking', 'Seventeen' and 'I Say No'. 

In the leading role of Veronica Sawyer is Christina Bennington, a character that was first originated in the West End by Carrie Hope Fletcher. Bennington was very different in her approach, and she really made the role her own. She plays the character as more quirky and innocent, which in turn made Veronica all the more likeable and easier to root for. Additionally, Bennington felt very believable as a high schooler, making the show feel more life-like. She also had a wonderful singing voice, giving a marvellous rendition of 'I Say No'. Playing opposite Bennington is Jordan Luke Gage, in the role of Jason 'J.D.' Dean. Gage too has a phenomenal singing voice, which was particularly evident during 'Freeze Your Brain', He also had excellent chemistry with Bennington, and their duet during 'Seventeen' proves to be one of overall highlights of the entire show. In the role of high school bully Heather Chandler, Jodie Steele has returned to the role after having served in the original cast. Three years later, Steele's performance seems even stronger than it was before. She had a real command of the stage, which really helped to give the character status. She is also a talented dancer, and gave an overall faultless performance. Special mentions must also be awarded to Bobbie Little and Frances Mayli McCann as Heather Duke and Heather McNamara respectively. Both performers were triple threats, demonstrating exceptional talents in acting, singing and dancing.

The choreography, by Gary Lloyd, is masterful and among the best I have seen in any production throughout the past year. The dance numbers were all first-class, and were a true delight to watch. In relation to the designs, both the costumes and lighting, by David Shields and Ben Cracknell respectively, were also astonishing. Throughout the show, they often worked in tandem with one another, with the spotlights being used to reflect the colour of the costumes. This was particularly clever, and showed just how effective lighting can be when used creatively. 

Now for my final verdict on Heathers. I give Heathers...

Heathers is the first musical I have given 5 stars to since 2019, showing just how spectacular this production truly is. Whilst I am aware it will not be to everyone's taste, it has clearly resonated with many theatregoers, including myself. Beyond this, the new cast are extraordinary, and they alone are worth going to see.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: The Invisible Hand

Hey readers!
It's time for my review of The Invisible Hand. 

"American banker Nick Bright knows that his freedom comes at a price. Confined to a cell in rural Pakistan, every second counts. Who will decide his fate? His captors, or the whims of the market?"

The Invisible Hand is an exciting and action-packed play, and one which had me on the edge of my seat from beginning to end. The show takes place in one room with only a small group of actors, and yet it really feels as if you are watching a blockbuster thriller. The play retains its fast pace throughout, which really adds to the exhilaration. The Invisible Hand demonstrates that you don't always need continuous action to create excitement; sometimes this can be created through words alone. Ayad Akhtar, the playwright responsible for The Invisible Hand, is a very gifted writer and had a particular skill for dialogue. The conversations that take place throughout the course of the play are really engrossing, making it easy to fully immerse yourself in the world of the characters. Beyond that, there is some really interesting political commentary to be found within the play on a wide range of issues. The show tackles a number of relevant topics, including capitalism, religion, racism and foreign relations. There are some intriguing concepts discussed at length, and the writing certainly provides the audience with food for thought. In particular, it was fascinating to see the exploration of greed for money, and the way in which this can poison all of mankind regardless of culture or religion.

The Invisible Hand has a small cast of four performers, though they are all remarkable. Their performances all felt so realistic, and there wasn't a weak link amongst them. In the role of American banker and hostage Nick Bridge was Daniel Lapaine, who was extraordinary. He did an excellent job at conveying the character's fear and vulnerability, and the portrayal felt very life-like to how an actual hostage might behave under the circumstances. In addition to this, he portrayed the character's descent into madness very well in the play's final few scenes. Nick Bridge's captor, Bashir, is masterfully portrayed by Scott Karim, who is equally as outstanding. Karim was very good at depicting the hot-headed nature of the character, and skilfully illustrated the fluctuating emotions that Bashir endures throughout the play. A special mention must also be awarded to Tony Jayawardena as Imam Saleem, the leader of the terrorist organisation. Jayawardena was very clever in the way he chose to present the character; Imam was often the calmest man in the room, which in turn made him the most sinister and the biggest threat of them all. It was clear that it was he who wielded the power throughout the majority of the play, though it was also interesting to see how the characterisation changed when the balance of power shifted away from Imam. Last, but by no means least, Sid Sagar was exceptional in the role of Dar. He illustrated the character's helplessness and innocence very effectively at the start, and it was riveting to see how Dar developed as the play went on.

Now for my final verdict on The Invisible Hand. I give The Invisible Hand...

The Invisible Hand is quite possibly the best play I have seen in over a year; it is well and truly spellbinding. It's an exhilarating production with an incredible cast, and it would be one of my top recommendations.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Be More Chill

Hey readers!

It's time for my review of Be More Chill. 

"Be More Chill follows high-schooler Jeremy Heere, deciding to step into the spotlight after a lifetime of being outcasted. You can’t control other high schoolers, but you can control yourself. Or so it seems at first. Taking matters into his own hands, Jeremy decides to swallow a Super Quantum Unit Intel Processor, or SQUIP for short. This SQUIP will radically change Jeremy’s personality, sending his popularity levels skyrocketing. But, when the SQUIP gains its own power, Jeremy and his peers realise it’s better to just be yourself."

I first saw Be More Chill on Broadway in 2019, meaning that I was very familiar with it. Thankfully, I enjoyed the show just as much the second time around, and it was great to re-live the experience; this time in London's West End. The show does an excellent job at conveying the high school experience, and is extremely authentic in its depiction of the teenage experience. It does well to detail the pressures that teenagers faces all across the globe, and it tackles a number of important topics. Some of the themes featured throughout the course of Be More Chill include bullying, mental health and social media; all of which are particularly relevant in the modern-day. The show feels very realistic, and I am sure that many audience members can relate with the struggles of the main characters. It's a show that puts the underdog front and centre, and it's notable how Be More Chill has accumulated a large and dedicated fanbase in part because of this.

The strongest aspect of Be More Chill is arguably its musical score, with music and lyrics written by Joe Iconis. The music is extremely upbeat, with many catchy tunes throughout. I first listened to the original cast recording in early 2019, and the music has stayed with me from that point onwards. I have listened to the album on numerous occasions throughout the past two and a half years, and I have yet to grow tired of it. A few highlights to be found within the score include 'A Guy That I'd Kinda Be Into', 'The Pants Song', 'Voices in My Head', as well as the iconic 'Michael in the Bathroom'.

In relation to the cast, one of the strongest performances comes from Blake Patrick Anderson as Michael Mell. Anderson has the task of performing the show's most famous number 'Michael in the Bathroom', and he does so faultlessly. He really captured the character's sensitivity, making it easy to root for Michael from the get-go. Beyond this, Anderson also had great comedic timing, and had the audience in stitches throughout the show. Stewart Clarke, as the Squip, is yet another stand-out. He had a great command of the stage, and stole the spotlight upon each and every entrance. Beyond that, Clarke was noticeably very precise in his movements, which in turn helped to create the perfect characterisation. Last, but by no means least, a special mention must be given to Christopher Fry, who portrayed Mr. Heere, Mr. Reyes and others. In spite of his limited stage-time, Fry made a huge impact and proved to be one of the overall highlights of the entire production. 

In relation to the show's design, the costumes, by Bobby Frederick Tilley II, are utterly remarkable. They are extremely fun and filled with colour, helping to add to the light-hearted nature of the show. It is worth noting that the costumes in the Halloween segment were particularly well-designed, with Michael's 'monster covered in beer-cans' outfit being the most impressive. 

Now for my final verdict on Be More Chill. I give Be More Chill...

Be More Chill is an extremely fun show, and I am so glad to have had the opportunity to see it a second time. It has an incredible musical score, and I am sure that many will relate with the journey of the main characters. 

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Constellations

Hey readers!

It's time for my review of Constellations. 

"One evening, Roland and Marianne attend a barbecue. He’s a beekeeper, while she’s a cosmologist, gazing at the stars in the hopes of planning her future through multiple universes. Together, Roland and Marianne hit it off, but as the topic of infidelity bubbles to the surface, the pair break up. They’ve got every possible future stretching out in front of them, with each possibility changing up their relationship. Throughout the play, they meet each other in unexpected situations, with Roland at Marianne’s side in her final days."

I have seen Constellations twice before; once on Broadway, starring Jake Gyllenhaal and Ruth Wilson, and the other time during its UK Tour, starring Joe Armstrong and Louise Brealey. At the time of these performances, all of the aforementioned actors were in their mid-30s. By contrast, the two actors that I witnessed playing these same characters in this production (Peter Capaldi and Zoë Wannamaker) are almost twice the age of their predecessors. It was really interesting to see a new take on the play, and the way in which this has impacted the story. In spite of the script being kept the same, the entire narrative felt as if it were somehow different. At the heart of the play is a love story, and this new perspective adds an entirely new layer; it teaches us that it is never too late to find love. This creates a new dynamic between the couple, and one which is arguably more endearing than if they had been in their mid-30s. In relation to the writing itself, Constellations is a fascinating concept. The play explores the idea of a multiverse, which is defined as being "a hypothetical collection of potentially diverse observable universes". It is fundamentally the notion that every decision we make creates its own timeline, whilst a different timeline where another decision has been made will exist simultaneously. It's an intriguing idea, and one which could very well have some truth to it. We as humans often think 'what if?', and this play is the living embodiment of those thoughts. It's compelling to watch, and will certainly cause you to have those thoughts of your own. 

During the course of the play's stint in the West End, four different pairs of performers will assume these roles. As previously mentioned however, the actors that I had the pleasure of watching were Peter Capaldi, as Roland, and Zoë Wannamaker, as Marianne. Capaldi is a veteran actor, and is making his grand return to the stage after a 9-year hiatus. He was extremely versatile in the role, doing well to provide comedic relief, as well as portraying the character's more serious side. Capaldi has a captivating stage presence, and is full of charisma from start to finish. Zoë Wannamaker is also excellent, providing a well-rounded portrayal. Her performance was particularly strong in the play's final few scenes, during which the character battles a brain tumour. She really captured the character's vulnerability in these moments, making it impossible not to sympathise with her plight. The actors shared a good chemistry with one another, and their relationship felt very believable. I found myself rooting for them to succeed as a couple, and this was largely as a result of their terrific performances.

Now for my final verdict on Constellations. I give Constellations...

Constellations is a thought-provoking play, and one which really immerses you in the world of the characters. Beyond this, the performances of both Capaldi and Wannamaker are well and truly remarkable.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Cinderella

Hey readers!

It's time for my review of Cinderella. 

"Andrew Lloyd Webber’s Cinderella is the exciting new musical comedy starring Carrie Hope Fletcher, set to completely reinvent the world’s best-loved fairytale when it opens in London’s West End in July 2021."

Cinderella is Andrew Lloyd's Webber's newest musical, in what is his first show since School of Rock landed on Broadway in 2015. For this piece, he has chosen to collaborate with lyricist David Zippel, who is best known for his involvement in classic Disney movie musicals such as Hercules and Mulan. The musical score of Cinderella, written by these two musical theatre icons, is simply breath-taking, and may very well be one of the best original scores I have heard in quite some time. It has been a while since the West End has had a home-grown and entirely original musical, but the wait has clearly been worthwhile. There are some beautiful melodies to be found throughout the course of Cinderella, and many of which you are unlikely to forget. In particular, the song 'Far Too Late' is astonishing and proves to be the overall highlight of the entire production. It's a real show-stopper, and Carrie Hope Fletcher's rendition of it is incredible. Beyond that, the lyrics are very touching, and the number even brought a tear to my eye. The excellence of the music cannot be overstated, and it is arguably worth the ticket price alone.

The cast of Cinderella are simply remarkable, and there is not a weak link among them. Each and every one of them have their own special talents, and they are all highly skilled. In the leading role of Cinderella is Carrie Hope Fletcher, who is utter perfection. She has a tremendous voice, and one which is unsurpassable. Her renditions of 'I Know I Have A Heart' and 'Far Too Late' were excellent, and among the best theatrical moments that I have encountered in the past few years. Playing opposite Fletcher is Ivano Turco, making his West End debut as Prince Sebastian. It is beyond belief to imagine that this is Turco's first time on a West End stage, as he appears to be a natural. With charisma, a good singing voice and dancing skills that prove spectacular, he is well and truly a triple threat. Victoria Hamilton-Barritt was similarly excellent as the Stepmother, delivering a characterisation that proved hilarious. Her mannerisms and accent were very well done indeed, and she added a lot of comedic relief to the piece. Rebecca Trehearn is also worthy of a special mention for her excellent portrayal of the Queen. Trehearn had a larger-than-life stage presence and, alongside Hamilton-Barritt, had brilliant comedic timing. Last but by no means least, it is worth noting that Georgina Castle and Laura Baldwin were also striking in their portrayals of Marie and Adele; the two step-sisters.

The costume design, by Gabriela Tylesova, was a particular highlight of the production. Many of the costumes were both colourful and grand, immediately capturing the attention of the audience. Beyond this, the nature of the designs really added to the fairy-tale atmosphere of the piece and made it easier to get lost in the world of the characters. The choreography, by Joann M. Hunter, was also outstanding. There were some exceptional dance numbers throughout, and the ensemble performed them faultlessly. 

Now for my final verdict on Cinderella. I give Cinderella...

Cinderella is the best new musical to hit the West End in quite some time, and its arrival is more than welcome. With a fantastic musical score and an all-round excellent cast, there are very few ways that the show can be faulted.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Hairspray

Hey readers!

It's time for my review of Hairspray. 

"Starring Michael Ball, Hairspray follows the story of Tracy Turnblad, an aspiring dancer who wins a part on a local TV show, The Corny Collins Show, and becomes an overnight sensation. Featuring the songs 'Good Morning Baltimore' and 'You Can't Stop the Beat'." 

Hairspray is one of the most fun and uplifting shows around, and is guaranteed to provide audiences with the feel-good factor. At a time when many are in need of escapism, this is likely the perfect show for many theatregoers. At the heart of the story is a message that encourages people to unite and work together to solve their problems, which is something that we can all learn from; particularly in our current situation. In addition to this, the narrative of Hairspray is also noteworthy for the way in which it tackles race-related issues. Whilst the show is set in 1962, the subject matter is still relevant in the modern day. The show encourages individuality, acceptance and freedom, thus advocating against intolerance and bigotry. There are many important lessons to be learnt from Hairspray, and the show does well to balance out these themes with the more light-hearted moments too. 

The award-winning musical score of Hairspray, by Marc Shaiman and Scott Wittman, is iconic, and will likely be familiar to many individuals. There are a variety of upbeat and catchy tunes, almost all of which will stay with you long after you leave the London Coliseum. A number of highlights from the score include 'Welcome to the 60's', 'I Know Where I've Been' and 'You Can't Stop the Beat'. In addition to this, the orchestrations by Harold Wheeler were equally as terrific. They really helped the music come to life, whilst the band members themselves were simply extraordinary.

For the most part, the cast of this revival are excellent. There are a wide number of very talented actors, singers and dancers to be found within the ensemble, with many of them qualifying as triple threats. Having said that, there were some performances which felt somewhat over-exaggerated. Whilst Hairspray requires its cast to be 'cheesy' at certain points, this did at times make it feel a little inauthentic. It is worth noting however that the star of the show is Michael Ball, who has returned to his award-winning portrayal of Edna Turnblad. It was clear that Ball was cherishing his time onstage, which in turn made his whole performance all the more fun to watch. Ball's ability to portray Edna so well highlights just how versatile he actually is; the character bares no similarity to some of the other roles Ball is known for, and yet he performs the role with ease. Also worthy of a special mention is Marisha Wallace, who portrayed Motormouth Maybelle. Wallace's rendition of 'I Know Where I've Been' was incredible, receiving a well-deserved standing ovation from the audience. 

The scenic design by David Rockwell is good, though it looks somewhat misplaced on the London Coliseum stage. As those who have been to the Coliseum will know, it is an extremely large stage; the set of Hairspray however is rather small and has had to add a border around it in order to remedy this. This does make me wonder as to whether the production may have been better suited to a smaller venue, thus ensuring that the set does not get swallowed by the stage. The choreography, by Jerry Mitchell, however is extraordinary and provides yet another overall highlight. The dance numbers were exhilarating to watch, and the ensemble performing them were extremely talented. In particular, the choreography for 'You Can't Stop the Beat' was outstanding, and made for a tremendous finale. 

Now for my final verdict on Hairspray. I give Hairspray...

Hairspray is undoubtedly one of the most enjoyable musicals out there this minute, and it's one I would recommend to anyone looking for an escape. With an entertaining story and fantastic music, Hairspray will leave many feeling overjoyed.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer