Under the direction of Cornelious Baltus and an impressive set design by ‘Stufish Entertainment Architects’ we’re transported to 2032 where the Bohemians, reminiscent of Neo in the Matrix, are a rebel group in search of a leader (a dreamer) someone who will lead the fight against Globasoft on planet Mall. Individuality and music have been clamped down on and everyone’s become either a homogenised Gaga Girl or Boyzone clone; kept passive on a diet of synth music and X Factor. The downtrodden Bohemians must find the ‘legend’ and the ‘legend’ (Galileo) must find the axe that will end misery and allow society to ‘break free’.

The digital sets are a commanding demonstration of state-of-the-art kit, the kind you’d expect at any stadium super gig. They provide an excellent back drop to either the rebel hideout or the Killer Queen’s lair. By far the most impressive aspect of this show is the music. That may be because Queen, and Freddy Mercury in particular, were such talented geniuses or because suddenly it becomes obvious that Queen has secretly been the soundtrack to our lives all this time.

Ian McIntosh (Galileo) nails the vocals in his rendition of Freddy/Galileo. He has the presence and the moves. The show stealer, however, is Scaramouche (Elena Skye). She’s a heady mix of funny, quick-witted, intelligent and vulnerable all at the same time.

By far the weakest part of this show is the plot. First, because it’s essentially an updated quest-buddy romp that’s very self-aware; it also knows it doesn’t have to try too hard because around the corner is another ‘Queen-classic’ ready for consumption. I say this with a sad heart because Ben Elton’s television scripts have been remarkable. Please don’t misunderstand me there is wit in the dialogue; there are also lashing of double-entendres; and ‘in joke’ song references that by and large don’t feel crow-barred in. The choreography is very good but in today’s post MTV generation I expected a little more.

The humour works and the key moments that stood out for me were the video (v-day-o) cassette moments; meeting ‘Britney Spears’; and the motorcycle scene  – look out for them. And it’s no coincidence that Buddy (Michael McKell) is involved in most of them – excellent comic timing and delivery; think Neil from the Young Ones meets Jack Sparrow (Pirates of the Caribbean).

We Will Rock You works best when the Queen tracks are being belted out. I wasn’t a fan of jukebox musicals. But, having witnessed the love in the audience and the effort on stage I’ve been converted.

We Will Rock You by Ben Elton is at The Palace Theatre, Manchester from 27 January to 8 February 2020.

The post We Will Rock You: Review appeared first on Quays Life.

On Broadway this production won four Tony Awards, including Best Musical Revival and it’s just completed a sell-out run at the London Palladium. It is clear to see where the ticket money is going as there is no paring down for this touring production either. In fact, you could say we get the best of both sides of the Atlantic, with Jose Llana coming direct from his Broadway role as The King and Annalene Beechey reprising her West End role as school teacher, Anna.

These are roles immortalised by Yul Brunner and Deborah Kerr in the 1956 film version, and the songs are equally memorable. From the moment Anna steps off the wooden steam boat whistling a happy tune the audience is lifted-up by Rodger’s soaring score that keeps them floating on the best bright and breezy air of musical theatre.

Although written in 1951 the story goes back much further to Victorian times, inspired by the true story of Anna Leonowens, a British school teacher who is employed by the King of Siam to teach his wives and children. This is the Imperialist World of the 1860s and while the story reflects the time in which it’s set, its openness and joy transcends this.  

In Anna and the King, we see two very different worlds collide, not just geographically and culturally, but in terms of gender and wealth. He is the Magnificent one, she a servant – their differences make for fireworks at times, but through bending on both sides they come to genuine love and respect.

Given the setting of the show there are brief moments when we think it’s about to become politically uncomfortable, such as when Anna suggests the King’s wives dress in the large hoop dresses as she does to show their refinement when entertaining European diplomats. But then the comedy sets in as the women see the absurdity of the costumes and Anna, explaining that the large skirt gives the woman a protective space, is met with the King’s puzzled: “Are Western men so aggressive?”

Jose Llana’s absorbing acting can change the mood with a facial expression, bringing a depth and complexity to a King, struggling with modernisation and the type of kingdom he wants his son to inherit.

Annalene Beechey makes a feisty but also sweet and warm Anna, and her clarity of voice is a dream to hear. Together they fizz like intellectual sparring partners rather than romantic lovers, but you can feel the audience’s spirits leap when they polka across the stage to Shall We Dance.

It is rare to feel such warmth and delight from the whole auditorium, but this production won over the audience from the start and held them captivated. It’s joyous and uplifting. Don’t miss it.

The King and I UK tour opened at the Opera House, Manchester where it runs from 26 April to 11 May 2019. It is touring until May 2020. See website for details.

Read our interview with stars of the 2019 UK tour of Ghost the musical,
Niall Sheehy, Rebekah Lowings and Jacqui DuBois.

The post The King and I UK Tour Theatre Review appeared first on Quays Life.

How does it feel to be making your musical theatre debut in American Idiot?

It’s an amazing feeling. I don’t think I’ve ever been this proud of something.

What’s the show about?

The show is based on a Green Day album and follows three friends trying to find escape from their suburban lives.

The story is harrowing. It’s about people struggling because they don’t know their place in a world controlled by people who are power hungry. It asks ‘How would you get through the struggles of being down and not recognising your place? How do you get out of the rut you’re in?’

It’s an amazing experience to be able to do some really serious theatre.

It doesn’t shy away from tough subjects, does it?

No, it is tough. In real life, some of us have never felt the hardship we go through on the stage, but you get immersed in it so much while you’re on stage and your character takes over.

It’s very emotional. I’ve had times when I’ve been a bit tearful.

Your character, St Jimmy, is a drug dealer. What’s he like to play?

He’s a skitty maniac. Crazy. He’s got a lot of attitude. He’s a very complex character and I love playing him; trying to taunt people, taking control of the stage and taking over everything is great fun.

This is the 10^th anniversary tour of the show. Why do you think it is still popular a decade after it premiered?

The score is incredible, and the music is so nostalgic for a lot of people. When Green Day were writing American Idiot, they were all going through a mad time. They were super angry with the world. Not much has changed. There’s still a lot of very awful people out there, so it still resonates with the world today.

Were you a fan of the album?

I was the dude with the black emo hair and painted fingernails. I don’t think it’s any surprise to anyone that I loved that album when it came out. It’s the thing that got me to pick up a guitar and start playing.

I must have been about 12. I didn’t even know how to tune a guitar then. The first song I attempted was When September Ends. I’d been playing for about three hours and my fingers had blistered, but I’d gone through that and carried on because I was determined to get it right. That first day was pretty disastrous, but I stuck at it. I actually performed that song for the audition as well.

You’re working with fellow X Factor contestant, Sam Lavery and The Voice’s Tom Milner on the tour. What are they like?

Genuinely, we get on so well. We really do. Sam and I knew each other before this and we’ve always got along. Tom and I are total wind-up merchants, so I think that’s going to be great fun for the tour.

Are you excited about touring?

I feel like my whole life’s a tour, so this is brilliant. It’s slightly more organised than my life usually is; at least I know where I’m meant to be. I once booked two gigs a day apart. One was in south west Devon and the next day was in Inverness. I’m glad we’ve got professionals organising this tour.

What makes seeing a live show so special?

It’s real and authentic. It’s never quite the same every time you watch it. People may react differently; people may feel a different way in the moment. On television, you can rewind it and watch it again and it’s going to be exactly the same. Theatre is there, it’s live. It’s like a concert. What’s better than a live concert? I’d rather have no CDs at all and be able watch my favourite people play live each night. It’s up front, it’s personal and it’s special to you because no one else is going to see the performance you see.

Looking back on it now, how was the X Factor experience?

It is an incredibly intense, frightening but amazing experience. It positively conditioned me to be more relaxed in very heated and stressful environments, so it was a big positive. I’ve always loved the show. I still do. I love the people who worked on the show; they were always really good to me.

What can audiences expect from a trip to see American Idiot?

Passion. Everyone in this cast is amazingly passionate. If someone is loved on stage, you know they’re loved. If someone is raging on stage, you feel it. And you won’t be able to stop jiggling your feet if you’re sat in the audience either. It’s going to be incredible.

American Idiot is at Manchester’s Palace Theatre from 2-6 April 2019. See website for details.

Read our review.

Read our interview with co-star Sam Lavery.

The post X Factor finalist, Luke Friend gets rockin’ angry in American Idiot appeared first on Quays Life.

How does it feel taking on such iconic roles?

Michael: Once you get over the fact that it’s quite a daunting role to take on because it’s so well-known it’s just really exciting. Everyone is so familiar with the show and they’re so familiar with the characters that you’re just excited to do it justice, you’re ready to put in the work and bring it to life.

Simone: I agree. It’s so exciting. Being able to play such an iconic role in a show that brings the movie to life on stage is an amazing privilege.

Kira: It is really exciting but of course there’s also a lot of pressure to do the characters justice because they are so well-known and so iconic.

What’s your approach in terms of bringing a fresh take to the characters?

Kira: I don’t want to stray too far from what Jennifer Grey did in the film because I personally feel the choices she makes are things I’d do as well. Although I’m being a bit bolder with the choices so when she’s being sexy, I want people to be able to see that “Baby” can be really sexy, fiery and smart – to really show the depths to her.

Michael: It’s about ‘How would I behave if I was in the same situations?’ That frees you up to bring something of yourself to the role, to put elements of yourself into the portrayal.

Simone: It’s about thinking ‘What would I do in this situation?’ whilst thinking about Penny and the era in which the story is set, namely 1963. It’s such a different time to now and what she goes through is quite heavy so to think ‘How would I feel if I was in that time and that situation?’ is a great help because in real life I have a very different personality to her.

In what ways can you relate to your characters? And in what ways are they completely different?

Simone: The big red flag for me is what Penny goes through. She’s in quite a sticky situation and has to make some big decisions. I feel she’s quite isolated and that’s a struggle for me to understand because I’ve never really been isolated myself or had to make massive decisions that would have such a major effect on my life. But I love the fieriness of her, although it’s hard being mean to Kira on stage when we get on so well, I can relate to her passion for dance.

Kira: I’m not proud to say it but I’m not like Baby in terms of education. She knows a lot about politics and what goes on in the world but I feel I’m not in touch with that side of myself as much. But I do feel quite similar to her in that I remember when I was 17 and the first time I fell in love and doing so much to be close to that person – things I’d never think to do on a regular basis just to be with someone. I also relate to the closeness she feels with her family.

Michael: Obviously Johnny in the show is a dancer and I trained in dance myself so that’s kind of the hook I latch onto. We come from a similar background, with the training everyone has to go through, but fortunately I haven’t gone through the serious, crippling financial situation Johnny has been through or the unexplained relationship with his dad and the fact his mum is never mentioned. That’s a whole grey area that we don’t even know about and it’s a part of the character that I have to work to understand.

How is the classic story recreated on stage?

Kira: The script is the same as the film scene-by-scene, with a few extra little surprises in there, and I feel it’s done really well. The set is a smaller replica of the actual Kellerman’s resort and in fact there are three big trucks they use for the staff quarters, the inside and outside of the hotel and the resort cabins. The music, of course, is so iconic and it’s done so well with the live band being on stage. They are fantastic musicians.

Michael: The team do such a good job of bringing the story to the stage so it’s like reliving the film live. You’ve got all the dances, all the music, the band’s on stage kicking butt – it’s such a fun show.

Can you recall when you first saw the film and the impact it had on you?

Kira: I vividly remember watching it on videotape because my mum had it and I remember watching the dance scenes in the staff quarters and I was like ‘Oh my God!’ So I knew exactly how Baby feels when she goes to the resort. It was mesmerising.

Michael: I remember my mum watching it when I was really young and being like ‘That’s not my type of film’ as I went off to play sports or whatever. Then I revisited it when I got into the dance industry more and I was like ‘Actually, it’s a really cool film’. The more time I spent in rehearsals looking through the script, which is the same as the film, we talked a lot about it being about bravery and becoming the person you want to be, regardless of your situation and people telling you you can’t. That’s very inspiring and I think that’s why it has done so well.

Simone: When I saw it I was like ‘I just want to be a part of this, to just be in there’ especially with scenes like Do You Love Me? where they’re just having a party and I remember watching the Mambo and thinking ‘My goodness, I want to do that!’ and now I get to do it.

Michael and Kira, how much pressure is there to get the legendary lift right?

Kira: It’s a huge pressure because everyone is waiting for that lift. It’s so iconic to the film, isn’t it? But when it comes to recreating it, I trust Michael. I trust that even if I fall he’ll have my back, but touch wood nothing’s gone wrong yet.

Michael: The fun bit is when we do the lift in the water, which is done by visual effects. That’s fun because it’s where you get to mess it up and go wrong.

What other challenges does the show present for you physically?

Kira: I’m a trained dancer, but I have to appear like I’m not. I have to reverse everything I’ve been taught and make it look bad, without making it look like I’m trying to be bad.

Simone: The Mambo is quite challenging. It sort of comes out of nowhere and is really explosive and fast-paced.

Michael: It’s a very dance-heavy show, as you’d expect, but I don’t think I realised quite how dance-heavy it is until we started rehearsals. There are a few numbers back to back and you’re dripping with sweat, like ‘Oh man, we’ve got to go on for the next number’ before you’ve even got into the next costume. Physically it’s a tough show but that’s why we do it – we love that challenge.

And what are the emotional challenges?

Michael: All of our characters have a moment where we have to go to that place emotionally and it’s always a challenge, but as an actor I feel like those are the fun moments too because they’re the moments where you can be brave enough to go to that place and feel all those feelings. You trust the audience is there with you and your partner is with you on stage emotionally too.

Simone: I think most of us break down into tears at some point in the show and you don’t want to make it look fake so you have to make it as real as possible. When you come off stage after a scene like that, you just have to shake it off because you get really emotional. It’s a rollercoaster but it’s exciting.

Kira: You have to take yourself to a place that maybe you don’t want to go to on that day but you just have to let yourself go there. In the scene where Baby is talking to her dad there’s this big monologue and it’s quite emotional, then you have to come off from that scene and go into the next scene with a new mindset whereas in real life you’d have a few hours to sort yourself out.

The music is a massive part of the Dirty Dancing experience. Do you have a favourite song from the show?

Kira: Hungry Eyes. I love that song and always have. Before I even auditioned for the show it was my alarm in the morning!

Michael: For me it’s (I’ve Had) The Time Of My Life. It was a massive hit and it’s such a popular song.But it’s my favourite because it comes right at the end of the show. It’s such a climactic moment where everyone is on stage dancing together and there’s a moment where Johnny comes through the crowd so there’s a real connection with the audience.

Simone: Mine’s Do You Love Me? Love the routine, love the song, and it feels free where it’s like a party scene with your mates. It’s really raw and fun.

Michael, this is your professional debut. How are you finding it?

Michael: It’s been indescribable really. It’s been an amazing journey and I’m so privileged to be able to do it. It’s a great role, a great show, the cast have been amazing, the team have been fantastic, everyone’s helped me along on the journey and it feels like we’ve become a really strong team.

What are you all most looking forward to about taking the show on tour?

Kira: I love connecting with different audiences in different venues. We get excited moving around the country so we’re buzzing on stage and the audience feeds off that.

Michael: I think we’re really lucky to take the show on tour because we get an opening night every week. It also means you get to perform for a huge range of people and the fact you’re travelling together makes you a stronger company.

Simone: It keeps it exciting because you’re not within the same four walls for a long time. It feels new each time and for me, being from Australia, getting to travel the UK is awesome.

What’s the one thing you couldn’t be on the road without?

Michael: I’d have to say my NutriBullet…

Kira: [Laughs] Six-pack yawn!

Simone: For me, it’s my hubby. He’s coming on tour with me so he’ll be my taxi driver.

Kira: I like to have books with me. I do like reading and it’s nice to wind down after shows by taking yourself off to some imaginary place.

Dirty Dancing is at The Palace Theatre, Manchester on 22-27 April 2019. See website for full tour details.

The post In rehearsals with the cast of Dirty Dancing appeared first on Quays Life.

On stage at the Manchester Opera House, the reaction to the 13-year-old’s performance of the Jackson 5’s ABC is incredible. And his enthusiasm is just as infectious off-stage. “When I was little, I watched performers like Michael Jackson and sometimes TV shows like the Wiggles but when I saw The Lion King in the West End that was when I knew that this is what I would like to do for the rest of my life,” he says.

Yami is so dedicated to a career in musical theatre that he has been performing regularly with We Are Characters drama group and North West Theatre and Arts Company for many years. His love of music appears to have been present since almost infancy, and he tells me that at just three years old he loved to sing along to the full DVD of Paul Simon’s “Graceland” concert on repeat for weeks at a time.

“I just love it so much”, he says. “When I am on stage dancing, singing and acting I enjoy it so much and I know there are people watching me do what I love and having fun.”

So, what made Yami want to come along to the open auditions for the show? “I really wanted to be able to play Michael Jackson and Berry Gordy and Stevie Wonder because they remind me of how I want to be.”

And how does it feel to now be performing on stage as these iconic people? “It feels like a dream but also a bit nervous because having to be as good at singing and dancing as Michael Jackson has got to be one of the hardest things in the world.”

After performing Motown The Musical around the country, Yami is excited to bring the show to his hometown: “It’s like a dream come true, I will be able to show my friends and family and everyone else coming to watch the show that all their support and all my work has finally paid off. I’m excited that they will be able to watch me doing what I love and having fun on a professional show and with professional actors and actresses.”

In fact, it seems to have been fate that Gorton resident, Yami would take on the role of Young Michael Jackson, who performed in Gorton at King’s Hall, Belle Vue in 1972 as part of the Jackson 5. One of Yami’s favourite moments within Motown The Musical is when he gets to perform a medley of Jackson 5 hits.

After such an exciting start on the professional stage, Yami hopes there is a lot more to come, “I hope one day to be performing on many stages and on screen and earning money that I can use to make the world a better place. I would also like to help other children become great performers.”

With such dedication at such a young age, it’s no wonder Yami is bringing the house down each time he performs some classic Jackson Five hits with Motown The Musical.

Read our interview with director, Charles Randolph-Wright and Creative Consultant, Michael Lovesmith.

Motown the Musical is at Manchester Opera House from 26 February – 23 March 2019. See website for full tour details.

Read our review from Manchester Opera House.

The post Manchester-born teen, Yami Mirazi makes professional stage debut in Motown The Musical appeared first on Quays Life.

You’ve a long history with Jersey Boys, how did it all begin?

My story with the show actually began when I was 21 and I went in to read for the role of Frankie Valli. I remember there being a lot of excitement towards my audition and I felt good. I ultimately got cut after a singing round and I believe it may have been the lack of maturity in my voice.

Three years later I was able to audition again, and I wasn’t going to let this opportunity pass me by. I went for a singing lesson with the vocal coach of the company and went in fully prepared. I made it to the finals!

To make some money at the time, I had taken a job to be a body double for Tom Cruise, shooting a running scene he couldn’t do himself. On the morning of my final audition I was on set and had to meet Tom to be signed off. I was so excited. Though, due to an earlier scene going wrong, I had to wait longer. I eventually had to tell them I had to leave to go to my final audition for Jersey Boys and, as much as I wanted to do the scene and meet Tom, Jersey Boys was my dream. So, they got me a taxi to London I did my final and got first cover Frankie! I also got to be a double for Tom so win-win. Ha!

After a year I got offered the opportunity to do the role full-time and flew to the US to work with Bob Gaudio and the American team. That was amazing and went well and I finally got the role. The rest is history

How did it feel to return to the role?

I had unfinished business with this role and more I wanted to do with it. It felt great! When I do leave I can leave knowing I did all I could with the role.

How has the experience of playing Frankie Valli changed for you over time?

It is a very intense role that takes true mastery of one’s mindset. Vocally, and mentally it’s like being a tennis player or a professional athlete. I am so much stronger in so many ways because of this role.

How close is Valli’s voice to your own?

Well, fortunately, it sits well in my range and there are some strong similarities. I am not an impressionist, I just lean toward his iconic style. My tenor voice is very similar, although I add a bit more twang in places like the falsetto notes and some vowels, so I would say that is the only difference.

Do you have a favourite number in the show?

It changes nightly! I do truly love those songs. At the moment I am loving Can’t Take My Eyes Off You and Working My Way Back to You. Those are the points I feel most like a rock star.

You met Frankie Valli – how was that?

He is amazing! A true legend. I remember being warned he says how he feels. If he likes you or doesn’t, he will say. Luckily, he was very complimentary and invited me to watch him perform at the Royal Albert Hall the following night. To be complimented by the man you’re portraying is everything. He walked the steps and I am only playing them. Truly an icon!

During Jersey Boys you recreate a concert feel on stage, has the experience inspired you to develop as a solo singer?

I have always loved being a frontman and it felt like my calling, so whether it’s changed me or not I don’t know. I play Frankie’s style of frontman for this, with just a sprinkle of me in it. I think I definitely am more grounded with the experience and growing older.

How do you look after your health and your voice when you’re on tour?

Hydration and a strong vocal warm up. A positive mindset and as much fun at work as I can get away with.
Singing is all about expression and I believe when you sing from a state of joy you are in the perfect form to express and inevitably sing better.

You’ve recently launched a YouTube channel Confidence Coach. What is the idea behind that?

I believe, in every one of us is a power and a state that leads us to live our best life. I use the word confidence because it has a strong message of personal power. The whole channel is about helping as many people as possible find that inner self love and worth that allows us to be happy. It’s not confidence from the point of view of who is the loudest in the room. It’s from the view that you don’t have to be anything but you. You are good enough. You don’t have to compare yourself to others. You have an inner respect for yourself.

It’s feels like my next life mission is to help as many people as possible break down their own barriers and feel brave enough and strong enough to live their version of a happy life.

We are all different and want different things. These tools that I want to share will be coming from years of study of myself the highs and lows of being an actor and facing rejection and self-doubts. Ultimately arriving at a conclusion that the power to change lies with us. With daily practice we can change old limiting habits to new uplifting positive ones. Creating a life that we thought we could only dream of.

Have you always been confident?

I did have a natural sort of confidence when younger and through the years it has gone up and down. Being an actor, you are faced with rejection a lot more often than in other work.

As actors, we are our work, so this rejection can be felt strongly. I used to be able to deal with that ok, but it had its tough times.

I went through some anxiety in my first run playing Frankie Valli actually. I had a lot of fans of the show unhappy that the original actor that played the role was leaving and I took it to heart. Eventually in my second year I had a slight burn out and took a few weeks off. I stopped trusting myself to do my work. It was a very low tone for me. Through sheer determination I came back and finished my final year.

I think we all sometimes just need to take the first step to start or finish something and just keep going.

When I came back to the show a lot had changed for me. I decided to talk to myself differently. I said how easy and fun the show is. I honestly can say I have had the most joyous time on stage with this show after the simple changes of mindset.

It’s daily work. Keep an eye out for videos and also I offer private coaching.
This is the simple version. I may address the story in a video one day.

What is your best tip for a small change someone can make to increase confidence?

I have two things I’d like anyone wanting to feel more confident to do

1. Find a mirror. Look yourself in the eyes and say (your name) I love and approve of you. You are good enough.
   This can be harder than it seems, and you have to use a mirror. The eyes are the window to our soul. This will make profound change.
2. When walking around. Pick your eyes up. Shoulders back and smile. This physicality has a huge effect on our emotional state. Leading to feeling more confident. Add another level. Catch someone’s eye and smile at them. That connection is strong for our emotional freedom

Is there anything else you’d like to say?

Come watch the show. It’s a truly wonderful experience and in such good shape. Some of the most talented actors in the UK doing their best work and I get to work with them.

As for my coaching. Small steps lead to great change. I have taken the first step in this journey of mine to also try to be an example to others. I love connections and love to help people. Follow the channel and let’s see what we can learn together. Even helping one person make lasting change is enough.

Michael Watson plays Frankie Valli in Jersey Boys UK tour at the Palace Theatre, Manchester from 29 January to 16 February 2019. See website for full tour details.

Read our review of Jersey Boys UK Tour.

The post Jersey Boys’ Michael Watson shares the confidence secrets of a star appeared first on Quays Life.

Now the show, which has enjoyed West End and Broadway runs, is returning to the stage on a UK tour for 2018 – but not as fans will have seen it before.

Let It Be: A Celebration of the Music of the Beatles Part II features all the Fab Four’s classic tracks from the 1960s. But while the first half of the theatrical performance is comprised of those favourites from the group’s stellar career, the all-new second half imagines a world in which the four Liverpool musicians reunited a decade after they went their separate ways.

Promoter and lifelong Beatle fan, Jeff Parry, of Annerin Productions, talks to Quays Life about changes to the smash hit show, and what UK audiences can expect.

Where did the idea for this new production come from?
Well, funnily enough it was the original idea. I’d had in my mind for 30 years what a reunion of The Beatles would have been like. It was bringing it down to a significant time when you could do it. I thought 9 October 1980, John Lennon’s 40th birthday, rather than a fictitious date, and I wanted to keep it a positive scenario. So, I always wanted to do that.

Then when I first came upon, Rain, which had started in North America, they said, we already have a Beatles show, and I said okay, that makes sense. That became an entity in itself, and the show kept working. We later split with Rain and created Let It Be in the UK, and it was really successful.

Anyway, I was trying to figure out how to put out a separate show from Let It Be, but creating a competing show with so many others already in the market was a concern.
I came up with the idea of condensing the original show into the first half and doing the reunion in the second half. I wasn’t sure if this was possible with all the costume and set changes, but our production manager said he could pull it off, which was a bit of surprise.

Next, we had to worry if we were messing with a successful brand – but frankly stuck with the Beatles mantra that creating change and pushing the limits is what made them unique. With that in mind, we told promoters who had booked the original show that, although the name remained Let It Be, the show now included a reunion. I guaranteed if the audiences didn’t like it more that we would return their money.

So what can fans of Let It Be expect from the new show?
The whole (original) show is in the first half. It’s like it’s on steroids! All the set changes remain, and you still get the whole show. All the content is there. Half way through we do Sergeant Pepper, and sometimes people get up after that, thinking that’s the interval!

The first half ends with the final medley from Abbey Road. Before the second half starts, we scroll film saying The Beatles are squabbling and breaking up. Then eventually John and Paul are talking again and we say what if they DID get together? Just imagine!

The Beatles of 1980 are dressed in clothes of the time and there are no costume changes in the second half. The lighting and whole feel is very natural.

You’ve staged the new show in the US and Canada. What has the audience response been like?
It’s neat watching people’s faces. They’ve never seen things in a context like this. We start off with a Paul McCartney song and then a Lennon song. All four Beatles get a chance to lead.

Along with the solo songs we have added Beatles songs which were not in the original show, like Got To Get You Into My Life. You have to imagine what they would have done if they had reunited – I’m sure it would have been even more eclectic.

We had Japanese and UK partners in to see it and they said: “This is a better show than the other one.” It’s because it’s unique. The online chat is that this is the best Beatles show ever.

If you had been a fly on the wall at a real reunion, which song would you have liked to have heard them play?
Oh gosh, I haven’t really thought about it! Probably Helter Skelter – I’ve always wanted to see them rip it up like that.

I’ve got a bunch of favourite songs. And Your Bird Can Sing, and I Need You are two others.

What were your initial expectations/ambitions for the original Let It Be show?
I had absolutely no expectations for Let It Be (then called Rain) when we were asked by a radio station in Calgary to get a Beatles band to play five songs in their parking lot to announce the opening of their new brand Q107. I had been in the music business as a promoter, record label and producer for 25 years at this point.

I hated Beatle tribute bands, as their first intent was to look like them with musical ability not even close. I usually ran when the opportunity to see a Beatle tribute show presented itself.

In this case, we found the group Rain who were older and could play note for note. They blew me away and that took something.

So it’s easy to say that from going from a parking lot to Broadway, the West End and now our third tour of the UK was never close to my expectations, and if had told my wife she probably would have had me committed!

Which part of Let It Be Part II gets the biggest audience reaction?
The second half of the new Let It Be brings an emotional response as this gives the audience something they never have seen, a reunion which could have been.

I love to watch people’s faces when they see a Lennon song followed by a Harrison song. It’s almost as if they didn’t link the two together. Oh yes, those guys were in the same band at one time?

The Lennon songs from Double Fantasy and then, of course, Imagine bring real emotion as they have never been performed live, and it reminds us all of how much he is missed and how much more he could have contributed.

It’s now almost 50 years since The Beatles broke up. Why do you think their music and legacy endures?
It’s quite simply why The Beatles’ music still lives on, great songs, nothing else. Their life stories wouldn’t be of any interest otherwise.

They had this magic and one has to give Brian Epstein the first credit in shaping them to look appealing and not giving up on getting a record deal, as without his panache and will to make it happen I am sure it would not.

Secondly, George Martin helped shape their songs in ways they couldn’t, but learning from that they expanded their ideas past their early, more simple material.

I also feel that for my generation, they grew as did we all. Although this all really only happened in seven years, those were formative years for those like myself who was nine in ’64.

There’s been no other band which took the risks and grew without being obviously commercial. Today it would be suicide for a group to try to wander from their obvious fan appeal, one reason why music is so boring.

Tell me a bit about your personal relationship with the band and their music. You’ve described it as the “soundtrack of my life”.

I got into the business because of The Beatles. I was given their first album at the age of nine. No matter what other music I got in to, I always put The Beatles on a pedestal with no peers. They are still my ‘go to’ group throughout the week when I want to get a lift.

I have a wide interest in music from classical to AC/DC, but nothing compares to The Beatles. They’re in a league of their own.

Have the real Beatles reacted to Let It Be?
The Beatles allow Let It Be and the other related Beatle shows to survive as long as they are not pushed. We have the grand rights for the Lennon/McCartney songs as well as those from George Harrison and Ringo Starr which are played in the reunion.
That is rare, and recognises that Let It Be has the quality above all of the other ‘tribute shows’.

What’s next for Jeff Parry?
Interesting, we are starting up a new division of Annerin Theatricals, which will deal with book musicals, meaning those with a script.

Let It Be is not a book musical and has a very limited script. It tells the history of The Beatles through the music, played in chronological order, film clips and costume changes.

We have a few new titles which are going into production, the first being Juke Box Hero, which features the music of Foreigner.

I was approached by Phil Carson, who used to run Atlantic Records in the UK and noted for his relationship with Led Zeppelin, signing AC/DC, Twisted Sister and ABBA amongst many others. He knew that we were starting to do shows on Broadway and said that he had a treatment for Juke Box Hero written by Dick Clement and Ian Le Frenais, whom had also written the screen plays for The Commitments and Across The Universe. Phil said if I paid for the script the show was mine.

That was seven years ago and we are now mounting it Alberta this coming summer with design for it to be Broadway and West End bound. At least we’re taking it up a notch from starting in a parking lot this time as we are in a legitimate theatre!
It seems I am surrounded by Brits and thank God for it. We’re also looking in to a show based on the life of Alice Cooper and his manager Shep Gordon, again with a treatment written by Dick and Ian. We’re actually trying to mount it in the UK within the next couple of years.

Thirdly we have a John Lennon bio, Through A Glass Onion, which we want to produce on a larger scale than the original two man show, which played Liverpool.
Yes, so at the ripe old age of 62 I seem to have more passion then I did when I was younger. Time will tell ‘when I’m 64’.

Let it Be is at The Opera House, Manchester from 22-27 October 2018. See website for full tour details.

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How does it feel to be returning to the role of Eva Peron?

I feel very privileged. Roles like this rarely come by, so to have the opportunity to revisit it in a fresh light, with more maturity, is a gift.

Eva Peron was a controversial figure. Why do you think, people are still fascinated by her life?

She is the ultimate riches-to-rags-to-tragedy story, Cinderella gone wrong, and everyone can empathise with that. In reality, there are many opposite accounts about her as a person and about her life, and I wouldn’t be surprise if there was an element of truth in all of them! It’s compelling and we’ll never have the chance to pin her down. The fact that even nowadays in Argentina many are still devoted to her, and Peronism is trying to make a come back, is incredible.

Evita was first staged in 1978. Do you think the interpretation of the role and the way the audience views the character has changed?

Even though it’s exactly the same show, and it is already written from a particular point of view, I think the interpretation will be different in each production and each actress will discover different things. I haven’t seen any other productions so I can’t comment much on it. I also believe that the audiences will be different along the years, and in different countries. The further we are from the social and political events of the time, the less we contextualise where the characters come from. Saying this, it’s becoming easier now as the world seems to be walking backwards, and with the media playing such an important role, not difficult to compare Evita to current powerful women.

What do you think is the enduring appeal of this musical?

I think the majority of people in the world first heard about Eva due to the popularity of the musical, and as far as I know, it was the first role written for women in theatre with such ballsy vocals. Evita was a fascinating woman who burned too quickly and Andrew Lloyd Webber and Tim Rice did an impeccable job and they were so young! Their intricate melodies and clever words tell the story in a concise and compelling way. And let’s not forget the time-proof songs that everyone knows even if they are not musical theatre fans.

Do you have a favourite scene or song?

That would be the hospital scene. It’s just written in such a way that it’s impossible not to get lost in it. It’s where the authors allow Eva and Peron to be at their most vulnerable place, where we see them as mere humans, devoid of all riches and popularity, and where we connect the most with them. It’s very powerful and very pleasurable to play. Especially with a great actor such as Jeremy Secomb by my side!

It’s a very emotional role and must be exhausting. At a time of year when so many people are going down with colds, do you have any secrets for staying well and in good voice?

It’s not easy to keep away from colds unfortunately. I do tend to look after myself, to have enough rest and healthy foods. I don’t stay out after the show and many times I have to be silent during the day so I have enough “gas” for the show. It is very demanding vocal and emotionally and when your commitment is strong, there’s no easy way to go about it.

You’ve been fortunate to play some of the most coveted roles in musical theatre, including Fantine in Les Miserábles (25th Anniversary Tour, The Barbican, 02 Arena), Grizabella in Cats (London Palladium) and the title role in Piaf (Leicester Curve). Are there any roles you haven’t played and would love to?

Yes, I’ve been very fortunate! I’m sure there’s a lot more to play out there. Would love to be involved in new productions of shows, even if they aren’t new writing, where we can explore the characters more. Maybe a new version of Chicago where I’d have a go at Roxy, or a Lucille in Parade? I’d love to keep opening doors in TV and film as well. To be honest, I’ll be very lucky if I can just keep doing what I love.

Evita is at the Palace Theatre, Manchester from 6-9 December 2017 and touring the UK until 2 June 2018. See website for details. For information about Madalena’s singing appearances visit MadalenaAlberto.com

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This series of concerts may be Stripped Back in many ways, but there is certainly no shortage of glamour. Wearing a stunning knee-length, silver/blue, sequinned fringe dress designed by Jacques Azagury, Ms Paige makes a shimmering entrance.

The evening is all about reflecting and reminiscing, but unfortunately her opening banter falls flat when her comment about the BBC Breakfast move from Shepherd’s Bush to Media City comes out more like a slight on the area.

Still, Elaine Paige is our country’s musical superstar, so while the audience isn’t willing to indulge her with feigned laugher or false applause, it is quick to forgive a fumbled start.

The evening is one of a 23 date series of concerts, in which Ms Paige has decided to do something completely different. Supported by an accomplished five-piece band, led by Musical Director John G Smith with whom she’s worked closely for the past decade, she revisits the music of her youth, singing popular songs mainly from the 1960s and 70s, celebrating songwriters such as Harry Nilsson, Randy Newman, Jim Webb, Burt Bacharach, and Lennon & McCartney.

These songs hold strong memories for much of the audience too, and in this sense the evening is a huge trip down memory lane. Jamming alongside guitarist Zoltan Dekany to Bread’s Guitar Man, we see a new side to Elaine Paige. She is clearly enjoying herself and she still has a strength of voice that can turn itself to any tune.

However, there is a tangible lift in audience energy when she sings, I Know Him So Well – the song from Chess which won her four weeks at number one as a duet with Barbara Dixon. She has spent more than 50 years singing this kind of music, so you can understand that at 68-years-old she might want a change. But if something has worked for you for over half a century, why spoil a good thing?

It’s not that our musical heroine delivered something different from what she said she would. And she did throw in a couple of musical favourites fans expect to hear. Yet the atmosphere in the room when she sang a musical theatre number, gave the sense that her fans were willing to indulge her the rest for the pleasure of hearing her sing the songs they have come to love her for.

As a musical theatre performer Elaine Paige has starred in more smash hit West End and Broadway musicals than anyone else of her generation and continues to draw in more than 2.5 million listeners each week for her BBC Radio 2 show Elaine Paige on Sunday.

Isn’t this enough? This concert sadly made me feel that she doesn’t think so. She tells stories of a wild youth going back to a flats after shows with grass and a couple of bottles of wine, as if wanting to change the clean cut image many have of her. She has anecdotes about meeting Paul Simon and Paul McCartney that are interesting enough, but really who is going to be surprised that she has come across these singers – she is a big star too.

She didn’t have to work this hard to impress. It felt much more natural when she talked about returning to her childhood home and seeing the Bramley apple tree still standing in the garden her mother took so much pride over. There was a genuineness about that story that made us feel, this is Elaine Paige stripped back. She is the girl from Barnet who became a national treasure and whatever she chooses to sing we love her.

Elaine Paige in Concert was at The Bridgewater Hall, Manchester on 8 October 2016.

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In this show you celebrate contemporary songwriters from the huge musical numbers of Tim Rice and Andrew Lloyd Webber that you’ve become synonymous with to Lennon and McCartney. With such a huge catalogue to choose from how did you compile the final set list?

I was making an album in New York with the late legendary producer Phil Ramone and he asked me who my favourite artists were and listing quite a few I finished with Harry Nilsson, Randy Newman and Jim Webb and I thought as I said it that sounds rather good – Nilsson, Newman & Webb.  So they were really my inspiration for the concerts – I looked back to that period in my life, the 60’s and 70’s, when I was listening to a lot of music.

How has your response to the songs and how you perform them changed at different stages of your life?

I’ve always been a fan of lyrics, in fact it was Jim Webb’s work way back then that made me start to take notice of lyrics and the stories behind them. So lyrically some of the songs I sing have taken on new meaning. Memory for example has taken on a completely new meaning to me now that I’m older.

Can you describe the moment when you first knew that you wanted to follow a career on the stage?

I think it must have been when my school staged The Boy Mozart, an operetta based on the composer’s life and work.  I sang the mezzo role, Bastienne, from the opera Bastien and Bastienne, the first of many emotional songs that have shaped my career.  When I sobbed at the end of the aria the audience gasped.  They thought I’d forgotten my lines!  Didn’t they know I was acting!  My father did, though, and duly asked “Would you like to go to drama school?”  A dream come true! I could hardly believe it.

Which people have influenced you most in your life and why?

I’ve been lucky enough to work with so many talented people, some of the very best. Such a privilege.  And I’ve made so many good friends who have supported me and encouraged me whom I love. So to pick out just a few would be unfair.

Who continues to inspire you today?

I try and go and see as much as I can – theatre, concerts, films. I read a lot and I’m always making lists of songs, ideas, etc.  There isn’t really one specific person or thing that inspires me I just see things that gets my brain ticking!

For The Elaine Paige Show on Sky Arts you took on a mentoring role for students. It’s a wonderful opportunity for the students to get the benefit of your experience but what, if anything, have you learned from the students?

I love their enthusiasm, their joie de vivre, their determination and lack of fear. I think once you start to perform and hone your craft you are far more aware of the pressures that come with that. You have to apply oneself.  Everything takes a lot of hard work, drive and energy to make sure you give 100%. Nothing worth having comes easily. As Bette Davis said “No guts, no glory.”

Two years ago you celebrated 50 years on the stage. What is your secret for a long-standing career in the competitive world of show business?

I think you have to try new ideas all the time. I’ve always love diversity and made an effort to try different things to challenge myself. It’s been an incredible journey and I’ve been lucky enough to go down many roads and in many different directions.

Is there anything you’d like to do career-wise as a one off, just for the fun of doing it?

I’d love to play Margo Channing in a stage or TV production of ‘All About Eve” – I love that film and Bette Davis is my all time favorite movie actress.  It would be such great role and fun to do.

Is there anything else you’d like the audience to know before they come along to the show?

Well that we have a bunch of classic songs from some wonderful composers such as Bacharach & David, Lennon & McCartney, Carole King, Jim Webb that they will hopefully love, interspersed with some of my hits and some stories and anecdotes about my life and career.

Thank you, Elaine. I, for one, can’t wait.

Elaine Paige Stripped Back is a series of weekend concerts from October to December 2016. She comes to The Bridgewater Hall on Saturday October 8 2016. Visit www.Elainepaige.com for details. 

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