(seen at the performance on 17th November 2024)
So far as the monkey is concerned, it is acceptable to begin Christmas events – advertisements, decorations, charity launches, muddy field “Santa Experiences” etc, only after both Remembrance Sunday and Armistice Day are safely past.
Magic Radio are thus well within its rules as they kick off the season with a beautiful gold star Christmas tree against red curtain backdrop setting, for a special Christmas celebration of all things musical theatre and more.
A seven piece band, under John Ranger at a baby grand piano, provide the backing for six amazing West End stars to deliver two hours of glittering fun.
Hosts Lucie Jones and David Hunter are no strangers to each other, having worked together in “Waitress” at the Adelphi Theatre in 2019. Velvety burgundy dress for her, dinner jacket for him, a far cry from the greasy pie restaurant as they opened on duet “Bad Idea” from the Sara Bareilles / Jessie Nelson hit.
A ‘high five’ before Lucie’s first solo “She Used To Be Mine” from the same show. Wringing every ounce of emotion from it, the monkey admits she turned a song it has never liked previously into one it wants to hear again. Take a curtsey... oh, she has... and says “hi” to the band as she does so.
First guest star. Zoe Birkett delivers “Have Yourself A Merry Little Christmas” with as much sparkle as her marvellously long ear-rings. It’ll be a merry Christmas indeed if we can have this on loop as she belts and pink snow lighting falls on the stage apron. Currently in “Tina The Musical” (her hardest role to date, she says), this will shift a few tickets for sure.
Next up, another West End star enters, Carrie Hope Fletcher. With Lucie Jones, a rendition of “Let Me Be Your Star” from Broadway stage adaptation of TV show “SMASH” sums up the jewel and sadness that was Marilyn Monroe. An up-tempo ending to an exquisite ballad had Hunter remarking on the final note, Lucy quipping “tell that to my lungs.”
Reflecting on the pros and cons of Bounty bars in chocolate selection boxes (audience vote – against, Carrie Hope Fletcher vetoing Orange and Strawberry as too healthy), the jump to “Seasons of Love” from “Rent” brings Zoe back to the stage. Suiting perfectly both Carrie and Zoe’s voices, the audience clap along for the first, but not the last, time this afternoon.
Staying in musical theatre territory, marking “Oliver!” turning 65 (oldest boy in the workhouse, joked Lucie), Carrie Hope Fletcher sings “As Long As He Needs Me.” Second time the monkey has heard her do the number on the same stage. This time, she lets a little more cockney into it and generously acknowledges the backing group for how good they make her sound. Revealing less generously that her brother Tom played the title role in 1994 at the Palladium, she launches an amusing sisterly attack pointing out he is also older than her by 7 years.
The self-confessed Disney fanatic brings on David Hunter – a self-confessed non-Disney addict (“are they any good?” he queries), for “A Whole New World” from “Disney’s Aladdin.” A magic carpet ride of a duet.
Red plastic reindeer antlers for Lucie as she re-enters and hands David a bauble headband for no good reason except to amuse us. She then goes the full “Ella Fitzgerald” with “The Man With The Bag” – a Kay Starr jazz number she gives full swing.
It gives David a chance to get his “Mince Pie” glasses on, drawing a wolf-whistle from the stalls and, he claims, completing his “James Bond” look. A discussion of who keeps the “naughty list” before another Zoe Birkett treat.
“I Have Nothing” is driven to every corner of the theatre, charisma bouncing off the back wall, lighting shapes projecting on the ceiling as Birkett stops the show.
From there, the only way is “Fairytale of New York,” Hunter and Hope Fletcher style. Starting with a snarl from their respective microphones, emotions changing with the song lyrics, the audience clapping along and Lucie visible dancing in the wings.
Interestingly, Fletcher opts for “cheap and haggard” rather than a word which holds different meanings for different generations. Sensible choice, and something to ponder as Hunter misses a cue and sings a little early.
“You Can’t Stop The Beat” from “Hairspray” closes act one, Carrie on lead vocals, the three women having particular fun as Birkett goes full “butt dance” and proves there is nothing she can’t sing – even when she comes in at the wrong time, “normally me” sighs a relieved Ms Jones.
Second half, fresh outfits as Hunter dons a smoking jacket and Lucie a green trouser suit nicely judged against Carrie’s green dress and Birkett’s burgundy outfit.
“We Need A Little Christmas” from “Mame” gives the four of them a rousing opener before David Hunter gets his solo, “Waving Through A Window” from “Dear Evan Hansen.” Picking smoothly at the notes, Lucie sails close to the wind commenting on his natural teen looks.
Now in star headband (her), party hat Christmas bows (him) a trio with Carrie assembles for “White Christmas” – the best selling 7-inch record ever, and Berlin claims not just the best song he ever wrote, but the best song ever written (possible, being fair).
Off to a flying stop as Lucie promptly forgets the opening lines (which are not what we think they are) but worth the wait as the harmony in the chorus is perfect.
Making up for her lapse, and absolutely at one with the material this time (as she should be, having played the role for years in London), time for Lucie to produce “Defying Gravity” from “Wicked.” Green spotlighting, the number raised chills for the monkey, and a full standing ovation from the audience at its conclusion.
Next up, the moment Ballettes had snapped up all remaining tickets for as soon as he was announced. Michael Ball and Alfie Boe live on stage. They first met in 2007, “Kismet” – the show and fate.
Lucie had Ball laughing in the wings as she messed up delivering that introduction, but there is no arguing with the pair’s first number “Up Where We Belong” from “An Officer and a Gentleman”. Suiting Ball rather better than Boe, they gave the monkey palpitations by striding onto the stage apron. Did they not know it is not that secure and there is a 20-foot drop to solid concrete beneath?
Pausing to note Boe’s “Val Doonican” (most of the younger audience didn’t get the reference) “granddad cardie” an interesting duet of “You’ll Be Back” – King George’s song from “Hamilton” follows. Delivered fast and without insane menace, an odd choice, with more manic apron antics.
Third number, Take That’s “Rule The World” has the pair “riding on a star” and phone lights waving prettily in the auditorium.
“Nice cardie, Dad” teases Lucie – who explains her entitlement given Boe played Valjean to her Cosette in their “Les Misérables” days. Pausing for a quick vote on Mr Ball’s beard (gone due to a shaving incident, and should stay that way, audience opines) and a plug of their new number 1 album, onward to “It’s Beginning To Look A Lot Like Christmas” as thick confetti snow falls and Ball really gets into the spirit with a two-step dance.
With Hunter’s reminder that “cardies are on sale in the lobby”, everybody is brought onto the stage for a unique “One Day More” from “Les Misérables.” Worth the price of the ticket alone to hear Boe as Valjean, Hunter as Marius (to Ball’s disgust), Lucie as Cosette, Carrie as Eponine, Zoe as Enjolras, Ball as Javert and Hunter and Lucie as the Thenardiers.
Not quite the end. Zoe Birkett has a final showstopper to share, “Proud Mary” from “Tina The Musical” has everybody up and dancing, Hunter, Jones and Hope Fletcher on backing vocals, to turn the big wheel up to maximum.
Perhaps a little more polish in knowing who was doing what, and including “Last Christmas” would have been amazing, but this turned out to be one show the monkey is delighted it chose over the other three it could have seen that day.
A terrific mix of show tunes and Christmas songs, a lot of banter and a wonderful atmosphere. Christmas time is here by golly, brother, here we go again...
Magic Radio is supporting “Cash For Kids” with its “Mission Christmas.” The charity’s aim is to, “improve the lives of disadvantaged children and young people in our communities who are affected by poverty, illness, neglect or have additional needs. We believe that all children should be able to express their individuality, achieve their potential and live life to the full. We work with grass-roots organisations that aim to make a difference to young lives, directly supporting families who often have nowhere else to go.”
If you were not at the theatre to drop a few coins in person, they would really appreciate a little help online at cashforkids.org.uk.
5 stars, standing ovation given.