The Stage

Paul Bridson Productions Showcase 2006

Published Friday 13 January 2006 at 16:20 by Mark Ritchie

Day One Session

After covering this event on many previous occasions, the most gratifying aspect while perusing the bill of artists was noting the number of names that were unfamiliar to me.

Bridson and his team were on hand with both the welcome and the general bonhomie as the Barry Hodgetts Sound kicked things off with a bright and breezy overture, before first-night compere Mike Sealey made his entrance.

Engaging a comedian to perform the role of the compere is often a risky move but at least this cheeky Scouser delivered some original gags in warm-up mode, which hit the mark with some area’s of the room.

It would have been nice to see experienced looking vocalist Diane Marsh working with the band, nevertheless her style suggested someone has been there and done that. The well-pitched voice and assured delivery also indicated ease with the audience in what was ultimately a successful showcase performance.

Celtic Storm, a well presented boy/girl speciality magic act created an absorbing fusion of magic and dance, which included some fairly standard items from conjuring country, which were augmented with some quality big-box illusions and bags of energy.

After a well aimed spot of stand-up from compere Sealey, it was time to meet smooth and trendy young singer James Loynes. The current volume of young swing singers that have flooded the market in the last year or two continues unabated with this young Welsh charmer. Loynes has a fresh, winsome quality and is young and good looking. The voice sounds natural with not even a hint of over-enhancement.

They say the job of stand-up comedian is a hard way to be a hero and it took me a while to warm to John Lory. The material frankly suggested someone who just hasn’t done his homework. Bookers conscious of the corporate identity of their clients won’t take kindly to some of the racial stereotyping and Lory seemed to me to be tip-toeing around a lot of pretty dodgy routines.

Taking us towards the welcome mid-session interval with a trot down the tribute trail were the Degrees. Putting acts like this one on the road in the first place shows an awareness of the current state of the market. With a tribute to the music of the Three Degrees and the Supremes, these sequinned and bejewelled ladies displayed considerable harmonic ability.

The second half began with an appearance from the impressive Sally Ann Harmon. This well turned out and thoroughly prepared looking artist would have benefitted by using the band but even with backing tracks Harmon showed enough to suggest that her popularity is hardly likely to diminish. A version of Barbra Streisand hit Evergreen was the highlight in a delightful showcase set.

Billy Flywheel is hard to categorise. Here we have a quirky, visual comedian with some great lines, who likes to remain in control. Flywheel comes across as a student of comedy and his act is well paced and thought out. The visual angle added pace and, after an intriguing bit of audience participation, Flywheel left the stage to generous and deserved applause.

Two tuxedo-clad guys who are known as Partners in Croon came next. A Rat Pack-style was the aim here but the overall impression was of two crooning guys with hugely varying amounts of vocal ability. The pace was uncertain, skittish and bore all the signs of a distinctly under-rehearsed and new act. In short, simply not smooth or slick enough to convince in this increasingly crowded area of the market.

Judging by his performance at this showcase, Jamie Sutherland is clearly labouring under the misapprehension that it’s enough to be the owner of a broad Scouse accent to make a living in stand-up comedy. Bespectacled Sutherland seemed to be in the development stages of his act and is clearly adopting a comedy club approach and attempting to adapt it to mainstream audiences. On this particular showing he has a lot of work to do.

Penultimate act of the first session 2 in 1 demonstrated yet again that combining dance with magic and glamour is a saleable item. This two-girl act have to be market leaders in the speciality act market. Sword cabinet routines are pretty standard fare but the pace, music and sheer skills involved in the presentation make this act a real hard-working, stand-out attraction.

Closing the first evening off was a duo called Two’s a Crowd. This was simply a decent female vocalist and a guy who looked and sounded as though he should know better. This act was cheesy and hammy and by far the least enjoyable of all the musical acts on show.

Day Two, Morning Session

Jazz saxophonist Rose Quaye got the afternoon session under weigh with a well played arrangement of Johnnie Mercer’s At Last. Hotel work and corporate functions would seem to be the likely avenue for this striking young musician and her task, in opening this session of self-contained bands and duos, was one that should have ensured that her name is noted.

Smart, lounge-style keyboard vocalist Peter James opened up with a version of the Santana song Black Magic Woman before turning his attention to straight vocals when he took a crack at It’s Now or Never. In front of hotel audiences of a certain age James will find plenty of work but he doesn’t really possess the image or performance skills to sell himself as a cabaret vocalist.

Two-girl vocal duo Sentiment Express have the image and vocal harmony quality to make any wedding reception or dinner- jazz night go with a swing. Days of Wine and Roses and a jazz piano version of Money Can’t Buy Me Love were on offer here from a thoroughly prepared and talented twosome.

Still on the solo vocal instrumental front, it was the turn of guitarist and singer Craig Wheelhouse. This amiable axeman finds all the right chords and, although there’s not a lot in the way of visual impact, Wheelhouse gave us songs from Dire Straits and the Hollies in a set that should have won him a few new friends. But why insist on funereal black as a mode of stagewear?

Evergreen comprise a young girl vocalist in a long gown and a much older male keyboard player, who showed a lovely touch when dealing when Don McLean’s And I Love You So. Again, we are in wedding reception territory here, although the relaxed feel of the sound could easily fit into a hotel bar situation or even a cruiseship saloon.

Two-girl duo Kay-Ess have the look of a clubland act and some nice vocal quality could be heard as the girls performed All That Jazz and a version of the Bryan Adams song Heaven. Some comfortable vocal harmonies and a more assured feel than on my one previous viewing of this act.

In an increasingly age-conscious cabaret market, mature husband and wife duo That’s Life are bound to find the going tough, especially given their limited vocal ability. Given the image deficiencies and a multitude of other problems, I will simply pass on to the next act.

Conversely the TV Puppets were impressive in every department. The theatre stage-style booth and the theatricality of the production is the major plus point here but there is plenty of mum and dad appeal in the Muppets-style musical items. The fusion of music and comedy must set this act apart from many similar acts.

It seems that the maxim, old musicians never die, they simply join function bands, is a showbusiness truism, especially in the case of bands like Peninsula. Swing favourites like Let There Be Love were on offer here from three enthusiastic and mature musicians, who would make a dinner and dance go with a swing.

Visual comedy impressions were next on the agenda from three lads from Stoke-on-Trent who are collectively known as Vice-Versa. These guys were in touch with their feminine side as they dragged up during an exercise video spoof, before launching into a series of take-offs that featured Stevie Wonder and the Darkness. Vice-Versa were fun and different and should be in demand on this showing.

It’s very difficult to review a band like Beardsmith without waxing lyrical about all aspects of their performance. A live version of Bohemian Rhapsody was followed by Pass the Dutchie. This father and three sons band were eventually joined by two incredibly talented young children, one on drums, the other on keyboards. Hugely marketable as a sort of modern day Partridge Family, Beardsmith are surely on the brink of stardom.

The polyester fashions of a two-girl and one-boy act called the Right Stuff were on show next. Memories of the seventies was what this act is all about and the grisly fashions and feather boas were augmented with some decent live vocals and backed up with a huge video screen, which showed memories and music from the era. A marketable niche tribute act.

Closing the afternoon session in cracking style was a four-piece band called Mancini and the Hit Men. This girl-fronted attraction chose to deliver their showcase set in segued fashion with party dance songs galore. The overall impression was of a semi-live holiday centre-style outfit who are bright and breezy enough to please a crowd that just wants to party.

Day Two, Evening Session

The final session of this popular showcase event began as compere Ian James strode out on stage and launched into compere spiel, without the prelude of the obligatory song. James was brisk and business-like in all black and was soon introducing another man in black, this time a singer who is simply known as Matty. This shaven-headed swing singer began with Irving Berlin’s Night and Day before reminding us how difficult it is to pick just three songs from a huge repertoire. A well-sung version of Dance With My Father was the highlight but I just thought that this exceptional vocalist needs a brighter image, a less severe haircut and a classier line in crowd approach. A proper stagename would also be a good idea too.

Two Geordie lasses who are collectively known as Rock Steady came next and these two blonde rock chicks certainly know how to make an entrance. However, some of the live vocal wasn’t that easy on the ear and the dance movement looked rather wooden at times. The backing tracks were also overloaded with superfluous vocals, which was also a bit of a distraction during what was a bit of a patchy performance.

We then met yet another man in black, this time chirpy Scouser Steve Charles. This powerhouse vocalist arrived armed with top-quality backing tracks and genuine vocal ability. Charles is a real stand-out in vocal terms and is a big man and a considerable presence on stage. A version of Easy was the highlight in a tremendous showcase set.

Time for a laugh and, although Welsh comedian Lenny Dee couldn’t be accused of springing original material, he certainly delivers his nostalgic line in comedy with some aplomb. Dee will be at his best in front of older crowds but he is none the worse for that.

Combining stand-up comedy with glam-rock is certainly different and the loud and larger than life Phil De Kettley certainly gave us rock with laughter. Looking like a refugee from the band market, this be-wigged and outlandish personality could never be accused of hiding his light under a bushel. As a novel kind of niche tribute, this act could just find its place in the market.

Victoria Yellop is an elegantly gowned and very beautiful violinist with a perfectly enunciated home counties accent and a repertoire of classics, such as a medley that contained I Got Rhythm and Rhapsody in Blue and an Irish music medley. I’m not sure exactly where this artist will fit into the scheme of things but certainly theatre support slots and certain very specific corporate functions would seem the most likely route.

Compere James then re-appeared, this time wearing a bright red tie, and proved that he certainly can sing with a version of the recent Robbie Williams hit Make Me Pure. He certainly has something distinctive to offer in the vocal department and he worked hard to set the right atmosphere as compere, though expert advice on the presentational side of his act might be a good idea.

Closing the first half of the evening session and returning to the tribute trail we met the EJ Experience. Here we have an Elton John lookalike on keyboard and two girls, one very tall and brunette and the other diminutive and blonde. Not a lot by way of soundalike quality here, which could be a problem in certain quarters, but the act is attractively presented nonetheless.

Opening the second half we met smart comedy conjuror Chris Gee, who trawled the audience looking for volenteers to help him. Gee is in ideas man who favours the use of props and costumes but some of his chat-up lines seemed to head straight up the comedy cul-de-sac. However, the affable Gee will produce his best work in front of older audiences and he certainly had his moments.

Singer and guitarist Nile Jordan gave us songs from Bill Withers and Westlife in a set that was vocally ambitious at times. For part of the set it was all a bit of a racket with a twangy guitar sound, in which Rogers seemed to be trying to emulate George Benson. Rogers doesn’t have the accuracy of vocal pitch to convince with You Raise Me Up, although Rogers is certainly a trier.

Vocal instrumental duo Foxed Up were simply top class. Humour in abundance and genuine vocal ability from both. Foxed Up hail from Liverpool and their cheeky humour and sheer stage presence was a real treat. Appearance-wise the pair were faultless and this has to be one of the most entertaining duos at any showcase event this winter. The Pogues’ Fairytale of New York was certainly done justice.

Penultimate act of the entire showcase was singer Kirk Jameson, who opened with Love the One You’re With and continued with a swing version of The Way You Look Tonight. Jameson certainly convinced with a well-pitched singing voice. However I’m sorry to report that the crowd approach was rather languid and the effect was an ineffectual look.

Closing the whole thing out well before midnight was the latest model off the boy band production line, Xplode. Spiky hair, earrings and shades are always the order of the day with acts of this type but refreshingly there was more than a little evidence of vocal ability. Plenty of holiday centre appeal from three young hunks who hail from the Midlands and should attract a fair bit of interest after this successful appearance.

The hard-working Gary Hearne really deserves all the production plaudits, while Wanda Allman was at her ever efficient best. As for Paul Bridson, he is certainly a master at presenting showcase events and those who take the trouble to go along and see his showcases are always well looked after.

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