Tag: Joanne Clifton

Posted on

‘Good old-fashioned laughter. There’s nothing to beat it,” says John Cleese as Fawlty Towers – The Play books into Grand Opera House for five nights from May 19

John Cleese with Danny Bayne, who is playing Basil Fawlty on tour in Fawlty Towers – The Play. Picture: Trevor Leighton

JOHN Cleese was “more confident about it than almost anything I’ve ever done”.

Here he is reflecting on the success of Fawlty Towers – The Play, having enjoyed two sold-out West End seasons and launched a ten-month, 39-venue UK tour in September 2025 that visits the Grand Opera House, York, from May 19 to 23.

“I remember reading the finished script and thinking it was really funny,” reflects Cleese, now 86. “And the English do love farce. Think Ben Travers. Think Brian Rix and Ray Cooney. Look at the success of Noises Off and One Man, Two Guvnors. Farce is universal.”

For all his quiet confidence that Basil Fawlty’s hotel escapades would be received enthusiastically in the theatre, he could not have predicted its rapturous reception.

Cleese does not try to hide his pride in this much-loved classic, co-created with first wife Connie Booth, but he shakes his head in mild wonder at the way it has rooted itself in the public consciousness.

John Cleese behind the Fawlty Towers reception desk with cast members Danny Bayne (Basil Fawlty), left, Mia Austen (Sybil Fawlty,) Joanne Clifton (Polly), Paul Nicholas (The Major) and Hemi Yeroham (Manuel). Picture: Trevor Leighton

“I was told not so long ago of a family who have a game where one of them tries to introduce a quote from Fawlty Towers into the conversation without the other three realising,” he says. “How great a compliment is that? For instance, if anyone says: ‘Don’t mention the war’, everyone knows its origin.”

The play opened at London’s Apollo Theatre in May 2024, directed niftily by Caroline Jay Ranger, who chalked up an earlier West End and touring hit with the musical version of Only Fools and Horses that played the Grand Opera House in October 2024.

As seen at Leeds Grand Theatre in early January, Fawlty Towers’ 18-strong tour cast features changes from the London runs, including Danny Bayne as the deluded, crane-legged Basil – once described by Cleese as “rude but inefficient” – and Mia Austen as his acerbic wife, Sybil.

Joanne Clifton, 2016 winner with Ore Oduba of the Strictly Come Dancing glitterball, takes on the role of Polly, the phlegmatic waitress and chamber maid who pretty much single-handedly prevents Fawlty Towers from collapsing like a pack of cards. Happily, Paul Nicholas remains as the bumbling Major.

The stage show combines three of the most cherished sketches, stitched together by Cleese with a new finale wrapping up proceedings. Miscommunication is the name of the game with a threatened visit by a brace of hotel inspectors, followed by a party of German tourists.

“I remember reading the finished script and thinking it was really funny,” says Fawlty Towers writer John Cleese. Picture: Dave J Hogan

Then comes Basil’s ongoing – futile, as it turns out – attempt to keep from Sybil his flutter on the horses with little or no help from Spanish waiter Manuel, played by Hemi Yeroham.

Last October, Headline published Cleese’s book Fawlty Towers: Fawlts And All – My Favourite Moments to celebrate 50 years of the comedy milestone.

He and younger daughter Camilla have been working on developing a reboot of a possible third TV series of Fawlty Towers, set in a Caribbean motel, where she will play opposite him as Basil’s illegitimate daughter.

In addition, Cleese and Camilla have been collaborating on a stage musical version of hit film A Fish Called Wanda, while a new film script, Lookalikes, is in development too, with the script now in the hands of Arnold Schwarzenegger.

“Originally, it was going to be about those people who stand on Sunset Boulevard in LA [Los Angeles] pretending to be famous stars,” says Cleese. “That changed when someone came up with the brilliant idea of getting real superstars to play the lookalikes.”

People love laughing, reckons Cleese. Hence he has little time for much of what is shown on TV today. “I’ve never seen Game Of Thrones but I did catch a few minutes of something the other day where a dragon was tied to a chain. It wasn’t for me,” he says.

Paul Nicholas as The Major in Fawlty Towers – The Play

Fawlty Towers, he argues, is both funny and timeless. “And we were lucky with Monty Python. We made two good movies, one of them medieval [Monty Python And The Holy Grail], one of them set in the time of Christ [Monty Python’s Life Of Brian]. Neither is going to date.” Now talk is afoot of bringing Life Of Brian to the London stage.

Cleese turned down a CBE (Commander of the British Empire) in 1996. “I asked the authorities if I could call myself Commander Cleese. Absolutely not, apparently,” he says. “Also, look at other people who have turned down awards and titles: David Bowie and Michael Frayn and Alan Bennett and Albert Finney. I have respect for them.”

Fellow Python luminary Michael Palin accepted a knighthood in 2019. “And good luck to him. I was genuinely pleased,” says Cleese. “I now call him Sir Mickey: that’s how I always address my emails to him. He’s a lovely guy.”

Let’s be clear: if Cleese were to be offered a knighthood in the New Year’s Honours List, he would turn it down? “I would. I don’t need that sort of validation,” he says. “It’s enough for me to know – because people kindly tell me sometimes – that I’ve helped them through difficult times by making them laugh. Which is delightful.

“They come home, turn on an episode of Fawlty Towers and the world doesn’t seem quite so bleak. That’s my reward. I think we need much more laughter in the world. I’m not advocating mean teasing. Just good old-fashioned laughter. There’s nothing to beat it.”

John Cleese’s Fawlty Towers –The Play runs amok at Grand Opera House, York, from May 19 to 23, 7.30pm plus 2.30pm, Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.

A scene from John Cleese’s Fawlty Towers – The Play, on tour at the Grand Opera House, York, from May 19 to 23. Picture: Hugo Glendinning

Posted on

REVIEW: Hairspray The Musical, Grand Opera House, York, until Saturday ****

You can’t stop the beat: The Hairspray The Musical cast on Takis’s psychedelic stage

HAIRSPRAY opened on Monday, but press night was on Tuesday, when it was somewhat of a surprise to be presented with an extensive notice headed “For this performance the role of… will be played by”.

The list covered a full page of A4, eight roles in all, but the eye went straight to the disappointing absence of Yorkshire lead actor and Hull New Theatre pantomime favourite Neil Hurst, whose interview featured in The Press on Monday.

In his stead, understudy Stuart Hickey would be cross-dressing as Edna Turnblad, the no-nonsense laundry service,  played on screen by Divine and John Travolta, no less. Hurst will be back from Thursday, we are told.

On a further Yorkshire note, your reviewer had hoped to see Alexandra Emmerson-Kirby in her professional debut as plucky daughter Tracy Turnblad after cutting her musical theatre teeth at the YMCA Theatre in Scarborough.

 On tour, however, performances are being shared out with Katie Brice, and on Tuesday, it was Katie’s turn. What a feisty, fearless, funny  performance she gave.

Still the feel-best of all the feel-good musicals, Hairspray will be playing to big houses all week, all the more so in half-term week when families are looking to fill the diary with not only Halloween parties and too many sweets.

Paul Kerryson and Brenda Edwards’s touring production last played the Grand Opera House in July 2018, and it returns looking even more kaleidoscopically colourful in Takis’s design for this black-and-white anti-segregation story.

Rooted in John Waters’ cult 1988 cinematic nostalgia spoof and the tongue-in-cheek panache of the 2007 Travolta-led movie remake, this fabulously flamboyant, highly humorous and exuberantly energetic spin-off Broadway musical is propelled by Marc Shaiman and Scott Whittman’s Sixties pastiche songs and Mark O’Donnell and Thomas Meehan’s witty, anarchic book.

Takis delivers a deliciously gaudy set and costume design, as groovy as an Austin Powers movie, now complimented by George Reeve’s projections designs that bring a hi-tech sheen to evoking an early-Sixties retro vibe, whether depicting Baltimore streets, the TV studio for The Corny Collins Show, the Turnblad and Pingleton homes or a prison cell that echoes Elvis’s Jailhouse Rock movie.

Hairspray is set in 1962 Baltimore, Maryland, where teen rebel Tracy Turnblad (Brace/Emmerson-Kirby) vows to prove “fat girls can dance”, as she challenges the segregation policy that excludes her like and the black community from appearing in the TV talent contest introduced by the slick Corny Collins (cheeky charmer Declan Egan).

On one side of the divide are Tracy; outspoken, larger-than-life mum Edna Turnblad (Hickey/Hurst) and joke shop-owning doting dad Wilbur (Dermot Canavan), and geeky pocket-dynamo best friend Penny Pingleton (Nina Bell/Freya McMahon).

So too are hip-swivelling black pupil Seaweed J Stubbs (Shemar Jarrett/Reece Richards)) and the sage, savvy Motormouth Maybelle (Michelle Ndegwa).

On the other side are the aspiring pageant queen, spoilt brat Amber (Allana Taylor) and her bigoted mother, the TV show’s shrewish, bigoted producer, villainous Velma Von Tussle (Strictly Come Dancing alumna Joanne Clifton in the latest of multiple Grand Opera House musical appearances).

Torn between needy pin-up girl Amber and boundary-breaking Tracy is the TV show’s Elvis-lite pretty boy, Link Larkin (Solomon Davy).

Hickey’s Edna is very much a towering man in a dress, but equips her with the  requisite twinkling eye, abundant love of family and well-timed putdowns for authority, and is at his best in the double act duet with Canavan’s ever-resourceful Wilbur, Timeless To Me. Mel Brooks would surely love it.

Beneath her bouffant beehive, Brace’s Tracy buzzes with enthusiasm for life and taking every opportunity; Davy’s Link carries a crooner’s tune and pink suit with equal aplomb, and Clifton’s humorously sour-faced Velma is full of vile style.

Soul and gospel singer Michelle Ndegwa is resplendent in her theatre debut as Motormouth Maybelle after working with the likes of Gorillaz, Gregory Porter and Leeds band Yard Act. Golden hair, golden dress, golden voice, she brings the house down in the stand-out I Know Where I’ve Been.

Exuberant dance numbers choreographed with oomph and pizzazz by Drew McOnie combine with fun, fabulous and forthright performances in a knockout show where “you can’t you stop the beat” but you can beat intolerance, bigotry and racism.  

Hairspray, Grand Opera House, York, until Saturday, 7.30pm and 2.30pm Saturday matinee. Box office: atgtickets.com/york.

Posted on

Heads up to who will be appearing in Hairspray on tour at Grand Opera House

Hairspray’s 2024-2025 touring cast: Heading to the Grand Opera House, York, this autumn

BLOSSOMING North Yorkshire talent Alexandra Emerson-Kirby will make her professional stage debut in the lead role of Tracy Turnblad on the 2024/2025 UK and Ireland tour of Hairspray. The Grand Opera House, York, awaits her from October 28 to November 2.

Alexandra’s passion for musical theatre was nurtured at Scarborough’s YMCA Theatre. From there, she trained professionally at the Italia Conti Academy of Theatre Arts, Woking, graduating recently in musical theatre and dance.

Alongside her will be fellow professional theatre debutante Michelle Ndegwa, playing Motormouth Maybelle after her selection from last November’s 3,000 open auditions hopefuls for the tour’s run from July 16 to next April.

Soul and gospel singer Nedgwa is best known for her vocals for the Gorillaz and has recorded with Billy Porter, Gregory Porter, Shapeshifters, Leeds band Yard Act, Becky Hill, Rita Ora, and Deseri too.

She has performed at Coachella, Glastonbury and BBC Radio 1’s Big Weekend and her touring, festival and concert work includes backing vocals for Lizzo, Jorja Smith, Emeli Sande, Becky Hill, Nubya Garcia, Wizkid, TLC, Liam Gallagher, Ray BLK, Nina Nesbit, Shakka, Tom Odell and Trevor Nelson’s Soul Christmas at the Royal Albert Hall.

Brenda Edwards, who played Motormouth Maybelle in three productions under Paul Kerryson’s direction, now joins him to co-direct the latest tour. Choreography will be by Olivier Award winner Drew McOnie, artistic director of Regent’s Park Open Air Theatre, London.

Based on John Waters’ cult 1988 film that starred Divine and Ricki Lake, Hairspray The Musical features music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and book by Mark O’Donnell and Thomas Meehan.

The 2002 Broadway premiere won eight Tony Awards; the 2007 West End premiere at the Shaftesbury Theatre picked up four Olivier Awards including Best New Musical.

Revelling in such songs as Welcome To The 60s, You Can’t Stop The Beat and Good Morning Baltimore, Hairspray traces the progress of ambitious heroine Tracy Turnblad, who has big hair, a big heart and big dreams to dance her way onto national American television and into the heart of teen idol Link Larkin.

When Tracy becomes a local star, she decides to use her newfound fame to fight for liberation, tolerance and interracial unity in Baltimore, but can she win equality – and Link’s heart – without denting her hairdo?

Kerryson and Edwards’s touring cast will include Neil Hurst, who played big lad Dave in The Full Monty on tour at the Grand Opera House last October, now cross-dressing as Tracy’s mum, Edna Turnblad.

Returning to the York stage too will be Joanne Clifton, this time as former beauty queen, TV show producer, devious taskmaster and racist snob Velma Von Tussle.

The 2016 Strictly Come Dancing champion appeared previously at the Grand Opera House as Princess Fiona in Shrek, Janet Weiss in The Rocky Horror Show, welder Alex Owens in Flashdance and Millie Dillmount in Thoroughly Modern Millie.

Further roles will go to Solomon Davy as Link Larkin; Declan Egan as show host Corny Collins, Katlo as Little Inez, Reece Richards as Seaweed and Allana Taylor as Amber Von Tussle.

Tickets are on sale at atgtickets.com/york.

Posted on

REVIEW: Shrek The Musical, Grand Opera House, York, until Saturday ***

Brandon Lee Sears’ Donkey, Antony Lawrence’s Shrek and Joanne Clifton’s Princess Fiona en route to Duloc in Shrek The Musical

IN August 2014, Yorkshire had the honour of staging the British regional premiere of DreamWorks Theatricals’ Shrek The Musical at Leeds Grand Theatre, when 2023 Strictly Come Dancing quarter finalist Nigel Harman was the director, incidentally.

Now the latest tour plays York, with co-directors Samuel Holmes and Nick Winston at the helm and 2016 Strictly champion Joanne Clifton playing the Grand Opera House for the fourth time, after The Rocky Horror Show in 2019, preceded by Flashdance and Thoroughly Modern Millie in 2017, here revelling in the role of Princess Fiona.

Nik Briggs’s presence in Monday night’s audience was a reminder that Shrek The Musical has turned this theatre green once before: he played the not-so-jolly ogre in York Stage’s production in 2019.

Holmes and choreographer Winston oversee a 2023-2024 touring production big on video, sound and lighting design, bigger still on big numbers, and biggest of all on big, big love. All that and a particularly towering Shrek as played by the lovably lumpen, grumpy Antony Lawrence.

You will surely know the iconoclastic story and characters from the first DreamWorks animated Shrek film in 2001, but the book and lyrics by David Lindsay-Abaire and persistently perky music by Jeanine Tesori were new to the 2008 musical.

Their songs, more forceful than overtly melodic, match the bright and bouncy tone of the trademark irreverent humour that adds playful send-ups of The Lion King and Les Miserables to the original film template of satirising and redefining the fairytale pecking order established by Grimm and Disney.

Joanne Clifton’s Princess Fiona and the Pied Piper’s tap-dancing rats performing Morning Person in Shrek The Musical

Hence the presence of myriad fairytale characters, in the manner of Stephen Sondheim’s Into The Woods, all in rebellious mood, from Georgie Buckland’s Gingy, who takes the biscuit, to Scotty Armstrong’s Big Bad Wolf, Mark D’arcy’s Pinocchio to Jonathan David Dudley’s Pied Piper.

All have their moments in song and dance, less so in dialogue, dominated instead by the big four of Lawrence’s Shrek, Clifton’s Princess Fiona, Brandon Lee Sears’ Donkey and James Gillan’s foppish Lord Farquaad.

Not forgetting a terrific turn by blues-belting Cherece Richards as the power-vocal front of the love-sick Dragon, hot on guarding Princess Fiona in the tower (as well as a second role as the Wicked Witch).

Early days in her professional career after leaving the Italia Conti Academy of Theatre Arts this summer, keep an eye and ear on this BA Musical Theatre 2023 graduate, who more than makes the grade in Shrek, even with a huge dragon puppet design by Jimmy Grimes behind her.

Shrek The Musical’s naturally solitary, swamp-dwelling Shrek is even ruder, definitely windier, than his film version, still irascible, still wary, but nevertheless teaming up with Sears’ irrepressible Donkey to extract Clifton’s temperamental, bored, probably bipolar Princess Fiona from her tower to deliver her to Lord Farquaad for her fairytale nuptials.

Lawrence’s Shrek makes being glum a joy, his warts-and-all unconventional hero experiencing the highs and lows, the frictions and fallouts of buddy movie relationships with Sears’ jive-talking, ever-excitable Donkey, a hoofer with hooves and a Little Richard meets Prince lip.

Swamp invaders: Antony Lawrence’s Shrek in argumentative mood with Cherece Richards’ Wicked Witch and the fairytale folk in Shrek The Musical

Lawrence’s big Scottish fella warms to Clifton’s equally unconventional Princess Fiona: her favourite role, she says, one that testifies to the creed of being who you want to be, rather than living up to other people’s expectations. Clifton is the triple threat writ large: stirring singer, swish dancer and humorous actress.

The show’s humour works on two levels: sometimes pantomimic for children, especially in the fairytale characters and in its love of raucous burps and bottom burps in Shrek and Fiona’s unbeatable party-piece duet, I Think I Got You Beat.

At other times, adult, smart and savvy, such as the observation that if you look grotesque, your life is “Kafka-esque”. Then stir in that British favourite, high camp, in the fruity form of Gillan’s big-headed but diminutive Lord Farquaad, with his curtain of silken hair, Shakespearean airs and Kylie hot pants.

Philip Witcomb’s set and costume designs echo pantomime; Winston’s choreography is full of individual swagger and ensemble electricity, and if the singing is often better than the songs, Shrek The Musical’s return to York, with its big, bright wonderful fairy world, fits the festive mood of shows at this time of year.

In the words of the closing I’m A Believer, if you thought love was only true in fairy tales, Lawrence and Clifton make it a good starting place.

Shrek The Musical, Grand Opera House, York, until Saturday, 7.30pm and 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.

Everything’s gone green: Brandon Lee Sears’ Donkey, Joanne Clifton’s Princess Fiona and Antony Lawrence’s Shrek strut their stuff in the finale to Shrek The Musical
Posted on

Joanne Clifton revels in unconventional Princess Fiona in Shrek The Musical on her Grand Opera House return from Monday

“It’s my favourite role I’ve ever done,” says Joanne Clifton of playing Princess Fiona in Shrek The Musical

JOANNE Clifton loves the Grand Opera House, York, and not only for theatrical reasons.

“I’ve done three musicals there but it’s also where I signed off on my first house in Dressing Room 2,” says the 2016 Strictly Come Dancing champion.

From Monday, Joanne returns to the Cumberland Street theatre to play Princess Fiona alongside Antony Lawrence’s Shrek, James Gillan’s Lord Farquaad and Brandon Lee Sears’ Donkey in Sam Holmes and Nick Winston’s “Shrektacular” 2023-2024 touring production of David Lindsay-Abaire and Jeannie Tesori’s musical.

“We’re on the road from the end of July to April next year: a long tour, I know, but it’s my favourite role I’ve ever done, so I’m happy to do it as long as possible,” says the 2013 World Ballroom Showdance champion, who turned 40 on October 26.

Splashdance! Joanne Clifton as welder and dancer Alex Owens in the iconic scene in Flashdance at the Grand Opera House in November 2017

“Fiona’s someone I really relate to. I know she’s a cartoon character, but if ever there was a princess I should play, it would be Fiona, as I’m not your typical princess. Maybe that’s because I’m from Grimsby.

“I’m never going to be the same as Cameron Diaz [who voiced Fiona in the Shrek films]. I’m told I’m more feisty. I shout a lot, especially at Shrek in my first few scenes where I want him to rescue me right now from the tower.”

Joanne loved the original Shrek animated film that spawned this official Dreamworks  Theatricals musical. “Everyone knows the film, and how the film wasn’t the same as other cartoon films,” she says. “It’s a feelgood, funny musical, and of course it’s for kids but there are lots of jokes for adults too that go over kids’ heads.

“There are some important messages behind it too: be who you want to be, rather than living up to other people’s expectations. Princess Fiona starts out trying to be  like how people expect a princess to be but ends up fighting and burping, falling for an ogre and getting on with a donkey!”

Fab-u-lous! Joanne Clifton as Millie Dillmount in Thoroughly Modern Millie at the Grand Opera House in February 2017

Summing up the humour, Joanne says: “It’s a very, very funny show, especially Lord Farquaad, and all that trumping that Shrek does and Fiona does. The kids absolutely love that! So there’s adult humour and toilet humour – at the end of the day trumps are just funny!”

Nick Winston’s choreography includes a big tap number for the former Strictly winner at the opening to Act Two. “I’m tap dancing with loads of rats as I’ve met the Pied Piper, who’s being followed by all these rats,” she says. “Especially as I’m 40 now, it’s one of the most demanding parts of the show – apart from the quick chase with the ogre at the end – because I’m singing, then I’m tap dancing and then have to finish by singing these big notes.”

The song in question is Morning Person. “I’m absolutely not a morning person!” says Joanne. “I’m very much an evening person. I’ll stay up until 2am, and if I could, I’d stay in bed all day.”

Nevertheless, the weekly performance schedule demands plenty of matinees. “We’ve recently done two weeks where we’ve had ‘double doubles’, matinees and evening shows on Wednesday and Thursday and then two shows on Saturday too. Sometimes we do eight shows in five days, but we just have to make it fun, and this cast is really good fun.

Shocked in pink: Joanne Clifton’s prim and proper Janet Weiss in The Rocky Horror Show at the Grand Opera House in June 2019

“On those matinee days, we’ll get breakfast, do the show, where we’re all buzzing after doing I’m A Believer at the end, and then everyone’s in the green room, having fun, some cast members doing jigsaws, and we have a Lego club too.”

Neil Diamond’s I’m A Believer – best known for The Monkees’ 1966 hit version – is joined by original songs aplenty in the musical. “There are extra bits to the story too that make it better,” says Joanne. “Like my first song, I Know It’s Today, where Fiona goes through the stages of her life in the tower, from the age of seven, reading books, then teenage Fiona, older and brasher, and then I come on as Fiona as she is now, going out of her mind stuck in the tower.”

Joanne will be appearing in an American musical for the fourth time at the Grand Opera House after playing prim and proper college student Janet Weiss in The Rocky Horror Show in June 2019 and starring twice in 2017, first as demure Kansas flapper girl Millie Dillmount in Thoroughly Modern Millie in February, then combustible Pittsburgh steel mill welder Alex Owens in Flashdance in November.

“It’s one of my favourite theatres,” she says. “I love old, traditional theatres, and York has such happy memories for me.”

Shrek The Musical, Grand Opera House, York, November 27 to December 2, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york

Copyright of The Press, York

“Be who you want to be, rather than living up to other people’s expectation,” urges Joanne Clifton, in reaction to playing convention-busting Princess Fiona in Shrek The Musical
Posted on

Ore Oduba in fishnets and high heels? Oh yes, as Strictly champ plays college nerd Brad Majors in The Rocky Horror Show

Ore Oduba strikes a pose in the obligatory dress code for playing Brad Majors in The Rocky Horror Show. Fishnets? Tick? High heels? Tick. Picture: Shaun Webb

ACTOR, presenter and 2016 Strictly winner Ore Oduba will be donning his fishnets in Richard O’Brien’s Rocky Horror Show at the Grand Opera House, York, from March 14 to 19.

Delighted to be resuming his role as squeaky clean Brad Majors in Christopher Luscombe’s touring production from January to June, he says: “I’m so excited to be extending my stay with our amazing Rocky family. Truth is, when you know how it feels to wear a corset and heels, it’s very hard to take them off – at least it is in my case!

“It’s been a wild ride so far. This show is the perfect remedy to everything we’ve all been through. People want to laugh and be uplifted and to be able to forget about everything for a couple of hours. It’s all about ‘Leave your inhibitions at the door – we haven’t got time for that’.”

In O’Brien’s risqué and riotous 1973 sci-fi musical sextravaganaza, Oduba’s preppy Texas student Brad Majors and his college-sweetheart fiancée Janet Weiss (Haley Flaherty) inadvertently cross paths with mad scientist Dr Frank-N-Furter (Stephen Webb) and his outrageous Transylvanian coterie.

“I think there’s a lot of Brad in me and in a lot of people, ” says Ore Oduba

In a shock’n’roll sugar-rush of fruity frolics, frocks, frights and frivolity, Ore ends up in assorted states of undress. Previously seen on a Yorkshire musical theatre stage as swoon-inducing crooner Teen Angel in Grease, The Musical at Leeds Grand Theatre in July 2019, he signed up to play Brad from last summer, but not before he checked with his wife, television researcher Portia.

“It’s such an iconic show and so well loved, but I thought, ‘I wonder what my wife is going to say about audiences seeing me in stockings?’. I needn’t have worried because what I’d forgotten is that Rocky Horror is one of her and her family’s favourite shows of all time. She was beside herself!

“Then she started chuckling at the idea of me being on stage in just my briefs for the early part of the show, then coming out later in stockings and high heels.”

Ore’s nerdy Brad undergoes a spectacular shedding of inhibitions at the hands of Frank-N-Furter, “just a sweet transvestite from transsexual Transylvania” as he calls himself. 

Given how Ore has gone from studying sports and social sciences at Loughborough University to presenting on Newsround, BBC Breakfast, Radio 5 Live and The One Show, to dancing  to Glitterball success with Joanne Clifton on Strictly Come Dancing, to musical theatre roles as Teen Angel and songwriter Aaron Fox in Curtains in the West End, he can connect with Brad’s transformation.

Ore Oduba as Teen Angel in Grease at Leeds Grand Theatre in 2019. Picture: Antony Robling

“I think there’s a lot of Brad in me and in a lot of people,” he says. “It’s the idea of being kind of caged animals, because we all have a lot of reservations and inhibitions and things we hold back. We’re just waiting to be unleashed.”

Not that his Strictly sparkle and burst of musical theatre roles came out of the blue. At 13, he won the school drama prize for his performance in the musical Seven Golden Dragons. “Then at secondary school I did every production under the sun,” recalls Ore, now 36. “It was only when I went to university that I turned my attention to broadcasting, but Strictly reminded me ‘Oh my gosh, I love being on stage’.

“On the surface, doing musical theatre now might seem like a big change-up but when I look back to where I felt happiest and most comfortable when I was younger, it was always on stage. In many ways it’s kind of what I always wanted to do. After Grease and Curtains, Rocky Horror is another step up in my so-far short musical theatre career and a lovely chance for me to do something liberating, fun and a little bit different.”

Ore has taken performing the signature song-and-dance routine The Time Warp in his stride, after continuing to dance since his Strictly triumph, both in the BBC show’s tours and in musicals. “I took up tap dancing too, although my wife and I then decided to renovate the house and turn the garage I was practising in into a kitchen,” he says.

Preppy but unprepared for what lies in store at deliciously, devilishly deviant Dr Frank-N-Furter’s castle: Ore Oduba’s Brad Majors and Haley Flaherty’s Janet Weiss. Picture: David Freeman

“So, I no longer have my tap space. Blame it on the kitchen! But every time I get to do something involving choreography, it gets me as excited as I was when I did Strictly. I love it.”

Wearing fishnets and high heels is altogether more over the top than anything he sported in tandem with Joanne Clifton on Strictly. “We did wear Latin heels but they’re not as high as the ones I have to wear in Rocky Horror,” says Ore.

“I remember the first time I was asked to wear something a little bit sheer on Strictly and I thought, ‘I don’t want to be too much of a show pony, I want it to be about dancing’. But by the time it came to the end, I was like, ‘You can put me in whatever you want’.”

Cue Frank-N-Furter doing exactly that to Ore’s Brad Majors in The Rocky Horror Show.

Richard O’Brien’s Rocky Horror Show runs riot at Grand Opera House, York, from March 14 to 19; Monday to Thursday, 8pm; Friday, Saturday, 5.30pm and 8.30pm. Box office: 0844 871 7615. Fancy dress encouraged.

Copyright of The Press, York

Posted on

Kevin Clifton must wait year longer to play dream role after Strictly Ballroom delay

Clifton suspension: Kevin Clifton’s dream role is put on hold for a year after postponement of the Strictly Ballroom tour. Picture: Dan Hogan

KEVIN Clifton will not be in Strictly twice over this year.

In March, the 2018 champion announced he was leaving the Strictly Come Dancing professional squad after seven seasons in annual pursuit of the BBC One glitter ball trophy, filling his diary instead with the 2020/2021 UK and Ireland tour of Baz Luhrmann’s Strictly Ballroom The Musical, directed by Strictly judge Craig Revel Horwood, no less.

The tour should have run from September 26 to June 26 2021, but the Covid-19 pandemic has necessitated its postponement until a new starting date of September 27 2021 in Plymouth.

“Kevin from Grimsby”, 37, will play his dream role of Scott Hastings at the Grand Opera House, York, from November 15 to 21 2021, rather than November 23 to 28 this autumn.

Further rearranged Yorkshire dates are: Bradford Alhambra Theatre, November 22 to 27 2021, Hull New Theatre, April 25 to 30 2022, and Sheffield Lyceum Theatre, May 30 to June 4 2022, on a tour that will end in where else but the ballroom-dancing mecca of Blackpool on July 2 2022.

“You can still expect a simply fab-u-lous show for all to enjoy,” promises director Craig Revel Horwood

Announcing the tour’s postponement, the producers say: “To ensure everyone’s safety in these uncertain times, we had to take the difficult decision to reschedule the original tour dates.

“But the good news is that all of the shows in the touring schedule have been rearranged and tickets for each performance will be exchanged automatically, so fans will not miss out on this musical extravaganza. Details of how to exchange tickets will follow in the coming weeks.” 

Clifton says: “I’m really delighted that the Strictly Ballroom tour has been rescheduled.  As I’ve mentioned before, it’s my all-time favourite film and Scott Hastings is my dream role, so I can’t wait to bring this musical to theatres across the UK next year.  In the meantime, please stay safe and keep well, everyone.”

Director Craig Revel Horwood enthuses: “I’m thrilled that our new production of Strictly Ballroom The Musical has been rescheduled for 2021/2022.  The tour may be a year later, but you can still expect those same sexy dance moves, scintillating costumes and a simply FAB-U-LOUS show for all to enjoy, starring the one and only Kevin Clifton.”

Clifton joined Strictly Come Dancing in 2013, performing in the final five times, missing out only in 2017 and 2019, and he was crowned Strictly champion in 2018 with celebrity partner Stacey Dooley, the BBC documentary filmmaker, presenter and journalist.

“I’m beyond excited to be finally fulfilling a lifelong ambition to play Scott Hastings,” says Kevin Clifton, dressed a la mode as Hastings goes into battle on the ballroom floor

A former youth world number one and four-time British Latin Champion, Clifton has won international open titles all over the world. After making his West End musical theatre debut in 2010 in Dirty Dancing, he starred as Robbie Hart in The Wedding Singer at Wembley Troubadour Park Theatre and as rock demigod Stacie Jaxx in the satirical Eighties’ poodle-rock musical Rock Of Ages in the West End, a role that also brought him to Leeds Grand Theatre last August.

Clifton last performed at the Grand Opera House, York, in the ballroom dance show Burn The Floor last May.

Strictly Ballroom The Musical tells the story of Scott Hastings, a talented, arrogant and rebellious young Aussie ballroom dancer. When his radical dance moves lead to him falling out of favour with the Australian Dance Federation, he finds himself dancing with Fran, a beginner with no moves at all.

Inspired by one another, this unlikely pair gathers the courage to defy both convention and family and discover that, to be winners, the steps don’t need to be strictly ballroom.

Featuring a book by Luhrmann and Craig Pearce, the show features a cast of 20 and combines such familiar numbers as Love Is In The Air, Perhaps Perhaps Perhaps and Time After Time with songs by Sia, David Foster and Eddie Perfect.

Rock on: Kevin Clifton as rock demigod Stacee Jaxx in Rock Of Ages at Leeds Grand Theatre last August

Strictly Ballroom began as an uplifting, courageous stage play that Luhrmann devised with a group of classmates at Sydney’s National Institute of Dramatic Art in Australia in 1984. Eight years later, he made his screen directorial debut with Strictly Ballroom as the first instalment in his Red Curtain Trilogy.

The film won three 1993 BAFTA awards and received a 1994 Golden Globe nomination for Best Picture. Strictly Ballroom The Musical had its world premiere at the Sydney Lyric Theatre in 2014, and the West Yorkshire Playhouse, Leeds, staged the first British production in December 2016 to January 2017.

When announcing his full-time move into the world of musical theatre only a week before the Covid-19 lockdown in March, Clifton said: “I’m beyond excited to be finally fulfilling a lifelong ambition to play Scott Hastings in Strictly Ballroom The Musical. When I was ten years old, I first watched the movie that would become my favourite film of all time. This is my dream role.

“Plus, I get to work with Craig Revel Horwood again. I really can’t wait to don the golden jacket and waltz all over the UK in what’s set to be an incredible show.” Now, alas, he must wait for a year longer.

Tickets for the York run are on sale at atgtickets.com/york; Bradford, “on sale soon”;  Hull, from May 15, at hulltheatres.co.uk; Sheffield, “in the autumn”.

Joanne Clifton, Kevin’s sister, as Janet Weiss in The Rocky Horror Show at the Grand Opera House, York, last June

Did you know?

KEVIN is not the only member of the Clifton dancing family of Grimsby to have graduated from Strictly champion into musicals. Sister Joanne, 36, appeared at the Grand Opera House, York, as demure flapper girl Millie Dillmount in Thoroughly Modern Millie in February 2017; combustible Pittsburgh welder and dancer Alex Owens in Flashdance in November that year and prim and proper but very corruptible Janet Weiss in The Rocky Horror Show in June 2019.