Witches - The Lyceum, Sheffield
December 2nd - 6th
Singer Marti a sexy wee devil
Devil in him: Wet, Wet,
Wet singer Marti Pellow
Published
Date: 02 December
2008
POP star, heart throb, rock and roll
survivor.
Marti
Pellow has been there and done all of that, with the gold discs and personal
scars to show.
But it's a totally different man who's wooing the ladies this week at the Lyceum
Theatre.
In fact, he admits: "I'm just your average horny little devil. Feel free to have
a touch."
And you get more than a touch as he puts on a devil of an act as latter day
Lucifer, Darryl Van Horne in The Witches of Eastwick, best known as a movie but
now taking on a whole new life and audience as a sexy, seductive, suggestive
musical.
Pellow is more Jim than Jack (that's Carrey rather than Nicholson) as he
teeth-gnashes, hip-sways and pelvis-thrusts through a show which is best
described as single entendre.
The demonic glint in his eye outshines the stage lights and even that is
outdazzled by the man's talent.
His vocal range is impressive, effortlessly switching keys to duet with co-star
witches Ria Jones (Alex), Rebecca Thornhill (Sukie) and Poppy Tierney (Jane) and
his natural gift for comedy comes to the fore, with fresh meaning given to
impishly delivered one lines, such as: "I know my music. It's one of the few
things that keep me humble."
The audience is 90 per cent fairer sex, more reflecting Mr Pellow's fanbase than
a cross section of the city's theatregoers, and it's true to say that he could
have coasted through the performance and still been sent them away happy.
But he hit the stage running (literally) and stayed in top gear throughout.
This isn't a one-man show, though.
The cast bring their own energy to this magical musical which tells not so much
a boy-meets-girl story (though that is featured) as good meets bad and has a
thoroughly good time before seeing the light of day.
Those bewitching witches – Jones, Thornhill and Tierney – bring plenty of
talented toil and trouble to the good people of one-horse town Eastwick and
raise the standard bar to a dizzying height to create a show to remember.
It's explosive, high-flying and will cast a spell on all who enter the Lyceum
this week.
Review: The
Witches of Eastwick
By Laura Carlton
Published: 25/02/2009
The Witches of
Eastwick is an innovative, amusing and refreshing adaptation of a successful
novel and film into a vibrant musical. It follows three women living in the
oppressive American town of Eastwick in the 1950s, who inadvertently conjure up
the devil as an answer to their relationship troubles. Despite his initially
seductive charms, he soon brings the entire town into disarray: with disastrous
consequences.
The Lyceum Theatre
was packed out, predominately with women, for the first night in Sheffield,
largely due to the perfect casting of Marti Pellow as the delectable yet evil
Darryl Van Horne. His entrance itself caused a stir as he ran out from the back
of the stalls, cheekily slapping audience members around the head as he leapt
towards the stage.
He used his
enigmatic and devilish charms to captivate and possess the other characters (and
many members of the audience) to sometimes tragic, but predominately comical
effect.
The production's
greatest strength was this comic value as the audience frequently erupted into
fits of laughter, primarily resulting from Pellow's flirtatious and provocative
devil gyrating to the music. However, the entire cast were extremely impressive,
in particular the three 'witches' whose comic timing and vocal ranges were
impeccable.
The entire cast had
ample opportunity to display their theatrical talents in the variety of numbers,
ranging from poignant solos to the ensemble dance routines. The special effects
overcame the limitations of the stage; there were explosions, thunderstorms and
even a chance for the devil to allow the three 'witches' to take flight.
The Witches of
Eastwick dared to push boundaries, though its sexual aspects were used
principally for humorous effect. There was an abundance of innuendo: from
provocative movements and endless motifs down to the blunt phallic symbol
gracing Van Horne's front door.
However, this was
done comically and tastefully and was completely relevant to the plot, making
the seduction scenes appropriately entertaining rather than lewd.
The 'witches' are
comfortable juxtapositions of strength and vulnerability, perhaps providing an
explanation as to why they are happy to share the same man.
Whilst this strange
acceptance may be irritating to some audience members, it certainly did not
hinder their friendship which, from their introduction, we saw to be strong and
realistic. This, alongside the presence of Pellow, perhaps makes this production
particularly directed at women. This said, I would advocate that everyone take
the opportunity to see this touring production and enjoy this devilish, daring
and delightful music.