I’ve always been something of a defender for We Will Rock You. Yes, it’s a shameless jukebox show, and yes, Ben Elton’s script isn’t nearly as good or as smart as it could (or should) be, but you can tell that they made a serious effort to create something interesting and it’s paid off. It’s also one of the first shows I reviewed on this site.
So when offered a deal I couldn’t refuse on tickets, I gladly snapped them up. And in retrospect, I was a bit harsh on my prior worth paying - only £15? What was I thinking?
Anyways, most of my prior comments stand as written, but as always, a few changes have been made and a new cast are in, so here goes again with the magic bullet points.
-Some of the background animations have been changed. They still look good, and somehow WWRY manages to be the only show to go nuts with the light boards and NOT make my eyes hurt, perhaps because the lighting in general is so damn impressive.
-Michael Jackson has been added to the list of those who died early. But where the hell is Keith Moon?
-I went on what turned out to be the night of a thousand understudies. John Boydon was again on as Galileo in the first act, playing the role as a bit more stupid and his ticks were more pronounced than I remember. His voice was also going, and he was replaced in the second act by Matthew McKenna who was excellent as Galileo’s more confident side.
-Continuing the understudy trend, TV casting reject Rachel Tucker was on as Scaramouche. To be honest, I think this is the perfect role for her. She wails on the numbers, and brings a completely new take to the role: rather than the fiesty cockney she has a heavy Scottish accent and speaks with a slow burning and intentional sarcasm. She may not be as fierce as other Scaramouches, but it works brilliantly.
-In a rare occurrence, Mazz Murray was out and Rebecca McKinnis was on as the Killer Queen. It was nice to see a new take on the role, but Ms. McKinniss didn’t do very much to make the role her own. Her voice was also on the thin side and she lacked the command presence during her songs that Ms. Murray or the original Killer Queen, Sharon D. Clarke, possessed.
-Rounding out the swings, Amanda Coutts was on in Ms. Tucker’s regular track as Meat and Rakesh Boury as Britney Spears. The duo were fine, nothing to really comment on here.
-Gary Lake is a rather crass Pop, and it’s amazing that Alex Bourne can still be excited about doing the show every night after how many years in?
-The ensemble need a dance call. Some of the choreography was out of sync and you can see where bits and pieces have been revised over the years because some people do the old moves and some the new ones...
-I was off to the side in the rear stalls and the sound was an issue - the lyrics were totally drowned at times (Seven Seas of Rhye). Then again, most people are expected to know the words going in. I don’t recall having these problems when sitting in the centre, but I also didn’t note anything in the prior review so it’s hard to remember.
In short? We Will Rock You is still a fun night out for Queen fans and tourists and well worth a visit to say you’ve gone. The design aspects are still impressive, and the cast work their butts off. And dude. It’s Queen.
Where: Dominion Theatre
When: Open Run. Check listings for times.
Cost: £27.50-£60
Concessions: £20 student tickets, best left when the BO opens; £13.50 SRO when otherwise sold out
----
RZ unofficial “worth paying”: £35. Half price plus fees. It’s a very good show but a standing O pay full price no matter what show? I’m still not convinced, especially with how much better the book could be.
RZ other notes: There are a lot of tourists and “not often at the theatre” types here. They liked to go to the loo during the show. Very annoying.
Showing posts with label Fun. Show all posts
Showing posts with label Fun. Show all posts
Friday, 24 July 2009
Saturday, 2 May 2009
REVIEW: “Shout!”
I felt a bit of trepidation as I headed to the Arts Theatre (of death!) before seeing Shout! last night. Here we had another jukebox musical, and one with less than impressive word of mouth as well. Things weren’t improved when I snuck a glance at a neighbour’s programme and saw it opening with the same Petula Clark song as that damn bus (the song being “Downtown” for those keeping track.)
Fortunately it was all uphill from there. Not far uphill, but up enough that I was happy enough to sit back and enjoy the ride. I suspect this is because of adjusting expectations: the descriptions of Shout revolve largely around the flimsiness of its unattributed book. No, the book’s not as clever as, say, Return to the Forbidden Planet, but it does the minimum of creating excuses or introducing songs and doing so without ever saying “Let’s have a song!” And, to be honest, given the amount of time the book requires out of the runtime, I’m content to write it off and reconsider Shout as a revue a la Tomfoolery rather than as a proper book musical.
But nobody knows what a revue *is* these days, let alone sees them, so it’s easy to understand why everything gets promoted as an event or a musical when the truth is that revue may be a more appropriate term (even if this satirises the 60’s instead of today, but that in itself reflects our current changes in attitude.)
Meanwhile, it would be useful to talk about the show itself.
*ahem*
The year is 1960. Georgina (Tiffany Graves) is a modern young woman who heads down to London in search of love and the high life. On the train she meets Ruby (Marissa Dunlop), an actress in training, and shy wallflower Betty (normally played by ex-Wickeder Shona White but understudied by Francesca Newitt when I went). The trio end up renting a flat in Peckham above Best Cuts, a hair salon owned by Georgina’s aunt Yvonne (Su Pollard). The four women become fast friends and we spend the next decade as they marry, divorce, and belt through the tunes of the time as bridged by Tony T (John Jack), editor of Shout Magazine.
As I stated before, the book is largely irrelevant, though it has some laughs in the Carry On vein, and Jack’s editor speaks Public School English with the condescending tone of early television adverts which lends both a tongue in cheek to the proceedings as well as a reminder of how far we’ve come. The main thrust of the show is a decade of classic pop from Petula to Dusty, bubblegum to psychedelia, and the four main ladies (in addition to Jessica Kirton as a dialogue-free shop assistant/trophy girl) do an excellent job of belting to the rafters and reminding us all that the 60’s really were a golden age of music. Yes, that includes Su Pollard.
Also praise-worthy are Morgan Large’s designs, both simple and evocative of pop art, bright clean colours, and the rise in trippy patterns while functional and (short of some overdone strobing by colour-smart lighting designer Ben Cracknell) tasteful. Come to think of it, “tasteful” is probably the best way to describe the whole affair though “obvious cash-in” comes second.
I digress.
Another groovy point was Large’s costume designs for the girls, but I was rather confused by the costumes for Tony T: much of Shout’s promotion on tour (and the CD cover) refer to it as a mod musical, but the lack of a sharp suit and skinny tie, anorak, or other iconic mod images stood out though they could be a logistical necessity for some extremely rapid costume changes.
Anyways, to sum it up: your enjoyment of Shout will be directly proportional to how much you like 60’s pop music and whether or not you can get past the fluffy book in lieu of something more intellectual.
Where: Arts Theatre
When: Until 28 June, Tu-Sa @ 19:30, W/Sa @ 15:00, Su @ 16:00
How Much: £20-£42.50
Concessions: £25 excluding Fri/Sat nights, book one hour before the show
-------------------
RZ Unofficial “Worth Paying”: £20. Maybe a few more if you’re a big Su Pollard fan.
RZ Other Notes: I guess it just shows that whoever composed most of Petula Clark’s music is all too happy to let the tracks out as long as they get their royalty cheque. Too bad they wanted an impractical amount for an official release of the brilliant short film “Animato” by creator Mike Jittlov. Jittlov created the film in 1969 and it’s a breathtaking work of stop motion and hand worked animation but the music was never cleared so you’ll have to do some digging to find a copy of the piece. A reworked version with new music was included in Jittlov’s feature film The Wizard of Speed and Time.
Fortunately it was all uphill from there. Not far uphill, but up enough that I was happy enough to sit back and enjoy the ride. I suspect this is because of adjusting expectations: the descriptions of Shout revolve largely around the flimsiness of its unattributed book. No, the book’s not as clever as, say, Return to the Forbidden Planet, but it does the minimum of creating excuses or introducing songs and doing so without ever saying “Let’s have a song!” And, to be honest, given the amount of time the book requires out of the runtime, I’m content to write it off and reconsider Shout as a revue a la Tomfoolery rather than as a proper book musical.
But nobody knows what a revue *is* these days, let alone sees them, so it’s easy to understand why everything gets promoted as an event or a musical when the truth is that revue may be a more appropriate term (even if this satirises the 60’s instead of today, but that in itself reflects our current changes in attitude.)
Meanwhile, it would be useful to talk about the show itself.
*ahem*
The year is 1960. Georgina (Tiffany Graves) is a modern young woman who heads down to London in search of love and the high life. On the train she meets Ruby (Marissa Dunlop), an actress in training, and shy wallflower Betty (normally played by ex-Wickeder Shona White but understudied by Francesca Newitt when I went). The trio end up renting a flat in Peckham above Best Cuts, a hair salon owned by Georgina’s aunt Yvonne (Su Pollard). The four women become fast friends and we spend the next decade as they marry, divorce, and belt through the tunes of the time as bridged by Tony T (John Jack), editor of Shout Magazine.
As I stated before, the book is largely irrelevant, though it has some laughs in the Carry On vein, and Jack’s editor speaks Public School English with the condescending tone of early television adverts which lends both a tongue in cheek to the proceedings as well as a reminder of how far we’ve come. The main thrust of the show is a decade of classic pop from Petula to Dusty, bubblegum to psychedelia, and the four main ladies (in addition to Jessica Kirton as a dialogue-free shop assistant/trophy girl) do an excellent job of belting to the rafters and reminding us all that the 60’s really were a golden age of music. Yes, that includes Su Pollard.
Also praise-worthy are Morgan Large’s designs, both simple and evocative of pop art, bright clean colours, and the rise in trippy patterns while functional and (short of some overdone strobing by colour-smart lighting designer Ben Cracknell) tasteful. Come to think of it, “tasteful” is probably the best way to describe the whole affair though “obvious cash-in” comes second.
I digress.
Another groovy point was Large’s costume designs for the girls, but I was rather confused by the costumes for Tony T: much of Shout’s promotion on tour (and the CD cover) refer to it as a mod musical, but the lack of a sharp suit and skinny tie, anorak, or other iconic mod images stood out though they could be a logistical necessity for some extremely rapid costume changes.
Anyways, to sum it up: your enjoyment of Shout will be directly proportional to how much you like 60’s pop music and whether or not you can get past the fluffy book in lieu of something more intellectual.
Where: Arts Theatre
When: Until 28 June, Tu-Sa @ 19:30, W/Sa @ 15:00, Su @ 16:00
How Much: £20-£42.50
Concessions: £25 excluding Fri/Sat nights, book one hour before the show
-------------------
RZ Unofficial “Worth Paying”: £20. Maybe a few more if you’re a big Su Pollard fan.
RZ Other Notes: I guess it just shows that whoever composed most of Petula Clark’s music is all too happy to let the tracks out as long as they get their royalty cheque. Too bad they wanted an impractical amount for an official release of the brilliant short film “Animato” by creator Mike Jittlov. Jittlov created the film in 1969 and it’s a breathtaking work of stop motion and hand worked animation but the music was never cleared so you’ll have to do some digging to find a copy of the piece. A reworked version with new music was included in Jittlov’s feature film The Wizard of Speed and Time.
Tuesday, 18 November 2008
REVIEW: Joseph and the Amazing Technicolor Dreamcoat
(If you're here because you saw the URL in the Evening Standard, please send an email or leave a comment as I'd like to know if anybody cared enough to visit as a result.)
It’s the revival that nobody wanted: constantly toured kiddy fare and led by someone off of a reality show. In all honesty, though - and that’s generally what readers want from a critic - I love this show. It’s not Andrew Lloyd Webber’s best (that remains Jesus Christ Superstar in my book) or even my favourite (Starlight Express) but Joseph is a fun turn-your-brain-off evening, and it’s got some excellent numbers (“Close Every Door,” “Any Dream Will Do,” and my personal favourite ALW song ever, “Pharaoh Story.”) It’s also been about ten years since I last saw the show, when ex-pop idol Deborah Gibson was touring the US as the narrator. That said, I also didn’t want to pay £30 for a recycled production (more on that later.) Fortunately a few rows in the gods are sold for £15, and since I was at Friday’s Mathilde reading next door at the Vaudeville I figured it wouldn’t hurt to pop into the Adelphi and see if cheap seats were left. Fortunately they were, and it turned out that Lee Mead was in fact not on vacation (he was earlier in the week) so all of the leads were in.
Now, before I nitpick the production to bits, I want to get something out of the way: I had a great time and left with a much needed smile on my face. I wouldn’t tell people to see this Joseph if they were in London for a visit when there are more unique things running in the West End, but it’s a fun night for locals who may have held off until the hype subsided.
Now, as I said before, much of this production is recycled: the sets and costumes were both pulled out of storage following the Palladium run and subsequent tour (featuring Lizi Hateley, Jason Donovan, and Philip Schoenfeld) from the early 90’s. The direction and choreography are based on that production as well, though I’m sure that updates have been put in and the production generally refreshed.
Unfortunately said fresh outlook does not apply to Jenna Lee-James, who narrates the show with a powerhouse voice that can belt to kingdom come but lacks stage presence as a character. Word is that Lloyd Webber prefers it this way - that the narrator is a simple storyteller - but I really don’t. In most productions outside of the Lord’s grasp the Narrator is more involved, and while not active in the story, is someone clearly enjoying the ride. It’s the difference between saying “Look, Joseph is getting done in by his brothers” and “Look, this spoiled brat is being smacked down by the ensemble - isn’t it cool?” with a Willy Wonka-esque glint in the eye. This is a juicy role to play with relish and it’s wasted in London productions (FWIW I felt the same about Linzi Hateley on the 1991 London CD - great voice, sang it well, but she sounded so bored when compared to Kristine Fraelich on the 1995 US tour or Jodi Benson in the US in 1997 and Kristin Hölk on the German cast recording.)
Lee Mead, the reality show winner in the title role, does a fine job. If he doesn’t have Donny Osmond’s vocal flourishes it’s not for lack of talent or capacity, and I suspect he’d do more with the score if he were further away from London - this is one time where it’s OK not to sing the script if done with taste (unlike a certain show which comes to mind.) I also forgive him for sounding like a muppet at times - it's endearing bordering on adorable.
Dean Collinson is fine as the Elvis-impersonator Pharaoh, though I question his choice to throw in an unnecessary mild profanity (“Damn I’m good.”) Arguably it helps cement the show on the family side of “children’s show” vs. “family show” (the latter having a some mildly mature or risque material for mum and dad that the kids won’t get) but it doesn’t add anything - though neither does the new song “King of my Heart.” That said, I’d rather have “King” than yet another reprise of “Song of the King” which got two full reprises (meaning the song was sung in full three times in a row) during the early/mid 90’s productions.
Sadly I didn’t spot any standouts in the ensemble. So it goes.
It’s uncomfortable to be quite so negative in this review given that I enjoyed myself and am tempted to return to the production after the cast change, but in a way this is the curse of reviewing Shakespeare on a more populist and entertaining level: once you see a show a certain number of times (this was trip 8 or 9 to Joseph in addition to a stack of cast recordings and video clips) you start making comparisons. I’m not going to say people should run to the Adelphi, but I’d recommend bringing first timers to the theatre here instead of The Lion King..and maybe some jaded regulars as well: despite whatever cynicism and crass commercial work behind this run, the material has such an innocence and charm at its core that it’s hard not to be won over by the end of the night.
Where: Adelphi Theatre
When: M/W/Sa @ 19:30, Tu @ 19:00, W/Sa @ 15:00
How Much: £15-50, top price varies by night.
Concessions: Check with the box office.
---------------------------
RZ Unofficial “Worth Paying”: £30. This’ll get you stalls any night at TKTS.
RZ Other Notes: I paid £15 for my ticket on the day and got back row centre of the upper circle. It’s vertically far from the stage but a clear, unrestricted view and a great bargain if you just want to see the show without shelling out top price (my dinner wound up costing more than my ticket.) As it turned out there were multiple rows empty and while the ushers held people to their original locations for the first act I was able to move from Row N to Row G at the interval.
On another note, the only show I’ve seen more times (and with more casts) than Joseph is RENT.
It’s the revival that nobody wanted: constantly toured kiddy fare and led by someone off of a reality show. In all honesty, though - and that’s generally what readers want from a critic - I love this show. It’s not Andrew Lloyd Webber’s best (that remains Jesus Christ Superstar in my book) or even my favourite (Starlight Express) but Joseph is a fun turn-your-brain-off evening, and it’s got some excellent numbers (“Close Every Door,” “Any Dream Will Do,” and my personal favourite ALW song ever, “Pharaoh Story.”) It’s also been about ten years since I last saw the show, when ex-pop idol Deborah Gibson was touring the US as the narrator. That said, I also didn’t want to pay £30 for a recycled production (more on that later.) Fortunately a few rows in the gods are sold for £15, and since I was at Friday’s Mathilde reading next door at the Vaudeville I figured it wouldn’t hurt to pop into the Adelphi and see if cheap seats were left. Fortunately they were, and it turned out that Lee Mead was in fact not on vacation (he was earlier in the week) so all of the leads were in.
Now, before I nitpick the production to bits, I want to get something out of the way: I had a great time and left with a much needed smile on my face. I wouldn’t tell people to see this Joseph if they were in London for a visit when there are more unique things running in the West End, but it’s a fun night for locals who may have held off until the hype subsided.
Now, as I said before, much of this production is recycled: the sets and costumes were both pulled out of storage following the Palladium run and subsequent tour (featuring Lizi Hateley, Jason Donovan, and Philip Schoenfeld) from the early 90’s. The direction and choreography are based on that production as well, though I’m sure that updates have been put in and the production generally refreshed.
Unfortunately said fresh outlook does not apply to Jenna Lee-James, who narrates the show with a powerhouse voice that can belt to kingdom come but lacks stage presence as a character. Word is that Lloyd Webber prefers it this way - that the narrator is a simple storyteller - but I really don’t. In most productions outside of the Lord’s grasp the Narrator is more involved, and while not active in the story, is someone clearly enjoying the ride. It’s the difference between saying “Look, Joseph is getting done in by his brothers” and “Look, this spoiled brat is being smacked down by the ensemble - isn’t it cool?” with a Willy Wonka-esque glint in the eye. This is a juicy role to play with relish and it’s wasted in London productions (FWIW I felt the same about Linzi Hateley on the 1991 London CD - great voice, sang it well, but she sounded so bored when compared to Kristine Fraelich on the 1995 US tour or Jodi Benson in the US in 1997 and Kristin Hölk on the German cast recording.)
Lee Mead, the reality show winner in the title role, does a fine job. If he doesn’t have Donny Osmond’s vocal flourishes it’s not for lack of talent or capacity, and I suspect he’d do more with the score if he were further away from London - this is one time where it’s OK not to sing the script if done with taste (unlike a certain show which comes to mind.) I also forgive him for sounding like a muppet at times - it's endearing bordering on adorable.
Dean Collinson is fine as the Elvis-impersonator Pharaoh, though I question his choice to throw in an unnecessary mild profanity (“Damn I’m good.”) Arguably it helps cement the show on the family side of “children’s show” vs. “family show” (the latter having a some mildly mature or risque material for mum and dad that the kids won’t get) but it doesn’t add anything - though neither does the new song “King of my Heart.” That said, I’d rather have “King” than yet another reprise of “Song of the King” which got two full reprises (meaning the song was sung in full three times in a row) during the early/mid 90’s productions.
Sadly I didn’t spot any standouts in the ensemble. So it goes.
It’s uncomfortable to be quite so negative in this review given that I enjoyed myself and am tempted to return to the production after the cast change, but in a way this is the curse of reviewing Shakespeare on a more populist and entertaining level: once you see a show a certain number of times (this was trip 8 or 9 to Joseph in addition to a stack of cast recordings and video clips) you start making comparisons. I’m not going to say people should run to the Adelphi, but I’d recommend bringing first timers to the theatre here instead of The Lion King..and maybe some jaded regulars as well: despite whatever cynicism and crass commercial work behind this run, the material has such an innocence and charm at its core that it’s hard not to be won over by the end of the night.
Where: Adelphi Theatre
When: M/W/Sa @ 19:30, Tu @ 19:00, W/Sa @ 15:00
How Much: £15-50, top price varies by night.
Concessions: Check with the box office.
---------------------------
RZ Unofficial “Worth Paying”: £30. This’ll get you stalls any night at TKTS.
RZ Other Notes: I paid £15 for my ticket on the day and got back row centre of the upper circle. It’s vertically far from the stage but a clear, unrestricted view and a great bargain if you just want to see the show without shelling out top price (my dinner wound up costing more than my ticket.) As it turned out there were multiple rows empty and while the ushers held people to their original locations for the first act I was able to move from Row N to Row G at the interval.
On another note, the only show I’ve seen more times (and with more casts) than Joseph is RENT.
Thursday, 31 July 2008
REVIEW: "Big Bruvva: The Musical"
First there was Jerry Springer: The Opera. Then there was Eurobeat: Almost Eurovision. And now, a hybrid has emerged in Big Bruvva: The Musical as six wacky characters compete for the audience’s text message vote in this entertaining yet weak-toothed satire of reality television, recently performed at Upstairs at the Gatehouse and soon running at this year’s Edinburgh festival.
The idea behind Big Bruvva is solid enough: As their final challenge, the housemates must act out their day as a 55 minute musical before the audience votes the winner. There are confessionals/butter churning sessions aplenty, as the characters make their confessions to an increasingly snarky and sadistic Big Bruvva.
And what of these characters? Well, they’re everything you expect: the narcissistic pretty-boy, the anorexic bimbo, the gangsta, the moron, and the sexually ambiguous hermaphrodite with an agenda. And this is where the problems emerge. When Jerry Springer used these characters, it portrayed both a sense of knowing exploitation on behalf of Jerry the character, but also a look at the motivations behind what makes cheating diaper fetishists want to reveal themselves on national television. Big Bruvva lacks this emotional involvement, in part due to runtime, keeping everything (and everybody) on the surface: there are no hidden motivations for the housemates, merely a desire to be famous and shout at each other on TV. A bigger disappointment, however, is just how little it matters who wins at the end. Unlike in Eurobeat which changes its ending number and jokes accordingly, Big Bruvva has each person singing the same song.
Depth (or lack thereof) aside, Big Bruvva is a lot of fun. While the evening’s biggest laugh came from a meta-joke (of which there are many...jokes about musicals being musicals are getting old...), there are lots of chances for the audience to smile and chuckle. The songs are on the simple side, but complex doesn’t always mean better and they serve this type of material well - a chorus here and a verse there were stuck in the RZ’s head, which fulfils the “hum it on your way out” requirement. The cast aren’t amazing, but there’s a limit to what you can get on a fringe budget, but that’s matched by paying fringe prices. See it if you’ve got a free slot at the fringe or want something to wake you up after hours of pretentious straight plays or foreign high schoolers butchering a plethora of established and decidedly non-fringe musicals. Fun, fast moving fluff, and it’s meant in the best way possible.
Where: Edinburgh Fringe Festival
When: Check your fringe guide
How Much: Ditto
Concessions: Same
----------------
RZ Unofficial “Worth Paying”: £7.50
RZ Other Notes: Unlike Eurobeat, you text your votes to a proper mobile number so you aren’t surcharged for it. Also, keep an eye on the video screens beforehand for cameos by ex-Big Brother contestants.
The idea behind Big Bruvva is solid enough: As their final challenge, the housemates must act out their day as a 55 minute musical before the audience votes the winner. There are confessionals/butter churning sessions aplenty, as the characters make their confessions to an increasingly snarky and sadistic Big Bruvva.
And what of these characters? Well, they’re everything you expect: the narcissistic pretty-boy, the anorexic bimbo, the gangsta, the moron, and the sexually ambiguous hermaphrodite with an agenda. And this is where the problems emerge. When Jerry Springer used these characters, it portrayed both a sense of knowing exploitation on behalf of Jerry the character, but also a look at the motivations behind what makes cheating diaper fetishists want to reveal themselves on national television. Big Bruvva lacks this emotional involvement, in part due to runtime, keeping everything (and everybody) on the surface: there are no hidden motivations for the housemates, merely a desire to be famous and shout at each other on TV. A bigger disappointment, however, is just how little it matters who wins at the end. Unlike in Eurobeat which changes its ending number and jokes accordingly, Big Bruvva has each person singing the same song.
Depth (or lack thereof) aside, Big Bruvva is a lot of fun. While the evening’s biggest laugh came from a meta-joke (of which there are many...jokes about musicals being musicals are getting old...), there are lots of chances for the audience to smile and chuckle. The songs are on the simple side, but complex doesn’t always mean better and they serve this type of material well - a chorus here and a verse there were stuck in the RZ’s head, which fulfils the “hum it on your way out” requirement. The cast aren’t amazing, but there’s a limit to what you can get on a fringe budget, but that’s matched by paying fringe prices. See it if you’ve got a free slot at the fringe or want something to wake you up after hours of pretentious straight plays or foreign high schoolers butchering a plethora of established and decidedly non-fringe musicals. Fun, fast moving fluff, and it’s meant in the best way possible.
Where: Edinburgh Fringe Festival
When: Check your fringe guide
How Much: Ditto
Concessions: Same
----------------
RZ Unofficial “Worth Paying”: £7.50
RZ Other Notes: Unlike Eurobeat, you text your votes to a proper mobile number so you aren’t surcharged for it. Also, keep an eye on the video screens beforehand for cameos by ex-Big Brother contestants.
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