Reviews
Here you will find a selection of reviews from several of Dean's performances over the years.
You can scroll down to read them all or jump straight to a specific one by using the links below:
- Cinderella - Chad.co.uk, Review
- Cinderella - What's On Stage, Review
- Never Forget - West End Theatre, Review
- Never Forget - What's On Stage, Review
Cinderella - Chad.co.uk, Review
Date: 9th December 2008Reviewer: Karla Hall
Venue: The Royal Centre, Nottingham
Source: Chad.co.uk
Comedy king Brian Conley stole the show as Cinderella lived up to its bold billing as the best panto ever to grace the city of lace. A popular household name thanks to The Brian Conley show and rib-ticking characters Dangerous Brian and Nick 'It's a Puppet' Frisby, the quirky comic had the audience — and indeed, his co-stars — crying with laughter throughout as the loveable Buttons.
Ably backing him up were the Ugly Sisters, Trinny and Susannah — better known as dynamic duo Nigel Ellacott and Peter Robbins — whose eccentric take-off of the storybook siblings brought the stage to life, with their crazy costumes, sizzling smut and raw, uncensored wit. Seasoned panto pros, the gruesome twosome — who have appeared alongside Conley in Cinderella for the past five seasons — looked alarmingly comfortable in their dazzling dame attires, which included everything from a picnic basket to a bottom-bearing deckchair!
Also lighting up the auditorium with his wicked one-liners was Dawson Chance as Cinders' father, Baron Hardup, who showed off his ventriloquistic skills through his furry friend 'Little Willy' (ahem, ahem) — a sleepy turtle whose cheeky back-chat really brought the kids out of their shells.
The fairytale's main character Cinderella, played by the stunning TV star Michelle Potter, graced the stage with her angelic voice and glowing persona, whilst The Prince, Dean Chisnall, had female pulses-a-racing with his tight tights, lush locks . . . and striking resemblance to Enchanted heart-throb Patrick Dempsey. Oh yeah, and he could sing and act, too!
With his loyal servant Dandini — the lively, likeable Eaton James — at his side, the charismatic companions wooed the masses, whilst Fairy Denise Pitter had her audience spellbound with a hip mix of magic, modern music and good, old-fashioned glitter.
All in all, immaculate, colourful costumes, superb scenery, up-to-the-minute choreography and a first-rate support cast — which included the multi-talented Theatre Royal Babes — ensured Cinderella had my family and I in raptures, awe . . . and stitches! Hilarious, enchanting and downright delightful, the hours passed like minutes — and when we shouted for an encore, we really meant it, as the irresistible show exceeded its billing in every possible way.
Pantomime in a league of its own, the starring role undoubtedly belonged to Conley, who demonstrated his versatility as a comedian, actor and singer, enjoying a riotous rapport with the audience and a clear chemistry with his co-cast. To sum it up in a word — unmissable. So grab your pumpkin, get on your glad rags and see Cinderella . . . you'll have a ball! (Back to top)
Cinderella - What's On Stage, Review
Venue: Theatre Royal, NottinghamDate reviewed: 6th December 2008
Reviewer: Nick Brunger
Source: What's On Stage
Conley has got his Buttons pretty much stitched up. This is his umpteenth rendering of the role and cast and crew got the whole thing pretty darn near perfect for a first night – rewarded by a gratifying standing ovation at the finale. His Buttons is a ribald, randy rascal – always flirting with the raunchy side of humour, taking it far enough to give the adults a run for their money but never going far enough to cause offence. And, with enough flatulence gags to satisfy the most discerning of six year olds, he kept all the generations happy.
There are some wonderful set-pieces that he exploited to the full – rolling about the stage inside a tree stump, descending from the heavens in Dr Who’s Tardis to bring us the only Gay in the Village, and taking Dangerous Brian right into the ballroom scene as the cabaret act. He was also great with the kids, bringing on a suitably embarrassed mum to support a tongue-tied four year old during the sing-song and wringing out every ounce of emotion by walking off stage completely and leaving another tiny tot alone at centre stage singing “Old Macdonald” to an enraptured audience.
Although Brian dominates the production and there is a nod to the modern world with Denise Pitter’s funky fairy and an oddly named “Village of Rock’n'Rap”, there is a reassuringly traditional feel to the setting. Michelle Potter’s Cinderella is as dainty and demure as she should be; Baron Hardup, played by veteran Dawson Chance, deftly daft and Prince Charming and Dandini all a young maiden would want in a dashing pair of royal pals. Dean Chisnall and Eaton James made an accomplished and credible double-act of romantic royals and both did more than justice to their musical numbers.
And then there are the Ugly Sisters. Let’s face it; no-one else does the hatchet-faced harridans better than Nigel Ellacott and Peter Robbins. Trinny and Susannah are as finally wrought as you would expect from a couple who have been honing their sisters for the better part of three decades.
Truth be told it’s hard to know which deserves the bigger applause, the effortless ease with which they deliver their familiar bitchy banter or the sumptuousness of the costumes Nigel crafts so carefully. I counted eleven changes altogether, making twenty-two costumes between the pair of them including a picnic basket, ice creams and even rather cheeky deckchair.
All in all, this is a gem of a production: The sets are sumptuous and the costumes dazzling with the dance numbers slickly performed, and even the “not quite right on the night gags” are all carefully contrived and controlled ensuring just the right balance of fun for the audience without the dangers of the uncontrolled asides. None of these works better than the Uglies with the glass slipper in the second act, but to tell you more would be giving the game away! (Back to top)
Never Forget - West End Theatre, Review
Venue: Savoy Theatre, LondonDate: 29th May 2008
Reviewer: Paul, westendtheatre.com
Source: WestEndTheatre.com
This show proved a totally unexpected pleasure. Having read some of the reviews I braced myself for a cheese-fest extraordinaire; well, I got that, but not in a bad way.
The musical’s book hurtles along at break-neck speed; Take That’s songs are shoe-horned into every conceivable gap in the action. But a witty script that never takes itself too seriously, and knockout performances from a young and Über talented cast, more than make up for any shortcomings.
The set pieces are done riotously well, no more so than the act one close of Back For Good and Never Forget sung in the pouring rain. The production values of the show never disappoint and fully deserve their glamorous setting within the Savoy Theatre.
Dean Chisnall and Sophia Ragavelas deserve a special mention as lead lovers Ash and Chloe - but the rest of the supporting cast, particularly the Take That wannabee boys, are outstanding. You suspect that their abilities in being about to act, sing and dance far outweigh any abilities of the real thing.
Go see to check out how these things can be done well. (Back to top)
Never Forget - What's On Stage, Review
Venue: Savoy Theatre, LondonDate Reviewed: 23 May 2008
Reviewer: Michael Coveney
WOS Rating: ****
Source: What's On Stage
It may not have as much class, or indeed glass, as the design of Marguerite, but the latest jukebox show Never Forget has infinitely more energy and pizzazz and much better songs. I’m not a big Take That fan particularly as I’ve recently grown out of my prepubescent schoolgirl period, and as far as I’m concerned their best numbers – “Could It Be Magic” and “How Deep Is Your Love” – were so-so cover versions of Barry Manilow and the Bee Gees anyway.
This irresistible show does, however, make a good case for the talents of the writer/lyricist Gary Barlow by creating a decent dramatic structure – in a script by Danny Brocklehurst, Guy Jones and director Ed Curtis - that may not have the wit or ingenuity of Mamma Mia! but does use the concert format, and some stunning stage effects, to tell a good story.
The premise is the creation of a Take That tribute band – a sort of “Fake That” - by a bullish Mancunian manager, Ron Freeman (Teddy Kempner), who then tempts the Gary Barlow figure, Ash Sherwood (Dean Chisnall), away from the group into a solo career.
This echo of the departure of Robbie Williams in 1995 when the real-life group had been going five years is cunningly worked towards a happy ending, with a reunion of the band and of Ash with his long-suffering girlfriend Chloe (Sophia Ragavelas), after he has succumbed to a hellfire clubland scene and a sexpot music agent (Joanne Farrell).
All the boys have a drive to succeed: Ash, aided by his best mate Jake (Craige Els is indecently tall but suitably clownish in the Robbie role), wants to clear the debts in the family pub; Tim Driesen’s Adrian Banks is a bespectacled loner with an inner demon and a hidden six-pack; while Eaton James’ Dirty Harry and Stephane Anelli’s campy Hispanic Jose both need to escape, the first from the male stripping circuit, the second from his dominating mother.
Curtis’ production arrives at the Savoy with a brash confidence and unassailable technical perfection born of a long nationwide tour. Karen Bruce’s choreography pulsates with dance floor discipline, and Bob Bailey’s design and James Whiteside’s lighting create a superb concert atmosphere with a stage-wide wall of fire and an incredible first act finale curtain of rain – as in the “Never Forget” video – with the show’s title picked out in giant letters. How did they do that?
(Back to top)
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