The Cher Show takes an ingenuous and rather interesting approach to tell the life story of Cher, with three actresses playing her in three incarnations. In order, we have Babe, the young and edge of stardom version, and very much the “babe” of Sonny Bono and the classic I’ve Got You Babe. Next Star becomes Lady, as the more hungry and strong Cher emerges through the seventies. Finally, as we hit the eighties, we are introduced to the obviously named Star, the final incarnation we see who takes us through to Believe and the world of over-synthesized Cher.
The format works really well, and this coupled with the relatively inventive constant appearances of the year via a constant flow of props, allows us to be grounded in the show’s timeline. This is very important as well because often all of the Cher’s remain a constant presence, supporting, jibbing and advising the current incumbent.
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Sonny, played superbly by Lucas Rush, not hampered by another sixties and seventies icon on his top lip, doesn’t really come out of the story very well. They portray him, likely honestly, as a dominant and controlling person, and Rush excels in this, as well as the much-needed humour from the snippets we see from the Sonny and Cher TV shows and those in Vegas. The path is fine though as through all the fights and drama between them both, the love for each other clearly remains throughout the whole of Sonny’s life and the show completes their story with a lovely little scene late in the second act.
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In the role of this older Cher, the character of Star, there was some musical Cher’s in operation (sorry, not sorry), as Samantha Ivey makes her debut in the role, covering for the absent Debbie Kurup. It is an impressive and confident star turn, maybe tinged with some initial nerves. She becomes a dynamic presence when her character takes centre stage and serves the bulk of the second act extremely well.
There is some excellent support in the smaller roles, Jake Mitchell’s Bob Mackie is every bit as exuberant as the dynamic and startling costumes he creates for Cher are. Tori Scott is superb as Cher’s kindly mother, Georgia, wanting at all times the best for her daughter and guiding her through the wickedness of her childhood days at school. Vocally Scott is amazing, and it is such a shame that the show doesn’t allow us to hear more of her beautiful voice.
Tom Rogers set offers a homage to Cher’s wardrobe for much of the time, portraying wig upon wig and dress bags upon dress bags, crammed into vast columns on the left and right of the stage, and this coupled with many garish colours depict the world of Cher perfectly. The costume design of Gabriella Slade equally fits the show and Cher universe, although it is a pity that the talented ensemble does not get as many costume changes as they deserve, saddled with the same ones throughout most of the show.
The direction from Arlene Phillips serves the show perfectly adequately, even if not startling. Some of the staging alas, doesn’t allow the choreography from Oti Mabuse to have the impact as much as it might. Despite this, the show flows swiftly and culminates in what is a brilliant show-stopping knees-up of tunes which gets the majority on their feet.
The Cher Show doesn’t disappoint. Maybe it could be more dramatic, but the thrill of over thirty songs, crazy clothing and some excellent performances make this an immensely watchable show.
A loud, proud and brash production which fits the life of Cher perfectly.
⭐⭐⭐⭐
