Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Saturday 4 May 2019
Disney's Aladdin, Prince Edward Theatre | Review
Aladdin
Prince Edward Theatre
Reviewed on Wednesday 21st May 2019 by Olivia Mitchell
★★★★
There's always room for a little injection of Disney magic and Aladdin which is booking at the Prince Edward Theatre until July 27th 2019, is just that. It's not a life-altering, thought-provoking piece of theatre but it's a whole lot of fun, mountains of sparkle and enough magic to enthral children and adults alike.
If you're unaware of the story, Aladdin follows a street urchin who is hustling his way through life. That is, until he meets the Princess of Agrabah and his life becomes a little more wild. As the prophesied 'Diamond in the Rough', Aladdin gets his hands on a lamp which contains a magical Genie, who will grant him three wishes. Aladdin ventures to find love and escape the dark characters who are on his tail in this mystical story.
Aladdin (played by Matthew Croke) is lovable and charming in all the ways you could desire. With a beautiful voice and fantastic stage presence he leads the show perfectly. Croke's rendition of 'Proud of Your Boy' is truly moving and a wonderful moment of calm among an all-singing, all-dancing musical. His Jasmine is played by Courtney Reed who is dazzling and brings a feminist, sassy quality to the character that transfers fantastically on stage. Reed's vocal performances are equally as enchanting and when the pair join for the iconic duet 'A Whole New World' they not only do the film version justice, but put their own mystical spin on it.
The rest of the cast are highly talented, as shown by the various dance numbers which are performed with enthusiasm and precision. Similarly to the film, it's the Genie (played by Trevor Dion Nicholas) who utterly steals the show. With incredible comedic flair and dramatic prowess, Nicholas earns rapturous applause in every scene. Act One closer 'Friend Like Me' is a glistening gem in this production.
A spin of colour, created by Bob Crowley's sets and Gregg Barnes' costumes, Aladdin is a feast for the eyes as well as the ears. The sides of the stage do feel a little underused as they are completely bare, but the black box effect strangely makes the stage look like a television which works for this show.
There are times when the show does feel a bit pantomime-esque, but there's no denying that it caters to the vast audience of tourists, theatre newbies, children, theatre regulars and adults very well. Aladdin pleasantly surprises and impresses.
The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.
The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.
Aladdin is currently booking at the Prince Edward Theatre until July 27th
For more information and tickets, visit: www.londonboxoffice.co.uk
Tuesday 30 April 2019
Emilia, Vaudeville Theatre | Review
Emilia
Vaudeville Theatre
Reviewed on Monday 29th April 2019 by Olivia Mitchell
★★★★
A transfer from the Globe, Morgan Lloyd Malcolm's play about the 17th century poet Emilia Bassano Lanier is already receiving highly positive acclaim as it rouses audiences to their feet night after night. The emotive feminist speeches and fantastically comedic setup of the whole show, make it entertaining, informative and transformative.
It's incredibly encouraging to hear unashamedly feminist words be spoken and performed by such a diverse, encompassing, all-female cast. Despite Emilia being a huge part of feminist history as one of the first published female poets, she has been brushed under the carpet for years. Lloyd Malcolm has made an excellent choice to shine a light by using Emilia's rhetoric to discuss the centuries-long oppression of women. The issues, though different in today's context, are still painfully relevant and Lloyd Malcolm's clever twist on language mixes the past and present wonderfully. Nicole Charles' playful direction also helps make the show buoyant and engaging.
Charles has three actresses (unified by their blue dresses) take on the role of Emilia at different stages of her life. Little is factually known about her life so poetic license is taken as she travels through her introduction to court, motherhood and time as a teacher. The mental growth of Emilia is physically shown as she changes person after life altering moments.
Saffron Coomber, Adelle Leonce and Clare Perkins are exceptional in their roles, thriving both in their individual moments and even more so when they support one another. Emilia is supposedly the 'dark lady' in Shakespeare's famous sonnet, an idea which Lloyd Malcolm has really zoomed in on. The love affair between Emilia and Shakespeare fizzles as Emilia struggles with not being offered the same as him, her male counterpart. Charity Wakefield expertly takes on the role of the famous writer who is witty but insecure and self-absorbed as he exploits Emilia for her words.
The dense plot flows well, and efficiently highlights a number of struggles faced by women. Whilst entertaining, the 'south of the river' women Emilia teaches, do lack some dimension but help the story flow. Equally, the occasional parallels to modern immigration are a little lacking but provide food for thought in their brief moments.
The heart of Emilia and the heart of this piece is anger. In a unsubtle but completely justified way, Perkins closes the show with a magnificently stirring speech which calls for female empowerment. This is a modern musical that shows just how strong women are. The inclusivity of Emilia must also be applauded in terms of it's cast and audience. From a baby friendly performance to last nights captioned show, this is a musical for now in so many ways. If you need motivation, go see this show.
Emilia runs at the Vaudeville Theatre until 1st June
Thursday 25 April 2019
Ain't Misbehavin', Southwark Playhouse | Review
Ain't Misbehavin'
Southwark Playhouse
Reviewed on Wednesday 24th April 2019 by Olivia Mitchell
★★★★
Tyrone Huntley makes his directorial debut with this vivacious production that hasn't been seen in London for almost 25 years. With Oti Mabuse's choreography, the show is a whirlwind of energy which excites and entertains throughout.
Originally conceived by Richard Maltby Jr the show is billed as The Fats Waller Musical. It's more of a cabaret revue than a musical but, thanks to Huntley's direction, the performers have their own characteristics which thread throughout the show and create a fantastic cohesion. Songwriter and pianist, Fats Waller had a hugely successful career which combined jazz, slapstick comedy and gin. However, this show isn't about the man himself, but the music he created.
The powerhouse cast bring spades of energy and vocal prowess with every number. Renée Lamb is sassy and animated, Carly Mercedes Dyer is sweetly comedic, Landi Oshinowo brings spades of soul, Wayne Robinson is smooth and sharp and Adrian Hansel is sleek throughout. Alongside the strong five-piece band, the team give contagious performances.
The set and costume design by takis is glitzy and exuberant, with sparkles and swing embodied on every inch. The Southwark Playhouse is transformed to have an almost speakeasy feel as we are whisked away to a world of jazz and gin.
The 100 minute show is a sexy and sassy celebration of Fats Waller's music, with choreography and vocals to impress everyone. The cast do an outstanding job of selling all of the thirty musical numbers and providing both emotional and hugely comedic moments.
Ain't Misbehavin' runs at the Southwark Playhouse until June 1st 2019
photo credit: Pamela Raith
Wednesday 27 March 2019
Romeo and Juliet, Royal Opera House | Review
Romeo and Juliet
Royal Opera House
Reviewed on Tuesday 26th March 2019 by Olivia Mitchell
★★★★
Romeo and Juliet is arguably Shakespeare's most well known play and a regular feature in the Royal Opera House programming, having been performed by The Royal Ballet more than 400 times since its Covent Garden premiere in 1965. This season beautifully revives Kenneth MacMillan's dramatic monument in a smooth and moving way, with a number of Company debuts making it feel fresh even after all these years.
In the title roles, Matthew Ball and Lauren Cuthbertson are a match made in heaven as they bounce off of one another, in their sweetly romantic choreography which showcases young love (and obsession) especially well. The tension as they build to their first kiss is palpable. Romeo lifts his Juliet onto pointe as they kiss and creates a very calm and heartwarming moment before the fast paced drama of the next two acts. Ball and Cuthbertson are masters of their craft and give performances which completely justify their successes.
Act One drags a little but the pageantry from the offset is marvellous. The sword fights are choreographed memorably and sharply and stand out against Nicholas Georgiadis' set as they fill the vast stage. The contrast between the intimate pas de duex and large scale ensemble numbers does well to bring variety and allows moments of extreme action as opposed to storytelling alone. A particular stand out is certainly Marcelino Sambe who leads the mandolin dance perfectly and creates a buzz as the audience are drawn in by his fantastic technique and performance skills. Itziar Mendizabal also shines as she brings brief moments of humour and light to the three harlots who appear throughout.
The melodrama is prevalent, with Mercutio's death (Valentino Zucchetti) and Lady Capulet's break down providing emotionally impactful moments. Mime is used perfectly by the pair as well as by Cuthbertson who acts beautifully throughout.
Brief moments where dancers fell out of time are noticeable but do little to detract from the story and flow. Whilst MacMillan's choreography does everything it should, there are times when it feels too much is being done in too little time, and there isn't a second to really appreciate the intricacies of the basics. The musicality of movements feels undervalued in comparison with storytelling.
MacMillan's telling really puts Juliet at the heart of the story which brings a fragility and power that makes it so special. A wonderfully danced and highly luxurious production, Romeo and Juliet is sure to delight audiences.
Romeo and Juliet runs at the Royal Opera House until 11th June 2019 and will also be screened at cinemas on the 11th.
photo credit: Helen Maybanks
Saturday 9 March 2019
Mamma Mia, Novello Theatre | Review
Mamma Mia
Novello Theatre
Reviewed on Wednesday 6th March 2019 by Olivia Mitchell
★★★
It's a cult classic, it's summery fun, it's the music of ABBA and altogether it's a great night out. It's never going to be the most theatrically enthralling or deeply emotive piece of theatre but Mamma Mia is a boat load of laughs and a perfect carefree way to spend a couple of hours.
In case you've somehow missed it, Mamma Mia is set on a Greek Island where Donna Sheridan lives with her daughter Sophie, who is getting married to ex-banker Sky. Sophie is on a mission to find her dad so invites her three potential fathers to her wedding. What ensues is a journey where past emotions are brought up, and the importance of family is examined and everyone bops out to a bit of ABBA. When it opened in 1999 in London, very few would have imagined the worldwide success of the Mamma Mia franchise and it seems that this success is in safe hands with the current West End cast who are helping it celebrate it's 20th Anniversary.
Having recently taken over the role, Charlotte O'Rourke is super sweet is Sophie Sheridan. Bringing the sweet vocals we all expect as well as power in act two. Alongside Alec Porter as Sky, the pair make a nice duo and give an especially entertaining performance in Lay All Your Love on Me.
Leading lady Donna is a pretty extensive role which requires some big vocal chops. At this performance, Caroline Deverill took on the role and did so with both honesty emotion and exuberant energy. Songs such as The Winner Takes It All and Money, Money, Money were stand outs of the night. As her Dynamos, Jennifer Hepburn (Rosie) and Kate Graham (Tanya) gave spandex filled performances and delivered their witty lines with a freshness that the audience clearly loved.
Sophie's three dads were played by Mark Isherwood (Harry), Stephen Beckett (Bill) and Richard Trinder (Sam). The three get the audience on their side immediately and give wonderfully comedic and heart warming performances. Their complex relationships with each other, Donna and Sophie are well played out and extremely entertaining.
The ensemble work hard to bring the Greek island to life in terms of choreography as well as providing backing vocals to most of the show. There did seem to be come vocal imbalance throughout, with the leads often being almost silent but this was rectified by the mega-mix ending.
Mark Thompson's basic set is cleverly used with the addition of props and lighting to simplistically put the story across and compared to other shows does feel a bit dated and overly basic, but it does the job and that's all you can ask for, and expect, with a show like this.
With the Mamma Mia sequel recently being released and the ABBA love being felt more than ever, it's no surprise that this show continues to be a success. It's not a categorically 'great' musical but it's super energetic, platform filled and as much fun as you wish it would be.
Tickets for Mamma Mia can be booked via www.londonboxoffice.co.uk
photo credit: Brinkoff/Mögenburg
Thursday 7 March 2019
Waitress, Adelphi Theatre | Review
Waitress
Adelphi Theatre
Reviewed on Thursday 7th March 2019 by Olivia Mitchell
★★★★
Based on the 2007 film of the same name, Waitress is a quirky, sweet, fun show by late comedic legend, Adrienne Shelly. Having taken Broadway by storm, it has now opened in London and is a pastry wrapped parcel of theatrical sweetness.
With music and lyrics by Sara Bareilles, it's the score that's really the stand out factor of this show. The music is a magical combination of folk, pop, country and musical theatre, and gives the musical a really cinematic element. The contrast between high energy songs, calmer numbers and highly emotive pieces, cleverly matches the way the show emphasises the highs and lows of life.
As we are welcomed into the Adelphi Theatre with the smell of pie permeating the air, we instantly feel a sense of relaxation and as if we really are visiting the small diner in rural America where most of the show is set. We're introduced to the characters as if they're friends and get to see the great cast at work.
In Waitress, the ensemble act as though they are one. Of course they scatter the stage and have individual character moments (a particular stand out is Kelly Agbowu as the wonderfully sarcastic Nurse Norma as well as Charlotte Riby who is fantastic as Jenna's mum and really shines during her featured moments) but they really come into their own when they work as a team. Much of the choreography (Lorin Latarro) is ensemble based and features smooth movements as well as perfectly timed motions. The men and women combine at times to symbolise Jenna's internal thoughts, as well as keeping the show fluid and highlighting the connections between people on stage. Natural feeling movements are in reality, highly choreographed but the show still feels pretty free and spontaneous.
Whilst the show is cute and there are various witty moments, the book itself is not particularly strong as a whole. Leading lady Jenna, is pregnant with her abusive husband's child and falls in love with her gynaecologist Dr Pomatter, whilst her work colleagues also have romances of their own.
The romantic encounters are charming but the consistent cheating which runs throughout the show, feels somewhat jarring. It's not the cheating itself which feels wrong- Jenna wants someone who loves her outside of her abusive relationship, whilst Becky's husband is unwell so she feels tied to him but wants something more- but the lack of resolution to these stories feels unfulfilling. The story is clearly meant to be about female empowerment, but it doesn't seem right that the men are allowed to act in any way they like (and motivate all decisions the women make). Ogie for example, doesn't think twice about hounding Dawn when she says no to seeing him again, whilst Dr Pomatter has no qualms with seducing a vulnerable patient. Of course these things are meant to make us root for them and see it as 'forbidden love' but unfortunately it leaves a bit of a sour taste.
However, the performances throughout are pretty uniformly wonderful and the cast do all that they can with the book they've been given. Katharine McPhee as Jenna, gives a graceful but vivacious performance, which at times feels a little too understated but truly delivers in her stand out moments such as She Used to be Mine and she leads to show with a delicacy that is enviable. David Hunter is suitably geeky and charming and brings a great vocal performance to Dr Pomatter, whilst Jack McBrayer is hilarious but lacks vocal strength and technique as Ogie. Marisha Wallace is sassy as Becky and Laura Baldwin gives a standout performance both vocally and in terms of characterisation as timid, love-struck Dawn.
Waitress is a show that takes you off the beaten track and provides a more intimate, less flashy show compared to those we usually see. This nuanced musical is a sweet treat that will warm your heart, purely thanks to it's quirkiness and affectionate score.
Tickets for Waitress can be booked via www.londonboxoffice.co.uk
Tickets for Waitress can be booked via www.londonboxoffice.co.uk
photo credit: Johan Persson
Saturday 8 December 2018
Nine Night, Trafalgar Studios | Review
Nine Night
Trafalgar Studios 1
Reviewed on Friday 7th December 2018 by Olivia Mitchell
★★★★★
Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief.
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
Thursday 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Thursday 24 May 2018
In Conversation With... Freya Parks | Teddy | Interview
Teddy runs at the Vaults until June 3rd, it is an innovative show which not only showcases the actors on stage, but also the musicians. One of whom is Freya Parks who talked to us all about her experience with the show...
Teddy is such a fun show, it must be amazing to be a part of! Have you had a favourite moment so far?
Yeah it's a complete dream to be playing rock 'n' roll on a stage!
Yeah it's a complete dream to be playing rock 'n' roll on a stage!
Looking back I think my favourite moment was probably when everything came together the first time we performed to an audience. That was when we all realised how wild and intricate and special what we'd created really was. That's always a good feeling.
For anyone that hasn't seen the show, can you explain what it's about and how you fit into it?
For anyone that hasn't seen the show, can you explain what it's about and how you fit into it?
It's about a Teddy boy and Teddy girl (Teddy and Josie) and the adventures they have during a rainy Saturday night in Elephant and Castle in 1956. After their paths cross, they discover they're both massive fans of an American band called Johnny Valentine & the Broken Hearts and so do anything they can however risky to get into their gig. Then everything kicks off...
I play Jenny O'Malley, the bassist, a lady with sass who keeps her boys (fellow band mates) in line!
Teddy is set in the 50s, if you could transport to any other era, when would you go to and why?
Teddy is set in the 50s, if you could transport to any other era, when would you go to and why?
I could quite easily spend every night at a Weimar Cabaret in the 20s. Thinking about it, the 20s and 50s were both quite wild times as there was a similar post-war attitude of making the best from nothing, living in the moment and partying amongst the rubble. They must've been exhilarating times to live in.
You not only get to play live during the show, but also after the show. What's been your best audience reaction post-show?
You not only get to play live during the show, but also after the show. What's been your best audience reaction post-show?
The audiences always impress us with their dancing but there was one particular Friday night during our cover of Johnny B. Goode when a guy - who was joyously reliving his youth - jumped up onto Johnny Valentine's platform, grabbed the microphone and sang the rest of the song to perfection! I'm really glad there's video footage...
In 5 words, can you tell us why people should come and see Teddy?
Female-empowering, gritty, nostalgic, heartfelt....ROCKIN'!!!
If you had a magic wand, which show would you do next?
Female-empowering, gritty, nostalgic, heartfelt....ROCKIN'!!!
If you had a magic wand, which show would you do next?
I recently read Teeth 'n' Smiles by David Hare. It's a bit like Teddy but a decade later! I'd love to have a bash at that.
What's your number one piece of advice for aspiring performers?
What's your number one piece of advice for aspiring performers?
If it's really what you want to do, keep going no matter what and whenever you hit a lull, surround yourself with other creative things - just keep your mind active! You never know what's round the corner.
Thank you so much Freya for taking the time to do this interview. Teddy runs at The Vaults until 3rd June.
Thank you so much Freya for taking the time to do this interview. Teddy runs at The Vaults until 3rd June.
Wednesday 25 April 2018
Morgan and West: Time Travelling Magicians, Wilton's Music Hall | Review
Wilton's Music Hall
Reviewed on Wednesday 25th April 2018 by Nicola Louise
★★★★★
Just when you think magic has died, in come Morgan and West the time travelling magicians armed with some spiffing looks, a couple of top hats and of course a trusty pack of cards. The two take on Wilton's Music Hall with flair and brilliance.
This is not just your average music show, Morgan and West have a theme. As the name suggests, they time travel! The pair incorporate comedy, ad libbing, suspense and the all things 1900s into a 90 minute show. With audience participation involved, this is a show that both adults and kids alike can get involved with and the magicians really they really know how to hold a crowd from the word go.
The tricks on stage are a mix of some I've seen before and some I haven't, but the child in me can't get enough and I could gladly watched them all night. They are skilled as well as witty and really capture the essence of magic.
Although the stage has quite a few props on it and is decorated in a way that implied they were going to be used more, they were used, and needed, very little.
I was lucky (or unlucky depending on how you see it!) to be called up on stage. Now, what I was part of is not one for the faint hearted but the outcome will amaze you... I won't say more to spoil the surprise...
If you've always questioned magicians I recommend you see this show. The comedy alone will leave you wanting more, and if you're like me, you'll want to back again and again to try and work out how everything is done!
Morgan and West: Time Travelling Magicians is on at the Wilton's Music Hall until the 28th April, take your mum, dad, brother, sister, aunt, uncle, nan, grandad... bring everyone! You won't want to miss out.
Monday 23 April 2018
We Won! | UK Blog Awards 2018: A Thank You
Hello Stagey people,
This is a much more informal post than those you usually see on Rewrite This Story but I really wanted to post about this as I'm so overwhelmed by the achievement. Last Friday at the Marriott Hotel, Grosvenor Square, Rewrite This Story was awarded the UK Blog Award in the Business Arts and Culture Category!
Now when I say I didn't expect to win, I'm not just saying it to be humble. Although I think this site and all it's stageyness is wonderful, I really didn't think we had a chance against amazing blogs such as Ticketmaster, Heritage Daily (who won the highly commended award- congratulations!) and Eight Ray Music. But against all the odds- we won!
I don't want to drag this out but I truly want to send my deepest thanks to everyone who is a part of this site. Firstly, thank you to our amazing reviewers! This site wouldn't work without you. Thanks to you guys we have consistent theatrical reviews, interviews, news and opinion pieces. Our reviewers range from age 14 all the way to 78 which is incredible and just proves how universal theatre is.
Secondly, thank you to all the readers! Thank you for supporting us, continuing to read our posts, and commenting and interacting with Rewrite This Story on it's social platforms. Thank you for voting and supporting us. Also thank you to Head Judge Gina Akers and the Arts and Culture judge Tamsin Ace for believing in the blog enough to vote for us! Other than the feeling of watching a show, the joy of theatre is being able to share it with others and I am so happy that this site has become a hub for that.
On a personal note I want to thank my family and friends for putting up with all my theatrical adventures and going on's. Although I now have an amazing team of reviewers who are extremely helpful and supportive, I started this site alone and it's taken a lot of graft to get to this point. There have been many emotional, stressed moments and I truly couldn't have gotten through it without my amazing support network. I've got to give my mum a special mention (not only because she'll be furious if I don't) she is my number one supporter and Rewrite This Story couldn't have got where it is without her. She contributes emotionally as well as reviewing on the site herself! Thanks mum!
This award isn't just for this site though. This award is for the theatre community as a whole. I truly hope this is a step forward for us all and that it's an entry way for us to be a bigger part of the universal blogging community. Theatre bloggers really are a force to be reckoned with and I can't wait to see what we all achieve in the future!
Thank you, thank you, thank you. The future is certainly stagey!
Olivia, Editor x
Thursday 12 April 2018
Quiz, Noel Coward Theatre | Review
Quiz
Noel Coward Theatre
Reviewed on Wednesday 11th April 2018 by Shaun Dicks
★★★★
‘In a world that is so confusing, I like to know there is a right and a wrong.’
Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward theatre, a venue steeped in prestige and history. It plays host to many an iconic show. Quiz, being a transfer from the Chichester Festival Theatre, comes from a long line of excellent shows and is penned by a writer (James Graham) who is on a streak of West End transfers. This show has all the initial components to be a great show, and I believe, it lives up to all its potential.
This show is all about an infamous scandal of the early noughties, cheating to win a million pounds on ‘Who Wants to be a Millionaire?’. In this retelling of infamous events, we follow multiple narratives, all following the people involved in this scandal, all leading to the main narrative, the courtroom, where the suspects are put to trial, we as an audience act as their jury. The show is of two halves, the first act is the prosecution, which is well presented by Paul Bazley (Nicholas Hilliard QC), with the second act being the defence, well presented by Sarah Woodward (Sonia Woodley QC).
The show is presented in a slick, poignant, and often humorous manner. The humour is a particular highlight, with the inclusion of a hilarious warm up act (Kier Charles) who created a community in the audience, and the use of spoofs throughout, there is a light-hearted element to this dark complex narrative. My highlight for this show was Kier Charles as Chris Tarrant, his mannerisms and facial expressions were absolute perfection, Charles must have studied Tarrant for a long time because it was absolutely on point. Charles is a comedic genius.
Despite its humorous side, this show is very psychoanalytical, it plays with your thought process through the ideas of circumstantial evidence, distorted evidence and fake news. It creates a grey area on what is True and what is False, and therefore creates a social relevance and poignancy, as well as an empathy for the accused. This show is a slow build drama, but that is how the tension is kept high.
Quiz as a show is brilliant, it lives up to it's potential and delivers a great night of entertainment, with a few messages placed throughout. It makes you laugh, it makes you think and it makes you question. That is what all shows should aim for. I highly recommend this show, phone a friend and watch it together.
Quiz runs at the Noel Coward Theatre until 16th June
Showtime from the Frontline by Mark Thomas, Theatre Royal Stratford East | Review
Showtime From The Frontline
Theatre Royal Stratford
Reviewed on Tuesday 10th April 2018 by Nicola Louise
★★★★
Walking into the Theatre Royal Stratford East, you're greeted with a medium sized board with images projected on it with a no smoking poster written in Arabic and a no guns sign with tape around the wall, the three chairs sitting on the stage await the comedians. The set is basic and unchanging but there is still a wonderful atmosphere.
Mark Thomas walks on stage followed by Faisel Abu Alhayjaa and Alaa Shehada, the introductions begin and the comedic race begins.
Showtime from the Frontline is a story telling performance based on Thomas's experience in the Jenin refugee camp, Palestine. He tells the story of how he came to be in the camp and how the comedy workshop was set up to bring comedy and laughter to the Middle East.
Setting up a comedy workshop in a Palestine refugee camp was never going to be easy, but with the help of Thomas's very funny and talented students, Alhayjaa and Shehada, it became a ride to remember. The audience are taken on a journey right into the heart of the workshop and are shown and told exactly how this was done.
The show never slows the pace, and from beginning to end you're captivated, wanting to know how the story transpires. With real life footage of other students within the camp and workshop, the show is both hilarious and thought provoking.
Showtime from the Frontline highlights the struggles facing Palestine with Israel in a way that's light-hearted but also shines a light on the real life issues going on.
Ending it's tour at the Theatre Royal Stratford East until the 21st of April I couldn't think of anywhere better for such a performance of it's kind.
photo credit: Steve Ullathorne
Saturday 24 March 2018
Vincent River, Park Theatre | Review
Vincent River
Park Theatre
Reviewed on Friday 23rd March 2018 by Nicola Louise
★★★★
Hate crimes are unfortunately, still prevalent in the LGBTQ+ community; Vincent River portrays the aftermath of these horrific events.
Set in a flat in East London, the play centers around two characters, Anita and Davey. At first it’s quite hard to establish the connection the two share but that just adds to the emotions of both people on stage.
Anita (Louise Jameson), a grieving mother who lost her child, Vincent, in an awful way. He was found beaten and dead in a hot spot known for gay activities. Anita hides her hurt well, clearly in denial. She also attempts to hide the fact her child was gay, something she didn't want to face during or after his life.
Davey (Thomas Mahy) is the character who walks into Anita’s life- he was the one who found Vincent. When this comes into light Anita wants to know more. She want’s to know what he was doing there and how he came across her child’s body.
The show will take you on an emotional journey and I struggled to keep my tears in at various points.
Both actors portrayed the emotions of love and hate very well and by the end I found myself just wanting them to be friends and to bond over the loss they both endured.
My only issue with this show is with the character Davey. I felt the director and the actor tried so hard to stereotype young men in East London, down from the way he spoke to the way he acted when Anita asked him questions. His anger is justified but there were a couple of lines where I was left wondering why he burst out into anger like that.
Vincent River, written by Phillip Ridley is a new and refreshing play focusing on the plight of hate crime on the LGBTQ+ community and it’s an eye opening, emotional piece of theatre. At only 80 minutes long you don’t find yourself looking at your watch, you’re hooked on every word the actor is saying, wanting to know more, wanting to see how the story unravels.
Vincent River is at the Park Theatre until the 14th April.
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