Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Friday 13 September 2019
Fame The Musical, Peacock Theatre | Review
Fame the Musical
Peacock Theatre
Reviewed on Thursday 12th September 2019 by Olivia Mitchell
★★★★
Back in the West End after 12 years, Fame makes a triumphant return with Nick Winston's production. This 30th Anniversary edition has been touring since 2018 but is having a prolonged five-week stop at the Peacock Theatre. Featuring the classic songs such as There She Goes, Fame and Bring on Tomorrow, those who grew up with the musical will be taken back to their youths. However, whilst many original aspects are still part of the show, the stage version is less leg warmers and dancing on cars, and more grit, hard work and struggle.
Despite being set in the 80s, most aspects feel fresh, relevant and grounded in truth. Nick Winston's choreography helps the entire production fizzle and buzz like a well oiled New York subway, and the young cast perform each second with conviction and power.
As Iris, Jorgie Porter gives a great showcase of her sleek dance skills and has a great chemistry with love interest Tyrone (Jamal Crawford) who gives an equally strong dance performance and gains rapturous applause after his uber-octane performance of Dancing on the Sidewalk. In the storyline with his teacher Miss Sherman (Mica Paris) Crawford gives a truthful performance as he struggles to read but doesn't want to appear stupid or weak. The battle of wills between the pair is exciting to watch and really comes to a head with Mica Paris' vocally impeccable rendition of These Are My Children.
As the quirky actress Serena, Molly McGuire is warm and instantly likeable. Her relationship with Nick (Keith Jack), a tv actor, wanting to break into the more serious world of acting, is sweet and the pair compliment each other well. With Jacques Levy and Steve Margoshes' music and lyrics, there are some lovely moments, especially Lets Play a Love Scene.
The ensemble are tight from start to finish, performing the sharp choreography extremely well and providing moments of interest away from the main action throughout. Serina Matthews and Tom Mussell particularly catch the eye throughout. This cast is also comprised of various quadruple-threats. The host of amazing actor-musos who are present on stage throughout, really transport us to a performing arts school, and help keep up the frenzied energy of working on your craft. Louisa Beadel is feisty as Lambchops and gives a brief but beautiful vocal performance in the closing number; Alexander Zane is light relief and a wonderful energy on stage. Simon Anthony is outstanding in his instrumental, vocal, acting and dance skills. Giving a very heartfelt and highly energetic performance, he is a stand out performer and works wonderfully with his love interest, Carmen.
As Carmen, it's Stephanie Rojas who is really the crown jewel of this production. Opening with a fiery, sassy performance, her decline and struggle is incredibly moving to watch. Rojas' sublime vocals, gritty acting and sharp movement really should put her Name in Lights across the West End. In a show which sometimes lacks character development, Rojas makes Carmen a truly 3D character and gives the performance all audience members will remember.
Prema Mehta's subtle but atmospheric lighting does a fantastic jobs of quite literally highlighting the crucial moments and moods of the piece. Perhaps most striking is the contrast between Carmen's opening number and closing number. In There She Goes/Fame there is a vibrancy which bathes the stage, whilst In LA is stark and simplistic. Morgan Large's set of yearbook photos, lockers and desks keeps the school vibes alive and allows most of the focus to be on the performers.
For a no gimmick show about the tenacity needed to succeed, Fame is a wonderful way to spend an evening and will certainly leave you dancing along the road (or wishing you had the skill to dance along the road)!
Fame runs at the Peacock Theatre until 19th October 2019 before continuing its tour.
photo credit: Alessia Chinazzo
Wednesday 11 September 2019
The Play That Goes Wrong, The Duchess Theatre | Review
The Play That Goes Wrong
The Duchess Theatre
Reviewed on Tuesday 10th September 2019 by Olivia Mitchell
★★★
The Play That Goes Wrong and all of Mischief Theatre's productions have gained somewhat of a cult following thanks to their un-stuffy, melodramatic and outrageously slapstick set ups, which thrill regular theatre goers and less frequent attenders alike. The show throws buckets of energy out as it takes on the form of a whodunnit and is authentically British.
The story follows an amateur dramatic group, the Cornley Polytechnic Drama Society, as they attempt to wow audiences with their version of the 1920s murder mystery The Murder at Haversham Manor. Well what follows is a production that is less wow and more woe. The sets collapse, the plot goes wrong and literal anarchy ensues. Thankfully for us, this is all done with hilarious humour as the cast embody the motto that the show must go on.
Everything about this production is choreographed chaos, as every trick and accident is pulled off with such a natural flow that it feels improvised, but in reality is precisely organised. Daring tricks are carried out as actors fall from the ceiling, jump out of windows and play their own version of twister as they try to keep the set and props in place.
At times the production does teeter on the edge of being too slapstick but most of the time it beautifully draws back to remain funny. This really is a show down to personal taste and for some it'll will certainly be too over the top and not enough thespian but for a completely carefree night of theatre, there's no reason to miss it.
Thanks to the wonderfully strong cast, this production rattles along with efficiency and intensity. Often breaking the fourth wall and including the audience in the action, this really becomes a raucous piece of communal theatre. With pantomime antics and tricks which will keep you on your toes, The Play That Goes Wrong is a belly-laugh inducing piece of theatre which will continue to entertain and surprise during it's fifth year in London.
Thursday 5 September 2019
Falsettos, The Other Palace | Review
Falsettos
The Other Palace
Reviewed on Thursday 5th September 2019 by Olivia Mitchell
★★★★
Despite feeling a little too long and being shrouded in recent drama, the current production of Falsettos at The Other Palace makes it clear why this musical was nominated for five Tony Awards in 2017.
The musical in its current form is based on three one-act musicals which have been fused together by James Finn and William Lapine. It began in 1979 with In Trousers, followed by March of the Falsettos in 1981, and Falsettoland in 1990. In 1992 these were combined to create the show which played on Broadway for over a year and is currently making its UK premiere.
Falsettos begins with the hilarious 'Four Jews in a Room Bitching' where we are introduced, as the name suggests, to four Jews and "one half-jew". Throughout the show we learn about a family as they crumble and put themselves back together. Family patriarch Marvin (Daniel Boys) is falling in love with a charming man, Whizzer (Oliver Savile) and is ready to leave his wife Trina (Laura Pitt-Pulford) and son Jason (Albert Atack). Meanwhile Trina gets closer to her therapist, (Joel Montague).
PJ McEvoy's set of blocks which are moved around to form the various locations, are highly effective and just simplistic enough to provide interest without taking away from the emotional songs. Bright, evocative lighting by Nic Farman is equally entertaining.
Although this show does feel a tad too long, with a lot of songs crammed in and not a whole lot of story, there's no denying that it's fabulously staged and features an absolutely stellar cast. Laura Pitt-Pulford brings the audience to rapturous applause with her stellar rendition of 'I'm Breaking Down'. In fact, this is a cast made up of crystal clear singers with perhaps some of the best placement on the West End. Natasha Barnes and Gemma Knight-Jones brings lightness and power both vocally and physically as the "lesbians next door", and Oliver Savile also provides many stand out vocal moments. The entire team act through song fantastically and truly bring out the best of the work, whilst, Chris Whybrow's sound design highlights the strong vocal techniques which course through the cast.
The show is pretty much sung through, with a variety of rhythms, colours and musical feels. There's humour and heartbreak and a warm sense of conversation throughout. Intricate but not in-your-face Falsettos is a must-see reminder of human love; and a great example of how moving music can be.
photo credit: The Standout Company
Tuesday 3 September 2019
The Feeling, The Other Palace | Review
The Feeling
The Other Palace
Reviewed on Monday 2nd September 2019
With an influx of Broadway transfers and film/book to movie adaptations dominating the London theatre scene, it's always wonderful to see new British theatre developing. The Feeling by Kyra Jessica Willis is a good example of this, as it brings social troubles to light in a headstrong way that feels authentically British.
The Feeling follows a tight knit group of friends who congregate in their local cafe to chat, moan and laugh. Various issues begin to plague the group as they struggle through life's ups and downs and we see how easy it is to fall apart. The small cast features cafe owner Mel (Halie Darling) who is a little unsure of herself as she begins a relationship with geeky and incredibly caring Jamie (George C Francis). Kyra Jessica Willis plays the snide Jessie who has an innuendo to offer at every moment; with PJ Tomlinson playing her ex and moral supporter Kasey. Chloe Hazel brings the psychologically controlling Edie to life and Chris Barton is Holt, the new man in Jessie's life. Completing the cast are Pippa Lea as Lexie and Sean Erwood as Archie who have a good chemistry with one another and provide some touching moments.
Director George C Francis does a good job of utilising the small stage of The Other Palace but at times there seems to be either too much or too little going on in terms of action. The cast are clearly developing their characters as they exchange knowing glances which extend beyond the text, but these sometimes detract from crucial moments on stage. This is especially evident when conversations continue as the cast exit the stage and space. Whilst, at times this brings an effective realism to the characters, at others it takes away from the main action and would perhaps be more efficient if mimed.
The text lends itself to being a straight play but this show takes on a jukebox format, with several pop songs dotted throughout to further the drama and emotions. Often these work but the show could work equally well as a sleek play, perhaps with musical interludes to fill scene changes as opposed to full songs. Despite this, the song choices are catchy and there are a number of strong performances, especially from Pippa Lea and Chloe Hazel. From Kelly Clarkson to Kate Nash, there's a variety of music that does provide entertainment and varies the tone throughout. The lighting changes from the spoken scenes to the sung scenes are somewhat abrupt in their contrast but do a good job of differentiating the emotions from being internal to external.
As Willis' first foray into theatrical writing, this is a production which shows promise and a positive willingness to create new work which sheds light on intense subjects. For the most part the dialogue is realistic, the characters are well defined and the subject matter is delicately handled. There are several tweaks which can made in terms of rounding out the story and bringing further truth to the text, and the show definitely needs to be streamlined to make it a real competitor in the theatre scene, but as a work in progress The Feeling definitely has potential. Monsteers Artistry continues to rattle forward with innovative ways to break down barriers in the theatre industry and provide opportunities for a range of people, something which can only be applauded.
The Feeling plays at The Other Palace on 7th September at 3pm and 8pm
Thursday 15 August 2019
Once on This Island, Southwark Playhouse | Review
Once On This Island
Stockwell Playhouse
Reviewed on Wednesday 14th August 2019 by Olivia Mitchell
★★★★
The British Theatre Academy's production of the Caribbean-inspired Little Mermaid adaptation, Once On This Island is an enchanting show with dynamic, heart-wrenching performances, energy in spades and a glorious uptempo score. Through beautiful harmonies and high-intensity choreography, the young cast bring sunlight to rainy London and infuse a gust of tropical warmth into the magical story and score by Lynn Ahrens and Stephen Flaherty.
Once On This Island tells the legend of Ti Moune, a young orphaned peasant girl raised by Tonton and Euralie, who falls in love with a boy from a wealthy family on the other side of the island, Daniel. Guided by four Gods, Ti Moune rescues Daniel from a life threatening car crash and nurtures him back to health. However, though they may be divided by only a few miles, they are worlds apart and after promises made to the Gods, Ti Moune must see whether love can conquer all, including death.
At the heart of it, Once On This Island is a much needed delivery of the message of the need for inclusion for people from all walks of life. In a world doused in prejudice, where literal walls are being built and we are continually bombarded with stories of segregation, it's crucial that we speak loudly and take a stand to highlight the necessity for equality. The diverse BTA cast do an outstanding job of this and deliver the heart-warming but emotionally raw tale with grace and cohesiveness you would expect to see from older, full-time West End performers.
The BTA team have done an outstanding job of bringing the Tony Award Winning show to life in the pretty intimate space of the Southwark Playhouse. An ever versatile venue, it's fantastic to see it transformed to house a traverse stage where the performers integrate themselves into the audience, and interact as though they are locals wandering the streets. Lee Proud and Harrison Clark's dynamic choreography fills the space and works with the Calypso sounds and rhythms to create an upbeat party feel, as well as highlighting the more deeply emotive parts of the story. Thanks to the ensemble, there isn't a moment that feels under-energised and it's both enthralling and authentic to watch.
In the role of Ti Moune, eighteen year old Chrissie Bhima is otherworldly. Maintaining a poise and depth of someone much older, whilst imbuing the character with an innocence that draws the audience to her; she is a certain star in our midst. Bhima's killer vocals earn rapturous applause after her first solo and set the tone for the nuanced but electric performance she continues to give throughout.
Aviva Tulley as Erzulie is clearly born to perform and she brings the ethereal Goddess of Love to life with a vocal and physical warmth that calms the room. On the other hand, Jonathan Chen is the embodiment of energy as he brings Asaka to life. As the other gods, Kyle Birch (Agwe) and Martin Cush (Papa Ge) embody their elements well.
Sam Tutty is charismatic and sincere as Daniel, who shows genuine heartbreak as the pair struggle through their relationship, whilst, Marie-Anna Caufour oozes affection alongside divine vocals as Ti Moune's adopted mother Euralie. Special notice must go to Elliot Gooch who plays Armand among a variety of ensemble characters and stands out throughout thanks to his energy, facial expressions and witty interactions with both the cast and the audience. At the core, this is really a piece about community so it's a winning factor that the ensemble are so strong. The tight knit group work incredibly hard throughout and are consistently strong. Mention goes to Ella Biddlecombe and Grace Venus who draw the eye throughout.
Despite a few technical issues at the start with sound, the cast's energised portrayal of this provoking, mystical piece keeps the audience in the palms of their hands, and Simon Wells' simplistic but detailed set transports us to an island where magic really happens. The sweet story directed with a winning touch by Lee Proud, alongside vast vocal talent and and an authenticity that courses through, is a must see show this summer.
photo credit: Eliza Wilmot
Wednesday 14 August 2019
Refresh (Concert), Spiegeltent | Review
Refresh (Concert)
Spiegeltent
Reviewed on Tuesday 13th July 2019 by Olivia Mitchell
★★★★
Refresh is a fantastically exciting cabaret series created by Ryan Carter. The idea is that a cast of talented, fresh west end performers, bring a set list to life that features re-worked versions of many well know musical songs.The concerts are designed to celebrate musical theatre and entertain fans of the genre, but also to provide a gateway experience for those less knowledgable or invested in it. After a selection of concerts, Refresh is taking a short residency at the Underbelly festival to captivate audiences in the intimate Spiegeltent setting.
The set features an eclectic and wholly enjoyable series of songs. From the beautifully haunting Kiss The Air by Scott Alan, to the Hamilton classic You'll Be Back, there's certainly something for everyone. The joy of Refresh is that even if a song is not your favourite originally, the inventive re-imaginings will have you seeing and hearing it in a new way. Highlights of Jo Noel-Hartley and Ryan Carter's arranging, include It Won't Be Long Now, My Favourite Things and the thrilling Rewind mash-up of the history of musical theatre.
The cast is made up of vocal powerhouses: Sam Carlyle, Kayla Carter, Linnéa Didrick, Ben Farrall, Adam Gillian, Abbi Hodgson, Charlotte Miranda Smith, Baker Mukasa and William Lloyd. Each performer brings something beautiful to the stage and even more magic is created when the team come together for their group pieces. The rapport between the cast is highly entertaining and it's clear that everyone's hearts are really into making Refresh as sleek and absorbing as it is. Stand out performances include the quartet rendition of Kiss The Air, Abbi Hodgson's There Once Was a Man, and the rousing opening Do You Hear The People Sing? The musicality and versatility of each performer is evident and it's fantastic to hear vocalists in a raw but professional and high quality performance.
Mention must go to the brilliant lighting design which continually adds to the varying moods of the songs, as well as providing visual treats on its own, and making the experience more visceral. Ryan Carter's design of the graphics and videos which accompany must equally be applauded as they are lively, vibrant and entertaining, and also embody the ethos of Refresh as a whole.
For a night of musical theatre that is different to what you'd expect, pay a visit to see the Refresh gang. Not only are the performers fantastic, but the whole philosophy of the group is something which should be applauded and championed. It should also be noted that following Papa Can You Hear Me? my mum whispered "Babs would be proud" which is high praise indeed and a definite reason to experience these outstanding revitalised performances.
Monday 12 August 2019
Squad Goals, The Other Palace | Review
Squad Goals
The Other Palace
Reviewed on Saturday 10th August 2019 by Olivia Mitchell
★★★★
Squad Goals written by Michelle Payne follows Lexi who wants to have the best summer ever playing football with her friends (and foes) before results day comes and they all have to take steps towards their futures.
What's great about this piece is that each person has a characteristic or emotion the audience can relate to; so whilst football may not be your bag, there are other aspects which will draw you in and entertain. From Mel the theatre fanatic to Missy the wannabe lawyer and Ellie-Mae the social media influencer, there's a whole array of characters, each of whom are well identified and enjoyable to watch.
This is the third play to be performed by students of the Caspa Arts: Acting for New Writing part time course and it's terrific to see a showcase of performers in training, and new British theatre. The 10 strong cast work incredibly well as a team and it's clear that they are loving working and developing together.
Whilst the ensemble work is wonderful, there are a number of stand out performances. Firstly Mia Kelly as the hopeful drama student Mel. Mia is fantastically natural on stage and has great comedic timing, her performance is witty and well thought out. As leader of the squad Lexi, Hannah Khalique-Brown gives an ardent and charismatic performance as she races forward to fight inequality between women's and men's football and break barriers between social groups in her local area. As a character, Lexi is very truthful as she steps up to the plate without being over the top or unbelievable, something Khalique-Brown emphasises well.
The influencers who are forever taking selfies and posting #ad posts are everywhere you look these days and Sophia de Souza brings the squad's resident 'It Girl' Ellie-Mae Hague to life with a marvellous balance of humour and kindness. Whilst Ellie-Mae is extra in every sense of the word, she is also a team player and the bond she has with the other girls is put across very well by de Souza, as is the compassion she shows as she influences the union of the groups. Lauren Cooper also shines as the dippy Sharky who is charming throughout and naturally gets the audience on her side.
Elsewhere, Emily Clark gives a strong performance as Amanda and has a great chemistry with Verona Smith as Missy who delivers some great one-liners and bounces off the other girls well. Morag Davies is suitably feisty as Scrappy-Doo and Stephanie Stevens gives a well nuanced portrayal of Misha who is consistently fighting for equality but also longs for a group of friends to share her triumphs with. Antonio Ayuso provides comedic moments as he tries to prove himself to be a "man's man", Clara Mainardi is greatly mysterious as Assassina and as a whole the cast are very strong.
The use of movement is very effective in this piece, with the opening scene giving Spring Awakening vibes as the women approach the issues they face not only in football but in life. Throughout there are entertaining passages where the cast transition from one place to another or highlight specific feelings through sharp movement. This does well to both further the story and keep the intensity high from start to finish.
In a time when the world seems pretty dark, it's lovely to see such an uplifting piece of theatre that highlights the importance of passion, hard work and friendship. Of course this is the beginning stages for Squad Goals and there's certainly room to pad out the story and establish the characters a bit more but overall, this is a really enjoyable hour, with a company of fantastic promise. Hopefully the show gets the further development it deserves and we don't see the end of this female story.
Wednesday 24 July 2019
The View Upstairs, Soho Theatre | Review
The View Upstairs
Soho Theatre
Reviewed on Tuesday 23rd July by Olivia Mitchell
★★★★
Whilst victories in the LGBTQ+ community are rising, and social attitudes and actions are, for the most part, much more positive, there's still much to fight for, as Max Vernon's musical highlights.
In its European premiere at the Soho Theatre, The View Upstairs cleverly creates a conversation between the past and present by visiting the UpStairs Lounge, a New Orleans gay bar which was the subject of an arson attack in 1973 which killed 32 people. The tragic story is one which has often been wiped out from history and was even minimised by news outlets at the time, so it's an honour to see it brought to life so thoughtfully.
The story follows Wes, the 2019 "influencer" and fashion designer who is buying the dilapidated bar in the modern day. His estate agent leaves, and in a somewhat mystical, drug-filled flurry of curtains, he is transported back to the bar as it was on the day of the fire. Who we are then introduced to are the various people, decked out in bell bottoms, who find solace and friendship in the safe space the UpStairs provides. Wes' eyes are gradually opened to he struggles of being gay in the 70s and he questions how he leads his life in the modern day.
Wes is a smartphone-addicted go-getter who often veers into a caricature of a Gen Y person, but is still intensely entertaining and relatable. As a whole the book features a lot of stereotypes which are not always believable enough, but there are hilarious one-liners throughout, as well as many thought-provoking moments.
What the script lacks is made up for in spades by the utterly phenomenal cast. Tyrone Huntley is effervescent in his performance and provides vocals which need to be heard; Huntley also manages to create a fantastic balance between impudence and vulnerability, which really makes the audience root for him. The chemistry between the entire cast is second to none, with Wes and Patrick (Andy Mientus) providing especially well thought out interactions. Mientus draws the eye thanks to his incredibly subtle but highly calculated movements which make him seem as though he isn't acting at all.
The uniformly thrilling cast bring vocals that will cause involuntary whoops and goosebumps in equal measure. Among a team of stars, Carly Mercedes Dyer and Cedric Neal stand out because of their powerhouse voices which ring out with sincerity as well as power. Victoria Hamilton-Barritt is magnetic as the caring, religious mother Inez; whilst Garry Lee provides vocals and sass and her drag queen son Freddy. John Partridge and Declan Bennett are well rounded and striking in their performances and Joseph Prouse and Derek Hagen give memorable, if brief performances. This is a fantastic ensemble piece which has momentum and catchy tunes, but more importantly, heart.
Fabian Aloise and Ruthie Stevens's choreography is slick and feels part of the characters own movements. Lee Newby's set is basic but evocative as is Nic Farman's lighting which expertly matches the moods of the show, although at times felt just a bit too dark.
Jonathan O'Boyle has directed a moving production which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight.
photo credit: Darren Bell
Monday 22 July 2019
20 Questions with On Your Feet's Christie Prades
Taking on the iconic role of Gloria Estefan, is the energetic, enthralling and all round wonderful Christie Prades. Editor Olivia sat down with her to ask Christie 20 Questions about her life, career and of course On Your Feet. We found out her favourite food, advice for aspiring performers, her spirit animal, what game show she'd like to compete against the Estefan's on, plus a whole lot more!
Featuring the hit songs of Gloria Estefan and Miami Sound Machine, On Your Feet is currently playing at the London Coliseum until August 31st, with tickets available from the official website: www.onyourfeetmusical.co.uk
If you're unable to get to London, the show is also going on a tour of the UK (dates and venues available here).
Watch our full chat with Christie and some sneak peeks at the backstage area of the London Coliseum below or here.
Tuesday 9 July 2019
Jesus Christ Superstar, Barbican Theatre | Review
Jesus Christ Superstar
Barbican Theatre
Reviewed on Thursday 4th July 2019 by Olivia Mitchell
★★★★
Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.
Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.
What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.
Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.
Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.
This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.
photo credit: Johan Persson
Saturday 6 July 2019
Fiver, Southwark Playhouse | Review
Fiver
Southwark Playhouse
Reviewed on Friday 5th July 2019 by Olivia Mitchell
★★★★★
New British musical by Alex James Ellison and Tom Lees, Fiver follows a humble five pound note as it passes through the hands and pockets of various people in London. Rarely noticed by the person, we see that the fiver is often present in significant life moments. The show is constructed through a series of diverse musical vignettes which explore relationships, struggles, life, love and money.
New British musical by Alex James Ellison and Tom Lees, Fiver follows a humble five pound note as it passes through the hands and pockets of various people in London. Rarely noticed by the person, we see that the fiver is often present in significant life moments. The show is constructed through a series of diverse musical vignettes which explore relationships, struggles, life, love and money.
Watching Fiver is like watching a rom-com, drama, thriller, romance unfurl live in front of your eyes. The intricately woven story is cinematic but intimate at once and really enthrals from start to finish and shows just how the value of a fiver can considerably change under the circumstances it's either given or received in.
Alex James Ellison and Tom Lees have constructed a musically lush score which is not only highly entertaining, but superbly detailed and sophisticated. Featuring a variety of musical influences, each piece is utterly entertaining and engaging. The diverse characters are explored through the twenty-four assorted musical numbers. Each and every song is fantastically composed and the lyrical and musical mastery of Alex and Tom is clear throughout.
This pure delight of a musical is made all the more wonderful by its top notch cast. All playing a number of characters, the five (!) strong cast give masterclasses in characterisation and versatility. Luke Bayer gives poignant and vocally strong performances throughout. Whilst, Dan Buckley shines in both quieter and more booming moments, giving a particularly touching performance during the sweet proposal scene.
Alex James Ellison and Tom Lees have constructed a musically lush score which is not only highly entertaining, but superbly detailed and sophisticated. Featuring a variety of musical influences, each piece is utterly entertaining and engaging. The diverse characters are explored through the twenty-four assorted musical numbers. Each and every song is fantastically composed and the lyrical and musical mastery of Alex and Tom is clear throughout.
This pure delight of a musical is made all the more wonderful by its top notch cast. All playing a number of characters, the five (!) strong cast give masterclasses in characterisation and versatility. Luke Bayer gives poignant and vocally strong performances throughout. Whilst, Dan Buckley shines in both quieter and more booming moments, giving a particularly touching performance during the sweet proposal scene.
Aoife Clesham gives a star is born performance as she leads a number of songs and is especially brilliant during the "surprise" party scene where she brings a whole host of characters to life, and also in Press Hash To Rerecord which is a hugely humourous situation that I'm sure many audience members can relate to (though perhaps not quite to Aoife's level). Multi-talented Alex James Ellison acts as a somewhat omnipresent narrator who oversees proceedings as the busker who puts the fiver into circulation. His fast diction, cheeky personality and dynamic stage presence bring the show to life and put a smile on your face.
Hiba Elchikhe's beautifully toned voice soars in her electric performance and her adaptability is ever clear through her many characters and emotions. Through their solo moments, duets, trios, quartets and quintets, this cast bring every second of Fiver to life and create a truthful, resonant and truly admirable show.
With Justin Williams' simple but effective set which features a magical cupboard that adapts for each scene, Alex Musgrave's homely, atmospheric lighting and the fantastic band led by Tom Lees, Fiver really provides everything you could wish for in a new, British, contemporary, relevant musical.
A two hour delight, I predict that this Fiver’s Destiny is huge success and an incredible future of magnificent story telling. Go see this show, tell all your friends to see it and make Fiver the hit it deserves to be!
Fiver runs at the Southwark Playhouse until 20th July 2019
photo credit: Danny Kaan
Hiba Elchikhe's beautifully toned voice soars in her electric performance and her adaptability is ever clear through her many characters and emotions. Through their solo moments, duets, trios, quartets and quintets, this cast bring every second of Fiver to life and create a truthful, resonant and truly admirable show.
With Justin Williams' simple but effective set which features a magical cupboard that adapts for each scene, Alex Musgrave's homely, atmospheric lighting and the fantastic band led by Tom Lees, Fiver really provides everything you could wish for in a new, British, contemporary, relevant musical.
A two hour delight, I predict that this Fiver’s Destiny is huge success and an incredible future of magnificent story telling. Go see this show, tell all your friends to see it and make Fiver the hit it deserves to be!
Fiver runs at the Southwark Playhouse until 20th July 2019
photo credit: Danny Kaan
Friday 5 July 2019
The Secret Diary of Adrian Mole Aged 13 and 3/4 – The Musical, Ambassadors Theatre | Review
The Secret Diary of Adrian Mole Aged 13 and 3/4
Ambassadors Theatre
Reviewed on Wednesday 3rd July 2019 by Olivia Mitchell
★★★★
This joyous musical is based on the first book of Sue Townsend's well-loved series of the same name. Featuring music and lyrics by Pippa Cleary and book and lyrics by Jake Brunger, it's a marvellous gem of a show, that is truthful, optimistic and a whole lot of fun.
As the school holidays begin, this is the ideal family show, with humour for both adults and children, as well as universal issues that are delivered in a fresh, colourful way. The small Ambassadors theatre is a perfect fit, as it feels intimate and intricate at once. The audience are transported to the Mole's family home and whisked up in the trials of being 13 and 3/4.
Luke Sheppard has managed to capture a true warmth with this production. From start to finish there is a perfect balance between truthful characters and caricatures of real life people, and the heart never waivers. The cast do an exceptional job of encapsulating what it means to grow up. Rufus Kampa leads the show with a fantastic combination of awkwardness and charisma. Kampa instantly draws the audience in and gives a performance very truthful of a young teen. In contrast, new girl at school and love interest Pandora (Rebecca Nardin), is confident and over the top in all the best ways. Nardin provides stellar vocals, bright eyes and a very well characterised performance.
The whole cast are very impressive, with Jeremiah Davan Waysome giving a charming performance as Adrian's best friend Nigel. Amy Ellen Richardson is tender and witty as Adrian's mum, Pauline and John Hopkins is hytrical as Mr Scruton and Mr Lucas.
With Rebecca Howell's choreography which fills the stage, Tom Rodger's slickly designed set which features beds coming out of cupboards, the on the ball cast and highly catchy songs, this is a Brilliantly British show.
The Secret Diary of Adrian Mole Aged 13 and 3/4 is an expressive and animated production, full of heart and energy. The superb cast deliver humourous one liners and more emotional moments with grace and truth, and bring the vivacious score to life well. It's definitely a must-see for families this summer and is sure to delight throughout its run.
photo credit: Pamela Raith
Thursday 27 June 2019
Bare: A Pop Opera, The Vaults | Review
Bare: A Pop Opera
The Vaults
Reviewed on Wednesday 26th June 2019 by Olivia Mitchell
★★★
Bare is a pop-rock chronicle of ill-fated gay love at a Roman Catholic boarding school. It focusses on issues including bullying, depression, homophobia and stigmatisation. The score is often touching and intricate and the young cast mostly do a fantastic job of performing it earnestly.
Having premiered off-Broadway and receiving various productions around the world, the show has gained a considerable cult following so this London production has been highly anticipated. Showing at Waterloo's Vaults, the theatrical experience is somewhat immersive as the action comes at you from all angles. Whilst most of the time this is effective, at moments the novelty of peering through heads to see what's going on does wear off, and the large, long stage feels underused.
Personally the pacing of this show is what lets it down. Act one is all about the set up and then everything major happens in act two. For this reason there are times, especially in the first half, where you feel uninvested. However, there are moments which stand out, namely Georgie Lovatt who is making her professional debut in the show, before she graduates. Her touching and humourous portrayal of Nadia is marvellous to see and she provides outstanding vocals to match.
Lizzie Emery gives a well rounded performance as Ivy and beautifully highlights the internal struggles many people face growing up. Her well nuanced performance is furthered by her fantastic solo, All Grown Up in act 2 which is a goosebump-inducing vocal powerhouse moment. Tom Hier is wonderfully motivated as Matt and gives a magnetic performance whenever he is on stage.
As the lead couple, Daniel Mack Shand (Peter) and Darragh Crowley (Jason) have a simmering relationship. Whilst facing the struggles of being oppressed for their sexuality and struggling to come out to those around them, it's clear they are trying to use their love to keep them grounded. Whilst there are moments of clear affection between them, most of the time they feel a little disconnected. The audience never really see a pure moment of love between them all because there's always something going on with them. Whilst of course this is partly the point, it does mean we root for the pair less. However, Darragh Crowley's performance is excellent both vocally and acting wise.
Andrew Ellis' lighting is effective, mostly so in the second act. The angelic murals on the wall are lit up at crucial times and the contrasts between cool and warm are well done.
Overall this is a musical of two halves. The performances are strong and the music itself is extremely clever and mostly engaging, but at the same time there are moments that drag. For fans of Bare this is a must to tick off your list, but I suspect it will be a bit of a marmite show.
photo credit: Tom Grace
Wednesday 26 June 2019
West End Live 2019 I A Photo Round Up
There's no denying that West End Live is one of the most stagey and fun weekends in a theatre fans diary. The finest of the West End musicals come together to perform live and for free in Trafalgar Square as hoards of fans belt back their favourite songs.
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
We can't wait for next years West End Live! Let us know your favourite moments from the weekend in the comments.
photo credit: Olivia Mitchell
Sunday 16 June 2019
Ben Platt: Sing To Me Instead, Eventim Apollo | Review
Ben Platt: Sing To Me Instead
Eventim Apollo
Reviewed on Saturday 15th June 2019 by Olivia Mitchell
★★★★★
In his premiere London concert, Ben Platt performed his Sing To Me Instead tour to thunderous applause, and proved that sublime vocal skill and authentic connection are the perfect combination for a magical night.
Opening the evening was James TW. A British singer-songwriter, James instantly got the audience on his side through his earnest songs and impressive vocals which set the tone for the intimate evening ahead. His stripped down version of Hey Ya! was particularly entertaining, especially as the audience sang back in a wonderful moment of synchronicity. Personally the most moving song was When You Love Someone which was performed with absolute candor, and highlighted why James is succeeding in his career so far.
After a brief interval, headliner Ben Platt took to the stage to almighty applause as he sung out his first instantly recognisable phrase. From the opening moment we were transferred to a vibrant jam session which was energetic and magnetic throughout. The opening song Bad Habit paved the way for the signature vibrato, laid back vibe and insanely well performed concert we were about to experience. With a set list almost exclusively featuring songs from Ben's debut album, this was a wonderful chance to see and hear Ben outside the restraints of playing a character. Whilst yet to perform in a West End musical, it was clear from the many people sporting Dear Evan Hansen merchandise, that a lot of his fans are from his theatre work. What was wonderful about this concert, is that despite not featuring any musical theatre numbers, it felt just as emotive and transformative as sitting through a plot filled musical and will entertain both stageys and non-stageys alike. If the album is not enough to assure you of Platt's vocal prowess, seeing him live will absolutely seal the deal.
Ben animatedly chatted between songs as he found ways to open himself up and connect to the audience. Short anecdotes about each piece added a depth which seemed to resonate with everyone there. In a night of perfectly performed songs it's hard to label standouts, but Honest Man and Share Your Address were particular favourites as they radiated energy thanks to Ben and his outstanding band and backup singers. Throughout the concert Platt used his smooth riffs and a soaring range to share the various life lessons he's learned and seemed to truly be loving every minute of it.
Aside from Ben's own music, he also put his spin on some other artists. Brandi Carlile's The Joke was goosebump inducing, whilst Stevie Wonder's Overjoyed transported us to a bopping bar and the melody of Elton Jonh's Take Me To The Pilot was emphasised and enthusiastically performed.
The intimate feel of the Sing To Me Instead album was perfectly reflected in the stage layout which was dotted with cushions and family photos. Every beat of each song was matched faultlessly through the lighting design of the tour. Superbly theatrical, warm and awe-inspiring, it was truly the most well lit concert I've ever experienced and made the night not only aurally pleasing, but visually stunning.
Ben closed the night with Older and Run Away; two beautifully controlled pieces which solidified him as performer in his own right, outside of playing a character. As audience members, we were welcomed into Ben's world and he did not shy away from letting us in on his triumphs and flaws. This connection was truly magical and I have absolutely no doubt that Ben will continue to beguile and inspire audiences around the world.
photo credit: Olivia Mitchell
Wednesday 12 June 2019
Afterglow, Southwark Playhouse | Review
Afterglow
Southwark Playhouse
Reviewed on Tuesday 11th June 2019 by Shaun Dicks
★★★★
“There are no fairy tales about polyamory.”
Afterglow is ‘The little play that could’. After its impressive off Broadway run of 14 months and 467 performances, it has made its way across the pond to the Southwark Playhouse, a theatre synonymous with fantastic shows.
In this story we follow three men, the married couple of Josh and Alex, played by Sean Hart and Danny Mahoney, and the complication to Josh and Alex’s marriage, Darius who is played by Jesse Fox. The story follows these three men as the ins and outs and potential complications of polyamory play out. It explores the ideas of commitment, love and the malleability of relationships.
The script written by S. Asher Gelman is a good one, the dialogue is clean, interesting and has brilliant jokes but also has some very honest and real lines in there. The monologues of Darius are just fantastic, and Jesse Fox does well with them; delivering some hard truths excellently. Danny Mahoney as Alex does a good job being the anchor of the show, giving his co-stars a chance to be a bit freer on stage.
The star of the show though is Sean Hart as Josh. Josh is a well fleshed out character, that has obviously been thought through and is fully realised. Hart’s character work makes his co-stars characters look a little non-descript at points.
The direction from Tom O’Brien is ok, the one thing that hampers this show is the scene transitions, they are just so long, it sucks the energy out of the show. The transitions are so long, you could go out, get a drink and get back before the next scene starts.
David Howe's lighting is great, doing well to elevate the piece higher by being creative in his design. The set design by Libby Todd is fine, but their design is half the problem with the very long scene transitions.
Afterglow isn’t your typical fairy tale but in this pride season, it does give a fair, true and honest representation of polyamory and the gay community as a whole; giving life to a story that needs to be told. It’s a show that does have flaws but that’s almost part of its charm.
It’s a highly recommended piece of viewing for all. Gay, Straight, Bisexual, Asexual, Pansexual. Cisgendered, Non-Binary, Transgender, Gender Queer. It is ultimately a show about people and how the heart wants what the heart wants.
photo credit: Darren Bell
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