Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Friday 13 December 2019
Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review
Snow White and the Seven Dwarfs (Panto)
Richmond Theatre
Reviewed on Thursday 12th December 2019 by Nicola Louise
★★★★
It seems like yesterday I was sent to review my first pantomime, but here we are again a year later. This time its Snow White at Richmond Theatre where the stars are big and -evident from the multitude of advertising and glitzy theatrical splendour- so is the budget!
We all know the story of Show White and how she was ordered to die at the hands of her evil stepmother; and this story is no different even if it does start a little unusually. Prince Harry arrives at the palace where Snow White is due to celebrate her 21st birthday, as childhood sweethearts they’re drawn to each other once again after having been apart for so long.
James Darch is great as the charming Prince Harry, with a pantomime hero look about him. Mia Starbuck is as sweet as Snow White can be, with her flowing black hair and porcelain skin she glows with beauty and shines when she sings. Panto’s by nature are a bit cheesy, especially with the panto prince, however, this isn't the case with Richmond’s production. Both Snow and Harry are not your typical panto hero’s, some may say this won’t do but as a lover of panto’s for many years, I felt this gives it an edge above the others.
Jason Sutton as the dame is as funny as ever, along with John Clegg as played Muddles, the son. The pair are a great double act who bounce off each other with chemistry that sparks on stage.
Some may remember Clegg from Britain’s Got Talent where he wow’d audiences with his talent for impressions and it isn’t hard to see why. Clegg's rendition of ‘You’ve Got a Friend in Me’ where he portrays a range of different characters is something I did not expect, and is an excellent moment in the production.
Each year Richmond has a big name to draw people in to it's festive offering, this year its Jo Brand as the evil Queen Lucretia. As funny as she is, her incredibly dry humour often feel misplaced within the tone of this panto. However, Brand's ‘I don’t care’ attitude brings something new to the show and is certainly entertaining. The director and producers have clearly worked around Brand's lack of singing talent and focused more on her wit, a stellar choice on their part.
Like all Pantos, there's a mish mash of popular music, in this case Ed Sheeran amongst others. Some songs seem out of place and a bit cliché, as if the writers are trying to reach out to the teenagers in the crowd, so to say ‘look, we’re hip as well’.
With a talented bunch of actors and great performances from the 7 men who portrayed the Dwarfs, (this year Richmond opted for tall actors rather than go for actual Dwarfs), this show protrudes enough sweetness and glitter than you can shake a stick at.
Fun for all the family and even the little ones get involved at the end.
Snow White and the Seven Dwarfs is running at Richmond Theatre until Sunday 5th January 2020
photo credit: Craig Sugden
Tuesday 26 November 2019
White Christmas the Musical, Dominion Theatre | Review
White Christmas the Musical
Dominion Theatre
Reviewed on Monday 25th November 2019 by Olivia Mitchell
★★★★
Seen last Christmas at the Leicester Curve Theatre, Nikolai Foster's exceptionally staged and completely charismatic production of White Christmas has taken it's place in the West End for a Christmas of festivities and theatrical joy.
Based on the 1954 film starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen, the musical follows the stories of two former World War II American soldiers who became a famous musical duo. The pair use their fame to join forces with Judy and Betty to save a holiday inn from financial ruin and spread cheer all around.
The embodiment of glamour from start to finish, this musical whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme. The audience are enthralled thanks to the intimate feeling which is somehow created in the vast cavern of the Dominion Theatre.
The story is nothing special and there's really very little of it but there's a level of characterisation which runs deep throughout and makes the audience really care about the action and people on stage and brings a contemporary feel to an otherwise un-relatable musical. For example, Martha, Judy and Betty sing 'Falling Out of Love Can Be Fun' which highlights their desire to not being completely reliant on men. In another vein, the vulnerability of Bob (Danny Mac) is shown thoughtfully and delicately. Whilst at first he appears distant and uncaring, it soon becomes clear that he is struggling to rejoin civilian life. These human characteristics are realistically brought to stage with great effect.
The cast of all round triple threats provide enough energetic festive cheer to power all the Christmas lights in London. Clare Halse is a theatrical treasure as she draws the eye every moment she's on stage and is the epitome of Hollywood glamour. Her performance is faultless as she glides around and radiates excellence. Halse also gives a dazzling tap performance of 'I Love a Piano' alongside Dan Burton and the ensemble. Burton as Phil is equal measures charm and sleaze as well as giving top top top notch vocals and choreographic quality. Danny Mac once again gives a faultless performance and has a great love/hate chemistry with Danielle Hope as Betty. Their blossoming romance is lovely to watch just another level of sweetness in this candy-cane-sugary musical.
Michael Brandon is commanding but vulnerable as General Henry Waverly, whilst, Brenda Edwards is a compelling force of comedic nature as Martha and provides a real show stopping moment with 'Let Me Sing and I'm Happy'. The ensemble are unanimously joyous and captivating throughout, with Aimée Hodnett and Kayleigh Thadani giving stand out performances as the ditzy, amorous Rhoda and Rita.
This is a visually exquisite musical which is the embodiment of production value. Diego Pitarch's sumptuous costumes not only look beautiful on their own, but float and flow divinely as part of Stephen Mear's choreography which is elegance and style wrapped up with a bow. The post-war era is brought to life glitteringly, as is the music of Irving Berlin which soars and fills the Dominion.
It's not about the story and of course there are faults as with many classic films but this is an utterly lavish production which will fill even the Grinch's heart with Christmas cheer.
photo credit: Johan Persson
Thursday 21 November 2019
&Juliet, Shaftesbury Theatre | Review
&Juliet
Shaftesbury Theatre
Reviewed on Wednesday 20th November 2019
★★★
What if Juliet didn't die? And what if the story of reclaiming her life was told through the music of Max Martin, aka the writer and producer of some of the most iconic pop music of the last two decades. Well that's &Juliet, a wild, sparkling, energetic piece of musical theatre which has burst onto the scene at the Shaftesbury Theatre.
When the cast come in with 'Larger Than Life' and 'I Want It That Way', there's certainly a moment of unsettled bafflement, but soon the numbers become part of the story and you forget Shakespeare wasn't really bopping along to 90s pop songs whilst writing his iconic tragedies. That being said, there are times where the songs feel added in for the sake of being added and don't flow particularly well but most of the time it doesn't matter because they are performed with a vigour that engages.
David West Read's book is smartly self-aware and knows exactly when to hold back and acknowledge the pop-culture craziness that's occurring. The meta-theatrical plot works well, with us first meeting William Shakespeare and Anne Hathaway as they bicker about the ending of Will's latest play, Romeo and Juliet. Anne persuades her husband to let her do a rewrite and from here we are taken to Verona where Juliet begins her journey of self discovery and goes on an adventure to Paris with her besties. Full of puns, panto lines and pageantry, the show does teeter on the edge of being too childish at times but David's book and Max's songs marry up well with Luke Sheppard's direction to create a musical which doesn't take itself or its content too seriously.
As the leading lady Miriam-Teak Lee brings sass in spades. Her vocals are mostly strong and she really does embody the confidence that this reimagined Juliet is full of; but whether due to the lack of character writing or limited acting in the pop-concert atmosphere, Juliet is just a bit distant. I personally didn't warm to her as a character and whilst I appreciate all this modern lady stands for, there is a distinct lack of sincerity in how she's written. However, this is not so true when Juliet and her best friend May are together. It's in these brief moments that compassion flies and we see a more realistic character in front of us. Arun Blair-Mangat is sweet and enticing as May, who discovers love and friendship.
Oliver Tompsett is the boy-band Shakespeare of dreams, who hilariously bigs himself up and brings an instant charm to the stage. As his steely, compassionate and fizzy wife, Cassidy Janson gives a fantastic performance. Her stage presence is magnetic and I found myself wanting a spin-off purely focussed on (the only) Anne Hathaway. Jordan Luke Gage is suitably self-absorbed from the moment of his bombastic entrance and gives a great vocal performance as Romeo.
The ensemble of players are top notch, adding interest and motion throughout. Jocasta Almgill gives a stand out performance and Lady Capulet, with Dillon Scott-Lewis, Grace Mouat and Antoine Murray-Straughan really shining from the ensemble.
The whole show is exemplary of production value and there's no denying that the energy on stage could power all the theatres on Shaftesbury Avenue. Bill Sherman's lighting is concert goals; Soutra Gilmour's set is a dreamland and Andrzej Goulding's projections bring each scene to life creatively and effectively. The female empowerment, LGBT representation and romantic moments are all enjoyable and important to be seen on stage, but a significant lack of character development means you feel little empathy for the characters and at the end just don't really care.
This is definitely a show which will be enjoyed after a prosecco or two and it doesn't try to be anything else than a fun night out. If you want theatrical integrity and a moving storyline then this isn't for you, but if you want an explicitly queer, feminist musical that's funny, entertaining and scored by songs that you grew up listening then go see it. If music be the food of love, &Juliet provides a feast that will satisfy anyone looking for a bit of fun.
Wednesday 13 November 2019
Mary Poppins, Prince Edward Theatre | Review
Mary Poppins
Prince Edward Theatre
Reviewed on Tuesday 5th November 2019 by Olivia Mitchell
★★★
Since she landed umbrella in hand, the mystical nanny Mary Poppins has been a much loved character. From the hit Disney film to a number of revivals and performances around the world, there's something universally adored about the feel-good story of the Banks family, so it's no surprise that the musical is once again gracing the West End. It's a musical full of sparkle, magic and wow factors but at times feels as though it's on just for the sake of being on.
In this musical, co-created by Cameron Mackintosh, with additional songs by Stiles and Drewe and a book by Julian Fellowes, the moral aspect of the story is strongly highlighted, as are the darker sides of the original book. The story of Mr Banks' redemption and the importance of making the correct moral choices for those around you remains ever relevant but much of the secondary plot feels somewhat dated and not relevant for a modern audience. Of course this isn't the making of a show, and with something like Mary Poppins it's mostly about the nostalgia and feel-good-factor but for a show that runs almost three hours long, some tweaks to make it more engaging wouldn't have gone amiss.
However, this is a show about compassion and the cast do a joyous job of bringing the story to life with energy, wonder and colour. Thanks in part to Bob Crowley's sets and costumes which are structured, colourful and all around excellence. The house which opens like the pages of a pop-up book is magnificent each time it's seen; and the plain park which becomes a psychedelic garden of amusement is completely brilliant. Sparkly costumes and beautifully tailored coats adorn the stage and evoke the joy from both the book and film well.
Stiles and Drewe's songs are much darker and sharper than those we've grown up with, with 'Playing the Game' bringing toys to life as the stuff nightmares are made of. Elsewhere scenes are taken from book to stage effectively and interestingly. Overall the musical is a whole lot of sugar with a little bit of spice thrown in for good measure... just how Mary Poppins would like it I assume!
Richard Eyre has directed a show for adults and children which brims with surprise but at times lacks sufficient pace. However, the choreography by Matthew Bourne and Stephen Mear is sophisticated, sharp, witty and utterly first-rate. 'Step in Time' is a complete highlight as the stage comes to life with sweepers and leading man Charlie Stemp literally walks on the ceiling.
Stemp's entire performance is a masterclass in stage presence. His continually fresh characterisation completely draws the audience in as he moves and speaks with a natural grace and charms everyone who witnesses him. Additionally his rapport with Strallen's Mary is genuine and engaging. Zizi Strallen makes the famous nanny her own as she floats around the stage with a whimsical but grounded air and takes on the leading role excellently. Elsewhere Amy Griffiths is touching and vocally excellent as Mrs Banks and the entire ensemble give top notch performances.
Yes, this show is lacking at times but much of the time it's a feast for the eyes and ears and is sure to be enjoyed by many so why not take a trip to see magical Mary float in on her brolly right in front of your eyes.
Mary Poppins is currently booking at the Prince Edward Theatre until 31st May 2020, tickets are available at www.londonboxoffice.co.uk
photo credit: Johan Persson
Saturday 9 November 2019
Reputation, The Other Palace | Review
Reputation
The Other Palace
Reviewed on Friday 8th November 2019 by Olivia Mitchell
★★
It's the 1930s and the males in Hollywood are King. The world is glamourous, 'talking pictures' are all the rage and a good story can get you far. Alick and Suzanne Glass' musical is narrated by Freddy Larceny, a huge Hollywood producer who steals a young up-and-coming writer's work and has to fight for the reputation he's so carefully sculpted.
At this time, women are expected to be domestic creatures who stay in their lane and are there to support men with all they require; however, our heroine Michelle Grant confronts this and aims to write a novel and be her own boss. Maddy Banks plays Michelle with a burning energy and a sweet level of self-confidence. Her voice is strong, well-controlled and perfectly fitting for the musical style of the show, but the lack of variation in the score means we don't hear the full extent of Banks' vocals.
Alick Glass' music is entertaining at times and is certainly evocative of the 30s, New York and Paris, but overall the musical feels overstuffed with underdeveloped pieces. Abrupt stops and repetitive melodies often hinder the flow of the show and instead of adding anything to the story, just reiterate something already mentioned. The best musical moments happen when the girls join together in ensemble harmony but these are equally overused and begin to lack oomph quickly.
Tamsyn Salter's choreography is delightful and again very fitting for the time period. Salter has worked wonderfully with the limited space of The Other Palace Studio and will surely look even better when the show develops to bigger venues.
As the sleazy but kind of likeable crook, Jeremy Secomb is superb as Freddy Larceny. He is confident, slick and highly accomplished in his performance, giving a super strong vocal performance and is seeming well rounded despite actual character development. The lawyer who takes on Larceny, Archie Bright is played well by Ed Wade who is charmingly awkward and gives a stand out performance in act two when his vocals really shine.
Overall this is a production which certainly has potential but definitely needs to be edited and streamlined. It's great to see a show which focusses on a female narrative and rewriting history but it's hard to sympathise fully with our leading lady when many of her decisions remain motivated by a man. The love story is sweet but overshadows the female empowerment aspect which had the potential to be crucial and really make this show stand out. The cast do a great job and there are glimmers of magic but there absolutely needs to be more.
photo credit: photo donato
Saturday 2 November 2019
Ghost Quartet, Boulevard Theatre | Review
Ghost Quartet
Boulevard Theatre
Reviewed on Friday 1st November 2019 by Olivia Mitchell
★★★★
The opening of a new theatre in central London is cause for celebration, especially when it's as wonderfully sophisticated and welcoming as the Boulevard. SODA architects have created a millennial dream with a pink-walled restaurant with delicious looking food and cocktails and a completely chilled atmosphere. Whilst, Charcoalblue have made a theatre space which is versatile, extremely comfortable and just great. The programme of late night concerts, cabarets and podcasts is an exciting one indeed and this space is sure to become a hub for new theatrical experiences. The Sketch of the theatre world, the Boulevard is certainly worth a visit!
As the inaugural show, Dave Malloy's Ghost Quartet paves the way to stray from convention. The show is pretty much a song-cycle of interlinked ghost stories, sung track by track by an amazing group of performers. The four musicians play a whole range of instruments and introduce each track as they perform it. There's also a regular breaking of the fourth wall and the audience feel part of the story throughout. The line between real life person and character becomes blurred as the performers are addressed by both their actual names and show names. They also comment on the strangeness of the story throughout in a very meta manner which works exceptionally in the space.
We are introduced to a number of characters and stories which are eerie as opposed to scary and really don't make a tonne of sense, but that totally doesn't matter. The amazing performances and variety of musical styles make this a piece which wraps you round it's finger without having, or needing a proper plot. The circular seating adds to the feeling of being gathered round a campfire listening to stories the whole experience feels communal in a magical way.
The piece feels marvellously balanced between being off the cuff and rough around the edges but also highly sophisticated. Bill Buckhurst's direction has allowed the performers to be themselves as they interact with the audience but still maintain an aura of otherworldliness. Simon Kenny's set of piled suitcases, books and various household items allow for visual interest and frame the performers wonderfully. Emma Chapman's lighting is refined and effective.
The cast are an exceptionally talented bunch with some of the most stunning vocal tones gracing London stages right now. Carly Bawden, Maimuna Memon, Zubin Varla and Niccolò Curradi give completely enchanting performances and share a graceful rapport with each other and the audience. The way the performers exit the stage is completely magical and leaves you feeling warm and content, perhaps not how you'd expect to feel after a show with Ghost in the title. The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes.
Ghost Quartet runs at the Boulevard Theatre until January 4th 2019
photo credit: Marc Brenner
High Fidelity, Turbine Theatre | Review
High Fidelity
Turbine Theatre
Reviewed on Thursday 31st October 2019 by Olivia Mitchell
★★★★
Nick Hornby's High Fidelity, a book about love and music set in a run-down North London record shop has crossed mediums being made into both a film and a musical, with a TV series on the way in 2020. The location for the film and the shows opening on Broadway was America but in this UK premiere, it's been transported back to its roots and is firmly rooted in London. As the Turbine Theatre's second production, its wonderful to see a musical which brings to life some of the excellence of this city.
High Fidelity tells the story of Rob who owns a record shop which is barely surviving, and his on-again, off-again relationship with Laura, a lawyer who he loves but struggles to maintain a mature, long lasting relationship with. In the shop are also Barry and Dick, two misfits who started as part-timers and ended up sticking around and creating lives amongst the records. The lonely characters are portrayed wonderfully and despite being somewhat heartbreaking to watch, it's lovely to be reminded that there's a place for everyone.
The whole story is told from Rob's perspective as he addresses the audience and tells them what's going on both in his physical world and in his head. Rob chronicles many of his life's moments into 'Top Five' lists which are not only entertaining but an insight into how his brain works. On stage for pretty much the entirety of the show, Oliver Ormson is charming as Rob. Despite playing a character who it's often hard to empathise with, Ormson brings a warmth and sincerity which makes the audience side with him even when his decisions are rash or morally dubious. Ormson's voice is strong and he maintains an energy which fizzles throughout and really powers the show. Opposite him, Shanay Holmes is exquisite as Laura who is continually conflicted by her feelings for Rob. Holmes' voice is absolutely exceptional and she manages to shine in both the bold, booming moments and the simple, toned down times.
The entirety of the cast give excellent performances. Joshua Dever is vocally excellent and earnest until the very end; Eleanor Kane is outstanding as Marie. Her voice fills the Turbine Theatre as she envelops the audience with her delightful Brandi Carlile-esque tones and gives a performance to remember. Robert Tripolino gives a show stealing performance as the wacky Ian, a spiritualist who is all about the good vibes and natural healing. Tripolino is hilarious in pretty much every moment of his stage time and a real stand out. Mention must go to Rosie Fletcher who shines out from start to finish and gives vocals for not just days, but months.
Tom Jackson Greaves directs with a brilliant ease and fluency so the entire production feels relatable. Perhaps not in terms of the story itself but through the truthful self-reflection and humour of it all. Whilst there's not an overwhelming amount of choreography, what's there is phenomenal. The small stage is used to it's full capabilities as the cast often move around as if inside Rob's brain. Particularly wonderful is the balloon choreography which is ingenious and incredibly sleek. David Shields' set is simplistic and effective. Record sleeves scatter the theatre and the stage is transformed by small changes which work perfectly to signal the varying locations.
The plot is by no means the best thing in the world and some of the songs feel too much like fillers but the performances and the Great British Bake Off meets Bat Out of Hell vibes of the whole thing make High Fidelity a throughly enjoyable night out. The Turbine Theatre team are showing us bit by bit what they're made of and we can only wait to see what will come next in this new London hub.
High Fidelity runs at the Turbine Theatre until 7th December 2019
photo credit: Mark Senior
Monday 21 October 2019
Cinderella, Cadogan Hall | Review
Cinderella
Cadogan Hall
Reviewed on Sunday 20th October 2017 by Olivia Mitchell
★★★★
Yesterday, Cadogan Hall played host for a one-night-only staged concert of the much loved musical, Cinderella. Written in the 50s by Rodgers and Hammerstein for television, the musical has since been adapted for various stage productions but until now, hasn't been seen in London. Thanks to the exceptional London Musical Theatre Orchestra and stellar cast, that changed last night and those in attendance were treated to a sparkling night of magic.
Upon entering the auditorium bathed in purple light, the mystical scene was set and as the cast stepped out we were transported to a kingdom where kindness wins and anything is possible. Directed by Jonathan O'Boyle, this really was a stunning production which hopefully paves the way for future Cinderella-filled magic in the West End.
Thanks to the LMTO under the baton of Freddie Tapner, the sumptuous score was really the star of the night. Evoking fairytale vibes, causing laughter and creating a romantic atmosphere even before the stellar performers joined in, the performance just reminded us how excellently sumptuous Rodgers and Hammerstein's work is.
The semi-staged concert was brought to life by George Reeve's projections which fit the space exceptionally and looked as though they were drawn straight from a long lost storybook. They transported us from setting to setting and breathed life into moments which would be grand spectacles in a fully staged production.
With a group of some of the biggest names in the West End, it was expected that the performers would be top notch and boy they did not disappoint. The stunning cast took us on a romantic journey filled with socially relevant comments and a boat load of whimsy. Mazz Murray was fantastically malicious and biting as the evil stepmother, whilst Dianne Pilkington was her contrast and the crazy but magical and airy fairy godmother. Zoe Rainey gave a sweet performance as Ella's "kind" stepsister Gabrielle, and Jodie Jacobs completely blew everyone away with her killer vocals and fantastically characterised portrayal of Ella's other sister Charlotte.
As our leading lady for the night, Christine Allado gave a beautifully strong performance. With a grace and elegance any Princess would be proud of, Allado was a joy to watch on stage and her pristinely clear vocals filled Cadogan Hall with ease, power and wonder. In the role of the royal suitor Jack Yarrow was perfection. With an absolutely astounding voice, it's clear why he has begun taking the West End by storm.
This production of Cinderella is very much for a modern audience as it showcases the need for kindness alongside social reform. Ella's alertness to injustices outside those she faces in her family home is moving to see and works well alongside the romantic plot that is not all roses and chocolates. The political slant feels highly relevant, as well as allowing for extra comedic moments and I don't doubt this show would have a welcome place in the West End.
photo credit: Darren Bell
Tuesday 8 October 2019
Priscilla Queen of the Desert (UK Tour), New Wimbledon Theatre | Review
Priscilla Queen of the Desert (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th October 2019 by Olivia Mitchell
★★★
You'd be hard pressed to find a touring production this year which features more glitter, sequins and colour than Priscilla Queen of the Desert, which is an explosion of all things camp and a treat of a night out.
Based on the 1994 movie of the same name, Priscilla tells the entertaining story of a trio of drag queens who venture across the Australian outback in a temperamental bus to put on the show of a lifetime. Along the way they meet a variety of people, some accepting, some not, and realise the importance of friendship and staying true to themselves. Despite appearing superficial, the story tackles some important issues including diversity and acceptance.
Miles Western plays Bernadette, the older drag queen who has seen the world change around her and often spends time reminiscing on her glamourous past. Whilst, Joe McFadden and Nick Hayes star as Tick/Mitzi and Adam/Felicia, the younger queens who are still discovering themselves and following in the footsteps of those who came before them. Behind all the lashes and costumes, the trio have a genuine chemistry on stage and give strong performances throughout. Miles is especially engaging and give a very well rounded and entertaining performance.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
Charles Cusick-Smith and Phil R Daniels' set design is pretty basic, but the show is cleverly scaled for tour. The van Pricilla is a multi-piece design which works well as it's transformed various times. It's the glitzy costumes which are really the visual treats in this show as they create a rainbow coloured, feather filled spectacle on stage. Over the top beyond belief but wonderfully well executed, they are of the highest standard.
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
photo credit: Darren Bell
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
Whilst this production could definitely do with a touch more heart and emotional oomph, it's certainly an enjoyable tour and a thrilling example of highly camp, highly glam show with an important message about tolerance.
Priscilla Queen of the Desert runs at the New Wimbledon Theatre until 12th October before continuing its tour
photo credit: Darren Bell
Friday 4 October 2019
Noises Off, Garrick Theatre | Review
Noises Off
Garrick Theatre
Reviewed on Thursday 3rd October 2019 by Olivia Mitchell
★★★★
If you're looking for a few hours of complete laugh out loud escapism, Noises Off is one hundred percent the show for you. It is a play about putting on a fated production; from a dramatic technical dress rehearsal to a dramatic performance mid run and a final disastrous show near the end of the run, it's clear that this show is destined for doom.
What's fantastic about this play, is that the real joke is rooted in the processes of theatre and those that perform it. Entrances, exits, line memorisation and personal issues are just some of the things that go into the mixture to create this crumbling production. Long before The Play That Goes Wrong, Michael Frayn had the idea for this farcical show after watching a performance of his own play The Two of Us from backstage at the Garrick Theatre. It's a production of controlled chaos which is entertaining from the front of house and backstage.
Max Jones' set is a wonderfully realistic and beautifully executed living room and upper landing that is exquisitely turned round for act two. The play begins as tiring director Lloyd (Lloyd Owen) is trying to push his company of actors through a final rehearsal for Nothing On. Making appearances in the stalls, boxes and circle as he tears his hair out, the audience are immediately immersed in the hilarity and action set to ensue. Whilst heightened, the panic and tension hits close to home for anyone who's been part of putting on a show.
The cast are exceptional in their performances as they stand out individually but also thrive as an ensemble. Each with razor sharp comedic timing, their organised chaos is perfectly carried out. Slamming doors, lost contact lenses and dropping trousers, there's something ever entertaining about slapstick comedy when it's carried out so well.
Within the uniformly stellar cast, there are three performances which stand out just a tad. Meera Syal plays Dotty, the poised but forgetful performer who is playing Mrs Clackett, an absent-minded housekeeper who can't seem to keep her sardines. Sarah Hadland is Belinda, the overly nice, girl next door who plays the flirty Flavia Brent. Daniel Rigby as Garry is is excellent and he transforms from doting to hating and gives a tiring but completely enthralling physical performance.
A blissfully laughable production, with a heart of gold reminder about professionalism in the arts, this is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
Thursday 3 October 2019
Manon, Royal Opera House | Review
Manon
Royal Opera House
Reviewed on Wednesday 2nd October 2019 by Olivia Mitchell
★★★★
The Royal Ballet's new season opens with Manon, Kenneth MacMillan's tale of doomed love and sexual exploitation. It's a ballet that puts the greed and debauchery of the 18th-century world at it's forefront whilst highlighting the company's skill at storytelling.
Formed in 1974, Manon remains one of the company's most popular works, with the title role a dream to play for many dancers. The emotional story of the heroine who falls for the young hero whilst being drawn to a life of luxury as a rich man's mistress, is moving and exquisite to see onstage.
Compared to other ballets where the leading female is a fully formed character, in Manon our leading lady is an almost ambiguous presence who floats around the stage engaging in all the action but taking on the forms of varying emotions. Almost embodying the feelings of those around her, she seems to be a passive player in a world dominated by men and money. Massenet's beautifully hypnotic music guides her around the stage and the people surrounding her lead her story.
As the somewhat aloof leading lady, Sarah Lamb is delightful. Despite at times lacking the extremes of passion or sadness, Lamb is consistently fluent and earnest. Lamb's performance as Manon is beautifully danced, highly nuanced in terms of her emotional acting, and overall is pure joy to watch.
The most intoxicating moments are seen when Lamb joins with Vadim Muntagirov as Des Grieux who is resplendent throughout. Equal measures of innocence, vulnerability and passion make every second of his stage time a delight. Together the pair bring light and darkness to the stage in a way which is devastating and stunning all at once. Melting together is moments of pure bliss and bouncing away from one another in playful affection, the two dancers really do seem like a match made in ballet heaven.
As Manon's charismatic, pimping brother Lescaut, Ryoichi Hirano excels. His drunken dance is choreographed madness as he swirls round the stage in an alcohol induced wobble, but retains poise and grace throughout. His comedic timing is second to none as is the underlying current of threat which he imbues into each moment. In the role of his mistress, Itziar Mendizabal is bold and sultry as always. Her emotional performance is striking and she really gives some of the stand out moments of the night.
This is an excellent opening to the season, filled with sharp, clean and fresh dancing which invites the audience to bask in the emotion and drama unfurling in front of them. An ideal first-time-ballet this is a must-see as well as a must-hear thanks to Martin Yates' sumptuous re-orchestrations.
photo credit: Alice Pennefather
Tuesday 1 October 2019
Brooklyn the Musical, Greenwich Theatre | Review
Brooklyn the Musical
Greenwich Theatre
Reviewed on Monday 30th September 2019 by Olivia Mitchell
★★★★
Brooklyn The Musical is a pretty obscure show which opened on Broadway in 2004. It's realtively unknown but features a number of fantastically catchy songs. The musical's European premiere at the Greenwich theatre showcases fantastic talent and reminds us of how magical music can be. Strong direction by Adam Haigh and consistently impressive performances by the cast bring the show to life with vitality and vocal prowess, and make it one to tick off the list.
Set in New York City, a group of street performers perform a "sidewalk fairytale" about a love story and what came of it. We follow a singer from Paris called Brooklyn who is on a quest to find her father and make good of the world she's in. The story itself is minimal and the book is pretty wacky, but the show's spectacular score breathes life into it and shares the characters motivations wonderfully.
The book, music and lyrics are by Mark Schoenfield and Barri McPherson who have adapted the show for various productions including Broadway and a US tour. As a whole, this production really is a grungy, ensemble led, song-fest which features one of the strongest and most vocally tight ensembles in London right now. The sharp harmonies and electric interactions with one another really engage the audience.
It's ideal that Hiba Elchikhe leads the cast as Brooklyn, because she absolutely has one of the best voices ever. The tone, the emotion, the power. Just. So. Good. Her demeanour is charming as she tries to find her father and the audience are instantly able to warm to her beaming personality. It's absolutely worth making a trip to Greenwich just to hear Once Upon a Time sung live by Hiba. Emily Mae gives an equally earth quaking vocal performance as the "aging" Diva, Paradice. Raven is a particular stand out moment, but Emily captures the audience in the palm of her hand throughout. Smooth and mysterious, Andrew Patrick-Walker makes the Street Singer someone to remember as he acts as a musically enchanting, overseer of the show. Sabrina Aloueche and John Addison add further depth to the show and the whole cast work exceptionally well together to evoke the feeling of being in New York and searching for a dream. If the Greenwich Theatre were powered by riffs, it would be shining bright thanks to the cast of Brooklyn and Andrew Johnson's sound design which showcases them.
Justin Williams' set design transforms the Greenwich theatre into "a ravaged street corner in Brooklyn, New York" and presents a visual treat for the audience as Brooklyn's story is told. With ladders that are slid around, fairy lights, falling snow and an ever present guitar case, the set, complemented by Jack Weir's lighting manages to invoke both the fairy tale vibes and the gritty feel of NYC.
A masterful blending of talents allows this production to shine. It's not a masterpiece of theatrical writing but it is a really fun night out and a chance to see a rarely performed show done at a very high standard. Who knows, you might find your miracle too.
photo credit: Pamela Raith
Friday 27 September 2019
Shida, The Vaults | Review
Shida
The Vaults
Reviewed on Thursday 26th September 2019 by Olivia Mitchell
★★★★
Combining jazz, R&B, gospel and rock music, Shida tells the story of a young African American girl who dreams of becoming a writer. Written and performed by Jeannette Bayardelle and directed by Tony Award winning producer Andy Sandberg, this UK premiere is exciting, truthful and special.
The beaming yellow posters lining the walls of the Vaults may lead you to think you are in for a shiny, feel-good show, but that's not quite true. This is a stark look at a woman who suffers a variety of injustices and prejudices before finding the light at the end of the tunnel. There's light and shade and an emotional journey which will tug at your heartstrings but continually entertain.
This is a quick paced show, which at 75 minutes really does pack in a lifetime of drama. At times it feels too much is being focussed on, and the audience aren't given a moment to process and sometimes things get jumbled, but for a debut this is very good.
Clancy Flynn's lighting design is fantastically expressive, with some striking moments; and Charlie Corcoran's simple design is a great backdrop for an emotional show. Under the musical direction of Noam Galperin the bank tackle the varied score with energy and fizz.
Bayardelle is a quadruple threat indeed, having both written and performed this show. Her voice is the definition of power and she siiiiiings throughout, however her writing leaves a little to be desired. Whilst the story is striking, the text and song lyrics often describe as opposed to show. Instead of allowing the audience to draw out the meaning themselves, they are almost spoon fed the plot. This does give the show an unsophisticated feel at times but thanks to Bayardelle's fantastic characterisation and performance, everything is still highly entertaining.
It's rare to see such a provocative performance from a stellar performer in such an intimate space and it's worth taking a trip just for the bragging rights of seeing Bayardelle up close.
photo credit: Helen Maybanks
Friday 20 September 2019
Matilda the Musical, Cambridge Theatre | Review
Matilda
Cambridge Theatre
Reviewed on Wednesday 11th September 2019 by Olivia Mitchell
★★★★★
On the week of Roald Dahl's birthday, it seems only right that I made a return visit to Matilda to experience the magical story on stage, helmed by a new cast who are bringing it to life with as much energy and wonder as when it opened eight years ago in the West End.
The RSC's production takes aspects of the much-loved original book and film and combines them with theatrical magic to create a show which delights adults and maggots alike. Laughter and beaming smiles fill the Cambridge Theatre as this delightful musical inspires and wows.
Matilda is written by Dennis Kelly, with music and lyrics by the wonderfully wacky Australian, Tim Minchin and direction from Matthew Warchus. The score features intensely catchy melodies and lyrics which are fast, witty and beautiful as well as a book which is filled with humour for adults and children. This combination makes it the perfect treat for the whole family, who will be reminded of the magic and darkness ingrained in Dahl's writing.
The lyrical ingenuity is brought to life through Peter Darling's incredibly precise choreography, which makes use of the entire set and highlights what a well oiled machine this production is. In particular, School Song is a showcase of faultless timing, a stellar cast and innovative lyrics combining in a way which is overwhelmingly wonderful. The entirety of this production is choreographed to the second but each moment still manages to feel fresh and it's clear that the incredibly high standards maintained are what make this show a continual success in London.
Adorned with various alphabet pieces, Rob Howell's set is a star of it's own. Like the characters on stage, each individual piece comes together to create a marvellous wall of colour and interest. Hugh Vanstone's lighting complements the whole production, creating drama and joy and highlighting the contrast between the sweet Matilda, the loud, raucous Wormwood's and terrifying Miss Trunchbull. Extravagance and nuance are used in equal measure to create a pitch perfect piece of theatre.
The cast of this show bring to light just how much talent there is in the West End. Throughout there is not a weak link, and each performance is a stand out in itself. Our young (and tiny) leading lady, Tilly-Raye Bayer is luminous as she rattles through the bold show. Her energy and charisma shine from the outset but she also manages to create intimate moments of peace and sadness. As a character, Matilda is the perfect example of how to get through life. Tenacious, kind and clever, she uses all she has within her to inspire change and bring positivity to those around her. From the young cast, mention must also go to Louie Gray who is astounding as Bruce Bogtrotter.
Sebastian Torkia and Marianne Benedict as Mr and Mrs Wormwood are suitably garish and LOUD. With the pair's fantastic comedic timing they have the audience in hysterics as they show off just how few brain cells they have. Both make their characters bold and slapstick but are tame enough to stop them becoming panto-esque. This is again thanks to the brilliant writing which knows just when to give and take.
As ferocious Miss Trunchbull, Elliot Harper gives his all and his all is certainly enough. There isn't a moment which feels out of character, from repulsive scenes to grossly hilarious comments, Harper brings the headmistress to life exceptionally. With amazing attention to detail and stirring delivery of his dreams of a childless world, Harper is divinely awful.
In contrast Gina Beck is wonderfully understated and, as her name suggests, sweet. The relationship between Matilda and her teacher is touching and the audience really root for the pair. As the Doctor and various other characters Kane Oliver Parry shines vocally. Every single adult performer gives a super sleek performance as they bring multiple characters to life and perform the choreography with pin-stripe precision. Extremely well characterised, they create a real body of sound and action and imbue the show with magic. It should also be noted that Matt Krzan is fantastically flamboyant as Rudolpho; Gemma Scholes is the definition of grace as the Acrobat; and Georgia Carling, Connor Lewis and Ben Kerr really shine in their ensemble tracks.
In fact, the whole Matilda cast really are Miracles and this is a production you must see at once. Teaching us to be ourselves, stand together, use our imaginations and fight for what we believe in, this is the perfect anecdote to the troubles and worries we face during the current social climate. Take a trip to Crunchem Hall and experience the chocolate box of joy that Matilda provides.
Matilda is currently booking at the Cambridge Theatre, tickets are available at www.londonboxoffice.co.uk
Thursday 19 September 2019
Mamma Mia! The Party, The O2 | Review
Mamma Mia! The Party
The O2
Reviewed on Monday 9th September 2019 by Olivia Mitchell
★★★★
Mamma Mia fever continues to swipe the UK as us sun-deprived Brits crave the Greek sea and sun, and the joyous ABBA music with which it's become synonymous. Mamma Mia! The Party aims to fill these cravings with a night of dinner theatre which entertains and delights from start to finish.
Upon entering the space in the O2, you are transported to a taverna on the island of Skopelos. Greeted with "Kalispera", smiles and drinks, the tones is set and you really do feel as if you've escaped from London. Thanks to the attention to detail throughout, none of the space feels tacky or cheap and each crevice feels authentically Greek. From posters on the walls to fountains and flowers dotted round, there's plenty to see purely on the journey to your seat.
The night is set out as an immersive show which is broken up by food and drink. The show plot is seriously flimsy and very pantomime-esque but the cast perform brilliantly and everything entertains. The performances of ABBA's music are camp and bold, and there are some unexpectedly magical moments. Everyone is part of the action, with waiters dancing and singing and everyone feeling as though they're part of an ABBA family.
The food is top notch (the olives are divine) and you get a lot. Various courses include greek treats such as tzatziki, lamb, octopus, spinach pie and so much more. The segues from the action to the courses being served are well carried out and the night as a whole flows wonderfully; particularly impressive when there are hundreds of guests a night! Perhaps the hefty price tag should include free soft drinks, but you do get a lot for your money, money, money and it's definitely a treat of an experience.
Gareth Owen's sound design means every moment is crystal clear as the cast bounce around and involve the audience throughout. Steph Parry gives a particularly strong performance throughout and as with the whole cast and team, is inviting and warm. As a whole this is a complete cheese fest and exactly what you'd expect from a Mamma Mia themed event. 35 songs are shoehorned into the flimsy story, there's pyrotechnics, acrobatics, flipper tricks and more. Certainly something for everyone!
There's no denying this is a pricey experience but it's so worth it if you want to channel your inner Julie Walters and feel like a Super Trouper for the night.
Tickets can be purchased for Mamma Mia! The Party at www.londonboxoffice.co.uk
photo credit: Helen Maybanks
Big The Musical, Dominion Theatre | Review
Big The Musical
Dominion Theatre
Reviewed on Wednesday 18th September 2019 by Olivia Mitchell
★★
Lets start by saying that I am not in the group of people who have seen this film, so had nothing to compare it to when I took my seat at the Dominion Theatre. The Tom Hanks movie came out in 1988 and was followed by David Shire and Richard Maltby Jr's musical in 1996, which received five Tony nominations but was a pretty large flop. Twenty three years later it has hit the West End for a limited run that promises to big Big in every sense of the word.
The story follows Josh Baskin, a twelve year old boy who makes a wish on a Zoltar machine to be a grown up. The next morning he wakes up an adult who scares his mother, makes his way to New York City and lands himself a pretty swanky job at a toy company. Its here that he meets Susan, a fellow colleague who he begins a romantic relationship with. Completely normal when he's really a child, right?
The story is questionable to say the least, but it certainly had potential to be elevated by catchy songs and choreography, unfortunately this does not happen. The music is mostly unmemorable and often drags in a clumpy, unoriginal way. Similarly, the choreography is restrained and the large cast are rarely used. The sets and projections are effective to an extent but feel uninspired and lack the wow factor.
Jay McGuiness brings wonder to Josh and is entertainingly gawkish. His vocals are mostly strong and his chemistry with Kimberly Walsh is pretty believable (though its hard to believe a relationship rooted in such a weird idea). Walsh as Susan brings a solid performance but often feels as though she's merely going through the motions. Jobe Hart as Josh's best friend Billy is the stand out cast member as he gives a firecracker performance which entertains and excites. Wendi Peters is also wonderful and would certainly elevate the production if she had more stage time.
It's very hard to overlook how white this production is; set in New York, a hub for various cultures to intertwine, it's shocking that the entire adult cast features not a single person of colour. Whilst the ensemble do work hard, there's no denying that this is not the sort of casting audiences want to see in 2019.
At the end of the day, this will always be a strange story to stage because it is plain weird; but with a little magic and excitement, it could provide some memorable theatrical moments. Unfortunately this production fails to do so and is more basic than big. Various sexist comments, questionable actions and mediocre songs leave you feeling bored and creeped out.
photo credit: Alistair Muir
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
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