Posts with the label musical theatre
Showing posts with label musical theatre. Show all posts
Showing posts with label musical theatre. Show all posts

Tuesday 22 January 2019

Violet, Charing Cross Theatre | Review


Violet 
Charing Cross Theatre
Reviewed on Monday 21st January 2019 by Olivia Mitchell 
★★★

Based on Doris Betts' short story The Ugliest Pilgrim, featuring music by Jeanine Tesori and libretto by Brian Crawley, Violet follows a disfigured woman as she embarks on a Greyhound Bus journey from Spruce Pine, North Carolina to Tulsa, Oklahoma, to be healed by a famous television healer. 

The musical opened to critical acclaim off-Broadway in 1997, spawned various productions in the US and is making its UK debut at the Charing Cross Theatre before transferring to Tokyo and Osaka.

The Charing Cross theatre has been completely transformed as it becomes a theatre in the round, with a sleek and interesting set designed by Morgan Large. The space is so versatile and this is an especially unique set which works well to display the physical and mental journey our lead goes on. The musical features a number of flashbacks which are mirrored on the stage itself by the actors but also helped by the wonderful lighting from Howard Hudson. The present is bathed in warm light, whilst the flashbacks are much cooler and starker; a clever detail which helps the motion of the show.


Violet features a superb cast, led by Kaisa Hammarlund as the scarred Violet, giving a stunningly open performance that feels grounded and truthful. As her younger self, Amy Mepham does a great job. As love interest number one Monty, Matthew Harvey gives a vocally outstanding and all round enthralling performance. Harvey manages to bring the various sides of Monty to life with ease and talent. Love interest number two, Flick, is played with a beautiful vulnerability by Jay Marsh who provides the smoothest and warmest vocals. Marsh could sing the phone book and receive applause. 

Despite its wonderfully strong cast, the story of Violet feels bland and somewhat uninspired. Nothing really happens and a lack of character development means the audience don't root for the characters as much as they should. The slow moving show is very plot based, rather than character based but the plot is extremely predictable and leaves much to be desired.

The cast are stellar but unfortunately the book falls flat in this revival.

photo credit: Scott Rylander

Violet, Charing Cross Theatre | Review

Tuesday 22 January 2019

Monday 21 January 2019

Songs for Nobodies, Ambassadors Theatre | Review


Songs for Nobodies
Ambassadors Theatre
Reviewed on Friday 18th January 2019 by Olivia Mitchell
★★★

Taking the form of a one woman show which tells the stories of the unheard meetings with famous performers, Songs For Nobodies is a wonderful display of vocal ability and performance from Bernadette Robinson

A series of five monologues show the power and effect of celebrity and examine how individual people's lives can be altered by even a brief, chance encounter. Robinson's vocal aptitude allows her to create almost uncanny performances of famous singers. A career headed journalist interviews Billie Holliday, a Nottingham librarian recalls her family connection to Edith Piaf and A New York bathroom attendant has an inspiring meeting with Judy Garland.

Each story has a heart, and thanks to Robinson's performance, they all feel truthful, however, at times Joanna Murray-Smith's book feels bland.  Of course it's supposed to mirror real life which isn't all sparkles and boldness but the one-level feel of the stories does lead to an at times, un-engaging piece of theatre.

With the space and Robinson's abundant talent, it just feels that a little more work on the 'nobodies' to give them more well-rounded stories, could create a truly captivating show. The simplicity of the show works well though, with the cabaret vs drama aspect maintaining a good balance and keeping Robinson at the forefront and heart of the whole thing.

Robinson's talent is undeniable and she is certainly a master of her craft but Songs For Nobodies does a predictable job of showing her off. 

photo credit: Nick Brittain

Songs for Nobodies, Ambassadors Theatre | Review

Monday 21 January 2019

Sunday 20 January 2019

The Prom, Longacre Theatre | Review


The Prom
Longacre Theatre
Reviewed on Friday 11th January 2019 by Olivia Mitchell
★★★★

Directed and choreographed by Casey Nicholaw, The Prom provides pure elation mixed with comedy so expertly that you can't fail to leave with a beaming smile on your face. The uniformly excellent cast excel at bringing their individual storylines to life but never fail to lose the heartwarming core of the show.

Creative team Chad Beguelin (book, lyrics), Bob Martin (book) and Matthew Skylar (music) have created a new, fresh musical which pokes fun at everyone equally and tackles issues which are so relevant for a lot of people. What makes it so entertaining is that fact that it's every theatre fans dream (or at least mine); problems are solved with songs and dances as a group of Broadway stars are there to safe the day, fight homophobia and bring love to all.



As the girls banned from going to the school prom together, Caitlin Kinnunen (Emma) and Isabelle McCalla (Alyssa) give warm and youthful performances which make you root for the pair and for their love to flourish. Christopher Sieber as Trent Oliver, Brooks Ashmanskas as Barry Glickman, Beth Leavel as Dee Dee Allen and Angie Schworer as Angie are refreshingly funny and spirited enough to be better and do better for themselves but more importantly, those around them. The fearless four are bold and brilliant, with performances that will be remembered forever and are surely set to be highly recognised in the awards circle. Josh Lamon and Michael Potts also give exceptionally strong and well grounded performances as Sheldon and Mr. Hawkins.

Scott Pask's scenic design is sleek and colourful and feels extremely realistic as it brings small town Indiana to life. Emma's room, full of posters and trinkets looks like a real teen's room ad helps to ground this larger than life piece of theatre. Despite sometimes feeling a little tacky and weirdly placed in time, Ann Roth and Matthew Pachtman's costumes fit well with the vibe of the show.

It's amazing to see a show on a mainstream Broadway stage that is so important for such a large group of people and really feels like a celebration of everyone that feels remotely 'different'. The Longacre Theatre has become a hub of joy, with every song providing a surplus of equality and elation. The Prom inspires us to thrive to be better and shows how small actions can have a lasting, positive effect on the world. Go see it. 

photo credit: Dori Berinstein

The Prom, Longacre Theatre | Review

Sunday 20 January 2019

Tuesday 8 January 2019

Christina Bennington, Live at Zedel | Review


Christina Bennington (Concert) 
Crazy Coqs, Zedel 
Reviewed on Monday 7th January 2019 by Olivia Mitchell 
★★★★

The wounds are still fresh for Bat Out of Hell fans, who had to wave goodbye to their beloved show at the Dominion Theatre just two days ago; but the Bat love was still strong as Christina Bennington took to the stage in a one night only couple of concerts. As usual, the Zedel provided a cosy and relaxed backdrop for a night of pure vocal entertainment and we felt welcomed into the songbook of Christina's life and career.

After performing Jim Steinman's huge musical numbers for the last couple of years, it was enthralling and refreshing to hear Christina show off the other shades of her voice, with her lilting soprano contrasted wonderfully against her powerful belt and buoyant performance. Some stand out numbers included Green Finch and Linnet Bird, I'm With You and Salley Gardens which each showed a different aspect to the vast range Ms Bennington beholds. Act One closer, Raven was another highlight as Christina's voice soared over the audience and enchanted us all through the power of a beautiful song. 


Alongside sweet anecdotes we also heard from two guest performers: Danielle Steers and Dan Buckley. Good Girls Go To Heaven performed by Danielle and Christina was met with elation from the audience who were wrapped around the performers fingers, whilst, Happy Days Are Here Again/Get Happy illustrated the friendship between the duo and how their voices complement each other so well. Daniel played the Disney Princes in the pairs mini Disney mash-up and reminded us of just how much talent is on offer in the West End with his beautiful rendition of You Matter To Me from Waitress; it's lovely to see two friends really seeming to have fun on stage.

Superbly talented Musical Director Noam Galperin took charge of the nights musical proceedings, leading his outstanding band with musical fluidity and providing some unique and interesting arrangements of well known songs. 

It's interesting to see Christina outside of the rock musical format not only as a showcase of her versatile vocals but also her depth as a performer. Christina's comedic choices, especially during Stupid With Love from Mean Girls were highly entertaining. Equally her performance of Princess was immensely moving. The way Christina physically embodies a song is truly wonderful to see and it's clear why they say "the eyes are the key to the soul" as she conveys a single emotion or thought with a mere twitch of her eyes. 

Closing the show with Heaven Can Wait and All Coming Back to Me Now was a wonderful way of rounding off, what must have been a whirlwind few years for Christina, and felt like a fitting way to put Raven away for now, and open doors for new ventures.

If you want to witness a master of acting through song and a beautiful songbird, don't miss Christina Bennington's future performances as she is sure to shine and astound.

photo credit: Joseph Sinclair

Christina Bennington, Live at Zedel | Review

Tuesday 8 January 2019

Monday 31 December 2018

Olivia's Top 10 Shows of 2018


2018 has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in an order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats. 2019 is the year of change for West End theatre as a lot of beloved shows close and we get a number of new shows and shows from across the pond. I can't wait to see what next year provides and if we get anything like the treats from this year, it's going to be truly wonderful...


This was one of the wackiest nights out at the theatre. Alan Menken's score, accompanied by the changing natural light, a dancing tongue (shoutout Billy), and a host of standout performances, you couldn't help but smile and laugh at this treat of a summer show.



My heart was torn out and I ugly cried most of my train home but this was a magical theatrical experience. Highlighting the struggles of grief, this production cleverly used simplistic, ensemble staging to create a highly moving, highly polished, yet still raw piece of theatre.



This is one of the most truthful productions I have ever seen in my life. The outstanding cast seemed as if they were living the show for the first time as they travelled through Nine Nights of mourning with humour and depth in perfect balance. 



This show deserved better. Mythic was a whole host of self-aware-hilarity accompanied by the catchiest music. A modern twist on the Greek Gods, it was 90 minutes of unadulterated brilliance and I can only hope 2018 isn't the last time this show graces the stage.



Robert Hastie's revival of The York Realist was 130 minutes of theatrical perfection. Handled with genuine care and a real attention to detail, this was a beautiful exploration of love, class and life. 



All I can say is that London is not ready for the perfection that this show is. Book your tickets NOW.



Toby Marlow and Lucy Moss are the best thing to happen to British theatre in a long time. Telling the stories of the wives of Henry VIII, Six uses modern musical styles, mixed with laugh out loud one liners, out of this world performances from the Queens and it's just spectacular. It's a show for all ages that is sure to wow audiences for years to come as they keep coming back for their royal fix.



This is another gem of a show from Trafalgar Studios. Arinzé Kene gave the most devoted and energy fuelled performance I've ever seen. Misty is vibrant and fresh as it uses the dual-narrative structure perfectly to leave you wordless.



If The Rink was a person, I would've married it by now. Caroline O'Connor gave a masterclass in acting and this show needs to come back right now. Roller blades, delightful music and fabulous staging made this a faultless production.



I saw Hadestown twice this year but if I could've made it 20, I would have. I truly can't describe how special this show is; the lighting, staging, choreography, ensemble, leads and music come together to create an emotional journey and spectacular theatrical experience. The entire show is painfully relevant and the whole spectacle of it is exceptional.


So there we have my Top 10 Shows of the year, do you have any of the same ones? I'd like to give mention also to Bat Out of Hell which became a huge part of my year and provided some wonderful memories; and the BTA who put on two fantastic shows: Spring Awakening and Bring it On which featured stellar performances from the stars of the future.

For me, this was the year of female led performances and a real forward movement in the showcasing of diversity in theatre which are two huge positives in the industry. Lets hope for a continuation of these changes in 2019! Wishing you a the stagiest of stagey 2019s!

-Olivia x

Olivia's Top 10 Shows of 2018

Monday 31 December 2018

Sunday 23 December 2018

Come From Away, Abbey Theatre, Dublin | Review


Come From Away (European Premiere) 
Abbey Theatre, Dublin 
Reviewed on Wed 19 December 2018 by Damien Murray
★★★★

As a former refuelling stop for trans-Atlantic flights, the remote town of Gander in Newfoundland was once well used to having many visitors on board passing planes. 

In 2001, due to its position and facilities, it unexpectedly found itself playing host to 38 international flights filled with 7,000 passengers of many nationalities during the horrific attacks of 9/11 on the North-Eastern region of the United States. 

This is not a show about those atrocities, but rather a true story of generosity, gratitude and ultimate hope performed as a theatrical documentation of the unfolding events at Gander as a result of the attacks and the efforts of a small island population to help their fellow man in exceptional and demanding circumstances. 

Ahead of its transfer to London at the end of January, it is, perhaps, appropriate that the European premiere of Irene Sankoff and David Hein’s relatively new, but highly-acclaimed, award-winning musical, is being staged in Dublin as Newfoundland owes much of its music, language and culture to Ireland. 


This fact is reflected in the show’s accents, humour and music, with a distinctly ‘celtic’ approach to the score, instrumentation and underscoring in this Abbey Theatre co-production with Junkyard Dog Productions and Smith & Brant Theatricals. 

Playing a multitude of roles with a quick-fire change of accent, hat, shirt or jacket to convey each character, the hard-working and 12-strong cast - Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and, returning to the city where she made her professional debut, Ireland’s own West End and Broadway star, Rachel Tucker - prove the perfect team for this exceptional ensemble piece. 

Indeed, the captivating cast takes ensemble performance to a whole new and higher level in this factual, intense and heart-warming drama. 

Performances here are of such a uniformly impressive standard, it is almost impossible to single anyone out for special praise, but it must be said that, with her commanding stage presence, quality vocals and passionate performance, it is no accident that one of Rachel Tucker’s main characters is, appropriately, that of the Captain. 


By necessity, the casting is diverse to reflect the wide cross section of some of those who were caught up in the Gander situation with people of various shapes, colours and creeds being represented; each with their own story and circumstances and each dealing with the situation in their own way. 

With Beowulf Boritt’s simple, sparse and static (apart from a stage revolve, which, thankfully, is not overused) set representing the remoteness of the forested island being cleverly lit by Howell Binkley’s mood-inspiring lighting, this production is greatly helped by Christopher Ashley’s no thrills direction and Tara Overfield-Wilkinson’s relentless choreography and movement to advance the evolving story in its 100-minute performance time, without ever losing the attention of its audience. 

Because of the nature of its unfolding story, this unconventional musical benefits greatly by the absence on an interval to ensure no loss of momentum or continuity. 

The show is also unusual in terms of the musical score, which mixes Celtic with folk and rock with the addition of a few ballads and, with tongue firmly in cheek, gives a musical nod to Titanic to add humour to the piece. 

Apart from when they take centre stage for a bit of an international hoe-down during Screech In (highlighting the importance of music as an international language), the eight accomplished musicians, under Alan Berry’s musical direction, are discretely positioned at the side of the stage. 


Musical highlights are dominated by the ensemble’s excellent choral work throughout, particularly in songs like Darkness And Trees, while the beautiful rendition of Prayer reinforces the commonality of music in religion. 

Other highlights include Rachel Tucker’s moving showcase song, Me And The Sky, and the tender love song, Stop The World. 

In the midst of mixed emotions, fear, confusion, panic, terror and tragedy, we find that camaraderie, friendship, tolerance, respect and humour are universal and all shine through in this story of interaction between strangers when they are thrown together in the most unusual of circumstances and when relationships survive and grow with random acts of kindness. 

Human resourcefulness becomes second nature as all rally round to provide such practical essentials as food, clothing, accommodation, language interpreters, counselling, medical and spiritual care, money and special care needed for babies and animals that were on any of the grounded flights. 

In addition to the positive feelings when they are all pulling together as one, a painful feeling of loneliness and emptiness descends on everyone immediately after they eventually leave to go home similar to that experienced at the end of an Irish wake. 

This story of ordinary people doing extraordinary things in a time of need is truly inspirational and this intense, gripping, emotional and heart-warming production perfectly captures the generosity of the human spirit and the hope that has been born out of tragedy to create an oasis of harmony in a world of confusion. 

Come From Away runs at the Abbey Theatre until Sat 19th January 2019 

Photo credit: Matthew Murphy 

Come From Away, Abbey Theatre, Dublin | Review

Sunday 23 December 2018

Saturday 22 December 2018

Jersey Boys (UK Tour), New Theatre Oxford | Review


Jersey Boys (UK Tour)
New Theatre Oxford 
Reviewed on Wednesday 19th December 2018 by Donna Meredith
★★★★★

I was very excited to see Jersey Boys at The New Theatre in Oxford, having missed it in the West End. Having been lucky enough to see a short set by the Jersey Boys at our company conference a few years ago I was keen to enjoy the full production. 

This is essentially a rags to riches story of true New Jersey Boys who all had somewhat dubious existences, peppered with criminal activity, gambling and incarceration. Far from being the clean-cut boys next door, these were lads who really did make it, against all the odds. Four friends from New Jersey who united together to create one of the most successful groups of their time. 

The cast are led by Michael Watson (Frankie Valli), Simon Bailey (Tommy DeVito), Lewis Griffiths (Nick Massi) and Declan Egan (Bob Gaudio). Each performer is fabulous individually but together they have a chemistry that is simply brilliant. 


The sound of the Four Seasons is of course unique but is emulated superbly by these exceptional vocalists, who manage effortlessly to recreate the sound which made The Four Seasons’ sound so distinctive. 

The show is jam-packed with the group’s hits – Beggin’, Oh What A Night, Earth Angel, Big Girls Don’t Cry, Sherry and Bye Bye Baby, to name just a few. My personal highlight was the performance of My Eyes Adored You by Valli and Mary Delgado (played exceptionally by Tara Young); in a show that is full of humour and upbeat songs, it makes for a beautiful, touching interlude. 

Of course, Frankie Valli knew personal tragedy as well as fame and fortune and Michael Watson’s wonderful rendition of Fallen Angel, a song remembering his deceased daughter, was heart-wrenching but beautifully delivered. 


This show both surprised and delighted me with the rollercoaster of real life emotions, experienced through a story of not only musical history, but also warmed the soul with the message of the enduring loyalty of friendship. 

I must also mention that for a touring show, the cast, creative team and orchestra all come together to produce something quite spectacular – bravo ! 

Jersey Boys is a perfect night’s entertainment performed by a superbly talented cast which will leave you wanting more and I am sure, see you leaving the theatre, as I did thinking …“Oh What a Night”. I am sure I will be humming those tunes for days to come!

Jersey Boys (UK Tour), New Theatre Oxford | Review

Saturday 22 December 2018

Tuesday 18 December 2018

Alice: The Musical, Lyric Theatre, Belfast | Review


Alice: The Musical 
Lyric Theatre, Belfast 
Reviewed on Saturday 15th December 2018 by Damien Murray 
★★★★

20 years after I first reviewed its premiere production at the venue, Paul Boyd’s is back at Belfast’s Lyric Theatre with a reworked and updated version of his successful and inventive musical adaptation of the Lewis Carroll classic about Alice’s dream-like journey into the wild and wacky world of Wonderland. 

While the zany characters of Wonderland with their impressive costumes (thanks to designers, Gillian Lennox and Erin Charteris) combine with Boyd’s predominately pop-orientated and catchy score to please the children, there is plenty here to engage adults too; not least the topicality of the piece with many character and scenario parallels to the on-going, and equally bewildering, Brexit situation. 

Since its premiere, this acclaimed show has performed throughout the UK and in theatres as far away as America and Japan… and it is easy to see why. 

Offering an alternative to pantomime, it is a perfect family treat for the Festive period, but – not having any seasonal restrictions – remains an equally relevant retelling of a classic at any time of the year. 

Played out on Stuart Marshall’s relatively open set, with lots of attractive graphics from the story, and under Paul Keogan’s deceptively simple, but highly effective, lighting plot, this seamless, energetic and fast-paced production allows no respite for the hard-working cast. 

Indeed, it is hard to believe that such a complex show can be staged so effortlessly by such a small cast (only seven in number!) and they deserve full credit for, even on a double show day, there was no cutting of corners or lack of commitment from anyone at the matinee performance I attended. 


In the role of a narrator, Charlotte McCurry’s ever-watching Cheshire Cat guides us through the dream-like adventures with a high degree of vocal clarity, while Christina Nelson’s suitably scatty White Rabbit adds to the wonderful sense of confusion in Wonderland throughout. 

As the soft-spoken and gentle Alice, Ruby Campbell is aptly confused and bewildered and deservedly wins the affections of the younger audience members from an early stage, while Allison Harding’s pompous and impatient Queen of Hearts represents the opposite end of the personality spectrum. 

In multiple roles, the trio of male actors, Mark Dugdale (The Caterpillar and Mad Hatter), Adam Dougal (Tweedledee, The March Hare and The White Knight) and Rea Campbell-Hill (Tweedledum, Dormouse and The King Of Hearts) are all equally talented. 

Dugdale excels both as the flamboyantly dressed Mad Hatter and as the popular Caterpillar who, as a butterfly in waiting, is at a disadvantage because of his fear of heights and his air sickness. 

While Dougal is superb as the eccentric and not so inventive White Knight, a stand-out moment of the show is when he teams up with Campbell-Hill, as the theatrical and entertainment duo, Tweedledum and Tweedledee, to deliver a great two-man routine. 

Other highlights here include the theatricality of the ‘shrinking’ scene and the highly entertaining Tea Party scene. 

With no ensemble or dancers to help them, the seven cast members are not only uniformly good actors but are also, by necessity, all exceptionally strong singers and dancers and they all do justice to Deborah Maguire’s decisive choreography and to Boyd’s knowing direction and musical direction of his varied and pre-recorded score. 

As a perfect alternative to pantomime, this inventive, colourful, entertaining and story-based production will engage the entire family (except, perhaps, those under 3) with its well-known and well-loved characters and dream-like adventures. 

Nothing makes sense in the wacky world of Wonderland, but it would be equally senseless if you were to miss this magical musical … and they will welcome you, even if your name is not Alice! 

Alice: The Musical runs at the Lyric Theatre, Belfast until Saturday 5th January, 2019 

Photo credit: Melissa Gordon 


Alice: The Musical, Lyric Theatre, Belfast | Review

Tuesday 18 December 2018

Thursday 13 December 2018

Cinderella (Panto), New Victoria Theatre | Review


Cinderella (Panto)
New Victoria Theatre
Reviewed on Wednesday 12th December 2018 by Olivia Mitchell 
★★★★

In the world of Panto, I am a total newbie having only seen a couple in my life. So the way I judged Woking's festive offering was by the reactions of those around me and they seemed to love the humourous, slightly magical and well characterised show.

Alan McHughes book keeps to the classic roots of Cinderella, switching up for comedic effect but never really bringing anything new or fresh to the story. It does however, remain fluid and entertaining. With the Act 2 performance about what life would be like for the characters if they had other jobs, was highly enjoyable and a stand out moment. 

A lot of the show is based around Craig Revel Horwood's character, Baroness Hardup who graces the stage in a number of bedazzled gowns, accompanied by the Strictly Come Dancing theme tune and a barrage of dry humoured jokes. Craig gives the performance we expect and does a good job as the villain we love to hate. Although I would've liked to hate him a little more. 


Suitably named stepsisters, Tess and Claudia are well played well by Suzie Chard and Wendy Somerville, with mockery and flounceyness used to a T, but are underused and lack the opportunity to really come to life.

Despite some book related flaws, the cast are highly energetic and enthusiastic, doing a fantastic job of livening up the audience without becoming a complete cheese fest. As the title character, Sophie Isaacs gives a truly royal performance both vocally and characterisation wise and is matched in charm by the swoon worthy Oliver Savile who brings his Fiyero vibes to Prince Charming.

Stealing much of the show are Paul Chuckle and Phil Butler as Baron Hardup and Buttons. The pair bounce fantastically off of one another and ensure a steady banter which translates well between the two and the audience. What the script lacks in story, is made up for with the spades of fun these two bring to the New Victoria stage.

Cinderella is a festive treat for all the family that of course, uses Panto tropes but doesn't make them overbearing and instead brings a lighthearted show to life with ease, fun and energy. With dancing pumpkins, flying horses and sparkles upon sparkles, there's sure to be something for everyone in this production.

Cinderella runs at the New Victoria theatre until 6th January 2019

photo credit: Ian Olsson

Cinderella (Panto), New Victoria Theatre | Review

Thursday 13 December 2018

Kinky Boots (UK Tour), Edinburgh Playhouse | Review


Kinky Boots (UK Tour)
Edinburgh Playhouse 
Reviewed on Tuesday 11th December 2018 by Liv Ancell
★★★★★

Audiences at the Edinburgh Playhouse are being transported straight to the Price & Sons Shoe Factory in Northampton this December, to a time and place where drag queens and shoemakers collide in spectacular fashion, in what is a truly unique and special tale.

Kinky Boots has boldly strutted into town and delighted the Edinburgh Playhouse’s audiences since opening night on 11th December. With original music & lyrics by Cyndi Lauper performed by a diverse cast eager to impress, it is impossible not to get swept up in the drama and excitement of this unique spectacle.

The promise of the show’s eponymous red kinky boots seems far off at first, as the curtain rises to reveal the gritty factory belonging to Price & Sons, practical shoemakers. Here we meet Charlie Price, who was portrayed brilliantly by the energetic and tone-perfect Joel Harper-Jackson.


Set design (by Tim McQuillen-Wright) convincingly transforms the stage between its main two states: a working shoe factory and an intimate drag club. This reinforces the contrast between the very different worlds of protagonists Charlie and Lola, as the story dips in and out of Charlie’s tough reality and the exciting world of the exotic drag queen, Lola.

Speaking of Lola, Kayi Ushe who played the show’s famous red-boot bearer on the night stole the show in spectacular fashion. With his perfectly placed sashays, sassy one liners and full range of emotions, Kayi Ushe put on a winning performance in what is undeniably an extremely demanding role. From booty drops to belting out ballads, deadpan put-downs and effortless switches between the character’s macho masculine and drag-queen personas - sometimes done in the very same breath - the audience was absolutely blown away by the level of talent and professionalism Kayi brought to the performance.

Another notable performance in the show was that of Coronation Street veteran Paula Lane, who stepped into the fun role of homegrown Northampton pocket rocket Lauren. Her rendition of The History of Wrong Guys - just one of the show’s long list of incredibly catchy tunes - was underpinned by well-delivered slapstick elements which caused hilarity among the audience.


Lola’s cast of utterly fabulous drag queens, a.k.a The Angels, proved that when drag and theatre cross-over, the result is electric. Played by the kick-ass combination of Connor Collins, John J. Dempsey, Damon Gould, Joshua Lovell, Chileshé Mondelle, and Toyan Thomas-Browne, The Angels left the audience in utter wonderment with their sharply executed choreography. Their performance should almost come with a warning that mere mortals should not attempt their high-tempo sequences of squats, drops, jumps, sashays and moves at home. Not to mention the Angels’ costumes (costumes by Gregg Barnes) which would have put even Ru Paul’s Drag Race contestants to shame, with their dazzling glitter and unashamed flamboyance.

The story of Kinky Boots has its glorious ups, its poignant downs, and beautiful nuances of human emotion which eclipse the themes of loss, love, acceptance and even, the challenges of running a family business. The cast perfectly led us along the full spectrum of emotions, and put on a visual feast for the whole audience. A particular highlight for me in terms of staging was the boxing scene, where strobe lights helped to paint a particularly tense and dramatic scene.

I’ll leave the rest under wraps; this show is an absolute treasure box of surprises, laughs, and delights. The cast and production is of the highest standards and quality rarely seen outside of the West End or Broadway. If you’re looking for a little sparkle and escapism on a cold December evening in Edinburgh, there truly is no better place to be.


Kinky Boots runs at the Edinburgh Playhouse until January 5th 2019

photo credit: Helen Maybanks

Kinky Boots (UK Tour), Edinburgh Playhouse | Review

Tuesday 11 December 2018

A Christmas Carol (LMTO), Lyceum Theatre | Review


A Christmas Carol (LMTO) 
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell 
★★★★★

The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.

Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life. 

Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions. 


Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.

As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances. 

The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice.  David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.


I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.

The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.

The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre. 

A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm

photo credit: Nick Rutter

A Christmas Carol (LMTO), Lyceum Theatre | Review

Tuesday 11 December 2018

Friday 7 December 2018

In Conversation With... Sophie Isaacs | Cinderella | Interview

Fresh from starring in the hit musical, Heathers, Sophie Isaac's is getting festive and tackling Panto with Cinderella which opens tonight in Woking  at the New Victoria Theatre. Olivia sat down with Sophie for a festive chat...


You've just finished playing Heather McNamara in Heathers, tell us a bit about that...

It was possibly the best experience I've ever had. Seeing a job from workshops, then to a sold out run at The Other Palace and then transferring to the West End; to see a show develop from the start like that has been incredible and also, it's such a special show that I just adore it. 


Heathers has obviously already been on, but you basically created this version of Heather Mc yourself, so what was the hardest part?

Probably just getting to grips with the character and her journey because she starts off being a Heather, with the not nice aspect of that but her journey means her character changes throughout the show and her interactions with different people affect her. Especially with Veronica (Carrie Hope Fletcher) and that friendship, which really develops. So getting that journey is the most important in terms of making sure she had heart at the beginning, even though it was a little hidden, and gradually bringing that out. 


Did you get a lot of say in the changes in your production of Heathers?
Yeah, we were really lucky. The creative team were unbelievable; so gracious and open to us saying "it doesn't feel natural" but honestly, generally they knew what was right and what was best. They've been with the show for ten years but they were absolutely open to discussion and seeing what works and what doesn't.


Heathers audiences were very different in terms of their live reactions compared to other musical audiences, what was that experience like and do you think it prepped you for the interactive aspect of Panto?
Yes, Heathers was like a rock concert and it's nice because I now won't be put off by people suddenly shouting at me or cheering or being very very involved. We always said that the Heather's audience was the fifth Beatle and pantomime has the fifth Beatle as well, so it was very good prep. 

We didn't know how Heathers would land going from 300 seats at The Other Palace to the much bigger, Haymarket but it was bigger and better which was amazing.


So, Cinderella the Panto- are you excited?
Yes! I put the dress on today and I just cannot wait. The shoes are just stunning, jewelled everywhere, with a monster jewel on the front. I am possibly the biggest Christmas fan on the planet so any opportunity to get festive, I love!


What are your favourite parts of Christmas, do you have any traditions?
Of course the whole, advent calendar and chocolate for breakfast everyday thing. My favourite things are generally food related! Mulled wine, piggies in blankets, I love a buffet.... oh and love a mince pie! Just all of it! 

I was out of the country last year for Christmas and it was awful, I was just so sad cause I wanted to be here with my family so I thought to myself, "what's the most Christmassy thing I can do next year?" and here we are... Panto!


Are you a big Panto fan?
Yeah I love it, absolutely love it. I haven't been in one for years and years and years but the last one I saw was Cinderella. It was in Swindon and my friend was playing Cinderella so it's nice to be doing this now.


So why should people come and see Cinderella in Woking?
You should come to the Panto because it's an amazing night out, it's a time to have a lot of fun with your family; it's festive; there are jokes that mums and dads will get, and jokes that the children will get, so it's fun for all and I think it's going to be incredible!

Cinderella runs at the New Victoria Theatre until January 6th 2019

Interview by Editor, Olivia Mitchell

photo credit: Grahame Larter

In Conversation With... Sophie Isaacs | Cinderella | Interview

Friday 7 December 2018