Posts with the label musical theatre
Showing posts with label musical theatre. Show all posts
Showing posts with label musical theatre. Show all posts
Thursday 6 February 2020
Rachel Tucker on Starring in The Pirate Queen | Interview
Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure
chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland.
From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant
traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.
Rachel Tucker is taking on the role of Grace O'Malley in the one night only London premiere of the musical. Rachel told us all about the show, her favourite moments and what it's like to bring real life characters to life on stage...
Tell us about The Pirate Queen, what can we expect?
The Pirate Queen is a very old, true Irish story about how the daughter of the O’Mally clan became the first woman Queen of in Ireland in 16th century. She was known for her fearlessness not just as a woman but as a leader and was known for her ruthlessness in political negotiations with Queen Elizabeth I and trying to get her peoples land back no matter what it took.
Today in rehearsals I sang two very powerful duets with Hannah Waddingham who plays Queen Elizabeth and we were both struck at how amazing it is that these two women back in the 1500s were the leaders of each of their own lands and negotiated with each other not just as chieftain & queen but woman to woman.
Their dialogue together is fascinating, the lyrics are so graceful yet explosive! It’s been a long time since I’ve listened and sang through an known score with so much excitement!
You're currently playing Beverley Bass and are now taking on Grace O'Malley for one night only. What's it like bringing real life people to life on stage?
Well as a job, it’s blooming great! I love bringing my own take and as much as Rachel to each role. I am constantly looking to bring only truth to every line and character I get to play, whether it be a comedic, tragic or heroic role. What ever the room, I love to tell the truth.
What's your current favourite moment of the show?
Can I say all of it?! Well today has been a first day rehearsals so my favourite moment of the day was hearing Queen Elizabeth sung like only Hannah could sing it! Just jaw dropping!
Why should people come and see The Pirate Queen?
I think this is a piece of musical theatre that should be seen and heard in this day and age. It almost feels more relevant now than it was when it first was first conceived.
You do not want to miss hearing the stunning choral ensemble of around 40 members and the orchestrations by Julian Kelly are going to transcend you to another level! The event of 2020 if you ask me!!!
The Pirate Queen plays at the London Coliseum on 23 February, 7pm
photo credit: Danny Kaan
Wednesday 22 January 2020
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Tuesday 21st January 2020 by Olivia Mitchell
★★★★
Flying into its third year in the West End, Everybody's Talking About Jamie retains its giant heart and remains an inspiring, colourful, hilarious and all round joyous musical. Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New has to face those who oppose him and try to pull him down, so he can achieve his dreams and show the people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to retain its spot in theatre lovers hearts for the foreseeable future.
In his West End and indeed, professional debut, Noah Thomas brings every aspect of leading man, Jamie New, to life with an ease that is truthful to the story but feels just polished enough. Opening with the incredibly catchy 'And You Don't Even Know It', Noah immediately shows us who Jamie is as he transforms the stage into a world of colour and begins the journey which will shape his life. From there on in his entire performance is joyous to experience. With charm in spades and glorious vocals, Noah continually exudes life and never falters throughout his time on stage.
As Jamie's mum, Melissa Jacques is beautifully vulnerable, and draws huge amounts of empathy from the audience as she does all she can to be the best mum to her beloved son. Jacques' vocal performance is that of a powerhouse, with 'He's My Boy' providing an emotional high-point that wows the audience. The chemistry between Jamie and his mum is lovely to see, as is the truthful friendship of Jamie and and his best friend, Pritti.
Both misunderstood and outsiders in their own ways, the pair continually find common ground and support one another. It's wonderful to see such a supportive and non-toxic friendship played out on stage. As Pritti, Hiba Elchikhe is delightfully moving and vocally exceptional, especially in the act two ballad, 'It Means Beautiful'. Just as Pritti's bedroom sparkles, Hiba gives a glittering performance and makes a sensational West End debut.
Roy Haylock/Bianca Del Rio as Hugo/Loco Chanelle is highly entertaining. Compared to the rest of the cast, his vocals are not consistently top notch but the energy and commitment he performs with mostly make up for that and it's a real treat to see such a widely recognised drag star on a West End stage.
As the rapping teacher Miss Hedge, Preeya Kalidas is vocally strong. The character herself is a little jarring at times as she flits between being an enforcer of reality and a restricter of freedom. It's sometimes confusing as it's unclear whether she's a villain or just someone trying to help. Perhaps that's the whole point!
Sejal Keshwala is completely ballsy in her performance as Ray and wins over the audience in a matter of moments. Also giving a hugely strong and highly assured performance is Jordan Ricketts as the school bully and Jamie's tormentor Dean Paxton. The entire cast are the embodiment of joy and perfectly evoke the feelings of school life. Katie Prince's choreography excellently brings to life the often frenetic atmosphere of Jamie's life and is fresh and exciting to watch.
This is a musical which inspires us all to own what makes us 'different' and is just a lovely portrayal of family, friendship and acceptance. Contemporary, sassy and so very British, lets keep talking about Jamie!
photo credit: Matt Crockett
Thursday 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
Friday 10 January 2020
Once (UK Tour), Fairfield Halls | Review
Once (UK Tour)
Fairfield Halls
Reviewed on Thursday 9th January 2020 by Olivia Mitchell
★★★★★
Embarking on a UK tour, Once tells the story of Girl meeting Guy. He, is a Dublin busker on the brink of walking away from music after having his heart broken and feeling unheard in a bustling world; whilst, she is a force for change who exudes positivity from the moment their worlds collide. In the space of a few days, their lives become beautifully connected and changed forever. The musical is an evocative piece, which slowly creeps up on you to warm, break and soothe your heart in equal measures. It's a love letter to music and identity that deserves to be seen and heard.
Emma Lucia is a certified star as Girl, as she gives an assured performance, filled with warmth, vulnerability, encouragement and love. Girl is married to an unseen man who walked out on her, and has a daughter who has her heart. Lucia's incredibly truthful performance is outstanding from start to finish, as are her vocals which ring out with a clarity and strength that utterly absorbs the audience. Alongside her, Daniel Healy is perfect as Guy. His angst fuelled performance of Leave opens the show with the grit, intensity and honesty which courses through it until the end. Healy's musical performances are highly impressive as he shows exceptional vocal control.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The audience can't hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate. Of course this a show about music, but what's even more magical is how spectacularly the entire team make the most out of silence. Each pause feels completely natural but intentional at once as an atmosphere like no other is formed. This is a complete delight of a musical that must be experienced. It's not jazz hands and drama, but instead, is melancholic, unashamedly romantic and wholeheartedly wonderful.
Details about the Once Tour can be found here
photo credit: Mark Senior
Details about the Once Tour can be found here
photo credit: Mark Senior
Tuesday 31 December 2019
Olivia's Top Shows of 2019
This year I saw 150 shows, from glitzy West End productions to smaller fringe pieces and many UK tours. Before we step into the new decade, I want to feature some of my favourite pieces of the year and those which have stuck with me in some way.
Dolly Parton has been a family favourite growing up so this musical ticks all the boxes for me. 9 to 5 is a catchy, colourful celebration of girl power. With another tour planned for next year, this show is sure to delight audiences in 2020 and beyond.
Six featured in last year's Top 10 list, but having seen it a few times this year, I thought it warranted a place once again. The fantastically, feminist musical is pure joy on stage and a complete treat. Enthralling audiences around the world with its pop/musical theatre crossover sound and the heart which is retained in all its incarnations, Six's world domination is only just beginning.
I mentioned the Broadway production of Come From Away last year, but 2019 saw the triumphant West End transfer of this show which is completely spectacular and special beyond compare. Telling the heartfelt story of the unity formed in a small village in Canada during the traumas of 9/11, the Celtic sounds and complete ensemble feel of the piece make it effective and oh so powerful.
Performed by members of the British Theatre Academy (BTA), the young cast transported audiences on a mystical journey of love and magic. Lee Proud and Harrison Clark created a production worthy of much acclaim and showcased some of the future stars of UK theatre.
Having missed the Open Air production of Jesus Christ Superstar, I was thrilled to get the chance to see it at the Barbican and it did not disappoint. Andrew Lloyd Webber and Tim Rice's score soared thanks to the ingenious staging which made the space feel as though it was outside, and Lee Curran's lighting which made the atmosphere both electric and intimate. Amazing performances all round made this a production not to be forgotten.
Not only was it a treat to see this enchanting song cycle by Dave Malloy brought to life by such talented actor-musos, but getting to experience the new space of the Boulevard Theatre was a delight in itself. The whole space feels fresh, welcoming, modern and all in all a wonderful addition to the London theatre scene. Ghost Quartet was a wacky mish-mash, but there's something about it that was truly enchanting.
The Cher Show | Neil Simon Theatre
If you'd told me at the beginning of the year that The Cher Show would be in my top shows, not just of 2019 but ever, I doubt I would've believed you. The cast were amazing but as someone unfamiliar with Cher's music and kind of bewildered by the whole idea, I didn't expect to come out beaming after one of the best night's ever at the theatre. The biopic musical tells the story of the superstar's rise to fame via three Cher's representing different times in her life. The performances are other worldly and the humour hits all the right spots. This is the embodiment of a grand musical and I can only hope it comes to the West End sometime soon!
The Jungle | St Ann's Warehouse
This is another show I missed in London but was lucky enough to catch in New York at the incredible setting of St Ann's Warehouse in Brooklyn. This is the most striking piece of theatre I have ever witnessed, and I can't even explain how spectacular the entire production was. The community feel that was created within moments of entering the theatre is like nothing I've ever experienced and every element of theatricality was so perfectly used to highlight the stories of those on stage.
The Adam Guettal musical was on my 'To See' bucket list, so it was a complete joy to experience the sumptuous score performed by such a stellar cast this year. The story about young Clara falling in love with Fabrizio on a trip to Italy is beautiful and made me want to go to and have my own romantic holiday accompanied by a beautiful classical soundtrack.
Fiver played a brief run at the Southwark Playhouse and earned itself much praise and many fans. With a fantastic score by Alex James Ellison, the musical follows the story of a £5 note and how it's value changes in the hands of various people. This was a completely unexpected treat of a show which completely enraptured me and left me feeling joyous, thanks to the wonderful mix of musical styles and fantastic array of stories involved. The superb cast of five gave everything and made it a real gem of a piece. A delightful musical, lets hope we see more of Fiver in the future.
Thursday 5 December 2019
Billionaire Boy (UK Tour), New Theatre Oxford | Review
Billionaire Boy (UK Tour)
New Theatre Oxford
Reviewed on Wednesday 4th December 2019 by Emma Gradwell
★★★★
David Walliams' children’s books translate perfectly from page to stage, with Billionaire Boy being the Birmingham Stage Company’s third adaptation. The stories are naughty, gross and capture British school life to a tee.
Billionaire Boy tells us the tale of Joe Spud. The heir to the Bum Fresh fortune. He has crocodiles, a racing car and a two million pound cheque, but what he doesn’t have is something that money cannot buy.
Matthew Gordon as Joe, confidently leads a fantastic cast through this pleasing story that packs a kind message. The actors move seamlessly between characters who are all fully realised and charming. Highlights of the evening were Aosaf Afzal as the fabulous Raj, a recurring character in Walliams' books. He is the shop keeper that we all knew growing up, with hilarious sayings and antics. Also, Emma Matthews as Ms. Trafe gives a wonderful comedic performance, from her deep fried blue tac to her hip replacement that looks suspiciously like a boob job.
Jaqueline Taylor’s clever set design is made almost entirely out of toilet rolls. The different pieces open and move to reveal all sorts of scenes hidden away. Watch out for the helicopter reveal - it is impressive and an audience favourite!
Music by Jack Poore is simple and catchy. We were singing the Bum Fresh song all the way home on the train!
The Birmingham Theatre Company have taken a children’s story and made it into a sophisticated production. The audience reaction is testament to a good job done.
photo credit: Mark Douet
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
Thursday 31 October 2019
Billionaire Boy (UK Tour), Richmond Theatre | Review
Billionaire Boy (UK Tour)
Richmond Theatre
Reviewed on Wednesday 30th October 2019 by Olivia Mitchell
★★★★
David Walliams' quirky children's shows (adapted from his best selling books) are quickly becoming regular features in the UK theatre scene and Billionaire Boy certainly shows why. His excellently gleeful stories, filled with important messages are brought to life wonderfully on stage and provide a laugh-out-loud night for adults and kids a like.
Billionaire Boy is about the life of Joe Spud and his dad Len- a man who's made unfathomable amounts of money from inventing a special kind of double sided loo-roll: Bumfresh! Joe transfers to his local comp school and learns about the importance of friendship, money and loyalty.
The cast, made up of many recent graduates, are fantastic at bringing a variety of characters to life with spades of energy and childish delight. Matthew Gordon as Joe is thrilling to watch as he highlights Joe's moral struggles and gives a lovely performance throughout. As his best friend Bob, Davy Bell is earnest and instantly likeable. The pair have a wonderful on stage chemistry and really bounce off one another to create realistic school-time dramas that we can all relate to.... (well other than the part where one of them's a billionaire!)
Amongst the rest of the cast, Jason Furnival brings a realism to the story, especially towards the end; Emma Matthews gives it everything as Mrs Trafe and is certainly a highlight and Aosaf Afzal garners some of the biggest laughs of the night with his witty one liners and great comedic timing. The show is dotted with some very catchy songs by Jak Poore which keep the whole thing buoyant and are extremely well performed. Mared Lewis and Rosie Coles give vocal performances which really shine and Coles brings Sapphire to life excellently... I think we have a future Mrs Wormwood in our midst!
Jacqueline Trousdale's set is extremely well put together, with simple pieces weaving together to create something eye catching throughout. Bumfresh Towers is created by huge piles of loo roll which are twisted and changed to create the school, Raj's shop and other locations. There's also the helicopter scene which had children ahhing and ohhing- a real wow moment. Despite being a production aimed at children, nothing feels cheap or amateurish and Billionaire Boy really seems as if it'll stand the test of time and continue to entertain.
There are a few jokes which run dry a little fast, and it would be nice to see the bad guys get their just desserts but this is a wonderful production which is sure to bring joy to young audiences.
Billionaire Boy runs at Richmond Theatre until November 2nd before continuing its tour
photo credit: Mark Douet
Wednesday 30 October 2019
9 to 5 The Musical (UK Tour), Wales Millennium Centre | Review
9 to 5 (UK Tour)
Wales Millennium Centre
Reviewed on Tuesday 29th October 2019 by Elisha Harris
★★★★★
9 to 5 The Musical is a sensational representation of what women had to endure when it was believed to be a ‘man's world’. Something which still plagues the modern day but is fortunately diminishing.
There’s nothing like escaping from your 9 to 5 reality to witness a world-class musical, and this production is most definitely that! This show is so unpredictable from start to finish. and everything is perfection.
Amber Davies is impeccable, her comedic timing and powerhouse voice make for a perfect Judy. Amber presents the the purest transition from a reserved, meek housewife to a fearless, self assured business woman who will not take no for an answer.
The other two leading ladies, Caroline Sheen, who's temporarily moved from the West End production to the UK tour, and Georgina Castle blow the roof off the Millennium Centre. Between Caroline’s quick wit and gorgeous voice, and Georgina’s mesmerising vocal range, they compliment each other perfectly. I could listen to them sing all day long!
The standout performance of the evening is Sean Needham who plays the ballsy, know it all boss, Franklin Hart Jr. He portrays the dishonest, antagonistic boss excellently. Sean really brings the role to life, he is witty, insanely entertaining and his facial expressions are priceless. For a character you’re meant to hate, it's hard not to belly laugh at every line he says- a real comical genius!
Overall this production is not one to miss, the ensemble are brilliant, the sound design is excellent, you can hear every voice individually when needed yet the harmonies were perfect. If you want to spend 2 hours in side-splitting, ball crunching laughter, 9 to 5 is the show for you!
9 to 5 The Musical plays at the Wales Millennium Centre until 2nd November before continuing its tour
Tuesday 29 October 2019
Soho Cinders, Charing Cross Theatre | Review
Soho Cinders
Charing Cross Theatre
Reviewed on Monday 28th October by Olivia Mitchell
★★★
It's in the colourful carnival of Old Compton Street that we meet Robbie, our Cinderella in this re-telling of the classic tale. He's a young man trying to find his place in the bustling city as he works in a laundrette once owned by his mother, and struggles with his step-sisters who are trying to take what little he has. Things get even more stressful when Robbie begins seeing mayoral candidate James Prince and having a questionable relationship with a sleazy Lord. He ends up at the heart of a media scandal and faces losing everything... But this is a fairy tale so you can guess how it ends!
Anthony Drewe and Elliot Davis' book has some witty moments and certainly turns the classic tale on its head, as well as featuring more heartfelt moments. The LGBT representation for the most part is strong and the team have done well to modernise the show. However, there are aspects which seem to have been glossed over. The characters discuss knowing a man is straight because he's wearing a wedding ring which just screams dated, as does the implication that these modern online relationships take place over Skype. They're little details for sure, but do detract from a piece that really has the potential to feel relevant and of the time. Similarly, the variety of musical genres and the story itself is certainly representative of Soho but it would be nice to see some of that diversity reflected in the cast.
As Robbie, Luke Bayer is the standout. His charming personality and smooth vocals make him a protagonist the audience roots for and he really is the heart of the story and all it stands for. Bayer's performance of They Don't Make Glass Slippers is especially enrapturing. As Velcro, his best friend and partner in crime, Millie O'Connell gives a strong performance. Despite being underused in act one, O'Connell really comes into her own in the second half and provides some of the most touching and realistic moments. Her quick wit and sarcastic nature are entertaining to watch and the playful banter and easy chemistry between the pair can surely remind us of our own friendships. Two friends supporting each other is wonderful to see and really grounds the often over-the top-piece.
George Stiles music and Anthony Drewe's lyrics are a combination of upbeat laugh-a-minute numbers, forgettable babbles and fairy tale sweet duets. The Stepsisters' duet Fifteen Minutes is especially energetic and well performed. Natalie Harman and Michaela Stern do a great job of bringing the characters to life and only occasionally teeter on the edge of overacting. O'Connell's duet with Tori Hargreaves is another touching moment and a real highlight of the second act.
Thematically, this seems to be a piece which will remain ever relevant but it needs an extra touch of magic to keep audiences coming back. The political and sexual harassment aspects permeate the musical but it's the importance of love and friendship which reigns strong at the end. Soho Cinders isn't life-changing but it allows us to experience tongue-in-cheek, energetic performances which will entertain for the duration of the show.
photo credit: Pamela Raith
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
