Posts with the label musical
Showing posts with label musical. Show all posts
Showing posts with label musical. Show all posts
Saturday 18 November 2017
Rachel Tucker with Stagebox Choir, Shoreditch Town Hall | Review
Rachel Tucker with Stagebox Choir (Concert)
Shoreditch Town Hall
Reviewed on Friday 17th November 2017 by Olivia Mitchell
★★★★★
If you're a regular reader of this site, you'll probably have twigged that I'm a huge fan of Wicked star, Rachel Tucker. Most recently I saw her perform as a special guest at Kristin Chenoweth's concert and previously in Wicked and her solo concerts at the Zedel; every single time she has completely blown me away with her effortless performances and last night was no exception.
Rachel is a masterful performer, both in terms of her faultless vocals and her ability to embody and live every song she sings. She is magical in the way she transports the audience into her thoughts and make us feel the emotions she's portraying as if we're experiencing them ourselves. The way she interprets songs is unique, extremely moving and I find it incredibly impressive how she is able to switch so quickly from one mood to another.
During act 2 Rachel came off the stage to perform an a capella folk song which had the audience in enraptured silence but within moments of finishing she snapped back to her larger-than-life, joyous self and had the audience laughing out loud. That ability to manipulate an audience's emotions is truly remarkable.
The set list for the night included something for everyone from theatre classics such as 'Children Will Listen' to pop songs and a personal favourite, her own composition 'I'm Falling' which always wows me. This varied programme meant the night flew by and by the time it came to her second encore we still wanted more! Other stand outs included 'The Man That Got Away' and Kris Rawlinson's stunning arrangement of 'No Good Deed' which brings new life to the Wicked classic. Kris and Rachel make the perfect duo, bouncing off one another both comedically and musically. Also great, were Jodie Steele and Amanda Coutts who doubled as stage managers and back up singers- 'Proud Mary' was brilliant and got the entire audience on their feet!
With a few ex-Elphaba's and Galinda's in attendance, it was Emma Hatton who took the stage as the special guest of the night. Dressed in a suitably emerald dress, Emma joined forces with Rachel to perform a jazzed up version of 'I'm Not That Girl' and a lively version of 'That's Life'; the two work wonderfully together and it's so enjoyable to see them having fun on stage together. Also joining Rachel were the Stagebox choir who helped out with a notably touching performance of 'You Will Be Found' from Dear Evan Hansen.
Overall it was just a joyous night of glorious music. Rachel is one of the most versatile performers I've seen; funny, relaxed and charming, her voice is like no other. Powering through every song with her own personal style- belting it out and emotionally reigning it in with equal skill and motivation. Rachel is at the top of her game- a master of her craft who continually delivers time and time again. This was billed as Rachel's 'biggest solo concert to date' but I sincerely hope things get bigger and bigger for her as she continues to charm and wow audiences around the world... but preferably mostly in London so I can be at them all!
Watch my vlog of the concert here
Watch my vlog of the concert here
Friday 17 November 2017
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Wednesday 15th November 2017 by Olivia Mitchell
★★★★
Everybody's Talking About Jamie has been one of my most highly anticipated shows of 2017 since I heard the rave reviews during it's run at the Sheffield Crucible. Based on real life events, it tells the story of 16 year old Jamie New, who's dreams are a little different to his classmates. Chronicling the struggles of growing up, issues with family and being accepted, it's the warm, British, comedic show the West End has been waiting for.
The real story was adapted for stage by composer Dan Gillespie-Sells and Tom MacRae and is their first foray into the world of musical theatre.
Dan's soundtrack is sublime with a faultless mix of upbeat, pop numbers such as 'You Don't Even Know It' as well as heart-achingly beautiful ballads, my personal favourite being 'Wall in My Head'.
Tom MacRae's book is equally fantastic; humour is perfectly balanced with drama and pain to make the show ebb and flow seamlessly. Of course the production is camp but it's not over the top or forced and the classroom scenes are just hilarious. Nothing is overdone and despite some comments falling slightly flat, every moment of dialogue is truly realistic- it feels like watching real life play out rather than performers on a stage.
On the surface this is a show about drag but the real focus is on the relationships between Jamie and his peers and specifically between him and his mum Margaret, played wonderfully by Josie Walker. It's wonderful to see a parent so supportive of their child even though they're not what people may perceive as 'normal', and it's made even more special by the fact that we know it's based on a true mother/son relationship. Whilst Margaret and Jamie's struggles may contrast to others, the story shows just how important mum's, and not just mum's but whoever your supports in life, are. We all fight with and irritate those who are close to us but that's just because we love them and it's so joyous to see this love played out so sweetly and genuinely on stage.
John McCrea is faultless as Jamie, even in his ludicrously high stilettos! He is quick witted, sarky and exudes life and joy- I want to be his friend! His voice is great and he just does the most outstanding job every second he's on stage (and he's basically on stage every second.)
His best friend and partner is crime, Pritti is performed fantastically by Lucie Storthouse. 'It Means Beautiful' is sung wonderfully by her and the extremely clever staging adds a magical element to it. It almost becomes a prayer and is a touching scene.
Katie Prince's unique choreography fits the show perfectly and adds a fresh and modern feel. The contemporary dance during 'If I Met Myself Again' is breathtaking and certainly a standout moment of the entire show.
Overall, Everybody's Talking About Jamie is the perfect injection of life, modernity and sass that the West End is craving. It's a story about being yourself no matter what and facing your fears head on. For a contemporary, spectacular piece of British theatre, get yourself along the the Apollo theatre and start talking about Jamie!
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Johan Persson
*disclaimer: this was a preview performance so elements of the show could change*
Thursday 16 November 2017
Mamma Mia (UK Tour) | New Oxford Theatre | Review
Mamma Mia (UK Tour)
New Oxford Theatre
Reviewed on Wednesday 15th November 2017 by Michelle Pont
★★★★★
You don’t have to be an ABBA fan to get caught up in this wonderful show now showing at the New Oxford Theatre. Full credit to the talented performers who, with boundless energy, dance and sing their way through the show, giving life to the music and story line.
This performance, originally from London’s West End, really shouldn’t be missed by any musical lover. Choreographed to perfection, by Anthony Van Laast, it’s a pleasure to see every movement being part of the performance. Stage sets are danced in and off with seamless effort.
The boys in the ensemble and Louis Stockil as Pepper and Brad Veitch as Eddie take the show as eye candy. They manage doing some amazing acrobatics including impossible leaping press-ups, high kicks and exceptional dance moves. The extra bonus was their display of their bare chests and muscles. Hot stuff!
Stand out performances were from Kay Milbourn, as Donna. She punched out some wonderful songs. Her performance was natural and believable. Watch out for her rendition of ‘The Winner Takes it All’, which she sings with such conviction and meaning, managing to bring a tear to my eye.
My other stand out performance was from Jamie Hogarth playing Harry Bright and singing ‘Our Last Summer'. Jamie’s performance is of course wonderfully acted and he has a lovely voice. And of course, the brilliant performance of Rosie by Gillian Hardie along with her side kick Emma Clifford as Tanya. Gillian put her soul into the performance and won the audience with her comic portrayal. Emma strutted the stage giving her character the panache it deserved and keeping the comic timing and performance well heeled.
Christopher Hollis’ portrayal of Bill Austin, an Aussie rough neck was excellent. His accent was faultless and in fact I thought he was Australian. His performance also was faultless. The whole cast are brimming with talent. The Orchestra didn’t miss a beat and were also outstanding.
A standing ovation was given at the end of the show and it was well deserved. Two encores were fabulous which saw all six main characters dressed in the iconic sparkly ABBA jump suits. I can’t help but think they all enjoyed wearing and performing in these outfits.
No matter what you think of ABBA’s music, this show puts meaning to their songs and crafts an enjoyable night of entertainment- get yourself there! The tour is performing around the country 2017/18 so there is still time to catch it. Praise to all involved in this production.
Mamma Mia runs at the New Oxford Theatre until November 25th before continuing its tour.
Photo credit: Brinkhoff M Âgenburg
Tiger Bay, Wales Millennium Centre | Review
Tiger Bay the Musical
Wales Millennium Centre
Reviewed on Wednesday 15th November 2017 by Elisha Harris
★★★★★
Tiger Bay is a prime example of ‘deeds not words’. I am a Cardiff girl myself so to be able to return to my home City and watch the most beautifully portrayed musical, about the history of my heritage was just magical.
Every cast member had exactly the right accent, whether natural or not and it was held throughout. They truly captured the Welsh essence needed to make the show as authentic as it could be. The songs are beautiful and reminded me a little of Sweeney Todd at times.
Love, passion and heartbreak are just 3 of the elements that bring this radiant story together. The storyline is quite similar to Les Miserables in the way it develops; just substitute the french with the welsh and you're half way there!
I was blown away by the voices of each and every cast member in this production but the two that stood out for me have to of been Vikki Bebb and John Owen-Jones whom play Rowena Pryddy and John (Third Marquess of Bute). John portrays a stern, powerful Marquess yet when he sings, it is tear-jerking and the contrast between the two is stunning. His emotion, and passion during each moment of his performance had me welling up in seconds. He most definitely lived up to what I expected and more.
Vikki, from the moment she started singing took my breath away. From her note perfect harmonies to her precisely timed dancing she stole the show. I couldn’t think of anyone better to bring the character of Rowena to life- she does a beautiful job.
I had the pleasure of having little Ruby Llewelyn as Ianto for last nights performance, had you not opened your eyes, you’d never believe she was merely 11 years old. Her confidence and empowering stage presence is overwhelmingly brilliant and she has the sweetest voice -worth the trip alone.
There are an additional 10 ‘waterboys’ in the cast ranging from ages 10-14, each brought such character and the harmonies were absolutely mesmirising.
Zoë George as one of the shop girls is highly impressive also, with her beautiful voice and stage presence. I have seen her in a few other productions over the years and she never disappoints! All I can say is the casting director deserves a pat on the back, as each and every role was cast to perfection.
Playing at Cardiff Millennium Centre until 25th of November. Tiger Bay is a true gem, and you’d be a fool to miss it!
photo credit: Polly Thomas
Wednesday 15 November 2017
Cabaret (UK Tour), Edinburgh Playhouse | Review
Cabaret (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★
With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.
What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.
Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.
Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.
This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.
The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.
The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!
Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.
Photo credit: Pamela Raith
Wednesday 8 November 2017
Cilla (UK Tour), New Wimbledon Theatre | Review
Cilla (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th November 2017 by Olivia Mitchell
★★★★★
I have to admit, unlike many, I didn't grow up with Cilla Black. I knew a few of her hit songs but until an hour before seeing the show, had never seen an episode of Blind Dates so despite having heard good things, I was a little dubious as to whether this would be the show for me. I'm pleased to report that my doubts were uncalled for, as the show is spectacular.
This new production chronicles the Merseyside National Treasure's rise to fame accompanied by the hits of not only Cilla herself, but the other bands of the time. This is a unique take on the jukebox formula which instantly won over the audience of older people reliving the hits they grew up with and the younger generations alike.
Whilst many jukebox musicals are an excuse to perform hit songs with little storytelling, Cilla has Jeff Pope's stellar book to accompany it. This allows us to become invested in the show and performances rather than just waiting for the next song. With moments of drama, light and shade, there's really something for everyone and the show provides a well rounded theatrical experience with a depth not often seen in jukebox musicals.
As the lead, Kara Lily Hayworth becomes the Liverpool lady and heart of the show in a faultless performance from start to finish. Expertly embodying Cilla's iconic speaking voice as well as her vocally tough songs, Kara becomes Cilla and has the audience wrapped around her finger from start to finish. Her performance of the demanding role is certainly a memorable one and I can't commend her more highly for her stunning portrayal.
The Beatles and their manager Brian Epstein (Andrew Lancel) feature majorly in the show and give wonderful and iconic performances. The costumes, voices and mannerisms of each person are done to a T and you almost forget you're watching a tribute to these artists and not them live in the flesh!
As Cilla's devoted companion, Carl Au gives a charming performance throughout. His vocal performances are worth the wait when in act two he sings a delightful rendition of 'A Taste of Honey' overall he is endearing and a joy to watch.
The supporting cast are wonderful, especially Cilla's parents who deliver some hilarious one-liners throughout. Mention must also be made of the set design by Gary McCann which is striking and seamless in moving us from the Merseyside Club to Abbey Road to the London Palladium just to name a few.
Cilla Black was a woman of the people's hearts and a National Treasure who will always be remembered for her stunning voice, wit and charm. This musical does the perfect job of remembering her and chronicling her life in a glitzy and exciting but truthful way. Whether you're a massive Cilla fan or not, this show will certainly provide fantastic viewing!
Cilla runs at the New Wimbledon Theatre until November 11th before continuing its tour.
Thursday 26 October 2017
Son of a Preacher Man (UK Tour), New Theatre Oxford | Review
Son of a Preacher Man (UK Tour)
New Theatre Oxford
Reviewed on Tuesday 24th October 2017 by Michelle and Aaron Pont
★★★★
The present meets the past in Son of a Preacher Man, where 3 lonely hearts go in search of an old record store in Soho, which, during the 1960’s, the legendary Preacher Man was famed for giving out his words of wisdom, a cure to everyone’s ills. Our lonely-hearts are also in search of Love
Upon finding the old record store, and the son of the Preacher Man, they are heartbroken to see that it is now a rundown, sad café, with none of the spark or life they were expecting. The son of the Preacher Man (Simon) is still living above the café, and with pressure from the lonely-hearts trio, tries to channel his late father’s spirit to help them find true love.
I found myself whisked back to the 1960’s, with the wonderful music of Dusty Springfield performed so well in this cleverly crafted show.
The Cappuccino Sisters are a delight, a trio of waitresses suitably attired in ‘over-the-top’ 60’s gear, tulle skirts, short-suits and flamboyant headdress, they conjured up images of roller-skating waitresses from 60’s milk bars, especially Cassiopeia Berkeley-Agyepong. They strut their stuff about the stage, playing a range of musical instruments, singing and dancing to the ambiance of the show and taking us back in time.
This is a very impressive addition to the show; rather than having the musicians in the pit, they are a part of the show. Showing off their musical and performance skills throughout.
On the night I was there, understudy Jess Baker took the role of Kat to a high point with an outstanding performance. All credit to Jess with her fabulous accent and beautiful, powerful voice. Michael Howe as Paul was also mesmerising, with his great dance moves and wonderful voice, not to mention his prowess on the guitar. Both were, for me, the standout performers.
Look out for the wonderful rendition of ‘I Don’t Know What To Do With Myself’ sung and danced with chairs. Yes, chairs. The harmony and movement in this song was wonderful.
Also, standout performances were Lewis Kidd’s rendition of ‘You don’t have to say you Love me’ and Ellie-Jane Goddard and Michael Howe’s rendition of ‘Spooky’, with Michael on guitar. How dare they all be so talented!
The whole show ‘Unleased the Monster of Love’. Great singing, choreography, stage setting, lighting and topping it all off with wonderful songs made so famous by Dusty, who was almost an Oxford local (lived in High Wycombe), so it is a fitting tribute to her. There were only one or two forgivable missed moments in the script, but that was nothing compared to the fabulous performances. How could you not want to see a show with Dusty’s fabulous hits as inspiration?!
Go and see it! It’s brilliant!
Son of a Preacher Man runs at the New Theatre Oxford until October 28th before continuing its tour.
Wednesday 25 October 2017
Beautiful: The Carole King Musical (UK Tour), Grand Opera House, Belfast | Review
Beautiful: The Carole King Musical (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 24th October 2017 by Damien Murray
★★★★
The major appeal of this extremely popular biographical musical is that its subject, Carole King, really is a cross-generational artist, performer, singer, songwriter … and her eventful – but not always successful or happy - life provided a human story that connects to many of its audience every bit as much as her commercial and popular songs.
As a jukebox musical, this show can’t fail to impress with a score composed of classic hit after classic hit from all periods of King’s phenomenal career as both a writer/co-writer and, eventually, as a performer.
While the bulk of the hits are from her younger days, this show is a particular crowd-pleaser for anyone born in the late 40s and early 60s, but – so commercial are the songs – it also manages to successfully cross the generations to engage even with the youth of today who may be hearing them for the first time.
However, there is a bit more depth to this musical than just the songs, as King’s story is that of a young and ambitious teenage girl, who never set out to be a singer and who was as surprised as everyone else by her own success.
According to music impresario, Donnie Kirshner – perfectly played by Adam Howden as a no-nonsense boss who knew the business and who demanded results– the key to her success as a writer was that she was a teen who wrote songs for teens and she was a girl who wrote songs for girls… and it was teen girls who were buying most records at that time.
Like a typical Brooklyn teen with no fear, King – played so well by understudy, Leigh Lothian, in the absence of Bronté Barbé (due to a family bereavement) – jumped head first into the competitive music game as a staff writer for Kirshner’s songwriting business, 1650 Broadway, where she met her perfect husband and co-writer, Gerry Goffin, plus life-long friends and fellow song-writing team, Cynthia Weil and Barry Mann, with each providing friendly rivalry measured in ‘hit’ scoring over one another. This, of course, was a great excuse to also feature many of this duo’s hit successes, too, including You’ve Lost That Loving Feeling, Walking In The Rain and We’ve Gotta Get Out Of This Place.
In the lead role, Leigh Lothian, captured all of King’s emotions, moods, weaknesses and strengths, from being an ambitious and fearless teen, to coping with a teenage pregnancy, an unfaithful husband, her husband’s nervous breakdown and the eventual breakdown of her marriage, displaying strength, patience, forgiveness and loss of confidence before re-inventing herself as one of the world’s most successful female singers.
Kane Oliver Parry, as Gerry Goffin, didn’t quite convince me that he was so troubled by his domestic and work pressures that they drove him into the arms of other women, but he displayed the kind of charm that the character must have had to keep King by his side for so long after his first affair and to be able to initiate so many affairs in the first place. I loved the chemistry between Amy Ellen Richardson’s pushy, confident and patient Cynthia Weil and Matthew Gonsalves’ Barry Mann; the impatient and always ailing hypochondriac.
This was a well-dressed production with authentic fashions of the day stretching right down to the girls sporting ‘Alice Bands’ on their heads, while the well-used, dual-level set helped to keep the pace fast with slick and quick scene changes.
The performance of the actual songs throws up some interesting observations – firstly, some are just parts of songs, and, due to the nature of the story about songwriters (as opposed to performers), some are raw or early rough examples of the finished and more polished hits that we have grown up to love.
So, although you will enjoy the story, don't expect to hear the songs as you would know them from the records as they are often performed ‘in context’ and do not always sound like the hits – I feel if you are pre-warned about this, then you won't be disappointed!
However, one small criticism/observation about this show was the overly exaggerated choreographic moves that could best be described as ‘dodgy dancing’ by ‘the Drifters’ These were greeted with laughter leaving me confused as to whether this was a comical send-up of the ‘dancing’ of the male vocal groups of the era or simply questionable choreography that didn’t get the desired result.
It was genius to stage a bio musical of this chart-topping music legend who penned material for the likes of Aretha Franklin, The Monkees, The Drifters and The Shirelles as this totally hit-filled show features many of those songs, including Take Good Care Of My Baby, You’ve Got A Friend, So Far Away, It Might As Well Rain Until September, Up On The Roof and The Locomotion with ‘character’ performances by The Drifters, The Shirelles, Little Eva, The Righteous Brothers and even a Neil Sedaka cameo appearance.
It is true, Carole King wrote songs that girls, and women, can relate to and the final two in this show – (You Make Me Feel Like) A Natural Woman and Beautiful – proved to be popular and inspirational anthems for the mostly female audience.
Beautiful: The Carole King Musical runs at the Grand Opera House until October 28th before continuing its tour.
Million Dollar Quartet (UK Tour), Edinburgh Playhouse | Review
Million Dollar Quartet (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 24th October 2017 by Liv Ancell
★★★
Memorialising the famous jam session of 1956, where fate brought together legends Elvis Presley, Johnny Cash, Carl Perkins and newcomer Jerry Lee Lewis, Million Dollar Quartet is an energetic show which rattles through instantly recognisable hits from the golden age of rock n’roll at a lightning-fast rate.
Martin Kemp plays the ‘ringmaster’ of the show, Southern music mogul Sam Phillips. The man who brought them all together under his grass-roots label Sun Records, he also provides commentary as to the back stories of the four stars, frequently breaking the fourth wall and treating the audience like an old friend.
This is a fast-paced show with little time for dialogue; the first half is a mere 40 minutes of back-to-back tunes, with little time for talking. During this time, the characters share a little camaraderie, but the focus is on the hits. The spectacular array of voices as well as world class musicians in the tiny recording studio set turns the theatre show into a veritable live rock concert.
The leg-shaking, foot-tapping firecracker, Jerry Lee Lewis, is portrayed with limitless vitality by Martin Kaye - a role he has been playing since 2013, but astonishingly, not a single iota of his energetic and charismatic presence has waned in this time. He really stole the show and was an audience favourite - his cheeky and youthful, unpolished and unfiltered personality was both refreshing and infectious.
The other actors had clearly studied the iconic voices of their roles in great depth, with Robbie Durham (Cash), Matthew Wycliffe (Perkins) and Rhys Whitfield (Presley) all achieving near-perfect matches of their famous characters, even mimicking their stage presence and movements. Katie Ray played a supporting role of Dyanne, but when she did take to the microphone, the versatility and depth of her voice shone through. My only criticism of Katie Ray would be that her accent strayed from American to English at times, which was a little confusing.
The pace slows in the second half, as the session slowly winds down and reality sets in. It becomes clear that the session that we have witnessed was a remarkable and fleeting moment in history, where these four stars came together under one roof, united by the music they loved.
The ending was extremely ambiguous; for the last half an hour, it wasn’t clear quite when the show was going to end. The story ended, and the characters bowed. This was immediately followed by an impromptu seeming concert, allowing each of the 4 a solo to really showcase their talents, which whipped the audience into a frenzy. During this time, the lighting effects were amped up with extra rigging lowered, as we were no longer witnessing a performance in the confines of the recording studio.
In terms of staging and lighting throughout, it was relatively low key, with no transitions in staging. The singular static setting meant that a small recording studio was recreated on stage, which was a small place for such a big sound. This reinforced however how small-town Phillips’ recording studio really was though, making this encounter all the more unbelievable.
Overall, the talents in this show were incredible - particularly Martin Kaye’s performance in which playing complex scores on the piano while jumping around animatedly somehow seemed effortless. More dialogue and more of a back story would have perhaps given the show a little more depth and narrative however, but if you simply want to see a performance which showcases these artists or this style of music, Million Dollar Quartet is guaranteed to rock your socks off!
Saturday 21 October 2017
Kristin Chenoweth, London Palladium | Review
Kristin Chenoweth (Concert)
London Palladium
★★★★★
When this post goes live it will officially be my 21st birthday which is crazy, but what’s even crazier is how incredible my birthday eve was. I spent the night at the London Palladium seeing the amazing, pint-sized superstar Kristin Chenoweth in concert. Before I continue on this review I must say that it’ll be pretty different to my usual ones as it’s going to be way more informal and personal, purely because I’ve had such a long history with Kristin so it was a pretty momentous night and I’m finding it hard to put into cohesive words.
So let’s start with the history... like many UK Kristin fans, I saw Wicked when it opened back in 2006, subsequently listened to the Broadway recording and fell in love with the cast. I then entered an obsessive phase where I watched all Kristin videos, listened to every song she'd ever sung, read every interview she'd done and was generally that annoying fan that could talk about nothing else. Since then I have become less over the top with my obsession but my love for Kristin has definitely not diminished and I was dying with excitement when I knew I was finally going to see her live.
The concert was marketed as an "Intimate Evening" with Kristin which I was dubious about seeing as it was taking place in the vast London Palladium; and whilst the venue certainly isn't intimate in any way, shape or form, Kristin somehow managed to pull me in and make me feel as if I was watching her sing in her living room.
Whilst I could go in depth about each song, there isn't really much point as I'll just be praising every one to no end, so what I will say is that each piece was vocally beautiful and Kristin gave honest, heartfelt performances from start to end. Of course she sang a number of her most famous songs including 'Popular' and 'Taylor The Latte Boy' (my grade 8 musical theatre piece!) but she also sang some lesser known tracks such as 'Upon This Rock' and 'I Was Here'. A particularly stunning moment was Kristin's rendition of the Les Miserables classic: 'Bring Him Home'- I was in floods of tears... as I was for the entire concert! We were also treated to a spine tingling duet of 'For Good' with one of my favourite performers ever: Rachel Tucker... truly epic!
I must be honest and admit that I was a little wary about watching Kirstin perform. Obviously I am a huge fan but I was worried that seeing such a big idol of mine live would be a bit of a let down. Well I couldn't have been more wrong. This was honestly the best concert I have ever experienced and I have never had such a strong emotional reaction to seeing someone live. Sure I cry at emotional parts of shows but this was another level, my mum and I were blubbering messes throughout... especially when Kristin finished the show with a NO MIC rendition of 'Smile'... tears upon tears!
I just want to touch upon my personal connection to Kristin so you can really understand how much this concert meant to me. Firstly, as a Classical singer in training, Kristin is just everything I aspire to be. Her stage presence and vocal technique are things I can only dream of mastering on her level and her unapologetic performances inspire me to no end. I don't want to go too in depth with the second reason but several years ago I had a series of extended hospital stays and 20 operations on my knee (ouch, right?) due to an illness and during that time I remember reading Kristin's book 'A Little Bit Wicked' and being motivated and positive to get better. It wasn't something I had thought about until watching her perform but Kristin's influence on my life has truly been vast and way more involved than I'm going to explain but basically this was a magical and emotional night.
I'm still struggling to really put into words what made this concert so special but it was truly the most incredible theatrical experience I've ever had. Kristin is a master of her craft as well as a hilarious woman who completely commands the stage. Her outfits were the glitziest things I've ever seen but honestly, she could've worn a paper bag and I still would have been blown away. I couldn't have asked for a better entrance to being 21 and I will continue to strive to reach the levels Kristin is continually climbing. I pray to all the theatre gods that we can get Ms Chenoweth over on our turf for a bit. But in the mean time I will continue to relish in the delight and emotion that this devastatingly brilliant concert provided and I hope to one day meet Kristin and tell her in person how amazing I think she is!
Watch my vlog of the concert: https://youtu.be/5-Bsh6_UKJk
Watch my vlog of the concert: https://youtu.be/5-Bsh6_UKJk
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