Posts with the label musical
Showing posts with label musical. Show all posts
Showing posts with label musical. Show all posts
Friday 22 June 2018
Daisy Pulls It Off, Charing Cross Theatre | Review
Daisy Pulls It Off
Charing Cross Theatre
Reviewed on Thursday 21st June 2018 by Shaun Dicks
★★★
With the name of Guildford School of Acting comes a vast and storied reputation. When you come across a show with GSA’s name on it, you go in with certain expectations. Their current venture is Daisy Pulls It Off, presented by it’s Actor Muso students at the Charing Cross Theatre. The show presents a story within a story based in an early 20th century private girls school where they admit their first elementary school scholarship student, Daisy. It follows her trials as she tries to integrate into a world that is far removed from her own.
The musicianship displayed on the stage is truly extraordinary, the combination of various instruments and the orchestrations by Niall Bailey was brilliant. Another top aspect of the show is the students faces. Their facial acting was so on the mark, stand outs being Katy Ellis as Trixie Martin and Gemma Evans as Monica Smithers, they stole the show for me. I also want to give a shout out to the staging/movement by Phyllida Crowley-Smith, it was all so stylised and of an era that was so pitch perfect for the piece.
The material that the students were given was nothing special but decent enough - the best moment being the Hockey Final sequence – some bits felt well-rehearsed, whereas others felt under rehearsed. There were stumbles with lines and a few technical issues. One thing that stayed with me as I watched the show was that it’s nice light entertainment, but it wasn’t anything new or special. It didn’t make me feel anything. It wasn’t quite the quality of top shows in the West End that this show is neighbouring during it’s run.
The show isn’t bad, but it also isn’t great, just somewhere in the middle. There are some wonderful moments to be proud of, but the show is inconsistent. It’s worth a watch if you want a little light entertainment on a summers evening but I wouldn’t say it should be your first choice.
Daisy Pulls If Off runs at the Charing Cross Theatre until 30th June
photo credit: Robert Workman
Thursday 21 June 2018
Kiss Me, Kate, London Coliseum | Review
Kiss Me, Kate
London Coliseum
Reviewed on Wednesday 20th June 2018 by Olivia Mitchell
★★★
Kiss Me Kate is Cole Porter's 1949 musical play in two acts which interweaves a production of The Taming of the Shrew with a number of dramatic backstage battles. After touring for a while, Opera North's production has slipped into the London Coliseum for a short run which showcases it's glorious score and stellar cast.
The book is certainly at the core of this show. We see the actors putting on a revised musical version of the Taming of the Shrew in addition to focussing on the battle between actors and ex-partners, Fred Graham and Lilli Vanessi who can't seem to budge one another. At times, especially in Act 2, the show does drag; at three hours long you certainly need to grab a coffee beforehand but there's also enough variation to keep you somewhat on your toes.
The plot is helped along by the smooth set transitions that come from Colin Richmond's minimalistic backdrop featuring painted drops and revolving slides. These cleverly transport us from on stage, to backstage, but the whole production does feel a bit small for the vast space of the Coliseum. Much of the front stage is not used which makes the show feel distanced and somewhat unwelcoming as things get lost whilst being performed at the rear of the stage. Richmond's costumes are beautiful and bring an almost modern twist to the show whilst maintaining it's traditional Shakespearean roots.
The classic orchestrations are played in all their original glory which is truly magnificent to hear. From the jazzy Too Darn Hot to Olde English melodies, the orchestra of Opera North, led by David Greed do an outstanding job of making everything buoyant and virtuosic.
You couldn't ask for a better cast to perform this monstrous show; drawn from both the opera world and the musical theatre world, they combine to create some magical moments. Baritone Quirijn De Lang and soprano Stephanie Corley are musically outstanding as Fred and Lilli. Two fiery characters, they give boisterous performances which bite and claw, with a loving undertone throughout. Corley's I Hate Men is a true powerhouse moment.
Zoë Rainey sings as if her life depends on it and completely steals the show in act two with her vast rendition of Always True To You In My Fashion. The multiple repetitions in this song and others do become somewhat draining but Rainey's performance is worth the ticket price alone as she performs with energy and vocal brilliance.
Act two provides spellbinding moment after spellbinding moment with Alan Burkitt's tap number completely dancing everyone off the stage. He gives a magnetic, faultless performance which could be watched over and over.
A the two gunmen, John Savournin and Joseph Shovelton steal the scenes they're a part of and give humourous performances throughout.
The ensemble do a wonderful job of bulking out the show but at times do feel underdeveloped, especially in terms of choreography. There could have been some really powerful group choreographic moments but unfortunately these were left out.
Kiss Me Kate has comedy, innuendos, a beautiful score and a stellar cast. It's a long show that could definitely be chopped here and there but there's no denying that it's a marvellous piece of theatre. Despite some issues, the gems of performances that are spotted around do make it a Wunderbar production.
Kiss Me Kate runs until June 30th at the London Coliseum
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Tristram Kenton
Tuesday 19 June 2018
Legally Blonde (UK Tour), New Wimbledon Theatre | Review
Legally Blonde (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 18th June 2018 by Olivia Rose Dowden
★★★
Based on the 2001 teen movie, Legally Blonde tells the story of Elle Woods, who follows her high school sweetheart all the way to Harvard Law School, finding herself along the way.
This UK touring production is led by the hugely energetic Lucie Jones as Elle Woods. Vocally, she was extremely secure and tackled Elle’s huge numbers with confidence and charisma. Her portrayal of the character was a lot more goofy than I’ve seen done before, which was refreshing and quirky. However, there were moments where Jones occasionally missed the mark with her comedic timing and some of the jokes were lost. There wasn’t as significant a transformation of character as I would have hoped; it was only really at the most serious point in the show during the song Legally Blonde, in which Elle decides to give up on Harvard and return home, that Jones began to show another layer to Elle. Despite this, she remained charming throughout and truly won over the audience, gaining a standing ovation at the end of the performance.
David Barrett was a very strong Emmett Forest, creating an endearing and likeable character. Unfortunately, as his key number Chip On My Shoulder was played so slowly by the band, the song struggled to build as much as it should. This is not something he should be personally scrutinised for, but it admittedly affected his performance. I felt the same was the case for Rita Simons’ number Ireland. Simons mastered the voice of the brassy Paulette but could have offered more in terms of character.
Act One, in particular, was paced very slowly. The songs of Legally Blonde are admittedly very “wordy”, but the slow speed at which they were played meant there was a distinct lack of energy that only really emerged in the final number of Act One with So Much Better. Act Two was much more secure, with the comedic numbers Whipped Into Shape and There! Right There! being definite crowd-pleasers. The cast also coped extremely well with one of the dogs who was rather reluctant to stay in character, ad-libbing in order to keep the piece moving.
The production is nearing the end of its tour and I hate to say it but unfortunately it shows. Some half-hearted American accents and very mechanical blocking meant the production just didn’t have that spark that makes this show so special. I also felt the addition of a Legally Blonde megamix after the bows undermined the genuine message the piece portrays at the end.
Nevertheless, after watching a show with so much wit and charm, portrayed by committed and skilled performers, it’s difficult to leave without a slight smile on your face. I want to emphasise that the cast themselves were very strong, with impressive dance numbers and secure vocals. Those seeing the show for the first time will most likely have an enjoyable evening due to the warm-hearted nature of the piece. However, the many patchy moments made me feel as if the piece had lost some of its soul somewhere along the tour.
Legally Blonde runs at the New Wimbledon Theatre until 23rd June
It's Only Life, Union Theatre | Review
It's Only Life
Union Theatre
Reviewed on Saturday 16th June 2018 by Olivia Mitchell
★★★★
American lyricist and composer John Bucchino isn't very well known in the UK but this sweet revue certainly makes me want me to delve into his backlog and discover his other gems.
John Bucchino and Daisy Prince's musical, It's Only Life features songs which wittily face the struggles of modern life, especially in terms of romance. Although the songs link together somewhat, they are more individual pieces which come together to form a narrative of people as a whole, rather than separate stories. The song cycle therefore feels universal and there's certainly an emotion, lyric or feeling for everyone to relate to.
The five person strong cast are vocally wonderful, working well both individually and when they join for glorious ensemble moments. Jordan Shaw gives vocal perfection throughout, especially with his smooth rendition of If I Ever Say I'm Over You which is a definite stand out. Recent graduates, Will Carey and Sammy Graham show off their vocals as well as comedic timing. Will's cheeky performance of On My Bedside Table is brilliant and Sammy's diction and technique are faultless from start to end. Jennifer Harding feels right at home with the music and gives a very truthful performance. Noel Sullivan shows off his strong belt whilst retaining a vulnerability and sweetness, something which is in fact embodied by the entire cast who always keep the heart of the story at the centre rather than trying to out-sing one another.
Justin Williams' set design is intriguing from the first time we lay eyes on it. A simple white background is cleverly highlighted with pastel pinks, oranges, greens and blues which allows us to move from location to location without any flashiness or clumsiness. The props that are used are used well and again, don't detract from the core of the show- the songs. Tania Azevedo has done a wonderful job of bringing the stories to life with simplicity.
It's Only Life represents both the diversity of Britain as well as the ways we're all connected. With great vocals, memorably moving songs and a fantastic cast, there's no reason not to love this show. This is an intimate piece of theatre which flows with an intensity that keeps you invested throughout.
It's Only Life runs at the Union Theatre until 7th July
photo credit: Pamela Raith
Sunday 17 June 2018
Get West End Ready With... Emily Benjamin | Bat Out Of Hell | Stagey Sunday
Welcome back to Stagey Sunday! This week is very exciting as we get to see star of Bat Out of Hell, Emily Benjamin as she transforms into her character Mordema.
Mordema is a rugged member of The Lost, known for clawing her way around and just being generally cool and rugged. Emily talks us through her amazing makeup for the character and why she decided to make it the way it is.
We'll let the video speak for itself! If you fancy creating a Mordema look, be sure to tweet it to @RewriteThisWeb with the hashtag #StageySundayBOOH and you could win a special Bat prize!
All the products Emily uses:
Foundation
-Maybelline Eraser Eye
-NYX Total Control Drop Foundation
Powder
-Benefit 'Hello Flawless' Matte Powder
-Kryolan Setting Powder
Blusher
-Bourjois Paris Number 33
-HEMA Blush Stick (for Mordema's scar)
Bronzer
-NYX Matte Bronzer
Eyes
-MAC Passionate Eyeshadow
-MAC Carbon Eyeshadow
-NYX STFU Eyeshadow
-Kat Von D Tattoo Liner
-Bourjois Volume Reveal Mascara
Lipstick
-NYX Liquid Suede Matte 'Cherry Skies' (for The Lost symbol)
-NYX Liquid Suede Matte 'Alien'
See you next Sunday for an exclusive feature on the choreography and costumes in the show!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Post by Editor, Olivia Mitchell
Sunday 10 June 2018
In Conversation with... Andrew Polec and Christina Bennington | Bat Out of Hell | Interview | Stagey Sunday
Hi! Welcome back to Stagey Sunday, where we are focussing on Bat Out of Hell for the entire month of June. This week we have an exclusive interview with Andrew Polec and Christina Bennington about their lives whilst starring in Bat Out of Hell....
For anyone that hasn't seen the show, can you explain a little about the story line and how your characters fit into it?
Andrew: I play Strat, he is the leader of this Lost gang who are all 18 and never age. We're set in this post-apocalyptic world; the island of Manhattan, due to some cataclysmic event has broken off from the rest of the country and floated out to sea. On this island there's a dictator named Falco who Strat is rebelling against and doing his best to liberate the people of Obsidian, give them equality, make them all feel special and give them value in their lives. As he is rebelling against Falco and this violent revolution, he suddenly realises that Falco has a beautiful daughter who's name is Raven...
Christina: We find Raven on the eve of her 18th birthday. She has been watching Strat and the gang of The Lost for basically as long as she can remember. They have all the freedom and liberation that she's always wanted so she eventually manages to escape and meet Strat. From there it's all about love for the two.
Andrew, you were involved in the show from the workshop stage, so what was that like and how was it for you Christina, joining a little later. Did you both know how big the show would end up?
C: Absolutely not! I did I guess an average audition process, I say average in that I got the call from my agent and I went to various rounds, but that was probably where the average ended. There were lots of very interesting movement workshops that we did, I got paired with different people to read the Strat and Raven scenes. We also had stamina tests to see if we could sing the songs multiple days in a row. So I would come in and sing All Coming Back to Me Now, four of five times getting higher and higher and higher, and then come back the next day and do it all again to see if I could sustain it. I thought it was a fantastic challenge- great fun!
I don't think I ever thought it would be this big and I don't think I ever thought that it would be such a wonderful experience for me, personally and professionally, to grow in the way I perform. It's been really wonderful. It was great also, working with Andrew because he already had the job so wasn't part of the audition process. It was really interesting reading against all the potential alternate Strats but never reading with the actual Strat so it's serendipity that it's all worked out so well.
Do you have any pre-show rituals?
A: I have two posters in my dressing room where I've put all the rock and roll idols that I think inspire the show; there's Jim Morrison, there's Chuck Barry, there's Jimi Hendrix, Meatloaf, Jim Steinman and Iggy Pop. I basically ask that they come and help us on this journey because the show takes a lot of energy, you've got a lot of bodies up there that are burning 10,000 calories a minute!
C: My pre-show ritual is also really rock and roll... I listen to the Harry Potter audiobooks everyday, every single day. From after warm up until just before the half to kind of calm my brain down. Cause it's something I'm so familiar with it kind of clears my head of everything that's an outside influence. Then once it hits the quarter I play different music everyday that I think Raven would listen to, so then it does become slightly more rock and roll! So from me to Raven really
Have you had any onstage mishaps?
C: Oh yeah!
A: Tonnes!
C: One the other day was really good. Andrew fell off the tower when he jumped down...
A: Cool, lets just talk about the one where I hurt myself!
C: No but it's brilliant because in this show a mishap often becomes something incredible because Jay (Scheib) has encouraged us to be really free and flexible. In rehearsals he often asked up to include falls on purpose to force ourselves to be really in the moment. If you see the show, you'll notice that I fall over on-purpose-accidentally a lot... it's a real trope for Raven.
A: I think probably the biggest mishap was our first preview ever in Manchester. I had it in my mind that I would run down to the bottom of the stage and bring Christina along with me and I just slipped and we just started flying towards the end of the stage. In Manchester there was just an 8 metre drop and I knew that if we fell we'd probably not have legs like we have now! Fortunately, Christina grabbed me by the scruff of my neck and kept me from falling.
C: So fans of Andrew Polec, you're welcome!
Bat Out of Hell is so full on, how do you relax and calm down after a show?
C: It is difficult to go to sleep afterwards because it's so exciting. At the end of the show every night there's a massive buzz from the audience, they're on their feet, screaming and you feel like a rockstar with everyone coming together to celebrate this amazing music. I guess I like to eat after the show, watch something good and try and chill out.
A: Yeah, food is nice!
You have a five minute break in rehearsals, what are you doing?
C: I don't wanna say eating again! We're probably chatting about something that's happened in rehearsals. We do tend to talk a lot about constantly looking for ways to do things differently and improve so you'll probably just catch us discussing.
A: Mostly we're walking up the stairs!!
What's your favourite part of each others track?
C: One of my favourite bits ever is after I leave Revved, I stand at the side, and I watch from the stage left wing and the screen of Hope Rock, Andrew and the main Lost gang singing the end of Revved. I think it's absolutely incredible and I love it. I think Andrew is a force of nature and I love watching it, it's so exciting and there's so much visceral energy. Raven doesn't ever see that Strat which I think is so wonderful because she sees a completely other side of him. So it's really interesting for me to see that force.
A: I really, really admire Raven's whole scene in her bedroom during Heaven Can Wait. If I have enough time after the interval preparations and can get down to the video screen then I watch the perspective of the camera as she sings the whole song and it's really cool. She blows it out of the water every night, she remarkable!
Are you like your characters at all?
C: I'd love to say yeah, I'm really cool like Raven but I guess I can be tempestuous sometimes like she can. The thing about Raven is that she's all about life or death, that first love that is absolutely everything. In that way I guess we share something that we both think love is probably the most important thing in life. But the intensity with which she feels it is more like 17 year old me than it is current me.
A: I guess Strat and I are both hopeful. I think what surprises people when they meet me is that I'm more soft spoken than Strat. Considering he just shouts on stage all night, I think when they meet me they're like "where's your high-octane energy?".
They're certainly characters and they continue to grow and develop everyday that we work on them. They're good friends to have around.
Other than yourselves, who would you like to see play your roles?
A: I think I'd love to Jim Morrison to play this part, I think that would be a lot of fun. Or someone like Elvis would be really fun.
C: Ellen Foley was involved in the first stages of the show playing the Wendy/Raven character so it'd be really cool to see what she would do with Raven as she is now.
A: You're absolutely right, I mean Jim Steinman hands down should be playing Strat- he's even on the t-shirt.
C: If it had to be someone from the cast I think one of the super swings should have a go. I'd pay good money to see someone like Jono play Raven!
Finally, can you tell me your best piece of advice for anyone wanting to get into performing?
C: I would say, be very sure of yourself and your strengths and weaknesses. Believe in yourself and your ability because no one else can do that bit for you.
A: Love what you do, no matter what you end up doing. As long as you take joy in your work then you've found the secret of life and you'll be happy.
C: and be nice!
Watch the full interview plus some fun games here:
Thank you Holly for organising all of this, Andrew and Christina for filming with us, Sophia for being camera woman extraordinaire and all the lovely staff at the Dominion Theatre.
Join us next week to see Emily Benjamin become her character, Mordema!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Interview by Editor, Olivia Mitchell
Interview by Editor, Olivia Mitchell
photo credit: Specular
Monday 4 June 2018
When The Curtain Falls (Book), Carrie Hope Fletcher | Review
When the Curtain Falls by Carrie Hope Fletcher
Published: 12th July 2018 by Little Brown Books
★★★★★
The latest edition in Carrie Hope Fletcher's book empire, When The Curtain Falls (the same title as her debut album) is all about theatre and romance, aka, my dream. The book follows two young lovers, Oscar Bright and Olive Green as they meet backstage whilst performing in a revival of a show in which tragedy struck 50 years earlier. Through a series of flashbacks and memories, we discover what happened to the original lovers, Fawn Burrows and Walter Brown, and whether tragedy is set to strike again. With heartache, tragedy, theatre and a little bit of magic, When The Curtain Falls is the perfect read to wrap you up and transport you to the glittering lights of the West End.
Carrie's writing is lyrical but easy to read. Reading her books feel as though you're listening to a friend talk; When The Curtain Falls especially, has a relaxed feel about it.
In a previous review of All That She Can See I wrote that Carrie's writing has a theatrical feel, this is obviously even more evident in this story which is all about the stage, performing and backstage antics. There are a whole host of stagey references which any avid theatre fan will love spotting. I especially loved the fact that the first musical Olive saw was Beauty and the Beast, which was my first too and that she lives in Turnham Green- West London represent!
The section at the start where Olive is talking about being in the 'theatre world' and the 'real world' is just one very interesting and relatable moment. When you go to shows a lot and are part of the theatre scene it feels like it's the only thing that exists and that everyone knows everyone, but once you go back to the 'real world' very few people have the same connections. It’s the same with theatre stars, at their theatre they are famous, signing autographs and standing for photos but once they turn the corner they blend into the crowd and normal people wouldn't bat an eyelid seeing them. This ramble has very little relevance to this review, other than saying that it's very clever how Carrie has worked tidbits of the musical theatre world into the story without making it overbearing or factual. The entire story flows with the ease of watching a really good show.
The romance between the lead couple is extremely sweet, if at times cringey. You can almost see the way the pair look at one another and at times it feels like we're invading a private moment whilst we read. The mirrors between the 1952 relationship and the current one are well written and interesting to see. All the characters are well developed and I couldn't help but wonder if anyone, especially Tamara, is based on anyone Carrie has come across in her career! With Moulin Rouge vibes, I can so see this story as a swooping romance film.
When The Curtain Falls is a theatre fans dream. With stagy references, a beautiful romance and some unexpected plot twists, there's not much more you could ask for in a book. This is certainly my favourite of Carrie's novels and I hope she continues to include theatre in her work. I also hope that the magic of this book will welcome new people to the theatre so they can experience whatbthe stars of the story do (perhaps with less drama though!)
It's clear how much passion and love Carrie has for the stage and it really comes across in her heartfelt writing. I urge you to pick up When The Curtain Falls and to escape into a beautiful world for a few hours.
Review by Editor, Olivia Mitchell
{AD PR Product- book gifted in exchange for honest review}
Friday 1 June 2018
Shrek (UK Tour), New Victoria Theatre | Review
Shrek (UK Tour)
New Victoria Theatre
Reviewed on Thursday 31st May 2018 by Olivia Mitchell
★★★★
Leaving the theatre after seeing Shrek, my nieces had beaming smiles on their faces and said "it was amaaaaaaaaazing", if that's not testament enough to the show then I don't know what is. This show is aimed at children, and they clearly love it.
If for some reason you've never heard of Shrek, it tells the story of an ogre whose swamp has been invaded by fairytale characters, banished there by leader of Duloc, Lord Farquaad. Shrek is sent on a mission to save a princess from a tower who is more than meets the eye.
Steffan Harri bursts onto the stage with energy and a brilliant portrayal of the iconic Scottish ogre. Steffan is a joy to watch; he genuinely seems to enjoy his time on stage as well as providing some beautiful singing, especially during Who I'd Be. There is a depth to Shrek which is lovely to see played out on stage and he emotively puts the message across that being yourself is the best way to live.
As Shrek's companion, Marcus Ayton is hilarious as Donkey. Marcus is close enough to the original portrayal by Eddie Murphy that the character from the film isn't lost, but unique enough to still keep the role surprising. Marcus has sass and facial expressions for days and is truly joyous to watch on stage. Plus his voice is killer!
Laura Main is energetic and eccentric in her portrayal of Princess Fiona. She puts a smile of your face whilst providing a humourous, vocally strong performance. Her chemistry with Steffan is also great and the pair bounce off one another well, especially during I Think I Got You Beat.
Samuel J Holmes is certainly the stand out of the show as Lord Farquaad. His quick humour and stage presence are outstanding. I'm sure everyone mentions how bruised his knees must be, but it's seriously impressive that he moves with such agility every night. Samuel knows how to work both the audience and his cast mates; particularly humourous last night was when he picked up a dropped cloth mid monologue and asked his guard to take it back to costume. This not only had the audience in stitches but also had his cast mates evidently hiding laughter.
All the iconic fairytale characters also appear in the show, with Jemma Revell as Gingy and the Sugar Plum Fairy stealing her scenes with her insanely good vocals. Equally as brilliant is Lucinda Shaw who plays the Dragon and the Fairy Godmother. Her voice is off the charts good and I can't wait to see what other roles she tackles in the future as she's surely destined for stardom.
This production is smooth and exciting, with great lighting and sparkle to make it a magical show for children and adults alike. One thing which fell flat personally, was I Know It's Today. As someone who's never seen the show before, I was only aware of this song, performed so brilliantly by Sutton Foster. In previous productions it's staged with a young Princess Fiona, a teenage Fiona and the current adult Fiona but in this production the two youths are replaced by puppets. This is most likely due to costs which is understandable but it was a little too cheesy for me.
This is a great family show that fans of the film series will love. Solid performances all round, clever songs and a whole load of musical theatre references thrown in, Shrek is certain to thrill anyone who sees it.
Shrek runs at the New Victoria Theatre until June 10th, before continuing it's tour.
photo credit: Helen Maybanks
Thursday 31 May 2018
9 to 5 The Musical (Oxford Operatic Society), New Theatre Oxford | Review
9 to 5 The Musical (Oxford Operatic Society)
New Theatre Oxford
Reviewed on Tuesday 29th May 2018 by Emma Gradwell
★★★
Based on the 1980 film of the same name, 9 to 5 The Musical is set in the late seventies in the Offices of Consolidated Industries. It takes us back to a time of telephones with dials, electric type writers, very big hair and some odious male predatory behaviour.
The story, which is not a very stretching narrative, centres around three female employees all of whom have their own personal problems. Long term employee and single parent Violet (played by Frankie Alexandra) has been passed up for a deserving promotion by sleazy CEO Franklin Hart Jr. (played by Dave Crewe) as he likes to keep his management team strictly a boy’s club. Shapely and kind hearted Doralee (played by Saffi Needham) discovers that her office unpopularity is down to unfounded rumours from Mr. Hart that they have been having an affair. It is Judy’s (played by Nicola Blake) first time employment having been financially reliant on her now absent husband.
The trio come together and find a mutual loathing of how they are being treated by Mr. Hart and they carry out their revenge.
The three leads all carry out their roles with finesse. Frankie Alexandra’s Violet is confident and her relationship with junior accountant Joe (played by Guy Grinsley) is very sweet. This is certainly one of the nicest dynamics in this production and their rendition of Let Love Grow was beautifully executed. Nicola Blake as Judy was truly the mouse who roared and her performance of Get Out and Stay Out was moving as she transitioned from the put upon victim to the ruler of her own destiny. Saffi Needham as Doralee was every bit as bubbly and buxom as Dolly herself and is a fine performer.
Dave Crewe as Franklin Hart was not as powerful or seedy as he needed to be and his performance was outshone by the three leading ladies. A notable mention must go to Nicola Jones as Roz, the delusional and smitten assistant of Mr. Hart whose version of Heart to Hart was comedic and well executed.
At times it felt as if there were way too many people on the stage and at times they were noticeably out of synch with one another during the big dance numbers. At other times it was seamless and impressive. Some of the set changes were evidently clumsy.
With music and Lyrics by Dolly Parton there is not much to complain about with the musical score. The songs have a strong country pop feel as you would expect and move the story along well. The orchestra were fantastic.
The atmosphere of the show created by the nasty and sexist antics that were tolerated to a point back in the 70’s/80’s did leave an unpleasant taste. Although the well-meaning message of female empowerment was evident, in a time of the #METOO campaign I was uncomfortable with some of the humour that carried it.
Oxford Operatic Society (OXOPS) have an excellent reputation as one of Oxford’s best non-professional companies and they put on a great show.
9 to 5 The Musical is at the New Theatre Oxford until June 2nd
Wednesday 30 May 2018
The Rink, Southwark Playhouse | Review
The Rink
Southwark Playhouse
Reviewed on Tuesday 29th May 2018 by Olivia Mitchell
★★★★★
The Rink at the Southwark Playhouse is theatrical brilliance, made even greater by a spectacular cast, including Caroline O'Connor who understudied Diane Langton as Angel in the 1988 London production of the show. With a book by Terrence McNally and music and lyrics by Kander and Ebb, the show focusses on Anna, the owner of a roller skating rink on a fading seaside boardwalk, who has decided to sell it and move on. This goes smoothly until her prodigal daughter, Angel, returns on a mission to reconnect with her past. Through a series of beautiful songs and flashbacks, the pair try to deal with their past resentments and move on with their lives.
Adam Lenson's production is subtlety and sparkle perfectly combined, with the complexity and fragility of the mother-daughter relationship the firm focus. The small Southwark Playhouse is masterly transformed into the cast off roller-rink with Bec Chippendale's minimalistic set providing a back drop which will work equally as well on a bigger stage when this show hopefully takes it's place in the West End.
As well as the story, the cast are the core of this show. The leads are meaty roles so it's great that we have two brilliantly talented women heading the show. The extensive ovation after Caroline O'Connor's first solo, Chief Cook and Bottle Washer, proved that she is the embodiment of star power. Caroline is raw, ugly, homourous and emotive, all combined to create a masterclass in musical theatre and a performance which leaves you wanting more and more. With equal measures of ferocity and warmth, it's Caroline who steals this show and makes it as special as it is.
Despite a few brief moments of vocal/accent faults, Gemma Sutton gives a stellar performance as daughter Angel and matches O'Connor in oomph and vigour. The pair are extremely well cast; pulling off the mother daughter relationship extremely realistically whilst supplying laugh out loud joy, as well as tear in your eye sentimentality.
Fabian Aloise's choreography is again simplistic perfection. Tap dancing on roller skates- what more could you want? The tight cast do an exceptional job of using the space without making it feel cramped. Each member is outstanding but mention must go to Stewart Clarke as Dino who suitably transitions from loved up to angry at the world; Ben Redfern who is sweet as Lenny but shines in What Happened To The Old Days? and Jason Winter who dances with such power and precision that you can't help but be drawn to him.
For a technically brilliant show with performances that will leave you wanting to return to the Coloured Lights again and again, go see The Rink. This is musical theatre at it's best- lets just hope that the rink keeps rolling in London.
The Rink runs at the Southwark Playhouse until 23rd June
photo credit: Darren Bell
Tuesday 29 May 2018
A Little Princess, Southbank Centre | Review
A Little Princess
Southbank Centre
Reviewed on Monday 28th May 2018 by Olivia Mitchell
★★★
After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa's lesser-known show A Little Princess was brought to the west end for it's UK Premiere at the Southbank Centre. Telling the story of Sara Crewe, a girl sent from Africa to a boarding school in London where she meets mean girls and a strict headmistress, this is a sweet story, with melodically beautiful songs and a heartwarming moral.
As Miss Minchin, the headmistress who's a melange of Miss Trunchbull, Mrs Lovett, Mdme. Thenadier and others, Amanda Abbington was good. In her musical theatre debut she did well to convey the tiredness of the character but lacked menace. Vocally she was a little lacking and tended to speak-sing but still gave a pretty solid performance and I look forward to seeing her tackle future theatrical roles.
Danny Mac was dashing as ever as Captain Crewe, with wonderful vocals alongside a sweet connection with the children of the cast. The pacing of the show itself is funny and means that all the characters are a little under-developed. We got to see a lot of Captain Crewe at the start but as the show went on (especially in Act 2) everything felt rushed. With some rewrites this could be a lovely show and it would be great to see Danny having a bit more time to shine. Mention must go to his stellar performance in the pattersong-esque, Timbuktu.
Equally deserving of more time to shine was the stunning Rebecca Trehearn who always manages to steal her scenes. As Miss Amelia, the ditsy sister of Miss Minchin, Rebecca gave a wonderfully humourous performance and shone in her solo, Once Upon a Time.
Alexia Khadime and Adam J Bernard as Aljana and Pasko gave vocally stunning performances despite being a little overpowered by the orchestra at times.
This was the first production which had actual children playing the children and it was them who stole the show. All the young cast did a great job of owning their roles, with Jasmine Nituan giving a heartfelt, funny performance as Sara's best friend and maid, Becky.
Jasmine Sakyiama is truly a star in the making. Her performance as Sara Crewe was 100 miles a minute from the start with her vocals and emotive facial expressions never failing. Of all the children, Jasmine also had the strongest diction which made her stand out even further. Keep an eye on this girl because she's going to go far!
Nic Farman's lighting added a mystical, magical vibe to the story which was lovely and took the show from a simple concert to an emotive production.
Despite enjoying this production, it does need some edits. I'm no one to say what these edits should be, but Act 2 felt extremely rushed and there were a number of moments that felt unnecessary/over-extended. However, the cast were great and I hope this isn't the last we see of this sweet show in the UK.
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