Posts with the label stagey
Showing posts with label stagey. Show all posts
Showing posts with label stagey. Show all posts

Thursday 20 June 2019

The Light in the Piazza, Royal Festival Hall | Review


The Light in the Piazza
Royal Festival Hall, Southbank Centre 
Reviewed on Wednesday 19th June 2019 by Olivia Mitchell 
★★★★★

The Light in the Piazza is a contemporary musical which invokes all the feelings of the golden age and is a sumptuous treat for the eyes and ears. The marvellously swooping score by Adam Guettel whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.

Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.

As Clara, Dove Cameron is a marvel. A perfect combination of charm, innocence, an unruly heart and a headstrong mind, she lights up the stage every second she's on it (which is most of the show). Equally, the more intensely dramatic moments of the musical are performed with a candor and aggression which strikes and moves the audience. Cameron is a true star with vocals to match her captivating performance.


Rob Houchen has a way of surprising audiences with each role he takes on. This time it's the Italian leading man, Fabrizio, who is swoon-worthy, humourous and charismatic. As always Rob's acting performance is strong, with the comedic moments especially landing well; but it's Houchen's vocal performance which solidifies him as the dream casting choice for this role. The swooping vocals seem to pour out of thin air as Rob captures every moment with ease and control. Alongside Cameron, the pair create a chemistry which fizzles around the Festival Hall and creates a fuzzy feeling from start to end. 

Taking the role of the protective mother, Renée Fleming soars. Her deep operatic voice fills the festival hall but still manages to capture the intimate vulnerability she feels throughout. Mention must go to Mick Potter who has designed the sound of this show excellently. With the mix of operatic and musical theatre performers, there is always a risk of one overpowering the other, especially with opera performers usually being unmiced but this is not the case at all and the two styles meld and compliment each other fantastically.

Celinde Schoenmaker oozes sass as she struts across the stage in a smooth two piece and provides some of the musicals conflict during her marvellously performed The Joy You Feel. Liam Tamne is light relief as her husband Guiseppe Naccarelli. Alex Jennings also gives a memorably suave performance as patriarch Signor Naccarelli.


Brigette Reiffenstuel's 'frocks' are completely divine and indulgent, with floating fabrics and tailored Italian suits covering the stage. Backed by Robert Jones' simplistic but intuitive set, Dove Cameron seems almost doll like as she twirls around Italy in her magnificent pastel coloured clothing.

Sure, the story is lacking, but this is a show about love and you can't help but feel overcome by warmth as you watch it all play out. There are many a predictable moment, but thanks to Daniel Evans' direction, they're all carried out so well that they feel fresh and unexpected, regardless.

The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019

photo credit: Tristram Kenton

The Light in the Piazza, Royal Festival Hall | Review

Thursday 20 June 2019

Wednesday 12 June 2019

Afterglow, Southwark Playhouse | Review


Afterglow
Southwark Playhouse
Reviewed on Tuesday 11th June 2019 by Shaun Dicks
★★★★


“There are no fairy tales about polyamory.”

Afterglow is ‘The little play that could’. After its impressive off Broadway run of 14 months and 467 performances, it has made its way across the pond to the Southwark Playhouse, a theatre synonymous with fantastic shows.

In this story we follow three men, the married couple of Josh and Alex, played by Sean Hart and Danny Mahoney, and the complication to Josh and Alex’s marriage, Darius who is played by Jesse Fox. The story follows these three men as the ins and outs and potential complications of polyamory play out. It explores the ideas of commitment, love and the malleability of relationships.

The script written by S. Asher Gelman is a good one, the dialogue is clean, interesting and has brilliant jokes but also has some very honest and real lines in there. The monologues of Darius are just fantastic, and Jesse Fox does well with them; delivering some hard truths excellently. Danny Mahoney as Alex does a good job being the anchor of the show, giving his co-stars a chance to be a bit freer on stage.

The star of the show though is Sean Hart as Josh. Josh is a well fleshed out character, that has obviously been thought through and is fully realised. Hart’s character work makes his co-stars characters look a little non-descript at points.




The direction from Tom O’Brien is ok, the one thing that hampers this show is the scene transitions, they are just so long, it sucks the energy out of the show. The transitions are so long, you could go out, get a drink and get back before the next scene starts. 

David Howe's lighting is great, doing well to elevate the piece higher by being creative in his design. The set design by Libby Todd is fine, but their design is half the problem with the very long scene transitions.

Afterglow isn’t your typical fairy tale but in this pride season, it does give a fair, true and honest representation of polyamory and the gay community as a whole; giving life to a story that needs to be told. It’s a show that does have flaws but that’s almost part of its charm.

It’s a highly recommended piece of viewing for all. Gay, Straight, Bisexual, Asexual, Pansexual. Cisgendered, Non-Binary, Transgender, Gender Queer. It is ultimately a show about people and how the heart wants what the heart wants.

photo credit: Darren Bell

Afterglow, Southwark Playhouse | Review

Wednesday 12 June 2019

Friday 24 May 2019

Amélie (UK Tour), New Wimbledon Theatre | Review


Amélie 
New Wimbledon Theatre
Reviewed on Thursday 23rd May 2019 by Olivia Mitchell 
★★★★

The cult French film Amélie has been on a long journey to get to the UK and it's finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully. 

Audrey Brisson plays Amélie the girl who grew up unloved but came to have a heart of gold as she sweetens the lives of others among the Paris streets. A host of characters surround her as bar staff, neighbours, customers and strangers. They also double as bohemian musicians, an element which really brings the show to life and adds to the floaty feeling of it all. 

Elliot Griggs' sepia toned lighting drenches the stage fantastically to create an intimate feeling. Madeleine Girling's set featuring a metro station, a photo booth and two worn pianos, doesn't change but rearranges to create the various atmospheres of the show. Amélie's bedroom is a lampshade lift up and perfectly sums up the sweet life she leads. When Amélie spot Nino (Danny Mac) at the train station, he soon becomes a focal point of romantic attention and the set almost seems to move around him at times. The combination of set, costumes, puppets and lighting all work together in a seamless fashion to bring the surreal imaginative aspects of the show to life.


Daniel Messé's music is fluent and catchy as we are transported around Paris, with Times Are Hard For Dreamers and Stay, providing the most memorable moments. Craig Lucas' book is somewhat wacky with gnomes and figs that come to life, but the fantastical element of it all is very enticing. Whilst there is a good flow to most of the show, it does feel just a tad too long, some splicing here and there would add shine to the gem it is. 

Audrey Brisson's beguiling interpretation of the lead character is truly what makes this show special. Her sublime voice and outstanding characterisation make her an ideal lead who enchants from start to finish. Danny Mac is suitably enigmatic and provides some swooping vocal moments. The ensemble throughout are masterful at what they do and this team production really does warm the heart.

This effective musical uses nuance, silence and soaring sound in equal measure as it tells a heart warming tale. For a sweet, whimsical night out, Amélie is certainly one to catch. Follow the blue arrows and check it out for yourself.

photo credit: Pamela Raith

Amélie (UK Tour), New Wimbledon Theatre | Review

Friday 24 May 2019

Wednesday 22 May 2019

Sunday Favourites: Marisha Wallace, The Other Palace | Review


Sunday Favourites: Marisha Wallace
The Other Palace 
Reviewed on Sunday 19th May 2019 by Olivia Mitchell 
★★★★

The Other Palace is playing host to a new series of intimate solo concerts, where the West End's finest get to perform their favourite songs in a laid back session called Sunday Favourites. Last Sunday Dreamgirls and Waitress superstar Marisha Wallace, took us on a soulful journey where she opened up about her life and showed off her golden pipes in a wonderful celebration of music. 

Featuring an eclectic selection including an Aretha Franklin medley, My Funny Valentine, Zero to Hero and How Deep is Your Love, Marisha provided something for everyone and vocal gem after  vocal gem.

As well as a fine solo repertoire, a number of guests also helped the proceedings. Nicole Raquel Dennis and Nathaniel Morrison brought some smooth, crazily tight backing vocals to a few songs, including a remixed version of Britney Spears' Lucky which was hauntingly brilliant. Jodie Steele also took to the stage for a lovely performance of the India Arie classic, Ready For Love; whilst Lucie Jones joined Marisha for a fiery rendition of Take Me or Leave Me. Both Jodie and Lucie complemented Marisha excellently and all three created a warm, natural environment that welcomed the audience in. It goes without saying that the vocals were super and it's great to know that all the performers are thriving on musical theatre stages where their talents can really shine. Competition winner Lashayah, also showed that the future of the West End is in very safe hands.


Despite having missed the concert version of The Colour Purple I was lucky enough to hear Marisha perform the powerful I'm Here at her 2017 Soul Holiday concert, and was absolutely thrilled to have another chance to hear her incredible rendition on Sunday. Marisha has a wonderful ability to word paint even the smallest of words to truly bring a piece of music to life. Her vocal skills are matched by her magnetic personality and witty rapport with the audience. 

Again, Marisha spoke candidly about her life, namely the ups and downs she has experienced throughout her career and more recently as she soared in Dreamgirls but struggled in her personal life. Hearing someone be so honest on stage is refreshing and works to unite the audience through common emotions.

It's evident from the new levels Marisha has consistently been reaching since she came to our side of the pond, that she's got a long career ahead of her and a loyal fanbase over here. It just goes to show that talent really is appreciated and alongside being a kind, genuine person, will get get you everywhere. Of course there are negatives and lows, but Marisha is proof that with perseverance, hard work and real skill, you can succeed.

photo credit: Danny Kaan

Sunday Favourites: Marisha Wallace, The Other Palace | Review

Wednesday 22 May 2019

Monday 20 May 2019

School of Rock, Gillian Lynne Theatre | Review


School of Rock
Gillian Lynne Theatre
Reviewed on Wednesday 15th May 2019 by Olivia Mitchell 
★★★

School of Rock is one of those cult films that are genuinely wonderful. Funny, sweet and a crowd pleaser, the 2003 Jack Black hit transfers well to stage and provides and entertaining night out for all ages.

The musical follows Dewey Finn (Craig Gallivan) a wannabe rockstar, who's been kicked out of his band and somewhat accidentally becomes a substitute teacher for a prestigious prep school. Struggling to teach anything, he soon realises he can connect with the children through music and opens their eyes to the one subject he's well versed in- Rock!

From here on in music making and mischief ensue with the children sneaking around behind their prim principle Rosalie Mullins (Laura Tebbutt) and covering their tracks from their parents as they attempt to win the Battle of the Bands contest. 

As Dewey, Craig Gallivan fantastically helms the somewhat formulaic musical; with an undeniable magnetism that does Jack Black proud whilst bringing his own spin on the larger than life rocker. Barely leaving the stage, Gallivan's portrayal is energetic and hugely memorable and he provides face-melting singing as well as a marvellously humourous performance. 

As cliched as the character is, Laura Tebbutt brings Mozart singing Rosalie Mullins to life in a delightfully charming and comic way. Her characterisation is very well developed and her vocal performance is a diamond moment in the show. Tebbutt's solo number Where Did the Rock Go? is a plaintive ballad performed with pipes of steel and a real oomph.


Though well performed, the prologue of the show before the children begin performing does feel over extended and it takes some time for the musical to really perk up. However, when the young actor-musicians take the stage, the Gillian Lynne theatre comes alive with unrivalled talents. Ensemble numbers School of Rock and Stick It to the Man are particular stand outs. 

The Horace Green students are a live in person advert for talent as they rock out on stage with the skill you'd expect of those much their senior. Will Tarpey is a complete stand out as the band's stylist Billy. Emoting every second and earning laughs from the audience left, right and centre he is a real superstar who knows how to own and work a stage. Amelie Green is witty as stuck-up Summer and Caspar Lloyd is wonderful as Lawrence. Nayan Gupta is completely fantastic when he showcases his superb musical talents as Freddy. Special mention must go to Jasper Bew who is out of this world as Zack, giving a performance to rival most adults and completely rocking the stage.

There are lulling moments in this production but it does manage to capture the heartwarming nature and humour that we all love from the film. As well as being a fun night out, School of Rock highlights the importance and power of music and is sure to bring a smile to your face and a tap to your toes.

Book tickets from School of Rock from www.londonboxoffice.co.uk

School of Rock, Gillian Lynne Theatre | Review

Monday 20 May 2019

Thursday 9 May 2019

Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox, Museum of Comedy | Review


Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox
Museum of Comedy 
Reviewed on Wednesday 8th May 2019 by Olivia Mitchell
★★★★★

Bat Out of Hell may have closed at the start of the year but that doesn't mean the love for the show and its cast has dwindled. In fact, the fans may be even more supportive now as they jump at each chance to keep the memories alive. Last night that was helped by Valkyrie and Blake themselves: Georgia Carling and Patrick Sullivan who put on a concert as part of Monsteers Artistry's new series. The pair took to the stage of the intimate Museum of Comedy to bring us a night of beautiful vocal entertainment as they sung us through some of their favourite songs.

Despite both having their starring moments in Bat, it was an enthralling treat to hear both performers really sing and show the audience just how talented they are. Their various song choices allowed us to hear cutesy, lilting moments alongside huge belt numbers, each and every one of which was performed with intensity and vocal prowess.

Patrick Sullivan's gloriously smooth tone is a true delight to hear as he skilfully masters huge songs including The Streets of Dublin (revive A Man of No Importance please) and Sam Smith's Lay Me Down. Patrick's natural charm leads the audience to feel welcomed and the space of the Museum of Comedy is perfect for a semi-informal concert.


Georgia Carling's infectious personality bursts out from the stage as she provides not only killer vocals but a magnetic stage presence which enchants the audience and has them in the palm of her hand. Georgia's rendition of The Story was completely magical and Before He Cheats brought a sassy side to the night's proceedings. Georgia has a special skill of being able to capture a crowd whilst remaining natural and relaxed as she allows the audience to bask in her talents.

Alongside the natural banter of Georgia and Patrick, the pair were joined by ex-Strat and fan favourite, Benjamin Purkiss who brought spades of humour and vocals beyond belief to the nights proceedings. Stacy's Mom was a comedic standout and Matt Corby's Brother was a vocal gem of a piece which Ben performed stunningly.

In a night where every song was a delight, some other highlights included Patrick's masterfully controlled version of The First Time Ever I Saw Your FaceThey Just Keep Moving The Line which Georgia performed with gusto and honesty; Dream On which was a battle of the powerhouses Patrick and Ben; and Lucky which was magically performed by Georgia and Patrick.


If you weren't at the Museum of Comedy last night then you really missed out on a fantastically performed concert with treat after treat from three of the most talented performers the West End has to offer. I can only hope this isn't the last time we see and hear this trio perform. If you want to witness truthful, magnetic performances then look no further than Georgia, Patrick and Ben!

Follow Monsteers Artistry for information on future concerts and events

photo credit: Rishi Rai

Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox, Museum of Comedy | Review

Thursday 9 May 2019

Wednesday 8 May 2019

Amour, Charing Cross Theatre | Review


Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell 
★★★

Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor. 

One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...

This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled. 


It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.

Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.

The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.


This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat. 

photo credit: Scott Rylander

Amour, Charing Cross Theatre | Review

Wednesday 8 May 2019

Saturday 4 May 2019

Disney's Aladdin, Prince Edward Theatre | Review


Aladdin
Prince Edward Theatre 
Reviewed on Wednesday 21st May 2019 by Olivia Mitchell 
★★★★

There's always room for a little injection of Disney magic and Aladdin which is booking at the Prince Edward Theatre until July 27th 2019, is just that. It's not a life-altering, thought-provoking piece of theatre but it's a whole lot of fun, mountains of sparkle and enough magic to enthral children and adults alike. 

If you're unaware of the story, Aladdin follows a street urchin who is hustling his way through life. That is, until he meets the Princess of Agrabah and his life becomes a little more wild. As the prophesied 'Diamond in the Rough', Aladdin gets his hands on a lamp which contains a magical Genie, who will grant him three wishes. Aladdin ventures to find love and escape the dark characters who are on his tail in this mystical story.

Aladdin (played by Matthew Croke) is lovable and charming in all the ways you could desire. With a beautiful voice and fantastic stage presence he leads the show perfectly. Croke's rendition of 'Proud of Your Boy' is truly moving and a wonderful moment of calm among an all-singing, all-dancing musical. His Jasmine is played by Courtney Reed who is dazzling and brings a feminist, sassy quality to the character that transfers fantastically on stage. Reed's vocal performances are equally as enchanting and when the pair join for the iconic duet 'A Whole New World' they not only do the film version justice, but put their own mystical spin on it.

The rest of the cast are highly talented, as shown by the various dance numbers which are performed with enthusiasm and precision. Similarly to the film, it's the Genie (played by Trevor Dion Nicholas) who utterly steals the show. With incredible comedic flair and dramatic prowess, Nicholas earns rapturous applause in every scene. Act One closer 'Friend Like Me' is a glistening gem in this production.

A spin of colour, created by Bob Crowley's sets and Gregg Barnes' costumes, Aladdin is a feast for the eyes as well as the ears. The sides of the stage do feel a little underused as they are completely bare, but the black box effect strangely makes the stage look like a television which works for this show.

There are times when the show does feel a bit pantomime-esque, but there's no denying that it caters to the vast audience of tourists, theatre newbies, children, theatre regulars and adults very well. Aladdin pleasantly surprises and impresses. 

The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.

Aladdin is currently booking at the Prince Edward Theatre until July 27th

For more information and tickets, visit: www.londonboxoffice.co.uk

Disney's Aladdin, Prince Edward Theatre | Review

Saturday 4 May 2019

Friday 26 April 2019

Club Tropicana (UK Tour), New Wimbledon Theatre | Review


Club Tropicana (UK Tour)
New Wimbledon Theatre 
Reviewed on Thursday 25th April 2019 by Olivia Mitchell 
★★★★

A whirlwind of big hair, 80s hits, innuendos and humour, Nick Winston's Club Tropicana isn't a musical masterpiece but it is a whole lot of fun and a harmless piece of entertainment. 

The storyline is minimal but follows Lorraine who jilts her fiancé at the alter and goes on a friend holiday to drink and dance away her blues. Her fiancé also goes on a friend holiday... to the same Spanish hotel....

Said hotel is in the running to be awarded a prestigious award so they're doing their best to impress the hotel inspector. Featuring a host of humourous characters and larger than life performances, the gaps in the book are made up for with verve and energy.


Diego Pitarch's set doesn't have much depth to it, but does its job exactly and brings the colour of the show to life well. Making clever use of the space, as well as using the more basic elements for comedic effect, Pitarch has done a great job. Equally, his costumes are very 80s and effective. 

The cast are the life of this show, performing the 20 well-known 80s bops wonderfully. As entertainment manager Joe McElderry shines. A great voice, fab comic timing and well done audience interaction, McElderry makes a stellar addition to the cast. Neil McDermott is entertaining, if a little underused as Robert, but his performances alongside the hilarious Emily Tierney as double-crossing hotelier Christine, and lovestruck Amelle Barrabah as Serena are great. The extremely well characterised Consuela, is a sure stand out thanks to Kate Robbins' completely hilarious portrayal, which provides laugh out loud moments every time she's on stage.

As leading man and lady Cellen Chugg Jones and Karina Hind are marvellous. Their strong vocals are well showcased and the pair work well together. 


Mention must also go to Rebecca Mendoza, Tara Verloop and Kane Verrall who give fabulous performances. The entire cast are superbly invested throughout and with Nick Winston's choreography and Charles Ingles' musical direction, do a stellar job of keeping the energy alive throughout.

Club Tropicana has the feel-good factor and is sure to bring a bounce to your step. For a self-aware, super cheesy but well done production, take a trip to Hotel Tropicana and laugh the night away.

Club Tropicana runs at the New Wimbledon Theatre until 27th April before continuing its tour.

photo credit: Darren Bell

Club Tropicana (UK Tour), New Wimbledon Theatre | Review

Friday 26 April 2019

Friday 22 March 2019

Vision of You: Live with Rob Fowler and Sharon Sexton, Key Theatre | Review


Vision of You: Live
Key Theatre, Peterborough
Reviewed on Tuesday 19th March 2019 by Olivia Mitchell 
★★★★

Since the closing of Bat Out of Hell, fans of the show have been able to keep their love and involvement alive through Rob Fowler and Sharon Sexton's album Vision of You which charts the backstory of their characters Falco and Sloane. Accompanying the album, the pair have been on a mini tour around the country where they welcomed fans into the Falco Family and provided some absolutely outstanding vocals while they did it.

The final stop on the tour (for now) took Vision of You back to where Rob first performed, Peterborough where a home crowd joined with those from out of town to create a wonderful atmosphere and a real celebration of the music and the performers. A mixture of a concert and a musical, this version of Vision of You used the basic skeleton of the previous ones and added to it to create a complete extravaganza of a show. Once again, Erin Ong (who travelled from America to be part of the final show!) provided her lovely artwork which was projected above the characters to create an almost comic book feeling and embellish the story that was being told. 

Rob and Sharon performed most of the songs from their album, as well as some extras, with the heart, vocals and chemistry that they are so loved for and took the audience on a journey through the eyes of their characters very well. What made this show extra special, was the involvement of Raven and Strat aka the crazy talented Georgia Carling and Simon Gordon, who performed solos, duets and group numbers to perfection. Also joining the gang were the young KYT performers who gave spirited performances and brought The Lost to life. Accompanied by Steve Corley and his distinguished band, each number was a powerhouse moment and a true celebration of the superbly talented performers on stage. 


Opening with 'Falling Slowly' and closing with 'The Show Must Go On' really sums up how versatile all the performers on stage are; from the hugely upbeat numbers to the more intimate and delicate numbers, there was never a moment which fell flat or felt under emoted. Both Rob and Sharon's voices are raw and expressive but manage to maintain complete control throughout. Especially impressive were Sharon's heartfelt renditions of 'Delight' and 'The Man with the Child in his Eyes' which brought a stillness to the room that was hauntingly beautiful. Rob gave a comedic performance of 'A Miracle Would Happen' as well as his signature rock tones in the epic 'What You Own' where he was also joined by Simon Gordon

Simon's voice is beyond beautiful and he showcased it effortlessly with each number he was a part of. His performance of 'Bat Out of Hell' illustrated exactly why he was cast in the role of Strat and gave us a chance to hear and see him shine without the lighting and effects that were prevalent in Bat Out of Hell. If this evening was anything to go by, I'm convinced Simon could probably make a shopping list sound exquisite. Aside from Simon's performance, this semi stripped back rendition of Bat also highlighted just what a brilliant song it is.


Georgia Carling's voice complemented Simon's fantastically in their duets, 'For Crying Out Loud' and 'High Enough', as well as shining in her solo and group moments. 'Taking Chances' is a belter of a song and Georgia tackled it with ease as she gave a vocally faultless and completely first-rate performance. After gaining many fans from her performances as Raven and Valkyrie in Bat Out of Hell, there's no doubt that Georgia will continue wowing with her superb talents. 

Vision of You was a night of extremely well done storytelling and singing. Seeing how much Bat Out of Hell means to Sharon and Rob is really moving and I'm sure this isn't the last we'll hear of Falco and Sloane. The stellar performances, well done lighting, outstanding band, skillful projections and great atmosphere made this a fabulous night and a perfect farewell-for-now to Vision of You

Follow Sharon and Rob for updates on future performances during their #FindingTheFalcos journey

photo credit: Bat Loaf

Vision of You: Live with Rob Fowler and Sharon Sexton, Key Theatre | Review

Friday 22 March 2019

Tuesday 26 February 2019

Abigail's Party (UK Tour), New Victoria Theatre | Review


Abigail's Party (UK Tour)
New Victoria Theatre 
Reviewed on Monday 25th February 2019 by Melanie Mitchell 
★★★★

I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.

As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies. 

We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog. 

Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee. 

As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos. 

The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s. 

In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance. 


The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour. 

As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown décor, the party food and the music. Not a single item of detail was missing from that room. 

Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago. 

This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.

Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour

photo credit: Manuel Harlan

Abigail's Party (UK Tour), New Victoria Theatre | Review

Tuesday 26 February 2019

Saturday 23 February 2019

Jesus Hopped The 'A' Train, Young Vic | Review


Jesus Hopped The 'A' Train
Young Vic 
Reviewed on Friday 22nd February 2019 by Olivia Mitchell 
★★★★

Originally directed by Philip Seymour Hoffman and performed by LABrynth Theatre Company, Stephen Adly Guirgis' Olivier-nominated Jesus Hopped the 'A' Train, returns to London in a striking revival directed by Kate Hewitt.

Set for the most part in Rikers prison, New York, Jesus Hopped the 'A' Train is an intellectual and depth filled examination of justice, faith and redemption. Kate's direction does the perfect job of revealing both the desperation and life found in Guirgis' script, and brings it force in a sharp, to the point way.

The majority of the story is made up from pacy back and forth conversations between multi-murderer Lucius Jenkins (Oberon K. A. Adjepong) who is living his last few weeks before his death sentence, and young man, Angel Cruz (Ukweli Roach) who is battling a charge of first degree murder for shoot and evangelist who he believed was brain washing his friends. These conversations are intense and full of information. The pair debate their sentences, their actions in life and religion with an electricity that never ceases. Angel's attorney Mary Jane (Dervla Kirwan) addresses Angel and the audience as she narrates the story and tells us her part in the trial.  


The contradictions between the characters make lines unsettlingly blurred and its particularly ambiguous who's side the audience should be on. Joplin Sibtain as Valdez acts at times as a moral compass, and through his intense anger and lack of care for the prisoners, reminds us that they are murderers; but at other times, his lack of sympathy purely highlights failures in the American prison system and we again feels for the incarcerated men. This back and forth of the audience questioning morality, is a testament to Guirgis' outstanding writing as well as Magda Willi's long stage which brings these emotions to life in front of us. Glass frames move up and down the stage to show both physical and mental confinement and the clear glass allows us to look straight at the characters and feel as though we're seeing aspects that should be hidden. This brightness and clarity leads to a desire for exploration.

Perhaps the character who embodies self-questioning the most, is Charlie (Matthew Douglas) who at the start is an ally to Lucius but returns at the end to give a particularly moving monologue about how his initial views of the man, were clouded by his final view of him at his execution.

Everything about this production makes you want to ask questions and certainly doesn't leave you with an answer. From the impossibly loud scene transitions to the peaceful feeling when Mary Jane seems to be asking the audience for guidance, we are continually reminded of the balance between good and evil, and justice and repentance. Jesus Hopped the 'A' Train is riveting and engrossing from start to finish and spits energy in your mind, even after you've left the theatre.

photo credit: Johan Persson

Jesus Hopped The 'A' Train, Young Vic | Review

Saturday 23 February 2019

Friday 22 February 2019

Follies, National Theatre | Review


Follies
National Theatre, Olivier Theatre
Reviewed on Thursday 21st February 2019 by Olivia Mitchell 
★★★★

After its sold out run in 2017, Follies is back in true glamourous style as it follows a group of dancers reminiscing and reliving their youth. Mr Weismann's iconic theatre is being turned into a car park, so he's invited his past Follies dancers back to say one last farewell to the space. The walls of the theatre bring back memories and as we see childhood friends Phyllis and Sally reopen chapters they thought were closed, we are taken on a journey where past and present collide.

Dominic Cooke has once again directed a visceral and intense production. At 2 hours 15 minutes with no interval, the piece steadily flows and retains ferocity throughout. Vicki Mortimer's set and costumes are a spectacle in themselves; the crumbling theatre is periodically brought back to life by a subtle change and cleverly used to signify mental changes and journeys as well as the physical flashbacks. The costumes are elaborate and unique to each girl, with the delicate smatterings of jewels and sparkles, shining and flowing as they move around the stage.

Bill Dreamer's choreography brings the best of the Follies era to life  as the girls move around the stage gracefully, as if every movement is strategically planned for attention. Of course, the stand out choreographic moment is 'Who's That Woman' where the young and old combine to create a magical tap routine. Also, particularly striking is the way the young and old follies dancers, reflect themselves across the stage.


In terms of cast, you can't get much better than this one. Tracie Bennett's 'I'm Still Here' is a chill inducing, nuanced filled performance; whilst,  Claire Moore is hilarious throughout, no more so than in her gloriously sung, 'Broadway Baby'. Fellow The Girls alum, Joanna Riding is utterly outstanding as Sally. The transition from excitable girl, to fragile woman is perfectly performed, with 'Losing My Mind' providing a complete masterclass is acting through song and maintaining vocal technique even in moments of peak emotional earnestness. This intensity is mirrored by Gemma Sutton as Young Sally who is perfectly cast, alongside Christine Tucker as Young Phyllis, to show how we change, and how we remain the same.

Janie Dee is striking as Phyllis, whilst husbands, Buddy and Ben have great characterisation and development thanks to Peter Forbes and Alexander Hanson.

Whilst Follies is an outstanding piece of theatre, personally I feel a little far removed from the story; most likely because I lack the life experiences to relate on an emotional level. However, there's not denying that this is one of the most glitzy shows around, with one of Sondheim's finest scores and it's worth a visit to see how theatre should be done. Regardless of being able to relate, this is a marvellous piece of theatre. 

photo credit: Johann Persson

Follies, National Theatre | Review

Friday 22 February 2019

Thursday 21 February 2019

In Conversation With... Shaun McCourt | West End Live Lounge | Interview

West End Live Lounge is back at The Other Palace on March 10th for a celebration of WOMEN. The stellar line up of performers will sings songs from powerful ladies, all whilst raising money for Samaritans. I spoke to founder, Shaun McCourt about all things West End Live Lounge...



Can you tell us a bit about the creation of West End Live Lounge?
West End Live Lounge started in 2017 as an idea for a series of concerts to raise money for charity and has since grown to where it is today. I wanted to create an event which would allow West End performers the platform to sing material which was not from the world of musical theatre with a live band. There was a gap in the gig/concert circuit for such an event and I simply decided to go for it-and what an exciting journey it has been.


You’ve gone from the Union Theatre to the Other Palace Studio to the main house and each concert is getting bigger and better. What’s the next thing you’d like to achieve with your concerts?
I am always overwhelmed by the support that West End Live Lounge receives. It is great to see so many people enjoying the concerts. Without this support, its reputation would not be where it is now. The show continues to grow and there are certainly exciting plans in place for its future. However, I am going to keep the secrets for now I am afraid. Watch this space!

In terms of what I would like to achieve, my aim is to continue to produce concerts that not only entertain our audiences, but also raise as much money for charity as possible.


What’s your favourite part of putting the Live Lounge concerts together?
Though I may look slightly stressed on the day of a Live Lounge concert, I have to say that I enjoy the whole process of putting it together- from picking the theme, to casting the line-up, liaising with The Other Palace, to the day of the concert itself. However, if I had to pick a favourite moment, it would be the rehearsals and soundcheck on the day of each event. The Live Lounge band are all incredible musicians and our musical director, Sam Coates, is a genius. That moment when we are all set up and I hear the band play for the first time is really special. It is always a reminder of just how much hard work people put into making these events a success. 

West End Live Lounge has become a bit of a family. The central team is made up of Sam Coates (musical director), Will Miney (technical manager) and myself. However, all performers and musicians that have been involved become part of this family. Getting to work alongside so many talented individuals always makes this such a rewarding process.


What can people expect when they come and experience a West End Live Lounge?
People can expect a great night at the theatre. If this doesn't happen, then I am doing something wrong! A West End Live Lounge event promises a fantastic line up of incredible singers and musicians. Each concert has an exciting theme and gives the audience the chance to see their favourite West End performers step out of the world of musical theatre. 


Each concert you raise money for a different charity, how do you choose the charities to support and what do they mean to you?
Choosing the charity for each concert is always a tricky job. There are so many important charities, so rather than continue to raise money for just one, I decided that it was really important to me that each concert raised money for a different cause. For some concerts, the theme and charity often go hand in hand. There have also been times where a major event has happened in the world around the time of the concert and it makes total sense to donate the proceeds to this cause. 


If you could have any performer dead or alive to perform at a Live Lounge, who would you choose and why?
This is a tricky question! I am incredibly grateful to every single performer who has given up their time to be part of a West End Live Lounge event. They each bring an amazing talent and such a great energy to the stage. It is important to me that I continue to introduce new faces to the Live Lounge stage and that each concert offers a diverse and exciting line up.

But if I had to pick one person... 

Well...If I could get Jennifer Hudson along to sing a number, would I be excited? Absolutely!


Can you sum up in 5 words why people should come to the next West End Live Lounge?
Belting for a good cause.


West End Live Lounge tickets go on sale March 25th.

Full cast (subject to availability): Adam Bailey, Christina Bennington, Louise Dearman, Lauren Drew, Simon Gordon, Jennifer Harding, Matthew Harvey, Emma Hatton, Lisa Marie Holmes, Claudia Kariuki, Sejal Keshwala, Emma Lindars, Shekinah Mcfarlane, Kayleigh McKnight, Christina Modestou, Brady Isaacs Pearce, Lauren James Ray, Danielle Steers, Laura Tebbutt, Jennifer Tierney, Rodney Vubya.

Interview by Editor, Olivia Mitchell

In Conversation With... Shaun McCourt | West End Live Lounge | Interview

Thursday 21 February 2019