Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Sunday 16 July 2017
A Stagey Guide To Singing: Kerry Ellis
When did you realise you could sing? Did you have singing lessons?
I always sung from an early age I knew I loved it and that was enough for me to want to pursue a career it wasn't really about whether I was good enough or not. I've had lessons with various people along the way but nothing consistent. I don't know if that's a good thing or not.
Have you always been able to belt? If not, when did you start belting?
I think so yes I grew up listening to Bernadette Peters, Elaine Paige, Barbra Streisand Celine Dion and other incredible female vocalists. Liza Minnelli too and I'd just try to sing along with them so I guess it was all from a natural place.
What vowels do you find easiest to belt? Do you modify words to make them easier to sing?
I think you have to sing the lyrics of the song regardless whether it easy or not but a good teacher would help you work your way through the song without forcing or causing any damage.
What tips do you have for singing and dancing at the same time?
Breathe and go for it and have fun!
How do you keep your voice healthy, do you have any rituals before shows? Depends on the day I think the best advice somebody gave to me was use the voice you have that day, which means you mustn't give yourself a hard time if your voice doesn't feel the same every day just sing with the best of your ability and give yourself a break. Lots of water lots of rest and don't abuse your voice.
Rest is so underrated you have to take care of your voice like any other part of your body it's precious and needs care and attention and respect!
Overall, what's your number one piece of advice for finding and developing your singing voice? Trust yourself and enjoy it!
See Gabriela Garcia's guide to singing: http://www.rewritethisstory.com/2017/01/a-west-end-guide-to-singing-gabriela.html
Tuesday 11 July 2017
Grease (UK Tour), New Victoria Theatre | Review
Grease (UK Tour)
New Victoria Theatre
New Victoria Theatre
Reviewed on Monday July 10th 2017 by Valerie Field
★★★★
Grease first appeared on Broadway in 1972 but became really popular in 1978 when it was made into a film with John Travolta and Olivia Newton-John and became a cult classic. Set in the 1950’s as a High School Musical when Rock and Roll was extremely popular with the younger generation and the great Elvis Presley was on the scene, it was a cool time to be around and the musical is just as popular now as people are always eager to experience the nostalgia of their youth either because they grew up in the 50s or grew up with the film. This new tour revival of the show has all the classic songs and is a fun night out for any Grease lover.
The well known story revolves mostly around Bad Boy Danny Zuko and the innocent new girl Sandy after the two had a summer fling before unknowingly ending up at the same school. Tom Parker who played Danny in my opinion didn’t have enough presence on stage although as the show went on he seemed to come across a bit more confident especially in the dance routines. His voice was strong at points but he didn't quite reach the level of charm, charisma and roughness needed to really be Danny Zuko.
Michael Cortez as Sonny and Tom Senior as Kenickie both had much more presence on stage and I feel would have been better suited to the part of Danny. Both actors were funny, charismatic and over the top enough to steal the scenes they were in.
Danielle Hope was very good as Sandy and her singing voice had shades of Olivia Newton-John, she was wonderful as both the sweet, innocent Sandy and the sexy Sandy who comes in act two. George Olney was fantastic as Teen Angel/Vince Fontaine and had the audience really involved and with him throughout his scenes.
The costumes by Andreane Neofitou and choreography by Arlene Phillips really brought 50’s to life and the special effects were brilliant, especially when Greased Lightning came to life on stage. It was nice to see the orchestra on stage as they were great and really got the audience in the feel good mood.
All in all it's a very energetic and enjoyable show for any lovers or likers of the original.
Grease is at the New Victoria theatre until July 15th before continuing it's UK tour.
Yank! The Musical, Charing Cross Theatre | Review
Yank!
Charing Cross Theatre
Reviewed on Monday July 10th 2017 by Olivia Mitchell
★★★★★
Tonight marked the West End premiere of the 2010 off-Broadway musical, Yank! which tells the true story of two men who fell in love during World War II. Since making its UK premiere at the Hope Mill Theatre in Manchester, Yank! has been a highly anticipated transfer as people were eager to hear the story that didn't make the history books and last night it opened to staggering applause and a standing ovation.
Set during the time when homosexuality was frowned upon and defined by the development of modern psychiatry to treat the 'illness', this is an extremely important story to be told. It's so powerful that whilst fighting for their country and lives, men were also fighting for their right to love. Particularly poignant just after the celebration of love seen with London Pride and also during a time when American politics seems to be repressing 'non-traditional' men and women, it's thought-provoking to see these issues played out on stage.
The story is told through the eye's of the young Stu (Scott Hunter) who journaled his whole journey through the war. He feels that he is not a proper man and feels ashamed to not be as strong as the other men in his squad. He finds comfort in his journal which narrates the show in a truthful, emotional way and allows the audience to connect of a much more personal level. Stu becomes friends with, and eventually starts a rocky relationship with fellow soldier, Mitch (Andy Coxon) who constantly fights back that he is not a 'fairy'. Struggling with this denial, Stu leaves the army squad and becomes a reporter for Yank! magazine.
The story is told in the style of an MGM musical, with the tradition and romanticism of Rodgers and Hammerstein. There is a stunning mix of dance and a rich, emotive score. Particularly entertaining is when Stu meets photographer, Artie (Chris Kiely) who he discovers through a glorious tap number 'Click' is also gay as he explains the ways to identify other gay men during war. Sarah Louise-Young is fantastic as the many female fantasy characters who lead the MGM style.
Chris Cuming's choreography works alongside and also contrasts the beautiful solos and duets of the score perfectly, with each piece impressively and smoothly choreographed. This balance makes the piece truly engaging and adds a level of humour which is welcomed so as not to make the piece too heavy and draining. There is a perfect balance between seriousness and sweet sincerity. Especially heart-wrenching was the interrogation scene in act two, which coupled with the heat of the theatre, had everyone on the edge of their seats, sweating in tension.
Scott Hunter is faultless as Stu; rarely off stage he gives his all and touchingly shows his immense character development throughout. Starting as the weakest of the squad and eventually becoming the strongest for fighting not only the war but for his love till the very end. He is charged with emotion and it's touching to see his journey play out in front of our eyes. As his love interest, Andy Coxon is tough and charismatic whilst still showing a vulnerable side. Both actors bounce off of each other and have a beautiful chemistry on stage. It's so lovely to see a male led company who work together faultlessly and create a harmonious feeling.
Yank! is touching, honest, genuine, fluid and overall a heart-wrenching look at love and tragedy.
Yank! runs at the Charing Cross theatre until August 19th.
Yank! runs at the Charing Cross theatre until August 19th.
Wednesday 5 July 2017
Voices Off: Woyzeck, Old Vic | Platform Review
Voices Off: Woyzeck
Old Vic
Post by Olive Scott Whilde
Post by Olive Scott Whilde
The Voices Off series at the Old Vic is described as ‘a series of talks, debates, workshops and conversations’ held at the beautiful Old Vic theatre. On Thursday, I attended a talk titled ‘On Nature’ that delved into the makings and meanings behind the Old Vic’s current mesmerising play, Woyzeck starring the enigmatic John Boyega.
With around 100 people in attendance at this intimate event, we were joined by Matthew Warchus, the Artistic Director of The Old Vic, Joe Murphy, the director of Woyzeck, and Professor Laura Marcus, professor of English Literature at Oxford University. Absent was Anthony Julius, Deputy Chairman of Mishcon de Reya, who presented this talk in association with the Old Vic. They sat in front of the stage’s curtain as we sat unassigned in the stalls.
I learnt many things about this exciting play from this talk and the first thing I found particularly fascinating was about how massively the script was adapted. The original script was written by Georg Büchner in 1836, but due to his untimely death in 1837 the script remained unfinished and in fragments. Many different productions in the last 100 years have adapted it with different interpretations but this script by Jack Thorne is likely the boldest yet, setting it in 1980s Berlin and around the British Army’s part in the defence of the Berlin Wall. This more modern take on an 19th century story meant that a lot of the story is completely new and delves into more modern ideas of mental illness and poverty and how that affects the working class who do not have access to basic needs. Complete with a 10 minute duologue that closes off act one, and an entire manic monologue in German (an exert from Büchner’s original script), it takes you on a journey from your average British working class dialogue to, as Woyzeck’s madness heightens, something almost poetic and inhuman. This script, as well as the impressive staging and set, gives the audience a unique look into Woyzeck’s head as his health worsens.
The staging and set was talked about too. The set is very simple, as it is with most modern theatre, with insulation-covered walls being lifted up and down by wires to represent the ever-changing setting with some even having a gruesome surprise inside. The director, Joe Murphy, spoke about these walls representing the Berlin Wall. The staging, whilst looking chaotic, is actually very meticulously planned and has actually been changed since the first previews. I was lucky enough to see it at its very first preview and then again midway through it’s run (which ends on June 25th) and one difference I noted was the absence of a strange, lucid dance sequence in act one. This was no accident I learned, as Murphy explained that they eventually found it just one step too weird, especially for the first act.
Matthew Warchus, the Artistic Director at the Old Vic, talked a lot about the issues of class difference portrayed in Woyzeck, which led to the casting of John Boyega. They wanted an actor for Woyzeck who was young, able to take on such an emotionally and physically demanding role, and came from a working class background. Boyega, who grew up in Peckham and who’s debut performance was in 2011’s Attack the Block, set in a South London council estate, was the immediate first choice. As someone who has been a fan of Boyega since his first movie, I thought this was a genius casting decision for this adaptation and made even more sense with this explanation.
Warchus also talked about how Woyzeck is the start of a new direction in how the Old Vic presents itself, doing more modern plays and appealing to a wider, younger audience. You can definitely see that in the posters and pamphlets around the theatre, presenting a cleaner and bolder design. Although the Old Vic is, well, old, I believe this will bring it into a new era and bring new possibilities and opportunities for a wider range of theatre to be presented on such a stunning stage.
I really loved this production and learning more about it in such an intimate setting, with which we could ask any questions we may have, was a great experience. I’m excited to see more from Joe Murphy and Jack Thorne and of course, John Boyega, who puts on one of the most extraordinary and captivating performances I’ve ever seen on stage in my lifetime.
Check out Woyzeck at the Old Vic Theatre in London before it closes June 25th.
Thursday 29 June 2017
Lady Day at Emerson's Bar and Grill, Wyndhams Theatre | Review
Lady Day at Emerson's Bar and Grill
Wyndhams Theatre
Reviewed on Wednesday June 28th 2017 by Olivia Mitchell
★★★★★
Honestly, I don't know how to start this review because I'm still in shock and awe of what I saw last night. Seeing a six time Tony award winner up close on stage is already a spectacle but seeing her transform into Billie Holiday and embody a heartbreaking character was just another level of incredible. The queen of Broadway, star of screen and most recently the wardrobe in the Beauty and the Beast remake, Audra McDonald is the embodiment of talent and to see her perform on stage is an honour.
Lady Day was originally meant to make its, and Audra's, West End debut almost a year ago exactly but with a surprise pregnancy turning things around, the opening of the show was cancelled. Whilst this was a huge disappointment at the time, the extended wait for Miss McDonald to perform our side of the pond just built up the excitement and made her debut even more triumphant.
Originally premiering in 1986 at the Alliance Theatre, Atlanta, the play by Lanie Robertson tells a version of a concert performed by Billie in a dive bar with a tiny audience just a few months before her death. Visibly drunk and high its a story about a star falling so low in her last moments. Robertson described it as "a monologue; a continuation of her thought process." Whilst the plot of the play may sound boring- starting before Holiday enters the stage and concluding 90 minutes later with her final song- it doesn't drag at all and is so affecting and powerful that you could keep watching and listening forever.
Audra McDonald is without a doubt the reason this play is so brilliant, can we give her every award going right now!? However, when I first heard she would be playing Billie I was a little skeptical, as I learned, was Audra when she was first approached with the role. But from the moment the first note came out of her mouth, there was an audible gasp from the audience and we were wrapped round McDonald's finger. Audra transforms her voice to present Lady Day's elusive phrasing and raw timbre perfectly. This transformation is even more impressive when you know Audra's natural singing voice as a soaring, powerful, high soprano. She is so real in her performance, not only performing Billie but living and breathing her with every fibre of her being. She's truly in a league of her own.
Of course the music of Billie Holiday would be a fraction of itself without the fantastic band supporting it. The trio of musicians- Neville Malcolm on bass, Frankie Tontoh on drums and Shelton Becton on piano and playing the role of Jimmy Powers- are wonderful and show off jazz music in a stunning way.
A one woman show, set in a single dive bar is unusual and could become stagnant but Lonny Price's direction allows a flow and movement throughout, which along with little audience interactions creates a truly stunning piece of theatre. This is helped by the wonderful set and lighting by Christopher Oram and Mark Henderson which combined, create not only a wonderful set to look at but, but immerse you into the world and allow you to feel a part of the magic happening on stage.
Billie Holiday is brought back to life on the stage of the Wyndham's theatre as Audra McDonald gives a masterless in acting and musicianship in Lady Day at Emerson's Bar and Grill. Audra's performance is completely faultless and you know she's a star when even the adorable pup Pepi can't steal her moment! This is certainly a highlight of this theatrical season and I will be shouting from the rooftops for everyone to go and see this masterpiece on stage.
Lady Day at Emerson's Bar and Grill runs at the Wyndhams Theatre until September 9th.
Tuesday 27 June 2017
A Judgement in Stone, New Victoria Theatre | Review
A Judgement in Stone
A Judgement in Stone is a classic thriller adapted from the novel by celebrated crime write, Ruth Rendell. The play is set in the 1970s and focuses on the barriers and social structures of the English class system. The social obsessions and tensions this system brings are bought starkly to life.
The play highlights the differences and positions between the middle/upper classes and the much less educated lower working class when the meek, mild mannered Eunice Parchman (played by Sophie Ward) becomes housekeeper for the Coverdales at their country house. Sophie is excellent as Miss Parchman, it took me a while to know is was her as she is so unrecognisable. She portrayed the character perfectly, suitably subservient, fragile, insecure, down trodden and ever so slightly simple treating her employers like royalty but with a hidden depth and secrecy to the character.
Mark Wynter and Rosie Thompson play the Coverdales extremely well; complete snobs, pretentious, exuberant social climbers who see themselves in the upper echelons of society but with his position as a factory owner could easily be described as upper working class- god forbid!
Jennifer Sims as Melinda Coverdale is the perfect spoilt brat, a daddy's girl without a worry in the world. Her step-brother, Giles, played by Joshua Price is a typical foppish, alternative rich boy. The detectives played by Andrew Lancel and Ben Nealon both give believable performances. I was pleasantly surprised by Anthony Costa (formally a member of boyband, Blue) who plays Rodger Meadows and I have to say: the boy can act!
Deborah Grant as the maniacal Joan Smith is perfect for this part, very watchable with the right amount of of madness and humour. Shirley Anne Field plays the Coverdales cleaning lady Eva Baalham, who's timing and overall performance are excellent however, I felt that the part was extremely small and somewhat insignificant for such a great actress.
The whole play centres around one set, the Coverdales dining/sitting room with various doors leading off of it. However, due to the clever production, staging and lighting, the backdrop does not become boring.
All in all, A Judgement in Stone provides a great evening full of atmospheric suspension and tension.
Wednesday 21 June 2017
Bat Out of Hell, London Coliseum | Review
Bat Out of Hell
Let's make one thing clear: this show is epically crazy. Jim Steinman's rock musical is like nothing else currently on any West End stage. It feels like a rollercoaster ride where things are constantly being thrown at you from every direction: the great, the good, the bad and the ugly sides of rock music are all thrown together to create a show like no other.
The new show based on the music of Jim Steinman tells a Romeo and Juliet-esque tale mixed with Peter Pan themes and a whole lot of randomness. If you don't like out there shows then this definitely isn't for you but if you're up for a wild ride then stick around. The songs have very little relevance to the storyline and it kind of feels like an excuse to put on a massive budget concert every night but somehow they kind of fit and work in the context. Each one is performed so much energy and excitement that you can forgive them for not technically fitting in. Each song works as it's own performance instead of fitting perfectly into an overall narrative.
Bat Out of Hell is set in a sort of dystopian world where a man named Falco rules a derelict, broken city where 'The Lost', a bunch of genetic mutants who don't age past 18, live in their underground lair known as 'The Deep End'. The leader of this mutant group is Strat who despite barely knowing her, is head over heels in love with Falco's daughter, Raven who longs to escape her boring life. One fateful night Strat visits her room and from there on we fall down the rabbit hole of craziness and things get even more mental. I did say it was crazy! Overall I would describe it as a rock retelling of Peter Pan through the eyes of someone who's had a few too many!
Whilst the writing of the show isn't stellar and there are faults with it, the cast are a talented bunch indeed, with voices that raise the roof. Andrew Polec as Strat and Christina Bennington as Raven have great chemistry, although it is particularly cheesy at times they work well together and their booming voices compliment one another very nicely. The pairs voices are stunning and goosebump inducing. Another cast member who will give you chills is Danielle Steers (Zahara) who received a gasp from the audience when she sung her first solo notes. Danielle's voice is strong and sexy and when she joins with Dom Hartley-Harris (Jagwire), especially in Act 2, they really create a magical vocal moment.
As Raven's parents who have fallen out of love and are trying to regain their spark, Rob Fowler and Sharon Sexton (Sloane) are outstanding. They are witty and suitably mental with their performance of "Paradise By The Dashboard Light" becoming it's own mini show within the show. Both their voices have the right amount of attitude and drama to command the stage and ring out above the ensemble.
Jon Bausor's set is mental, with fire balls, motorbikes and so many more surprises to always keep you on your toes. The use of screens is extremely clever, not only mimicking the screens you get at a concert but also acting as a kind of cctv camera, showing us close up action which we wouldn't normally see- it really reminded me of Robert Icke's Hamlet.
The pyrotechnics are intense but not so overdone that they become gimmicky. Emma Portner's choreography fits the weird world of the show but is a somewhat weird mix of things, conjuring up Michael Jackson "Thriller" vibes mixed with Maddie Ziegler's iconic dances for Sia. It's sharp and popping and fills the vast stage of the London Coliseum well. Patrick Woodroffee's lighting is eccentric and blinding, the exact lighting you expect from a rock concert. But as the Coliseum is smaller than an arena, the bright lights are exemplified and add to the psychedelic experience.
The pyrotechnics are intense but not so overdone that they become gimmicky. Emma Portner's choreography fits the weird world of the show but is a somewhat weird mix of things, conjuring up Michael Jackson "Thriller" vibes mixed with Maddie Ziegler's iconic dances for Sia. It's sharp and popping and fills the vast stage of the London Coliseum well. Patrick Woodroffee's lighting is eccentric and blinding, the exact lighting you expect from a rock concert. But as the Coliseum is smaller than an arena, the bright lights are exemplified and add to the psychedelic experience.
Now this definitely isn't a masterpiece of musical theatre but it is a jaw-dropping spectacle that really has to be seen to be believed. There are more than just moments of gold and flashes of light- it's an extravangaza for the eyes and ears which will definitely leave you feeling something?!
Bat Out of Hell runs at the London Coliseum until 22nd August 2017.
Friday 16 June 2017
Idina Menzel, Royal Albert Hall | Review
Idina Menzel
Royal Albert Hall
Royal Albert Hall
Reviewed on Thursday June 15th 2017 by Olivia Mitchell
★★★★
If you're a theatre fan then I'm sure you've heard of Idina Menzel. The last time she played the glorious Royal Albert Hall, she was known among the theatre community for creating the roles of Maureen in Rent and Elphaba in Wicked but since then has reached a stratospheric level of fame. Thanks in part to John Travolta mangling her name, but mostly for her role as the Queen herself, Elsa in Disney's hit movie, Frozen.
Compared to previous concerts, Menzel sung less of the classics and throughout her almost two hour concert, pulled a lot from her eponymous fifth studio album which was released last September. She came out with a power strut, and after a couple of mic issues started playing her drum and swinging along to the upbeat "Queen of Swords", gradually transitioning to the sweeter "Small World" then to the audience favourite "Season's of Love" from Rent. The fans cheered and joined in as Menzel cracked a smile, obviously enjoying her performance at the iconic venue already.
Idina is clearly very comfortable on stage; her personality and self-deprecating humour flowing easily and filling time between songs along with little anecdotes and witty comments to the audience. Aside from the humour, she was also unafraid to get personal. Before bursting into the upbeat "Cake", Idina explained that she wrote it after a conversation she had with her fiancé Aaron Lohr.
"I said to him 'Are you sure you wanna marry me because I have a lot of issues?'" she shared and explained why his response made her love him even more and inspired this song. "he said 'I can handle you, honey. It's all good, you're cake'" And so we heard Idina tackle the song with vigour and excitement before moving into a wonderful cover of Led Zepplin's "Black Dog".
Another of Menzel's recent achievements was starring in the remake of Beaches alongside Nia Long so it was only fitting that she included her beautiful rendition of "The Wind Beneath My Wings" which smoothly transitioned into the mighty "Defying Gravity" earning Idina her first standing ovation of the night.
A wonderful moment during the concert was when each of the band members got a little solo/improv moment to show off how talented they all are, especially Idina's back up singer who was outstanding in the cover of Aretha Franklin's "Rock Steady" and stole the stage with her huge voice.
The moment soon came which delighted many of the younger audience members as well as most of the older ones, when Menzel performed a wonderfully arranged mash up of the The Beatles' "Dear Prudence" and the Frozen hit "Do You Wanna Build a Snowman?". The almost a cappella "For Good" was another lovely moment which achieved a second standing ovation.
As the last piece before the encore of "I See You", Idina asked all the little children in the arena to come to the stage to help her perform "Let it Go" which was extremely adorable and hilarious as most of them looked terrified the minute the mic was near them! Menzel made sure none of the children were scarred for life and let them repeat the song as many times as it took for them to feel comfortable.
I found it to be somewhat more sombre and reflective than her previous concerts but I guess that comes with having to adapt to younger audiences and it was nice to see a different side to Idina. This was a memorable night for sure and I'm sure a treat for Menzel as well as her fans!
See my concert vlog here:
Wednesday 14 June 2017
Life of Galileo, The Young Vic | Review
Life of Galileo
The Young Vic
The Young Vic
Reviewed on Thursday June 8th 2017 by Olivia Mitchell
★★★½
Part planetarium and part theatre-in-the-round, Life of Galileo invites us to look to the stars in an inspiring look at a revolutionary time for science. Some of the audience are able to sit (or lay) in the centre of the round with cushions and gaze up at the galaxy filled ceiling as it moves in a beautiful and magical way.
Brecht reminds us throughout that this is a play, using dance and song to make the play more surreal and to distance us from reality. Particularly entertaining is when Cowell announces the scene numbers throughout and the clever use of puppetry which explains what's to come in each scene.
The actors spend their time before the show and during the interval moving around the stage and chatting with the audience which makes the play feel extremely immersive. The ensemble work very well, integrating with the people sat in the centre and cleverly moving into the action and switching between roles. The whole cast work like a seamless machine.
Life of Galileo looks at the momentous change in scientific exploration as well as Galileo's personal sacrifice and the resistance he faced. Returning to the Young Vic after his performance in Yerma, Brendan Cowell takes on the role of the inspiring Galileo robustly and cleverly. He distinguishes the different sides of the man well. With clear divides between Galileo the father and Galileo the scientist and he is particularly cold and harsh to his daughter, Virginia (Anjana Vasan).
The play is lengthy and intense but with music by Tom Rowlands and extremely impressive projections, it's exciting and forward-thinking. It's vast and enlightening and a unique theatrical experience. Life of Galileo never takes itself too seriously but manages to make a number of scientific and political comments which remain relevant today.
Life of Galileo runs at the Young Vic theatre until July 1st.
TodayTix are offering rush tickets of £20 for Life of Galileo as well as brilliant deals on tickets for a number of shows.
Monday 12 June 2017
La Strada, The Other Palace | Review
La Strada
The Other Palace
The Other Palace
Reviewed on Thursday June 1st 2017 by Olivia Mitchell
★★★★★
La Strada is definitely the musical which I have been most pleasantly surprised by so far this year. I am a fan of going into shows without looking them up first and I went into The Other Palace with no idea what to expect; thinking I was going to see a cabaret, vaudeville like circus show but that was absolutely not the case. Based on Federico Fellini's 1957 Oscar winning performance, La Strada tells the story of the young and naive Gelsomina who is sold by her mother to become the assistant to the touring gypsy, Zampanò: the "Strong Man". Her sister previously went to work for Zampanò and never returned so Gelsomina is struck with fear but fights and stays strong so she can send money back to her mother. This is ultimately the story of a young girl being taken advantage of purely because she doesn't know any better and because her circumstances don't allow her to escape.
The musicians play onstage in this piece and really bring it to life. A particular favourite moment was when everyone started clicking their fingers until the sound became overpowering and turned into raindrops. Each dramatic moment is heightened and an extremely visceral performance is created. This is helped along by Cameron Carver's brilliant movement which is extremely tight but looks natural and free. Flowing beautifully through moments and embodying each element that's being shown.
With credits including the National Theatre's Peter Pan, director Sally Cookson is know for her innovative, unique storytelling and has captured the themes and harshness of this story in a brilliantly imaginative way.
Finding herself trapped in Zampanò's world, wanting to escape but needing to make her mother proud we see the external and internal struggles of Gelsomina who is played so beautifully by Audrey Brisson. Capturing both her innocence and playfulness through the witty dialogue and wide-eyed movements, Gelsomina becomes a character the audience grow to love and become extremely attached to. This is a wonderful contrast to the cruel, harsh portrayal of Zampanò by Stuart Goodwin. Although we see moments of kindness, these are rare and it is the overall menacing anger which fills the stage whenever the strong man is around.
Part way through, they meet, Il Matto (The Fool) played by Bart Soroczynski who acts as a friend and guide for Gelsomina who heartbreakingly confides in him that there isn't any point her being alive because she is good for nothing. Il Matto brings light and warmth to the story, with a carefree attitude and light movement, he is played wonderfully by Soroczynski.
La Strada is a masterclass in storytelling and Cookson has created a faultless production which draws the audience in and takes them along the road which Gelsomina and Zampanò travel along. The piece is fresh and engaging and the constant movement makes it feel alive, it's truly compelling to watch and I would highly urge you to see it.
La Strada runs at The Other Palace until July 8th.
Wednesday 7 June 2017
Rachel Tucker, Live at Zedel | Review
Rachel Tucker (concert)
Crazy Coqs, Zedel
Crazy Coqs, Zedel
Reviewed on Tuesday June 6th 2017 by Olivia Mitchell
★★★★★
Rachel Tucker is a superstar of the stage and is currently on a long awaited tour around the UK before heading to New York for a stint at the iconic, 54 Below. Now I knew Rachel's voice was good from the I'd Do Anything days, videos online and of course from seeing her in Wicked but I was completely blown away when I saw her solo performance last night. Rachel's voice is powerful, emotive, beautiful and her overall stage presence is that of a true star.
Rachel's set consisted of a number of upbeat songs to more balladic slow pieces with the flow from jubilation to tears completely smooth and seamless. The whole concert seemed so well put together and like a huge amount of thought had gone into each song and placement, it was really a night of everything. Opening the show with "Miss Otis Regrets", Rachel immediately created a bond with the audience and won over the room with her huge presence and personality.
Moving wonderfully into a rendition of "Candyman", Rachel kept the atmosphere bright and warm and set the stage for an evening of glorious entertainment. The segway into each song was done flawlessly, a sign of Rachel's stage training from a young age. The transition from "Waving Through a Window" (beautiful) to "Climbing Uphill" was particularly entertaining with Rachel reenacting a bad audition before giving a hilarious performance of the Jason Robert Brown classic.
As her special guest for the night, Rachel introduced Samantha Barks (who we all know I love) at the end of act one for a rendition of "Nowadays/All That Jazz" from Chicago. This was a particular treat for us Londoners who didn't get to see Samantha as Velma Kelly in Chicago at the Hollywood Bowl and it was a marvellous end to the first half.
The second half of the concert was just as seamless and brilliant as the first, with little anecdotes sprinkled throughout and an absolutely hilarious tribute to Tina Turner which Rachel explained was her unique selling point when she used to perform with her dad. Needless to say, the audience loved the ridiculously fantastic and energetic performance of "Proud Mary/River Deep Mountain High".
Samantha and Rachel joined forces again with a beautiful, heartfelt rendition of Wicked's "For Good" which was lovely to hear and joyous to see the two friends performing such a beautiful song in the intimate setting of the Crazy Coqs, Zedel.
Not only is Rachel's singing top notch, but her acting and interpretation of music is outstanding. Able to go from elation to heartbreaking sincerity in a matter of bars. Act two saw Rachel perform "The Man That Got Away" which was just phenomenal and left the audience in pin-drop silent awe. Rachel closed the show with "Goodbye Yellow Brick Road" and the Ed Sheeran favourite, "Castle on a Hill" which really summed up the evening and gave the audience the whole spectrum of emotions once again and gave Rachel her third and final standing ovation of the evening.
Rachel is just a sensational performer and last nights concert was completely faultless. I honestly couldn't have asked for anything more from Rachel or Samantha except for them to sing more and serenade me for the rest of my life! Rachel is truly remarkable, a joy to watch and a brilliant inspiration for anyone wanting to perform. If you get the chance to see Rachel in concert, or in any other show then 100000% take the opportunity as you do not want to miss the chance to be blessed be her performance of dreams and pipes from heaven!
Read my interview with Rachel here: https://goo.gl/FyfrTy
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