Posts with the label uk tour
Showing posts with label uk tour. Show all posts
Showing posts with label uk tour. Show all posts
Thursday, 5 June 2025
Review: Joseph and the Amazing Technicolor Dreamcoat- A Joyous Revival that Shines Bright on Tour
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Like so many theatre lovers, Joseph holds a special place in my heart. I must have worn out the DVD as a child, rewatching the dazzling colours, catchy tunes, and sheer joy of it all. To this day, I take great pride in knowing every single colour of that famous coat by heart, and one day, I’m convinced it will finally come in handy in a pub quiz.
Seeing the touring production felt like reconnecting with an old friend, and this version couldn’t feel more right for now. There are brief flashes of modern self-awareness that could veer into cringe- a wink here, a gag there- but they never overstay their welcome. It’s one of the rare revivals that manages to feel modernised without being try-hard or losing its sense of self. At its core, Joseph is still what it’s always been: a musical powered by joy, timeless melodies, and that signature blend of heart and humour.
The music, as ever, is the star. From 'Any Dream Will Do' to 'Go, Go, Go Joseph,' the songs are as infectious as I remembered. But what makes this version truly sing is how the whole thing feels so light on its feet. There’s a freshness to the production, a sense of play and invention that keeps it moving briskly and brightly.
Adam Felipe brings a charming sincerity to Joseph, with vocals that land with clarity and ease. He finds both the innocence and confidence in the role, and it’s easy to see why audiences root for him from the start. Joe McElderry’s Pharaoh is a crowd-pleasing standout, leaning into the Elvis pastiche with charisma and a wink that’s impossible not to enjoy. And in the role of the Narrator, Christina Bianco is the glue that holds the whole show together- commanding, warm, commical, and vocally impressive throughout.
Beyond the leads, it was an unexpected delight to watch the ensemble. There’s such care in their performances- it felt like many of them had created full little back stories for their characters. I caught moments between brothers, glances, physical comedy, even subtle through-lines. Honestly, I’d go back just to keep an eye on different people and see what else I might spot.
This show is a proven success, and this production shows exactly why. The audience- young kids, nostalgic adults, and everyone in between- were beaming throughout, myself included. It’s hard not to be swept up by it. This show is a real reminder that it’s a gift to sit in a theatre and just have a great time.
It’s not a reinvention of the wheel, but it doesn’t need to be. Joseph is a show that understands what it is, and this production delivers it with style, heart, and a technicolour sparkle that never fades.
★★★★
Reviewed on Wednesday 4th June 2025 by Olivia
Photo Credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 7 May 2025
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 15 April 2025
Ghost the Musical UK Tour: Great Cast, Ghostly Magic, But Time for a Refresh? | REVIEW
Ghost the Musical (Tour)
New Victoria Theatre
Based on the beloved 1990 film starring Patrick Swayze and Demi Moore, Ghost the Musical first premiered in Manchester in 2011 before transferring to the West End and Broadway. With a book by Bruce Joel Rubin (who also penned the original screenplay) and a pop-infused score by Dave Stewart and Glen Ballard, the musical brings romance, loss, and the supernatural to the stage. The current UK tour proves there's still plenty of love for this story and though a few creaky moments show its age, the emotional core and a jaw-dropping central performance keep it engaging and enjoyable.
This touring production is anchored by a genuinely great cast, with standout performances across the board. At the heart of it all is the phenomenal Rebekah Lowings, whose portrayal of Molly is nothing short of spellbinding. Her vocals are among the best I’ve ever heard. Rich, emotional and technically flawless, she brings such raw depth to the role that you can’t help but root for her from her very first note. Honestly, I want to see her in everything from now on.
Josh St. Clair also provides some great vocal moments and makes for a compelling Sam, navigating the tricky emotional beats of his spectral role with sensitivity. As Carl, James Mateo-Salt is a real standout, bringing a great intensity to the role and some top level vocals to match, while Jacqui Dubois as Oda Mae delivers excellent comic timing and vibrant charisma, perfectly lifting the mood just when it’s needed. The show benefits from this balance of emotional sadness and humour, which helps it maintain a fairly fast pace and keeps the audience emotionally invested throughout.
That said, Ghost the Musical does show its age in places. Some moments feel a little on the cringe-worthy side, especially in the dialogue and transitions, and it’s easy to imagine how a subtle modern refresh-whether through design or direction- could polish off the rougher edges. The choreography also feels a little mismatched with the tone of the piece; while the dance breaks are energetic, they often feel more suited to a pop concert than a supernatural love story.
Despite that, the show offers some strong technical elements. The special effects (particularly those ghostly illusions) are slick and satisfying, and the lighting does a lot to establish mood and movement. While the sound mix could use some fine-tuning (a few ensemble lyrics got lost in the score), the overall production values are solid for a touring show.
Ultimately, this Ghost might not be reinventing the wheel, but it’s still an entertaining and emotionally satisfying night at the theatre. With a cast this talented, and a leading lady who deserves every starring role coming her way, it’s easy to overlook some of the creakier bits. Whether you’re a die-hard fan of the film or simply in the mood for a musical that blends romance, comedy, and a touch of the otherworldly, this tour is worth catching.
★★★
Reviewed on Tuesday 15th April by Olivia
Photo Credit: Alastair Muir
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 February 2025
Calamity Jane 2025 Tour Review: A Rootin’-Tootin’ Revival Where Carrie Hope Fletcher Shines
Calamity Jane (Tour)
New Victoria Theatre
The 2025 UK tour of Calamity Jane bursts onto the stage with energy, charm, and a dose of old-fashioned Wild West fun. Led by the ever-brilliant Carrie Hope Fletcher in the title role, this revival brings a fresh spark to the beloved musical while staying true to its classic appeal. With impressive orchestrations, great lighting design, and dynamic staging, the production proves that Calamity Jane is as entertaining as ever.
If there was ever a performer perfectly suited to bring Calamity Jane to life, it’s Carrie Hope Fletcher. Best known for her powerhouse performances in Les Misérables, Heathers, and The Addams Family, Fletcher steps into the buckskins of the iconic frontierswoman with charisma and confidence. Her portrayal balances tomboyish bravado with heartfelt vulnerability, making her Calamity both lovable and layered.
Vocally, Fletcher is sensational. She delivers showstoppers like 'The Deadwood Stage' and 'Secret Love' with clarity, warmth, and emotional depth. Her rendition of 'My Love Is Higher Than a Hawk' is a standout moment, showcasing her ability to blend rich storytelling with soaring vocals. She brings a modern sensibility to the role without losing the charm and humour that make Calamity such an endearing character.
The production’s lighting design is a major highlight, transporting the audience from the dusty streets of Deadwood to the glittering backstage in Chicago. Soft amber tones create a rustic, sun-drenched frontier feel, while dramatic spotlighting enhances the emotional weight of key scenes. During the climatic 'Secret Love', the transition from warm candlelight to a radiant glow beautifully mirrors Calamity’s personal transformation.
The staging is dynamic and well-paced, with director Nikolai Foster and Co-Director Nick Winston ensuring seamless transitions between the saloon, the theatre, and the open plains. The use of multi-level sets adds depth to the storytelling, and the clever choreography breathes life into the ensemble numbers. The bar fights and comedic misunderstandings play out with precision, bringing a sense of playfulness to the production without feeling over-the-top.
Under the musical direction of Catherine Jayes, the orchestrations remain faithful to the show’s roots while injecting a fresh vibrancy. The lush string and brass arrangements add richness to the score, making classics like 'Windy City' feel both nostalgic and exhilarating. The live band, positioned on stage at times, adds an immersive element, reinforcing the raw, unpolished energy of the Wild West setting.
The 2025 tour of Calamity Jane delivers a highly entertaining, well-executed revival of this beloved musical. Carrie Hope Fletcher leads the charge with a captivating performance, supported by stunning visuals, lively orchestrations, and seamless staging. Modern touches and attitudes mix perfectly with the classic story and show, ensuring a night of laughter, romance, and unforgettable music.
Whether you're a longtime fan of Calamity Jane or discovering it for the first time, this tour is well worth saddling up for. Get ready for a rootin’-tootin’ adventure full of heart, humour, and standout performances.
Reviewed on Tuesday 25th February 2025 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 15 January 2025
Galloping Through the Heart: War Horse Stirs the Soul
War Horse (Tour)
New Victoria Theatre
War Horse returns to the stage with all the emotional resonance and technical mastery that have solidified its place as an iconic theatrical experience. Directed by Tom Morris, with revival direction by Katie Henry, this production feels especially poignant in today’s world, where themes of resilience, connection, and hope resonate more profoundly than ever.
The centrepiece of this production is the breathtaking puppetry, crafted by the visionary Handspring Puppet Company. Joey and Topthorn are engineering marvels, made from lightweight materials that allow for lifelike movements while retaining a skeletal elegance. Each flick of an ear, swish of a tail, and laboured breath is brought to life by the outstanding puppeteers. Matthew Lawrence (Joey- Head), Rafe Young (Heart), and Felicity Donnelly (Hind) infuse Joey with a remarkable blend of power and vulnerability, while Rianna Ash (Head), Chris Milford (Heart), and Thomas Goodridge (Hind) give Topthorn a commanding presence that is as awe-inspiring as it is poignant. It's quite amazing how quickly you fall in love with these animals, and just shows how effective the puppetry is.
The lighting design (Rob Casey), masterfully executed, plays a crucial role in elevating the production’s emotional intensity. Harsh, angular beams during battle sequences evoke the chaos of war, while softer, golden hues in pastoral scenes create a sense of peace and nostalgia. The transitions are seamless, guiding the audience’s emotions as effectively as the narrative itself.
The atmospheric sound design and Adrian Sutton’s stirring score further immerse the audience, evoking the thundering hooves of cavalry charges and the haunting quiet of the battlefield. The interplay of sound and visuals heightens the emotional impact, ensuring each scene lands with maximum resonance. While there are moments where the graphics feel a little basic, they do fit with the general vibe and can't really detract from such a wonderful production.
Joey’s foalhood is depicted with exquisite charm by Eloise Beaumont-Wood (Head), Diany Samba-Bandza (Heart), and Jordan Paris (Hind), whose synchronised movements perfectly capture the playful innocence of a young horse.
Another heart of this emotionally charged production is Tom Sturgess as Albert Narracott, whose heartfelt performance anchors the story with warmth and authenticity. Sturgess masterfully captures Albert’s unyielding determination and deep bond with Joey, imbuing the character with a raw vulnerability that resonates throughout the play. Whether he’s expressing tender affection for his beloved horse or grappling with the horrors of war, Sturgess commands the stage with a magnetic presence that keeps the audience firmly invested in Albert’s journey. His portrayal adds an essential human dimension to the sweeping narrative, making the connection between man and horse all the more poignant.
This production transcends traditional storytelling, blending artistry and innovation into a truly immersive experience. As one character wisely observes, “Where there’s life, there’s hope.” In a world fraught with uncertainty, War Horse is a timely reminder of our shared humanity, perseverance, and capacity for love.
From the remarkable puppetry to the evocative lighting and sound, War Horse is a technical and emotional triumph that gallops straight into your heart. This is theatre at its finest- unmissable and unforgettable.
★★★★★
Reviewed on Tuesday 14th January 2025 by Olivia
Photo Credit: Brinkhoff-Moegenburg
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 27 November 2024
Now That’s What I Call a Musical: A Fun Nostalgia-Fest with some Flaws | Review
Now That’s What I Call a Musical
New Victoria Theatre
If you’re craving a night of toe-tapping 80s hits and breezy humour, Now That’s What I Call a Musical might be just the ticket. Currently touring the UK, this jukebox musical delivers big on nostalgia, though it stumbles in depth and pacing. With a talented cast and high-energy set pieces, it’s a fun evening out, even if it doesn’t push any creative boundaries.
The first act introduces a 1989 school reunion and a group of ex-students struggling with love, ambition, and nostalgia. However, while the setup is charming enough, the narrative lacks momentum, with the story often feeling like it’s merely an excuse to lead into the next song. Fortunately, the second act ramps up the stakes. Secrets unravel, tensions surface, and the characters finally confront their dilemmas in earnest. While these revelations might not reinvent the wheel, they bring a welcome spark of drama and emotional resonance.
The cast gives it their all, infusing charisma and vocal talent into even the thinnest material. Nina Wadia (as Gemma who feels stuck in her life) brings a heartfelt performance and vocals. Shakil Hussain steals scenes as the sarcastic but brother, delivering some of the show’s best comedic moments. Meanwhile, Chris Grahamson is compelling as Tim, the sleazy player who's got Gemma wrapped around his finger. The standout is absolutely Melissa Jacques who enters just before the end of act one and provides the best vocals and some really emotional moments. Her portrayal of the larger than life April, who went to LA to live her actress dreams is very well characterised and feels like the most developed of them all. Carol Decker makes a guest appearance for one song and showcases her great vocals in her hit song 'China in Your Hand'.
The humour is light and occasionally sharp, with plenty of laugh-out-loud moments and nods to the 80s. The jokes might not land for everyone, but there’s an endearing self-awareness in the script that keeps it from taking itself too seriously. And, of course, the 80s anthems are the real star here. Whether it’s 'Red Red Wine' or 'Every Breathe You Take', the production knows how to use these iconic songs to maximum effect.
The show’s design team deserves applause. The set design, by Tom Rogers, captures the small-town charm with a versatile backdrop that transitions seamlessly between locations. Ben Cracknell’s lighting design adds flair, particularly in the second act’s climactic moments, bathing the stage in dramatic reds and blues that elevate the mood. The sound design by Adam Fisher ensures the music is crisp and immersive, though there were moments where dialogue got lost beneath the score.
If there’s a weakness, it’s in the writing. Pippa Evans' script doesn’t dig deeply into its themes or characters, sticking to predictable tropes and shallow conflicts. While this simplicity might frustrate those looking for a more substantial narrative, it’s clear the focus here is on entertainment, not profundity.
Now That’s What I Call a Musical won’t change your life, but it’s an enjoyable escape. For fans of 80s music, it’s a nostalgic treat, carried by a dedicated cast and vibrant production design. While the story doesn’t say anything new, the show’s heart and humour make it a worthwhile outing. Go for the tunes, stay for the laughs, and enjoy the trip down memory lane.
★★★
Reviewed on Tuesday 26th November 2024 by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 12 November 2024
The UK Tour of The Rocky Horror Show Delivers Electrifying Fun
Rocky Horror (UK Tour)
New Victoria Theatre
The current UK tour of The Rocky Horror Show is a dazzling celebration of camp, comedy, and timeless rock ‘n’ roll rebellion. Richard O’Brien’s cult classic continues to delight audiences, and this production pulls out all the stops, blending sensational performances with impressive choreography and vivid lighting design that heightens the show’s electrifying atmosphere.
This 2024-25 tour boasts a stellar ensemble led by the charismatic Stephen Webb as Frank-N-Furter, whose magnetic stage presence and powerful vocals breathe new life into the iconic 'Sweet Transvestite'. Erica Wild (at this performance) shines as Janet, combining comedic timing with vocals that soar in numbers like 'Touch-a, Touch-a, Touch Me'. Opposite her, Connor Carson brings humour and vulnerability to Brad, nailing his transformation from buttoned-up to liberated, as well as providing spectacular vocals.
A special shoutout goes to Edward Bullingham as Eddie/Dr. Scott, whose versatility and energy light up the stage, and Joe Greuter as Riff Raff, whose performance captures both menace and mischief, and brings some of the most amazing vocals to the show. Meanwhile, Natasha Hoeberigs delivers a spellbinding portrayal of Magenta, and Jayme-Lee Zanoncelli infuses Columbia with relentless charm. Together, the cast creates a perfect harmony of chaos, comedy, and glamor.
As always, The Rocky Horror Show thrives on audience interaction, and the current tour embraces this with gusto. The Narrator, played by Nathan Canton, deserves particular praise for his impeccable wit and quick-thinking, delivering ad-libbed responses to audience callouts that kept the theatre roaring with laughter. His dry humour perfectly balances the wild, unrestrained energy of the rest of the production and brought a modern twist to the show that works really well.
The technical brilliance of this production enhances the experience. The lighting design uses bold, neon hues and dramatic contrasts to amplify the show’s gothic and sci-fi aesthetic, especially during key numbers like 'Over at the Frankenstein Place'. The choreography, spearheaded by Nathan M. Wright, is a standout, with each dance number exuding energy and precision while maintaining the delightful chaos that defines Rocky Horror.
What makes this tour particularly noteworthy is how it embraces the timeless themes of liberation, self-expression, and community while subtly nodding to modern sensibilities. The chemistry between the cast and the audience creates a shared experience that feels both nostalgic and refreshingly contemporary.
Whether you’re a longtime “Transylvanian” or a first-time viewer, this tour of The Rocky Horror Show promises a night of unapologetic fun, unforgettable music, and stellar performances. From the iconic 'Time Warp' to the heartfelt 'I’m Going Home', every moment brims with energy and passion.
Book your tickets now to catch this phenomenal production on its UK tour- it’s a thrilling night out that’s guaranteed to leave you grinning and singing along. With its flawless cast, stunning visuals, and classic rock ‘n’ roll charm, The Rocky Horror Show continues to be a cult masterpiece that’s impossible to resist.
★★★★
Reviewed on Monday 11th November 2024 by Olivia
Photo Credit: David Freeman{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 30 October 2024
Dear Evan Hansen UK Tour Shines with Stellar Cast Led by Ryan Kopel as Evan
Dear Evan Hansen (UK & Ireland Tour)
New Victoria Theatre
The UK touring production of Dear Evan Hansen is a powerful reimagining of this iconic musical, bringing a fresh perspective on the poignant themes of loneliness, mental health, and connection. With an emotionally charged lead performance by Ryan Kopel as Evan, this tour delivers an impactful night at the theatre, even if certain plot elements occasionally feel drawn out.
The story centers on Evan Hansen, an anxious high schooler who, after a classmate's tragic death, finds himself unintentionally entwined in a lie that spirals beyond his control. His journey explores themes of identity, social isolation, and the quest for belonging- a plot that resonates as deeply now as it did on the West End.
One of the biggest draws of this tour is the remarkable cast, each bringing a fresh, dynamic energy to their roles. Ryan Kopel’s portrayal of Evan is truly outstanding. The role is demanding, both physically and emotionally, requiring stamina, vulnerability, and incredible vocal control- Kopel delivers on all fronts. His clear, supported voice was faultless, his high notes beautifully sustained, adding depth to Evan's raw emotional state. In key numbers like 'Waving Through a Window' and 'Words Fail', Kopel navigates complex vocal lines with ease, creating a deeply moving experience for the audience.
Other cast members also stand out, especially Alice Fearn as Evan’s mother Heidi, whose raw emotion and vocal strength bring heart to the challenging role of a single mother trying to connect with her son. Lauren Conroy as Zoe Murphy brings a nuanced, sensitive touch to Evan’s love interest, balancing warmth with resilience. Tom Dickerson brings excellent comic relief to the musical as Jared Kleinman, bouncing off the other cast members brilliantly, as well as providing some great vocals. Killian Thomas Lefevre is engaging and interesting as Connor Murphy, while Vivian Panka brings real depth and charm to Alana Back. Meanwhile, Helen Anker and Richard Hurst as Cynthia and Larry Murphy round out a strong ensemble, infusing depth into the grieving parents navigating an unimaginable loss.
While the touring version of Dear Evan Hansen maintains the essence of the original West End production, subtle changes give it a fresh appeal. The staging is slightly pared down but still uses projections to convey the overwhelming impact of social media on Evan’s life. This simplified set design may lack the intricate detail of the West End, but it shifts the focus squarely onto the characters’ raw emotions, allowing the actors’ performances to truly shine.
The music, written by Benj Pasek and Justin Paul, is the highlight and fundamental strength of the production. Songs like 'For Forever', 'Only Us' and the powerful ensemble number 'You Will Be Found' are beautifully melodic and resonate deeply, perfectly mirroring Evan's emotional turmoil and the longing for connection that permeates the story. That said, the show’s pacing lags at points, especially in the second act. Certain scenes feel slightly stretched, and the plot occasionally meanders, which impacts the overall flow. Nonetheless, the emotionally charged score and Kopel’s riveting performance help the production recover from these slower moments.
Ryan Kopel’s portrayal of Evan is nothing short of stellar, capturing the emotional weight of the role with impeccable vocal and physical stamina.”
Ultimately, this touring production of Dear Evan Hansen offers a heartfelt, stirring experience, driven by a cast whose performances capture the story’s core themes. While the pacing could benefit from a tighter structure, the show’s ability to connect with audiences remains as strong as ever. Ryan Kopel’s Evan is a tour de force- worth experiencing for his performance alone, as well as for the lovely ensemble that brings this story to life across the UK.
Reviewed on Tuesday 29th October 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Monday, 28 October 2024
Dear Evan Hansen Extends UK Tour with Extra Dates for 2025!
Fans across the UK now have extra chances to experience the powerful story of Dear Evan Hansen as ATG Productions announces an extended four-week run due to popular demand. This award-winning musical- celebrated with Olivier, Tony, and Grammy wins- will reach additional cities with new dates, bringing this moving production to even more audiences. The tour, directed by Nottingham Playhouse's Artistic Director Adam Penford, premiered at the Nottingham Playhouse in September 2024 and has captivated audiences nationwide with its emotional depth and impactful story.
Dear Evan Hansen tells the story of Evan, a socially anxious high schooler whose desire to fit in leads him down a path of tangled truths and unexpected consequences. Ryan Kopel (Newsies) stars as Evan, delivering a nuanced performance alongside Lauren Conroy (Into the Woods) as Zoe Murphy and Alice Fearn (Wicked, Come From Away) as Heidi Hansen, Evan’s mother. Supporting them is an ensemble cast, including Helen Anker (Mamma Mia!), Richard Hurst (The Lion King), TikTok-discovered Sonny Monaghan as alternate Evan, Killian Thomas Lefevre (Bat Out Of Hell) as Connor Murphy, Tom Dickerson (Heathers) as Jared Kleinman and Vivian Panka (9 to 5 the Musical) as Alana Beck. The ensemble are Lara Beth-Sas, Will Forgrave, Daniel Forrester, Jessica Lim, Sonny Monaghan and Elise Zavou. This marking the first UK production to incorporate an ensemble cast.
This extended leg will visit Aylesbury Waterside Theatre (June 10-14), Birmingham Alexandra (June 17-21), Grand Opera House York (June 24-28), and Edinburgh Playhouse (July 1-5), with tickets available now at evanontour.com. The production’s team boasts a high-caliber crew, with design by Morgan Large, choreography by Carrie-Anne Ingrouille, lighting by Matt Daw, and a score by Benj Pasek and Justin Paul, whose songs have become musical theatre icons.
In partnership with The Mix, a UK charity supporting those under 25, Dear Evan Hansen provides resources and outreach to audiences affected by its themes, addressing mental health issues relevant to young people today. This partnership reinforces the musical’s mission to encourage conversation, support, and awareness for sensitive issues central to the story.
Get ready to immerse yourself in the unforgettable world of Dear Evan Hansen, a journey of truth, forgiveness, and resilience that speaks to audiences of all ages. Don’t miss your chance to witness this celebrated musical on its extended UK tour- book your tickets soon, as demand continues to grow.
photo credit: Marc Brenner
Wednesday, 23 October 2024
Here You Come Again: Strong Performances & Nostalgic Set Design Outshine a Thin Plot in This Dolly Parton-Inspired Musical
Here You Come Again (Tour)
New Victoria Theatre
Here You Come Again: The Musical is a lighthearted jukebox musical that blends the iconic charm of Dolly Parton’s greatest hits with a tale of self-discovery set during the lockdown era. Created by Bruce Vilanch, Gabriel Barre and Jonathan Harvey, this show brings the country queen’s signature wit and wisdom to the stage, all while exploring themes of loneliness, identity, and the universal need for connection. Currently touring, it is soon heading to the West End, where fans of Dolly’s music and humour will undoubtedly flock.
The story revolves around Kevin, a man struggling with the emotional fallout of a breakup during the pandemic. Isolated and adrift, Kevin is unexpectedly visited by his idol, Dolly Parton- part fairy godmother, part figment of his imagination—who helps him through his personal crisis with a series of humorous, song-filled moments. The concept of facing one's inner demons during lockdown is timely and offers moments of introspection, but ultimately, the plot feels somewhat underdeveloped. Kevin’s journey lacks the emotional depth to make his self-discovery truly engaging, and the ending, without giving too much away, feels a bit too convenient. While the premise is intriguing, there’s not enough character growth to sustain a two-hour show.
That being said, the real highlights of Here You Come Again lie in its stellar performances and detailed set design. The two leads- Tricia Paoluccio as Dolly and Steven Webb as Kevin- carry the production with extraordinary vocal talent and impeccable comedic timing. The chemistry between Dolly and Kevin is undeniable; their playful banter keeps the audience laughing, while their shared emotional moments add some needed tenderness to the storyline. The actors’ voices are perfectly suited to the classic Dolly Parton hits, delivering each song with warmth, power, and precision. Tricia Paoluccio is Dolly Parton, her portrayal is completely faultless, with every inflection and rhythm completely spot on. If you're attending this show for the music and the performances, you won’t be disappointed.
The set, designed by Paul Wills, is another triumph, offering a richly detailed, nostalgic environment that keeps things visually interesting despite its minimal changes throughout the show. Kevin's attic home is packed with fun Easter eggs, from a mischievous Sooty and Sweep puppet set to a slightly eerie Chucky doll lurking upstairs. Of course, Dolly Parton records dot the space, creating a shrine-like atmosphere perfect for a superfan like Kevin. The clever use of the set helps maintain the whimsical tone, with small magical effects (Richard Pinner) and props that appear out of nowhere, adding charm and surprise to each scene. The live band (led by Jordan Li-Smith) and ensemble, stationed mostly on the upper floor of the set, adds an extra layer of energy to the performance, and their seamless integration into the scenes enhances the intimate, living-room-concert vibe.
Despite the strengths of the performances and the captivating set, the plot often feels like it's simply a vehicle for Dolly’s music. While this is common in jukebox musicals, there are shows that manage to balance narrative and song more effectively. Kevin’s central conflict- his struggle with loneliness and identity post-breakup- doesn't feel fully resolved by the end. His transformation, or lack thereof, feels handed to him rather than earned, which may leave some audience members (myself included) feeling a bit underwhelmed.
However, the fairytale-like quality of Dolly’s guidance and the feel-good nature of her music provides enough sweetness and heart to make the experience worthwhile. For those who are diehard Dolly fans or enjoy a nostalgic trip through the country icon’s greatest hits, Here You Come Again offers plenty of charm. The show may not deliver the most compelling story, but its combination of five-star performances, a cleverly designed set, and Dolly’s ever-enchanting presence makes it worth a visit for a fun, light night out at the theatre.
★★★
Reviewed on Tuesday 22nd October 2024 by Olivia
Photo Credit: Hugo Glendinning
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 18 October 2024
Lord of the Dance- A Lifetime of Standing Ovations on Tour: A Footwork Feast with a Touch of Nostalgia
Lord of the Dance: A Lifetime of Standing Ovations
New Victoria Theatre
Lord of the Dance: A Lifetime of Standing Ovations is a unique production that showcases the unmatched talent of its dancers, but it also carries a sense of nostalgia that doesn’t quite hold up in today’s world. Originally created by Michael Flatley in 1996, the show is rooted in Irish mythology, featuring stunning footwork and energetic performances.
At its core, Lord of the Dance tells a mythic tale of good versus evil, with the "Lord" representing all that’s noble and heroic, while the "Dark Lord" embodies chaos and villainy. As these two archetypal male figures battle for dominance, female characters like "Saoirse" and "The Morrighan" find themselves relegated to fairly traditional roles: yearning for the hero or caught in the middle of the conflict. The story itself feels more like a backdrop to the dancing rather than a fully fleshed-out narrative, and the idea of macho men saving the day while women stand by feels a little tired in today’s cultural climate.
Visually, the show is a mixed bag. At times, the lighting, costumes, and staging can be quite effective, creating moments of real magic. However, there are other moments where the visuals feel random and disconnected, with no real cohesion in design or purpose. The costumes range from ethereal and elegant to overly flashy and out of place. The lighting effects, while dynamic, often seem to be trying to add drama where the narrative fails to deliver. These dated visual elements can distract from the otherwise incredible dance performances and make the production feel less polished than it once was.
That said, the live music elements, including violin interludes and occasional vocal performances, are a welcome addition. They break up the dance-heavy sequences in a way that adds depth and texture to the show. The mix of live music and recorded tracks is well-balanced, enhancing the energy of the performance while giving the dancers brief moments to reset.
The dancing itself is the undeniable highlight of the show. The sheer athleticism and precision of the cast are nothing short of remarkable. The iconic Irish step-dancing routines are performed with an intensity and flair that keeps the audience fully engaged, even when the story feels secondary. The choreography remains as impressive as ever, with the dancers’ footwork bringing an unmatched level of excitement and spectacle to the stage. Even if the visuals and plot don’t always hit the mark, the dancing alone is enough to make the show worth seeing.
Lord of the Dance is still a strong production for fans of Irish dance and music, but it feels very much like a product of its time. The plot is simple, predictable, and hinges on outdated gender roles, while the visual elements, although sometimes effective, lack coherence and can feel random or overdone. Yet despite these shortcomings, the live music and the incredible talent of the dancers keep the show afloat and make it worth a watch. It's a show that knows what it is and embraces it fully. It might not break new ground for those familiar with it, but it offers a nostalgic, enchanting escape for anyone craving the magic of Irish dance. For longtime fans, it’s a delightful revisit to a cherished classic, while for newer audiences, it serves as a beautiful introduction to the art form, even if it does show its age in places.
★★★
Reviewed on Friday 18th October by Olivia
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{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 16 October 2024
Full Cast Announced for 2025 UK Tour of Bat Out of Hell The Musical
The producers of the award-winning Bat Out of Hell The Musical, which features Jim Steinman and Meat Loaf's greatest hits, have announced the full cast for the upcoming 2025 UK tour. This electrifying show, which begins performances on 6 January 2025 at the Edinburgh Playhouse, will tour across the UK until 20 September 2025, concluding in Northampton. Fans can expect a spectacular production featuring a dynamic cast, iconic rock songs, and unforgettable theatrical energy.
Joining the previously announced Glenn Adamson as Strat, Katie Tonkinson as Raven, Rob Fowler as Falco, and Sharon Sexton as Sloane, new cast members include Georgia Bradshaw as Zahara, Ryan Carter as Jagwire, Carla Bertran as Tink, Luke Street as Ledoux, and Carly Burns as Valkyrie. The full ensemble cast features a talented mix of West End and touring performers, including Leo Abad, Peter Camilleri, Joshua Dever, Reece Duncan, Georgia Holland, Georgia Iudica-Davies, Natalie Pilkington, Harriet Richardson-Cockerline, Sophie-Rose Emery, Catherine Saunders, Ethan Tanner, Craig Watson, James Wilkinson-Jones and Beth Woodcock. At certain performances, roles such as Strat, Falco, Sloane, and Ledoux will be covered by alternate actors, including Luke Street and Beth Woodcock.
Inspired by its arena tours in Australia and New Zealand, this reimagined production promises to be a high-octane experience, with a sprawling set design featuring multi-level platforms and an on-stage eight-piece rock band. The show immerses the audience in the fantastical world of Bat Out of Hell, delivering some of the most iconic rock anthems ever recorded. The musical features Jim Steinman’s legendary songs like You Took the Words Right Out of My Mouth, Bat Out of Hell, I Would Do Anything for Love (But I Won’t Do That), and Two Out of Three Ain’t Bad. It also includes the previously unreleased song, What Part of My Body Hurts the Most.
The stage adaptation of Bat Out of Hell has wowed audiences worldwide, with successful runs in Manchester, London’s West End, and international productions in Canada, Germany, New York, Las Vegas, and beyond. It received critical acclaim and won the Radio 2 Audience Award for Best Musical at the Evening Standard Awards, in addition to eight nominations at the WhatsOnStage Awards, including Best New Musical.
The musical tells the story of the immortal leader Strat and his love-at-first-sight obsession with Raven, the daughter of Falco, the ruler of a dystopian city. As their passionate connection grows, the two lovers find themselves caught in a struggle that threatens to tear both of their families apart. The production brings Steinman and Meat Loaf's epic collaboration to life on stage with a thrilling mix of music, romance, and rebellion.
The creative team behind Bat Out of Hell The Musical includes book, music, and lyrics by Jim Steinman, direction by Jay Scheib, musical supervision by Michael Reed, additional choreography by Xena Gusthart, set and costume design by Jon Bausor, and lighting design by Patrick Woodroffe. The UK tour is produced by Michael Cohl, Tony Smith, and David Sonenberg, with executive producer Julian Stoneman.
Audiences across the UK will have the chance to experience the exhilarating power of Bat Out of Hell when it kicks off its tour in 2025. Don’t miss this unforgettable celebration of rock ‘n’ roll, love, and rebellion!
photo credit:
Thursday, 10 October 2024
Full Cast Announced for UK & Ireland Your of Kinky Boots the Musical
Producers ROYO and Curve are thrilled to announce the complete cast for the all-new Made at Curve production of Kinky Boots The Musical, winner of Olivier, Tony, and Grammy Awards. This celebrated musical will tour the UK and Ireland starting from 17 January 2025.
Joining the cast are: Newtion Matthews (Once on This Island) as Lola for select performances and Simon Snr for all others. Kara Lily Hayworth (Cilla the Musical) as Nicola, Joe Caffrey (Billy Elliot) as Don, Kathryn Barnes (Guys & Dolls) as Pat, Lucy Williamson (Fame!) as Trish, Jonathan Dryden Taylor (Fiddler on the Roof) as Mr Price, Scott Paige (I Should Be So Lucky) as George, Liam Doyle (Heathers) as Harry.
The ensemble cast also features: Kofi Dennis, Ru Fisher, Ben Middleton, Ashley-Jordon Packer, Cerys Burton, Cole Dunn, Kaya Farrugia, Jordan Isaac, Deena Kapadia, Tori McDougall, and Liam McEvoy.
These new cast members will join previously announced stars: Johannes Radebe (Strictly Come Dancing) as Lola, Dan Partridge (Grease) as Charlie Price and Courtney Bowman (Legally Blonde) as Lauren.
Kinky Boots The Musical features a score by Cyndi Lauper and a book by Harvey Fierstein, with direction by Curve’s Artistic Director Nikolai Foster. The story, based on real events and the 2005 film, follows Charlie Price, a man trying to save his family’s failing shoe factory. When he meets Lola, a charismatic drag queen, their collaboration brings hope, reinvention, and a splash of glamour to the business.
With its uplifting message of celebrating individuality and finding common ground, Kinky Boots promises to “Raise You Up” starting January 2025.
The production is helmed by Nikolai Foster, featuring choreography by Leah Hill, set and costume design by Robert Jones, musical supervision by George Dyer, lighting design by Ben Cracknell, sound design by Adam Fisher, casting by Harry Blumenau CDG CDA, and wigs, hair, and make-up design by Campbell Young Associates.
Associate direction is by Michaela Powell, with associate choreography by Johnny Bishop, and associate sound design by Harry Barker. Production management is handled by Setting Line.
Kinky Boots is produced by ROYO and Curve. Don’t miss this fabulous production when it kicks off its tour in January 2025!
Wednesday, 9 October 2024
Tom Fletcher’s There’s a Monster in Your Show to Return for New Tour
The cast for this tour includes talented puppeteers like Charlie Daniels, Josh Macrow, Ben Murrell, Ashton Owen, and Gil Sidaway. The tour will start at Watford Palace Theatre in October 2023 and is expected to visit over 50 venues across the UK, running through June 2024
A Life-Affirming Musical: Come From Away on Tour REVIEW | New Wimbledon Theatre
Come From Away
New Wimbledon Theatre
Come From Away is an extraordinary and heartwarming celebration of humanity, compassion, and community spirit. This remarkable musical, based on the true events following the tragic events of September 11th, 2001, chronicles the story of a small town that welcomed over 7,000 stranded passengers when 38 planes were unexpectedly diverted to Gander, Newfoundland. The 100-minute production, performed without an interval, captivates audiences from the first note to the final bow, leaving you inspired and deeply moved by the resilience and kindness of strangers.
The show, created by the brilliant team of Irene Sankoff and David Hein, debuted in 2013 before premiering on Broadway in 2017 to critical acclaim. It went on to win a Tony Award for Best Direction and has become a worldwide phenomenon; after (devastatingly) closing in the West End, the show is currently touring the UK and touching the hearts of countless theatergoers. What makes Come From Away unique is that it doesn’t dwell on the tragedy itself; rather, it highlights the powerful goodness that arose in response. It’s a story that everyone needs to see- a true testament to the strength of human spirit and the way communities can come together in times of need.
The cast of Come From Away is a masterclass in ensemble performance, with each of the twelve actors seamlessly taking on multiple roles, transitioning between characters with just a subtle change in voice, posture, or costume. Sara Poyzer is great as Captain Beverly Bass, commanding the stage with poise and delivering a stirring rendition of 'Me and the Sky,' a poignant ode to the barriers women face in aviation and beyond. Jamal Zulfiqar’s dual roles as Kevin and Ali are portrayed with depth and sincerity, while Nicholas Pound brings a steady warmth to Mayor Claude Elliott. Bree Smith, as Hannah, delivers an emotionally charged performance that resonates deeply, and Rosie Glossop’s Bonnie has an endearing authenticity that reflects the compassionate spirit of Gander’s residents. Daniel Crowder and Kirsty Hoiles, as Nick and Diane, exude heartfelt chemistry, and Amanda Henderson’s portrayal of Beulah is both humorous and touching, embodying the very essence of Newfoundland hospitality. Natasha J. Barnes is wonderfully endearing as newbie news-reporter Janice, while Mark Dugdale brings great light and vocals to Kevin T. Oliver Jacobson and Dale Mathurin provide some of the most humourous moments of the show and complete the universally perfect cast.
Howell Binkley’s brilliant lighting design transforms the relatively simple set into myriad locations, evoking a sense of intimacy and immediacy that brings the story to life. The lighting shifts subtly to reflect both the tension and warmth of each scene, helping audiences feel every moment of hope, uncertainty, and joy. Kelly Devine’s choreography is equally impressive- fluid and organic, it mirrors the natural rhythms of life in Gander and the mingling of so many lives, capturing the bustling energy of the community while maintaining a focus on small, authentic human interactions.
The music, with its Celtic-inspired score composed by Sankoff and Hein, is the heartbeat of the production. From the powerful opening number, 'Welcome to the Rock,' to the joyful 'Screech In,' the songs are infused with East Coast flair, featuring lively fiddles, bodhrans, and an ensemble that sings and plays with palpable passion. Under the direction of Andrew Corcoran, the music beautifully conveys both the emotional highs and lows, transporting audiences to Newfoundland with its driving rhythms and haunting melodies.
More than just a musical, Come From Away is an experience that reminds us of the inherent goodness within people. The uplifting message is amplified by the Pay It Forward initiatives that the production actively supports. These activities, organised by Lydia Greatrix, in honour of her friend and Come From Away superfan Laura Townsend, which include partnerships with local charities and community outreach, bring the show’s message of kindness off the stage and into the real world. By championing causes that encourage generosity and connection, Come From Away continues to “pay forward” the generosity of Gander, ensuring that its legacy of compassion extends far beyond the theatre.
In the end, Come From Away is not just a must-see show- it’s a life-affirming testament to the power of people and the enduring strength of community. It’s a reminder that, even in the face of unimaginable darkness, human decency shines through, and strangers can become friends. This is a show that will leave you laughing, crying, and wanting to be a better person- a story that every single person should experience, especially in today’s world.
If you would like to donate to future pay it forward events, check the Just Giving page here.
★★★★★
Reviewed on Tuesday 8th October 2024 by Olivia
Photo Credit: Craig Sugden
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 8 October 2024
Matilda the Musical to Embark on New UK and Ireland Tour
The Royal Shakespeare Company (RSC) has exciting news for musical theatre lovers: Matilda The Musical will launch its second major tour across the UK and Ireland in October 2025. The tour kicks off at Curve Theatre in Leicester on October 6, 2025, and will run simultaneously with the show's West End production.
Based on Roald Dahl’s beloved book, Matilda The Musical tells the inspiring story of a determined young girl who uses her vivid imagination to overcome life's challenges. The musical has achieved remarkable success, amassing over 100 awards, including an impressive 24 Best Musical accolades. Audiences can look forward to hearing iconic songs such as "Quiet," "Naughty," "When I Grow Up," and "Revolting Children." Additionally, a film adaptation released in 2022 is available on Netflix, broadening the show's reach even further.
Written by Dennis Kelly, with music and lyrics by Tim Minchin and direction by Matthew Warchus, the production also boasts a talented creative team, including Rob Howell (set and costume design), Peter Darling (choreography), Christopher Nightingale (orchestrations and musical supervision), Hugh Vanstone (lighting), Simon Baker (sound), and Paul Kieve (special effects and illusions).
In a recent interview, Minchin reflected on the show's enduring popularity: “When we first started working on the show, our aim was to make a lovely little jewel of a musical for the RSC’s Courtyard Theatre in Stratford-upon-Avon. We never imagined that all these years later it would still be running in the West End, have been made into a film, and is now about to embark on its second tour of the UK and Ireland. I’m deeply proud of Matilda The Musical, and every single talented person who continues to work on it with passion and enthusiasm.”
The tour will celebrate its 15th anniversary at Curve Theatre, where it will run until October 25, 2025. Following that, it will continue to various venues, including the Alhambra Theatre in Bradford (October 30 to November 23), the Liverpool Empire (December 2 to January 4, 2026), Theatre Royal Plymouth (January 13 to February 7), Sunderland Empire (February 11 to 28), Edinburgh Playhouse (March 4 to 22), and Manchester Palace Theatre (March 26 to April 25). Additional dates are expected to be announced in the future.
Priority booking for RSC and Theatre Members/Friends, as well as ATG+ Members, opens at 10 a.m. on October 22, 2024, with general ticket sales starting on October 24, 2024, for most venues (with exceptions for Curve and Theatre Royal Plymouth). Details regarding casting and other creative aspects of the tour will be revealed later.
photo credit: Manuel Harlan
Tuesday, 18 June 2024
Don't Miss Sister Act the Musical in the West End: A Heavenly Night at the Theatre
If you're looking for a divine night out in London, then Sister Act the Musical is your calling! This sparkling show is lighting up the West End, and it’s a sin to miss it. Whether you’re a theatre aficionado or a casual musical-goer, here are some heavenly reasons to catch this nun-believable production. Plus, it's going on a UK tour, so if you can’t make it to London, the show might just be coming to a cathedral near you!
Star-Studded Cast: First off, let’s talk about the cast. This production is blessed with talent that will make you want to sing “Hallelujah!” Leading the way is the fabulous Alexandra Burke as Deloris Van Cartier, whose powerhouse voice and infectious energy bring this iconic character to life. Ruth Jones, known and loved for her role as Nessa in the hit TV show Gavin and Stacey plays the strict yet lovable Mother Superior. Also gracing the stage is the dynamic duo of Lee Mead as Eddie Souther and Lemar as Curtis Jackson, adding charm and villainy in equal measures.
Joyous Music and Dance: The music in Sister Act is nothing short of heavenly. With Alan Menken's uplifting songs that blend gospel, disco, and Motown vibes, you’ll be tapping your feet and clapping your hands in no time. Glenn Slater's lyrics are jam packed with word play that'll have you laughing out loud. Hits like 'Raise Your Voice' and 'Take Me to Heaven' will have you bopping in your seat, while Lizzie Bea's astounding rendition of 'The Life I Never Led' with have you praising her talent.
A Feel-Good Story: At its heart, Sister Act is a story about friendship, faith, and finding your true voice. Deloris Van Cartier, a lounge singer on the run, transforms a convent choir with her lively spirit and unites a group of nuns in a shared purpose. It’s a tale that warms the soul and reminds us of the power of community and self-discovery. You’ll leave the theatre with a full heart and a smile on your face.
Hilarious and Heartwarming Moments: From laugh-out-loud moments to tear-jerking scenes, Sister Act the Musical has it all. The comedic timing of the cast, especially Ruth Jones and Lesley Joseph, is impeccable. The variety of interactions are both touching and hysterical. Thanks to the uniquely defined personalities of each nun, the musical strikes a perfect balance between humour and heartfelt emotion.
Stunning Production Value: Morgan Large's set and costume designs are vibrant and detailed, immersing you in the world of the convent and the seedy nightclubs. Coupled with Tim Mitchell's dynamic lighting, and a Tom Marshall's really well balanced sound, every scene is a visual feast that enhances the overall experience.
With a stellar cast, sensational music, a heartwarming story, and top-tier production value, it promises a night of entertainment that is nothing short of divine. So grab your friends, book your tickets, and get ready to be blessed with one of the most enjoyable shows of the year. And remember, if you can’t catch it in London, the UK tour is coming soon to a town near you. Praise be!
So, what are you waiting for? Don’t miss out on this heavenly experience – it's sure to be a habit-forming night out!
Photo Credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 5 June 2024
Jesus Christ Superstar on Tour is an Electrifying Experience | New Victoria Theatre Woking | Review
Jesus Christ Superstar (Tour)
New Victoria Theatre
Last night, I had the pleasure of attending the current UK tour of Jesus Christ Superstar, and it was a nearly perfect theatrical experience. From the moment the curtain rose, I could tell this production was something special. Having seen it previously at the Barbican Centre, I knew what to expect but I was really pleasantly surprised with how well the production has translated for touring.
Andrew Lloyd Webber's show, a rock-opera-musical has one of the most intricate and powerful scores I've personally experienced in the theatre. The vocal demands from every performer, whether the high as mountains soprano tracks or the booming bass of Caiaphas, every role requires strength, integrity and control which this cast deliver in spades. Alternate in the role, Charlie McCullagh's portrayal of Jesus is astounding. Taking on the role with the quiet swagger of a popstar, it's evident why he'd garner a following and his kind, charismatic persona, makes his eventual crucifixion incredibly moving and powerful. Vocally, you cannot fault his performance, (his Gethsemane is firmly in my top performances of 2024) every single note is supported and intentionally performed and the emotion imbued into each moment is magnetic to watch. Shem Omari James' Judas is equally compelling, delivering a nuanced and passionate performance that adds layers to the character and leave you questioning his motives long after the curtain goes down. The chemistry between the two leads is palpable, making their dynamic and relationship both riveting and heartbreaking. Hannah Richardson completes the trio perfectly, bringing a tenderness to Mary almost acting as a mediator throughout. Her voice is soulful and she really made the iconic songs feel new and refreshed.
Musically, the production is outstanding. The orchestra deliver Andrew Lloyd Webber's iconic score with vibrant intensity. The contemporary rock-infused arrangements breathe new life into the familiar tunes while still honouring the original spirit of the musical. This is an incredibly well-oiled machine of a show that seems to have paid meticulous attention to making every single moment hit with astounding intensity.
Visually, the show is a feast for the eyes. Tom Scutt's set design is innovative, using modern elements to create a versatile and dynamic stage, without the need for any huge set changes. Equally, his costumes, blending traditional and modern styles, are simplistically striking and allow for some really interesting moments, especially towards the end when some characters literally get Jesus' blood on their hands and bodies. One of my favourite elements of the musical is Lee Curran's lighting which is continually awe inspiring as it enhances dramatic moments and add a layer of symbolism that beautifully complements the narrative. Whilst I don't always understand the meaning of Drew McOnie's choreography, I find it incredibly arresting and love the frenetic energy that it brings to the stage.
The only minor drawback for me, is the occasionally overpowering sound mix. At times, the balance between the orchestra and the vocalists is off, making it difficult to catch all of Tim Rice's intense and often witty lyrics. However, this was a small blemish on an otherwise stellar production.
In my opinion, this touring version of the classic show is a must-see. It’s a masterful revival that pays homage to the original while bringing a fresh and contemporary twist. Whether you're a long-time fan of the musical or experiencing it for the first time, this production is sure to leave a lasting impression. Impeccably performed, it's one of the most moving and powerful shows I've seen this year and I wouldn't hesitate to recommend it.
★★★★
Reviewed on Tuesday 4th June 2024 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
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