Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts

Monday 25 March 2024

Priscilla the Party at HERE at Outernet REVIEW: A Glitzy, Camp Night Out


Priscilla the Party
HERE at Outernet

Priscilla the Party is like stepping into a glittering dreamland where every corner is bursting with energy and excitement. From the moment you walk through the doors of the venue, you're greeted by pulsating beats and dazzling lights that promise a uniquely camp and sparkling experience. Following the adventures of three friends as they journey across the Australian outback aboard the iconic Priscilla bus, the plot is a rollercoaster of emotions that has you grinning from ear ear and dancing your way back onto Tottenham Court Road.

The venue itself is impressive, with its adaptable layout and top-notch sound design, HERE at Outernet ensures that every moment of the performance is delivered with crystal clarity. However, if you're on the shorter side, finding the perfect spot to catch all the action might require a bit of manoeuvring, as the stages aren't particularly high. Pro tip: head towards the front near the non-moving stage at the front for a great view and minimal movement.

Now, let's talk costumes. Each sequin and feather is a work of art, adding an extra layer of sparkle to an already glitzy affair. Tim Chappel and Lizzie Gardiner's designs are wonderfully extra, often providing humour alongside shine. There are also full glitter wigs which are just spectacular.

Equally spectacular are the cast who bring all the good vibes and deliver the story of drag queens travelling the outback so well. Leading proceedings, Trevor Ashley, Reece Kerridge, Dakota Starr and Owain Williams are absolute delights, bringing their characters to life with a level of energy and enthusiasm that's infectious; as well as showing moments of vulnerability which really add to the story.

But, as with any show, there are a few bumps along the way. The constantly shifting perspectives of the stages can sometimes make it hard to fully immerse yourself in the storyline, leaving you feeling a bit disconnected. The immersive aspect of the show is exciting and fairly unique but it doesn't always feel necessary with this show, especially when it stands so strongly on its own. While the pre-show performances are entertaining, they do have a tendency to drag on a bit, delaying the main event's grand entrance, plus, the choice of slow songs might not have been the best for getting the party started.

Despite these hiccups, Priscilla the Party delivers on its promise of a night filled with laughter. So, if you're in the mood for a night of joy and unadulterated fun, Priscilla the Party is the place to be. Embrace the campy atmosphere, lose yourself in the dazzling costumes, and get ready for a ride you won't soon forget. Despite its flaws, this glittering extravaganza is guaranteed to leave you with a smile.

★★★ 
Reviewed on Monday 25th March 2024 by Olivia
Photo Credit: Marc Brenner

{AD PR Invite- tickets gifted in exchange for honest review}

Priscilla the Party at HERE at Outernet REVIEW: A Glitzy, Camp Night Out

Monday 25 March 2024

Sunday 17 March 2024

Instructions for a Teenage Armageddon at the Garrick Theatre REVIEW: Charithra Chandran makes a moving stage debut


Instructions for a Teenage Armageddon
Garrick Theatre

In a transfer from the Southwark Playhouse to to the Garrick Theatre, Instructions For a Teenage Armageddon sees Charithra Chandran making her stage debut after her notable appearance on screen in Bridgerton.

Written by Rosie Day (who previously starred as Girl), Teenage Armageddon revolves around a witty, introspective teenager coping with the loss of her sister amidst the tumult of teenage betrayal, manipulation, and trauma. Despite the dark undertones, Day lightens the mood by framing each section with the protagonist's quest for new scout badges. The story is moving, if at times predictable and is a good way of supporting teens and putting them at the forefront of a story.

In this 75-minute journey directed by Georgie Staight, Chandran deftly navigates through a poignant social satire, tackling a myriad of emotional themes. Her characterisation is good, breathing life into a variety of personas throughout the performance. While her comedic and emotional timing may not always deliver the biggest punch, Chandran's portrayal remains commendable, particularly given the emotional depths demanded by the role; and it's highly impressive that her first foray into theatre is with a one-girl-show.

Having seen the show in its previous iteration I knew what to expect but this version certainly felt different. Mainly in terms of staging, the show has moved away from the campfire setting as it's main framework and instead the action physically takes place in a muted bedroom which doubles as all the other locations. Video projections by Dan Light add depth and interest, especially with the extra on screen characters played by Shelley Conn (Mum), Philip Glenister (Dad) and Isabella Pappas (Ella). At times the show does feel a little too staged and as though its lost some of the real childishness which was so charming during its last run, however it retains it's heart and sincerity which really make it sparkle.

The show is adorned with quick, clever prose and such dark humour, you never quite feel certain you should be laughing as loudly as you are. The play is a poignant exploration of real childhood trauma, with relatable themes that will certainly resonate with audiences, particularly girls and women navigating societal pressures and concealing pain behind humour.

Instructions For a Teenage Armageddon serves as a cautionary tale, urging for open conversations about mental health and the importance of supporting one another. Chandran's performance is really admirable and the show's West End transfer is a testament to Rosie Day's brilliant writing.

★★★★
Reviewed on Sunday 17th March 2024 by Olivia
Photo Credit: Danny Kaan

{AD PR Invite- tickets gifted in exchange for honest review}

Instructions for a Teenage Armageddon at the Garrick Theatre REVIEW: Charithra Chandran makes a moving stage debut

Sunday 17 March 2024

Friday 1 March 2024

Standing at the Sky's Edge at the Gillian Lynne Theatre REVIEW: A Perfect Tale of Hope and Connection


Standing at the Sky's Edge 
Gillian Lynne Theatre 

Standing at the Sky's Edge is a captivating journey that swept me off my feet and left me utterly spellbound. From the moment the lights dimmed and the first notes filled the air, I was transported into a world where every emotion felt raw and real.

The story, set across three generations, unfolds with such grace and authenticity, drawing the audience into the lives of the characters living in Sheffield's iconic Park Hill estate. Through their joys and struggles, their dreams and disappointments, I found myself rooting for each one of them as if they were old friends.

Whilst this is technically a jukebox musical, it doesn't feel clunky as is so often the case. Richard Hawley's compositions, with Tom Deering's orchestrations are a beautiful fusion of rock, folk, and soul, each melody weaving its way into the narrative to really capture the essence of the musical. The lyrics are so poetic and heartfelt, they brought tears to my eyes and chills down my spine. This is a masterfully crafted musical that is so different to other West End offerings, in all the best ways.

Set wise, Ben Stones has done a glorious job, bringing the industrial feeling of Park Hill to life, but also capturing the warmth which filled it. Mark Henderson's fantastic lighting design also contributes to this realistic feeling, with even the first scene literally brining the sunrise to life. From the bustling streets of Sheffield to the towering heights of Park Hill, every detail is so meticulously crafted that I felt like I was actually there, witnessing the story unfold before my eyes. In my opinion this is a show which needs multiple visits because there's just so much to see, every nook of the stage is filled with action and there are so many stories going on that you could watch ten times and still spot something new!

But what truly struck me was the way this musical resonated with me on a personal level. Despite never having set foot in Sheffield, I felt a deep connection to the characters and their journey. Their struggles felt familiar, their triumphs felt like my own and whilst I didn't directly relate, the emotions portrayed are so genuine and truthful, you can't help but be moved by the tales of hurt and hope.

These intense feelings are a testament to the vast ensemble cast who are outstanding in every way. Elizabeth Ayodele as Joy brings subtle but effective character growth that melds to her surroundings, whilst Samuel Jordan is every level of charming as Jimmy, both also give brilliant vocal performances, a common theme throughout the cast. Opening the show, Jonathon Bentley sets the tone for the piece and showcases his beautiful voice which equally shines during his other solo moments. Perhaps the character with the biggest arc is Harry, portrayed with such nuance and integrity by Joel Harper-Jackson. Mesmerising is a word which gets thrown around a lot but Joel's performance is utterly the embodiment of it, as he brings to life a character that feels so multi-dimensional and showcases his innate acting ability. As his loving housewife partner who slowly finds her voice, Rachael Wooding is a powerhouse, with another slow burn performance that peaks in the second act and has sniffles filling the auditorium. Laura Pitt-Pulford gives one of my favourite vocal performances of the show with 'Naked in Pitsmoor' and again, brings to life her character Poppy perfectly. Lauryn Redding is her ideal counterpart, serving some wonderful vocals, especially during the title song and also bringing some lightness amongst the heavy themes of the show. The entirety of the cast bring this world to life and they're all stars. Mention must also go to the booming bassist who growls and grounds the Act two opening number 'Standing at the Sky's Edge'.

In the end, Standing at the Sky's Edge isn't just about the music or the set design – it's about the human experience. It's about love, loss, and the resilience of the human spirit. It's a reminder that no matter where we come from, we're all connected by our shared humanity.

Standing at the Sky's Edge touched me in a way that few musicals ever have. It's a testament to the power of storytelling and the magic of theatre. If you have the chance to see it, don't hesitate – it's an experience you won't soon forget, and the act one opening is one of the best theatrical moments possible to see on stage right now.

★★★★★ 
Reviewed on Thursday 29th February 2024 by Olivia
Photo Credit: Brinkhoff-Moegenburg

{AD PR Invite- tickets gifted in exchange for honest review}

Standing at the Sky's Edge at the Gillian Lynne Theatre REVIEW: A Perfect Tale of Hope and Connection

Friday 1 March 2024

Friday 23 February 2024

Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances


Just For One Day: The Live Aid Musical
The Old Vic

Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.

With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.

The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.

Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.

Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.

Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichéd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.

Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.

Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.

Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.

★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances

Friday 23 February 2024

Thursday 22 February 2024

Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell


Hadestown
Lyric Theatre

There are musicals that touch your soul and for me that’s Hadestown. I first saw the show in 2018, where I went in completely blind and came out gob smacked and awed. Tonight after the official West End opening night, I feel equally awed as well as inspired, moved, astounded, heartbroken and overjoyed. There really aren’t adjectives to describe how heartfelt and special this show is. Not only is it a piece of fantastic quality theatre but it’s also a poem, a concert, a celebration of life and humanity, an ode to music and above all, a love story.

Hadestown tells the tale of young Orpheus and Eurydice as their tales intertwine. It's a musical retelling of the ancient Greek myth of the duo and follows the journey of Orpheus as he descends into the underworld, determined to rescue his beloved Eurydice from the clutches of the charismatic but menacing Hades. Despite the various iterations and productions this musical has gone through, one constant is how scarily relevant the themes it explores feel in our modern world. Hades, ruler of the underworld and the mines, ostensibly grants "freedom" through employment while simultaneously confining his subjects behind a barrier. Why We Build The Wall is certainly one of the most pertinent songs of the production, its relevance hits all too close to home in the current world.

The musical borders the line between acting as "the world we live in, and the one we dream about", in thanks part to Rachel Hauck's set. Scaled down slightly from the National Theatre production, it still evokes Depression-era vibes and cleverly frames the story. Bradley King's lighting literally highlights some of the most astounding moments of the show, especially during Hades' peak moments, as well as casting shadows to create an almost cinematic feel; overall it's just an incredibly cohesive show that has a vibe and aesthetic that matches it so well.

This undefined world is perhaps best showcased by Anaïs Mitchell's incredible score which combines so many styles a creates such special storytelling. The intricate lyrics allow layers upon layers of emotions to form as Anaïs weaves a musical tapestry that is charming and delightful at times, but gritty and painful at others. Mitchell has truly crafted a musical masterpiece that transcends time and genre and creates a theatrical experience like no other.

Director Rachel Chavkin has meticulously pored over each performer, set element, musician, and lighting effect to craft a production that leaves us suspended between despair and hope. This version of the show also feels perfectly tweaked for the West End, with the use of the performer’s natural accents making the whole thing feel very real and grounded, an inspired change! David Neumann's precise choreography fits seamlessly with the revolving stage, continually moving between frenetic energy and poignant stillness that works so well. This is a piece which is so reliant on balance, the balance between good and bad, love and hate, light and dark, loud and quiet, beauty and pain, among others, and the entire cast and creative team have perfectly understood and managed this balance to form a musical that leaves you not quite sure what emotion you're experiencing, but 100% sure you experienced something special.

At it's core this is a story about people, and the people who lead it are wonderful. As the headstrong Eurydice, Grace Hodgett Young is everything you could ask for in a leading lady, her calm is as strong as her passion and she fills every moment with charisma. There’s often mention of “stage presence” but it’s rare you see the phrase as outwardly displayed as with Grace who commands even the smallest of moments. Of course she’s also vocally dreamy, showcasing all layers of her voice and perfectly bringing the vocal grit that’s so necessary for the role. Her easy swagger and playfulness is a perfect balance to Orepheus' more nervous persona. Taking on the role of this heartstrong counterpart, Donal Finn is delightfully whimsical and charming. Donal's Orpheus truly comes into his own during act two when his passion for his partner and also his music are on full display and his voice becomes a beacon of hope cutting through the darkness of despair. It's utterly heartbreaking when we reach the expected conclusion, a testament to the emotion the cast pour out to get us to that point.

As the enigmatic Hermes, Melanie La Barrie is all parts wonderful, her presence commanding the stage with every word and gesture and bringing humour and gravitas in equal measure. Her performance weaves together the threads of myth and legend with an all knowing wisdom that seems to transcend time, she truly gives everything on stage and is a marvel to behold.

Hadestown is more than a musical—it's an experience, a testament to the enduring power of art to touch the very depths of our souls. It's a rare gem that shines brightly in the landscape of contemporary theatre, a reminder that sometimes, even in the darkest of times, there is still beauty to be found.

In the hallowed halls of the Lyric Theatre, you can bear witness to something truly extraordinary. Hadestown is a triumph in every sense of the word and it needs to be seen.

★★★★★
Reviewed on Wednesday 21st February 2024 by Olivia Mitchell
Photo Credit: Marc Brenner

{AD PR Invite- tickets gifted in exchange for honest review}

Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell

Thursday 22 February 2024

Monday 12 February 2024

Initial Casting Announced for Spring Awakening Reunion Concert


Producers Jack Maple and Evelyn Hoskins are thrilled to unveil the initial cast for the 15th Anniversary concert of the groundbreaking West End production of Spring Awakening, the acclaimed musical by Steven Sater and Duncan Sheik, based on Frank Wedekind’s iconic play.

This special event, marking the 15th year since the original London production, will reunite many of the beloved original cast members for a one-night-only celebration on Sunday, June 2, 2024, at the Victoria Palace Theatre. Tickets are available for purchase now.

Returning to the stage from the original West End production are Lucy May Barker as Ilse, Natasha Barnes as Anna, Harry McEntire as Ernst, Hayley Gallivan as Martha, Evelyn Hoskins as Thea, Edward Judge as Otto, Jamie Muscato as Melchior, Jos Slovick as Georg, and Charlotte Wakefield as Wendla. Additionally, Chris Barton, Natalie Garner, Mona Goodwin, Gemma O’Duffy, and Richard Southgate will reprise their roles.

The original London band, including Huw Davies, Don Richardson, Matthew Senior, Vicky Matthews, Charlie Brown, and Rachel Robson under the musical direction of Nigel Lilley, will accompany the cast.

Spring Awakening chronicles the tale of adolescent rebellion against societal constraints, set to a captivating score that has enthralled audiences worldwide.

Originally premiering on Broadway in 2006 and subsequently transferring to London in 2009, Spring Awakening has garnered critical acclaim and numerous awards, including Tony and Olivier accolades.

Duncan Sheik expressed his excitement about the anniversary concert, reminiscing about the joyous memories of the original London production. Steven Sater shared his gratitude for the opportunity to bring back the beloved show for this special occasion.

In addition to celebrating the musical's legacy, this concert will serve as a fundraiser for Imogen Kinchin, a pivotal figure in the original production, who is battling Stage IV Bowel Cancer. The company of Spring Awakening has generously decided to donate the proceeds from the concert to Imogen's Fund.

Directed by Jamie Armitage and featuring musical direction by Nigel Lilley, Spring Awakening promises to be a poignant and unforgettable event, honouring both the musical's impact and the resilience of its community.

Initial Casting Announced for Spring Awakening Reunion Concert

Monday 12 February 2024

Thursday 8 February 2024

Kathy and Stella Solve A Murder! transfers to the West End



Francesca Moody Productions, Kater Gordon, Wessex Grove and Fiery Angel are delighted to announce that award-winning smash-hit murder mystery musical Kathy and Stella Solve A Murder! will transfer to the Ambassadors Theatre in the West End for a strictly limited season from 25 May - 14 September after thrilling audiences in Edinburgh, Bristol and Manchester. Tickets are now on-sale at www.kathyandstella.com with 5000 under £25 and a ticket lottery to be announced. 

Bronté Barbé and Rebekah Hinds will reprise their roles as Kathy and Stella alongside Imelda Warren-Green who will once again play Erica. Further casting is to be announced.

Originally brought to the stage by Francesca Moody Productions and Kater Gordon Kathy and Stella Solve A Murder! won Musical Theatre Review’s Best Musical Award at the Edinburgh Festival 2022. The production reunites the writing and musical talents of Jon Brittain - Book and Lyrics / Co-Director and Matthew Floyd Jones - Music and Lyrics who previously collaborated on the critically acclaimed, Fringe First award-winning A Super Happy Story (About Feeling Super Sad). Fabian Aloise Co-Directs and Choreographs.

BFFs Kathy and Stella host Hull's least successful true crime podcast. When their favourite author is killed they are thrust into a thrilling whodunnit of their own!

This big-hearted, laugh out loud musical follows the unlikely crime-fighting duo as they put their friendship on the line to become part of the story. Can they crack the case, (and become global podcast superstars) before the killer strikes again…?

Kathy and Stella Solve A Murder! transfers to the West End

Thursday 8 February 2024

Tuesday 6 February 2024

Cruel Intentions: The 90s Musical extends its season at The Other Palace


Bill Kenwright Ltd is delighted to announce that the London premiere of Cruel Intentions: The ‘90s Musical (“Sexy, smirky... a fast, funny guilty pleasure” - Evening Standard) will extend its acclaimed season at The Other Palace by 5 weeks to Sunday May 19th.

The cast of  Cruel Intentions: The ‘90s Musical is led by Rhianne-Louise McCaulsky and Daniel Bravo as manipulative step-siblings Kathryn and Sebastian.It also features  Abbie Budden as Annette and Rose Galbraith as Cecile, Josh Barnett as Blaine, Jess Buckby as Ms Bunny Caldwell/Dr Greenbaum, Nickcolia King-N’Da as Ronald and Barney Wilkinson as Greg, with an ensemble of Craig Watson, Nathan Lorainey-Dineen, Charlotte O’Rourke and Verity Thompson.
Step-siblings Sebastian Valmont and Kathryn Merteuil, manipulative monsters flushed with their own sexual prowess, engage in a cruel bet: Kathryn goads Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter.  Weaving a web of secrets and temptation, as the two set out to destroy an innocent girl - and anyone who gets in their way - their vengeful crusade wreaks havoc on the students at their exclusive Manhattan high school and the diabolical duo become entangled in their own mesh of deception and unexpected romance, with explosive results...

Cruel Intentions: The 90s Musical extends its season at The Other Palace

Tuesday 6 February 2024

Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet


The Jamie Lloyd Company today announces its new West End production of Shakespeare’s Romeo & Juliet, starring Tom Holland as Romeo, and directed by Jamie LloydRomeo & Juliet runs at the Duke of York’s Theatre, Saturday 11 May – Saturday 3 August 2024.
 
Further casting to be announced. Tickets go on sale to those signed up for priority booking and ATG+ members on Tuesday 13 February at 8am; general booking opens on Tuesday 13 February at 12pm.
 
Sign up for priority booking here: www.romeoandjulietLDN.com
 
The Jamie Lloyd Company also continues its commitment to accessibility, offering 10,000 tickets priced at £25 and under, with 5,000 of these exclusively for under 30s, key workers and those receiving government benefits. Further information to be announced. 
 

Jamie Lloyd said today:

“Tom Holland is one of the greatest, most exciting young actors in the world. It is an honour to welcome him back to the West End.”


Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham; Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael 'Mikey J’ AsanteCasting Director: Stuart Burt CDG; Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate
 
Violent delights have violent ends.

 

Photo Credit: Isaac Anthony / AUGUST

Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet

Monday 5 February 2024

Cara Delevingne and Luke Treadaway to join the cast of Cabaret | THEATRE NEWS


The award-winning West End production of Cabaret at the Kit Kat Club is thrilled to announce that actress and model Cara Delevingne will play Sally Bowles, and Olivier Award-winning actor Luke Treadaway will take on the role of The Emcee from March 11 to June 1, 2024. Delevingne expressed her excitement about making her stage debut, while Treadaway is thrilled to join the Kit Kat Club production.

The show is booking until February 2025, and Cara Delevingne will have specific dates when she won't be performing*. They join Michael Ahomka-Lindsay as Clifford Bradshaw, Beverley Klein as Fraulein Schneider and Teddy Kempner as Herr Schultz. Nic Myers plays the role of Sally Bowles once a week.

Completing the company are Wilf Scolding as Ernst Ludwig, Jessica Kirton as Fraulein Kost/Fritzie, Liv Alexander as Texas, Natalie Chua as Frenchie, Taite-Elliot Drew as Hans, Damon Gould as Victor, El Haq Latief as Helga, and Travis Ross as Bobby, joining Laura Delany as Rosie, Grant Neal as Herman/Max and Hicaro Nicolai as Lulu. The cast is completed by Rebecca Lisewski, Ela Lisondra, Nic Myers, Andy Rees, Toby Turpin and Patrick Wilden.

The prologue company are Rachel Benson, Ami Benton, Onyemachi Ejimofor, Joseph Hardy, Liz Kamille, Andrew Linnie, Aine McLoughlin, Jack William Parry, Jazmyn Raikes, Oliver Stockley and Ena Yamaguchi.

Cabaret, praised as the ultimate theatrical experience, opened in December 2021 and won seven Olivier Awards in April 2022. The Broadway production featuring Eddie Redmayne and Gayle Rankin is set to open at the Kit Kat Club in April.

Transforming the theatre with an in-the-round auditorium and reimagined spaces, the Kit Kat Club invites guests to enjoy pre-show entertainment, drinks, and dining. The musical, featuring iconic songs like "Wilkommen" and "Don’t Tell Mama," is directed by Rebecca Frecknall, with set and costume design by Tom Scutt and choreography by Julia Cheng. The production promises a unique and immersive experience for audiences.

*Cara will not be performing on the following dates - Wednesday 13 March (matinee), Thursday 21 March (evening), Wednesday 27 March (matinee), Thursday 4 April (evening), Tuesday 9 April (evening) Wednesday 10 April (matinee and evening), Thursday 11 April (evening), Friday 12 April (evening), Thursday 18 April (evening), Wednesday 24 April (matinee), Thursday 2 May (evening), Monday 6 May (evening), Tuesday 7 May (evening), Wednesday 8 May (matinee and evening), Thursday 16 May (evening), Friday 17 May (evening), Saturday 18 May (matinee and evening), Wednesday 22 May (matinee) and Thursday 30 May (evening).

Photo credit: Jay Brooks and Emilio Madrid

Cara Delevingne and Luke Treadaway to join the cast of Cabaret | THEATRE NEWS

Monday 5 February 2024

Friday 26 January 2024

Here & Now a Musical by Steps to Debut This Year


UK pop sensation Steps is over the moon to reveal the world premiere of their fresh musical, Here & Now. Set to the beats of their iconic music and featuring an original storyline by Shaun Kitchener, the musical will debut at The Alexandra, Birmingham, running from November 9 to 24, 2024. Produced by Steps and ROYO with Pete Waterman, directed by Rachel Kavanaugh, and choreographed by Olivier Award winner Matt Cole, Here & Now promises a spectacular showcase of Steps' timeless hits.

Casting details are yet to be unveiled, but here's a sneak peek into the musical's plot: Step into the lively aisles of seaside superstore Better Best Bargains on a Friday night, where the atmosphere is electric, and everyone's dancing. However, when Caz discovers that the shelves are filled with deceit, the anticipated Summer of Love turns into a heartbreaking tale. Will they miss their shot at 'happy ever after,' or does love have another twist in store?

Steps members (Claire Richards, Faye Tozer, Ian ‘H’ Watkins, Lee Latchford-Evans, and Lisa Scott-Lee) expressed their excitement about the musical, sharing, “We’ve searched for the perfect story for our music, and we’ve found it in the aisle of a seaside superstore. It’s a story of friendship, romance, and community, packed with our biggest hits. We can’t wait to see you there!”

With 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams, and 11 sold-out national arena tours, Steps is the UK’s most successful mixed-sex pop group. Their chart-toppers like Tragedy/Heartbeat, Stomp, One For Sorrow, Better Best Forgotten, 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, and Chain Reaction will be featured in the musical.

Steps' 2017 comeback tour was a massive success, selling out all 300,000 tickets, and the band has continued to make waves with new music. Their 25th-anniversary celebration included a headline summer tour and the release of the #1 album Platinum Collection, solidifying their status alongside ABBA, Rolling Stones, and Stereophonics as one of the few groups to score #1 albums in four consecutive decades.

Join Steps for a journey filled with laughter, tears, and dance in the aisles.

Here & Now a Musical by Steps to Debut This Year

Friday 26 January 2024

Thursday 18 January 2024

Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony


Rehab the Musical
Wyndham's Theatre

Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.

The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.

Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.

However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.

The undeniable chemistry between Maiya Quansah-Breed (Lucy Blakeand Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.

Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.

Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.

A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments. 

While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.

★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior


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Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony

Thursday 18 January 2024

Sunday 17 December 2023

Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW


Stranger Things: The First Shadow
Phoenix Theatre 

As someone who ventured into the realm of Stranger Things: The First Shadow without much prior experience with the series, aside from watching a few episodes and a recap, I was pleasantly surprised and thoroughly captivated by this spectacular supernatural spectacle. The Duffer Brothers, with Jack Thorne and Kate Trefry have crafted a story that effortlessly drew me into the mysterious world of Hawkins, Indiana, even as a newcomer to the Stranger Things universe.

From the very first applause inducing scenes, I found myself immersed in the gripping narrative that skilfully combines elements of suspense, nostalgia, and the supernatural. The show's ability to seamlessly introduce me to its characters and the intricacies of their relationships made it easy to connect with the story, and I was quickly invested in the fates of these intriguing personalities.

The prequel introduces both beloved characters and fresh faces, each receiving substantial development and individuality. The performances are exceptional, characterised by universally nuanced and emotionally charged portrayals. Louis McCartney, in his striking West End debut as Henry Creel, delivers a chilling performance that combines twisted actions with an alarming charm. McCartney's masterful physicality, full of spasms and contortions, adds an extra layer of intensity to the role- I can only imagine how much physio he'll need during the run! Isabella Pappas embodies Joyce with fierce brilliance, seamlessly incorporating Winona Ryder's iconic traits while infusing the character with her own spin. Pappas creates a captivating, headstrong persona that garners unwavering support. Alongside her, Oscar Lloyd portrays James Hopper Jr. with suave charisma, delivering witty one-liners and exuding an aura that captivates throughout.

The brilliance of this show lies in the meticulous attention and craftsmanship dedicated to shaping the intricate backstories of every character. Each member is endowed with distinct intentions and personality traits, allowing for intrigue at every turn. There isn't a single weak link to be discovered, but special recognition is deserved for the performances of Christopher Buckley as the endearing Bob Newby and Michael Jibson, who delivers haunting moments as the tormented Victor Creel. Max Harwood as Alan Munson, injects copious amounts of humour, energy, and vitality into the narrative, fashioning a persona that practically begs for its own enthralling spin-off storyline; whilst Patrick Vaill brings eerie menace to the stage as Dr Brenner.

In the hands of Stephen Daldry and Justin Martin, the play unfolds like a blooming flower, or more aptly, the opening mouth of a demogorgon. It moves seamlessly between the whirlwind of action and the rich tapestry of each thoughtfully crafted scene. High-school hallways and bathrooms, the mundane backdrop of everyday life, transform into breathtaking alternate worlds in the blink of an eye, all thanks to the nimble touch of Miriam Buether's set design. Jon Clark's lighting is like a choreographed dance, shifting between mysterious shadows and warm sunlight, mirroring the transformative journey of the characters.

The story takes a deep dive into the shadows, embracing a genuinely dark undertone with jumps and eerie sounds reminiscent of horror films, all expertly blended into the production by Paul Arditti's exceptional sound design. Yet, within the darkness, there's a contrasting brightness—a nostalgic, retro Americana that permeates the air. Sprinkled with snippets of song, it adds layers of emotion and complexity to this multidimensional theatrical experience, making it a journey that feels both supernatural and believable.

Stranger Things: The First Shadow is a testament to the storytelling prowess of its creators. As someone unfamiliar with the series, I can confidently say that this instalment stands alone as a brilliant and engaging piece of theatre. It has ignited my curiosity about the series as a whole, and I am now eager to explore the it to uncover the mysteries that follow this captivating chapter. Whether you're a seasoned fan or a newcomer like myself, this show is a spectacle that you must see. Full of drama, amazing performances and genuine sincerity, it's a Creel-y Creel-y great piece of theatre.

★★★★★
Reviewed on Friday 15th December 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan

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Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW

Sunday 17 December 2023

Tuesday 28 November 2023

My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic


My Neighbour Totoro
Barbican Centre

After a hugely applauded and successful run last year, My Neighbour Totoro has returned to the Barbican Centre and is as highly anticipated as ever. The 1988 Japanese animated fantasy film is much loved around the globe, but having never seen it personally I was intrigued how this stage adaptation would affect me. Thankfully I was blown away by the story and staging and can see why it's a tale so close to people's hearts.

Brought to the stage by producers Joe Hisaishi and the Royal Shakespeare Company, the show is a perfect combination of animation style moments and theatrical wonder. As a whole, it does a masterful job of capturing the essence of childhood wonder and innocence in a way that's relatable to adults and children alike. The colours are vibrant, the details meticulous, and the animation style timeless. From the moment the logo comes to life, the enchanting world of Totoro wakes up and takes the audience on a whimsical, wonderful journey.

The story, a heartfelt tale of two sisters, Satsuki and Mei, and their mischievous encounters with forest spirits, is simple but encompasses a range of emotions. The emotional depth and universal themes of family, friendship, and the magic of nature are portrayed with a subtlety and grace that I'm learning is very typically, Studio Ghibli. It's not the most intriguing of tales and is definitely more of a visual treat but the pacing is perfect, and allows the audience to savour every moment whilst keeping engaged throughout.

Tom Pye's ingenious design, paired with the creative direction of Phelim McDermott, has given life to an awe-inspiring and intricately detailed set, with hidden aspects and elements that come swooping in to create magical moments. The intricacy of this production's design serves as a testament to the limitless potential that the enchanting world of theatre can bring to life and even more special, is how throughout, it also manages to retain a sense of cosiness and intimacy.

The truly mesmerising part of My Neighbour Totoro is of course the astounding puppets crafted by Basil Twist. The production fearlessly showcases the puppeteers, adding a unique layer to the wonder and escapism of the performance. Far from diminishing the magic, the visible puppeteers become an integral part of the spectacle, stopping to bow during the show, often breaking the fourth wallk and culminating in a genius curtain call that is it's own whimsical show that's truly unexpected and brilliant.

The music in My Neighbour Totoro is the beating heart of the production, thanks to the enchanting vocals of Ai Ninomiya. Her performance provides a mesmerising soundtrack that weaves seamlessly with the unfolding events. The original film score by Joe Hisaishi, expertly re-orchestrated by Will Stuart, and the adapted lyrics by Tom Morton-Smith and Hilmi Jaidin which blend delicate Japanese and English verses, all add layersof depth to this beautifully intricate production. The perfect harmony between music and storytelling creates an immersive experience, and furthers the impact of the tale.

The amazing cast assembled feels like a tight-knit family on stage. Mei Mac and Ami Okumura Jones, portray the lively sisters Mei and Satsuki, effortlessly taking the audience on an emotional rollercoaster with their youthful energy and seamless chemistry. Dai Tabuchi and Emily Piggford give endearing performances as the caring parents, Tatsuo and Yasuko. What's truly remarkable is that, beyond their main roles, each cast member (bar Mei and Satsuki) also step into the role of puppeteer, showcasing the incredible versatility and talent that defines this consistently outstanding ensemble.

Whether you're a long-time Studio Ghibli fan or experiencing the magic for the first time, My Neighbour Totoro at the Barbican Centre is an absolute must-see. It's a theatrical gem that touches hearts and transports audiences to a world where imagination knows no bounds. Five stars simply don't do justice for this enchanting experience.

★★★★★
Reviewed on Monday 27th November 2023 by Olivia
Photo Credit: Manuel Harlan

Tickets for My Neighbour Totoro are available at London Box Office

{AD PR Invite- tickets gifted in exchange for honest review}

My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic

Tuesday 28 November 2023

Thursday 16 November 2023

SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly


SuperYou! the Musical in Concert
Lyric Theatre 

Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.

After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.

What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.

Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.

Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.

Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling. 

There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.

Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons. 

In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere. 

Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene. 

★★★ 
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre

 {AD PR Invite- tickets gifted in exchange for honest review}

SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly

Thursday 16 November 2023

Wednesday 15 November 2023

Give the Gift of Theatre with London Box Office | ad



*This post contains sponsored content*

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What makes this year's Black Friday deals so great, is the incredible diversity of shows available at rates friendly to your pocket. Whether you're shopping for a seasoned theatre-goer or introducing someone to the wonders of live entertainment for the first time, London Box Office has curated a varied selection promising something enjoyable for everyone.

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Give the Gift of Theatre with London Box Office | ad

Wednesday 15 November 2023