Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts
Thursday 21 September 2017
35mm: A Musical Exhibition, The Other Palace Studio | Review
35mm: A Musical Exhibition
The Other Palace Studio
Reviewed on Wednesday September 20th 2017 by Olivia Mitchell
★★★★
I assumed that each photo and song would follow on from one another but they are actually not linked, instead they each tell a personal tale or capture a fragment of time told through music. However, as the show progresses there are some connections as well as juxtapositions, with each song blending into one another to create the idea that we are all the same in our overall experiences. Whilst the photos may look different to our own and even abstract in some cases, the stories behind them are often very similar to each of us and the magic of music and photography is that they can capture that and hold it as a memory. These memories allow us to reminisce but also grow.
The music itself, written by Ryan Scott Oliver is an amalgamation of styles which are performed wonderfully by the outstanding cast made up of Maisey Bawden, Gregor Duncan, George Maguire, Christina Modestou and Samuel Thomas. Each member gets a chance to shine and take centre stage with their own story and the varying emotions from joy to anger to hatred are shown wonderfully by the small but extremely powerful cast.
I particularly enjoyed 'Leave Luanne' and 'The Ballad of Sara Berry' both of which were dramatic and emotive and worked wonderfully with the quick, sharp movements of the cast. 'Stop Time' opened the show in an interesting way, with sounds of swaying and movement as if we were travelling. To me it came across as a very unique form of music with the use of unusual sounds creating an impressionistic vibe which worked well in the intimate space. The religious choral section were also stunning with flawless harmonies which resonated wonderfully in the space.
Musically the songs are complex and layered which is a great contrast to the fairly simplistic looking photos. Most of the photos by Matthew Murphy are pretty basic looking with minimal action so it's wonderful to delve into them and bring out meaning with the music. Joe Bunker leads the six-piece band very well and pulls off each genre perfectly.
The movement is also brilliant, with sharp, quick steps which flow and pop exquisitely with the music. The studio is small but seems bigger because of how easily the cast move with one another, never seeming like they're running out of room but instead working the space and using it to add to the story.
At seventy minutes through, a unique show, a great cast and variety of musical genres you can't really go wrong and I would definitely recommend going along to The Other Palace Studio to see it.
35mm: A Musical Exhibition runs at The Other Palace Studio until September 30th.
photo credit: Brittain Photography
Thursday 14 September 2017
Five Guys Named Moe, Marble Arch Theatre | Review
Five Guys Named Moe
Marble Arch Theatre
Reviewed on Wednesday September 13th 2017 by Olivia Mitchell
★★★★
Five Guys Named Moe premiered at the Theatre Royal Stratford East in 1990, ran for over four years, transferred to Broadway and won the Olivier Award for Best Entertainment. Despite this, it's a fairly unknown musical so is an exciting addition to the London scene which is currently made up of a lot of long running classics.
The rise of new and unique theatrical experiences is ever growing, with pop-up theatres and immersive events offering unusual theatrical adventures. Cameron Mackintosh has grabbed this trend by the horns in his new venture with the specially built Marble Arch Theatre. The theatre is simple on the outside but completely brilliant on the inside; as you walk in it's like entering the tardis. You're brought into a large 360 bar complete with a live band above and a wonderful selection of drinks to get your night started in the perfect way.
Written and directed by Clarke Peters, the show charts the story of Nomax, whose girlfriend Lorraine has left him. With no money and booze as his best friend, he meets Big Moe, Four-Eyed Moe, Eat Moe, No Moe and Little Moe as they emerge from his 1930s-style radio to guide and comfort him as they sing the songs of saxophonist and songwriter, Louis Jordan. Personally I found the story pretty pointless. At times it felt that the songs didn't really fit and I didn't feel emotionally attached enough to either Nomax or Lorraine to care whether they got back together or not.
Despite this not so stellar story, the music is spectacular. Each song is playful, catchy, foot-tapping and filled with warmth and affection for one another. The five Moe's are energetic and throw themselves into the fast paced, jazzy pieces and choreography by Andrew Wright with joy and exuberance. The on stage band showcase the rhythm and complexity of the music well and are particularly impressive during their solo moments.
The Moes are Four-Eyed Moe (Ian Carlyle), Little Moe (Idriss Kargbo), Know Moe (Dex Lee), Big Moe (Horace Oliver) and Eat Moe (Emile Ruddock). The Moes are banterous with one another and seem like the kind of guys you'd have an amazing night out with. They are all equal, sharing solos with one another and each having their own personalities which bounce off one another and work together seamlessly in moments of tight harmony. All five men have absolutely outstanding voices as well as sleek, sharp dance moves which are showcased in a smooth and stylish way. Similarly, Edward Baruwa is fantastic as Nomax, his effortless, strong voice soars and he manages to be emotional, funny and contemplative at times.
As previously mentioned, the venue is very cool, however, I don't feel like it's ideal for this show. The round space doesn't really add anything to the story and due to the un-raked seating there are moments missed by the audience. I was sat in the third row of the stalls which sounds fine but with three tall people in front and no varying levels it was very difficult to see and I often found myself craning my neck to try and see through the gaps- something which could've been avoided with even a slight rake between rows. The screens used around the sides of the space are a very nice touch but felt underused. It would be exciting to have them at other points, as long as they don't become gimmicky.
Overall I did enjoy this show though. The story is nothing special but I adored the music and it's certainly a brilliant, toe-tapping show with flawless performances all round and perfect for a fun, light-hearted night out. It you want catchy songs and first-rate singing in a very neat London venue then this is the show for you! So let the good times roll and hop along to the Marble Arch Theatre!
photo credit: Roy Tan
Friday 8 September 2017
Zigger Zagger, Wilton's Music Hall | Review
Zigger Zagger
Wilton's Music Hall
Reviewed on Thursday 7th September 2017 by Alex Saddiqi
★★★★
I personally was unfamiliar of the work of Peter Terson prior to my viewing of the National Youth Theatre production of Zigger Zagger, so I was watching this performance with no context and knowledge prior. I only knew the subject of what the performance was based around.
Zigger Zagger tells the story of Harry Hilton played by Josh Barrow, an avid fan of his local football team, torn between the life of sex, drink and violence which football hooliganism offers and the prospect of a stable future. It's one of the first stories to capture the culture of football hooliganism and was the National Youth Theatre's first ever new writing commission.
Watching the entire performance, I was blown away by the ensemble moments that were dotted throughout. I felt as though they were very well presented and the vocals of the entire cast resonated throughout the whole venue and created beautiful sounds. Also, the vibe of the 70s/80s setting around the piece was very well presented; from the Jackie magazine to the music that was played, even down to the choreography. While we are on the subject of music I have to highlight the outstanding work of the musicians who played live during the piece. They both worked very well together to create some lovely sounds that really benefitted many of the scenes.
There are a huge array of characters that show very interesting development as the story progresses and the actors who portray them do a brilliant job. There are some rich and beautiful character relationships with one another that are very strong and I found great pleasure in watching how the story unfolded. There was so much talent and professionalism during this show, especially from some of the younger performers.
Watching the entire performance, I was blown away by the ensemble moments that were dotted throughout. I felt as though they were very well presented and the vocals of the entire cast resonated throughout the whole venue and created beautiful sounds. Also, the vibe of the 70s/80s setting around the piece was very well presented; from the Jackie magazine to the music that was played, even down to the choreography. While we are on the subject of music I have to highlight the outstanding work of the musicians who played live during the piece. They both worked very well together to create some lovely sounds that really benefitted many of the scenes.
There are a huge array of characters that show very interesting development as the story progresses and the actors who portray them do a brilliant job. There are some rich and beautiful character relationships with one another that are very strong and I found great pleasure in watching how the story unfolded. There was so much talent and professionalism during this show, especially from some of the younger performers.
They all seemed in the moment and seemed to be really indulging in the world that was built around them of this 70s/80s football hooligan setting. There are visuals inside the piece that are very interesting and turn the set from one space to another.
At some points there were parts of the show where you could see actors crossing in the back of a scene or shadows cast by cast members which distracted from some points on the centre stage, but such a minor “inconvenience” does not distract from the hard work and power that each cast member has put into this show. If I were to put the piece in a rating out of five stars I would give it a four out of five and I would recommend this show to others especially young people who might find passion in the arts and theatre as a whole.
Follies, National Theatre | Review
Follies
Olivier Theatre, National Theatre
★★★★
It's been 30 years since a fully staged production of Follies has been seen on a London stage so there's been a huge buzz surrounding the current production at the National Theatre, which boasts a stellar cast. The production is largely sold out but don't fret if you didn't manage to snap up tickets as it is set to be broadcast to cinemas through NT Live on November 16th.
Mr Weismann's iconic theatre is closing so to commemorate he invites all his old Follies to dance and reminisce about their time in the company. Being back in the places of their youth, many characters start being pulled back to the past and we watch as the past and present become intwined. Childhood best friends with a past, Sally and Phyllis and their husbands Buddy and Ben reopen a chapter of their lives which they all thought closed. Both couples are experiencing problems in their marriages and despite time having passed, they can't help but relive old feelings.
Follies was originally written as a straight-through piece with no interval; whilst some productions have included intervals, the National Theatre's doesn't. Speaking to others about the show it seemed that people were wary of having to sit for that long without a break and whilst it is the same as watching a film, I suppose there's more freedom and less embarrassment to have a loo break during a film. This needn't be a worry at all though as the show flows wonderfully and really builds up momentum throughout, meaning that stepping out doesn't cross your mind as the show flies by.
The entire cast are absolutely stellar, keeping up the energy from the get go to the end. I particularly enjoy Di Botcher's rendition of 'Broadway Baby' which is completely hilarious and gorgeously sung and Tracie Bennett's 'I'm Still Here' which is gritty and powerful. Her nuanced performance is one of the best I've ever seen on stage. The younger selves of the two main ladies, played by Zizi Strallen and Alex Young are extremely well performed. The mirroring of the young and old girls is spectacular and extremely moving. Alex's transition from the giddy girl into the obsessed girl is striking.
This obsession continues with the adult Sally, played by the ever brilliant, Imelda Staunton. Sally has not really changed throughout the years and comes onto the stage just as giddy as a child when we first see her. Her fragility begins to show little by little, coming to a head in her stunning rendition of the classic, 'Losing My Mind'. Sally's partner in crime, Phyllis is played by the equally brilliant, Janie Dee who is strong and sassy from start to end.
Dominic Cooke's direction creates a flow of movement and an ease throughout which is joyful to watch. Bill Dreamer's choreography works hand in hand with is and showcases the best of the Follies era. Along with the National's revolve, the choreography swims along and is faultless. A particular stand-out moment is the tap number 'Who's That Woman?'... I'm a sucker for tap and this was pulled off perfectly as the older Follies girls join their younger selves to create a thing of beauty.
Vicki Mortimer's set design cleverly shows hints of the former glory of the grand Weismann theatre as it crumbles in current day. The costumes are stunning not only with the gorgeous glitz and glam of the Follies but with how well they show off the character of each individual lady in the current day.
Overall this is an absolutely wonderful production which has everything you could wish for in a musical. There's glitz, glam, grit and emotion, which along with a perfect cast create an absolutely wonderful production of Sondheim's classic musical.
Follies runs at the National Theatre until January 3rd.
Thursday 31 August 2017
Late Company, Trafalgar Studios | Review
Late Company
Trafalgar Studios
Reviewed on Thursday August 24th 2017 by Lucy Jardine
★★★★
Late Company has transferred recently from Finborough Theatre to the tiny Trafalgar studios, where you sit, as if sharing the dining room, with the members of the cast. Debra and Michael, a couple whose gay son Joel committed suicide after having been taunted online, have gathered, a year after his death, with Tamara, Michael and their son Curtis, to try and find some kind of 'closure', some kind of reparation. Curtis was responsible for some of the bullying. A place at the dining table has been laid for Joel.
The play benefits from this close actor-audience involvement - you are drawn into the play as it unfolds, and leave feeling utterly involved, transformed in some way by what you have witnessed. We learn how Debra was unaware of videos that Joel had posted online, and how Curtis, moody Curtis, didn't think about what he was doing. We learn about Joel's depression - the sympathy that Debra displays, and the somewhat bullish opinions expressed by Michael that people should toughen up - that children are too protected.
Tannahill's script sparkles with authenticity. How many times have these conversations played out up and down the country? As Tannahill himself questions, and has us do, how much are we as parents responsible for what our children do and see online? How much space should we give our children? The actors succeed in bringing these questions to life in a very real, believable way - even if, occasionally, the Canadian accents lapse a little. If you want an uplifting night out at the theatre, don't go and see this play. But if you want to be challenged, go and see it tonight.
Late Company runs at Trafalgar Studios until September 16th
Tuesday 29 August 2017
In Conversation With... Louis Dempsey | The Weir | Interview
Louis Dempsey has an extensive list of credits to his name including film, television and theatre. He will soon be starring in the English Touring Theatre's production of Conor McPherson's, The Weir which opens on September 8th at the Mercury Theatre, Colchester.
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I trained with Cygnet Training Theatre in Exeter. I've appeared in numerous stage productions including the original West End production of Stones in his Pockets, Romans in Britain at The Crucible, Sheffield, Taming of the Shrew at The Globe, Juno and the Paycock at Bristol Old Vic, Some Voices at The Young Vic, Brothers of the Brush at Liverpool Everyman. I've also appeared in another Conor McPherson play, The Seafarer, at The Lyric Theatre, Belfast.
On screen I've appeared in films such as Troy, Cloud Atlas, Shooters, Revolver, Grabbers, Six Bullets, Omagh, The Last Drop. I've also popped up on tv screens in Holby City, Waterloo Road, Sea of Souls and, of course, The Bill.
Highlight of my career so far? Hmm. Probably Troy because it was an amazing experience to be part of a huge Hollywood blockbuster movie with all that entails.
Have you always aspired to be a performer or did you have a different career path in mind when you were younger?
I never had any ambitions to become an actor. Where I grew up in Dublin your ambitions rarely went further than getting a job and a drink! I loved films as a child but I always assumed that actors came from Planet Actor. The idea that I might one day be up there on screen myself seemed utterly ridiculous.
What drew you to the role of Finbar in The Weir?
I don't know if one could say I was drawn to the role. My agent called, asked if I was interested in taking a meeting for a touring production of The Weir. I knew something of the play and having done The Seafarer (also by Conor McPherson) I was curious. When I read Finbar I kind of got where he was coming from but only in a very rough way.
When people come to see this production of The Weir they can expect to hear the best story they will hear all year! No doubt at all.
Can you sum up the show in five words?
Hmm. Funny. Poignant. Scary. Moving. Uplifting.
How is the 20th anniversary production of The Weir bringing something new to the modern classic?
Well I have never seen a production of The Weir so I cannot compare but I will say that The Weir is such a complete story, with so many layers and revelations about life, love, sadness, joy, heartbreak and happiness that I don't think it is even accurate to describe it as a modern classic. The Weir is simply a classic, regardless of when it was written or set.
What’s a fun fact people may not know about you?
Prince Charles once asked me to have a drink with him. I did. It was fun.
If you could go back to any era, when would you go to and why?
Well, I'm not a big fan of the past. I suspect that if I did travel back in time to a bygone era, people there would say "What the hell are you doing here??!! There's no email and toilets haven't been invented. Are you crazy???”
What’s your best piece of advice for an aspiring performer?
You have two eyes, two ears and a mouth. Use them in that order.
Thank you so much Louis for taking the time to do this interview. The Weir starts touring on September 8th and continues through to November 25th
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Wednesday 16 August 2017
In Conversation With... Emma Kingston | Fiddler on the Roof | Interview
In my opinion, Emma Kingston has one of the absolute best voices on the West End. I've been fortunate enough to see her in a number of shows and concerts, including Les Miserables, In The Heights and most recently, the stunning Fiddler on the Roof at the Chichester Festival theatre. Emma was kind enough to sit down and discuss Fiddler, After Anatevka, her hidden passion and more...
Have you always aspired to be a performer or did you have a different dream when you were younger?
I've always wanted to be a performer. I used to sing Les Mis and Anything Goes with my dad all the time.
Have you got any hidden passions you’d like to pursue?
I love Psychology! As an actor I love getting inside a characters brain. I studied Psychology at A Level and I would love to further my understanding of why people are the way they are. Furthering my study's would interest me as well as it being useful as an actor.
What drew you to the role of Hodel in Fiddler on the Roof- are the two of you alike in any ways?
I'm jewish, so growing up Fiddler was always being quoted around the house. I used to watch the film with my grandma. Also, ‘Far from the Home I Love’ was the first song I ever sang in a singing lesson when I was 11.
How is this production bringing something new to the well-loved musical?
We are so lucky that our production in Chichester has amazing new orchestrations by David White and new choreography by Alistair David, bringing a fresh take on the brilliant musical.
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| Sam MacKay (Usnavi) and Emma Kingston (Vanessa) in In The Heights |
Do you feel any extra responsibility or pressure playing one of the few explicitly Jewish female characters in musical theatre?
I feel a responsibility to show the traditions in a way that people of other cultures can relate to. I want to show people that Judaism is a way of life as well as a religion. The community aspect for me is so important.
What’s your research process like for each role you take on, has After Anatevka helped add a new dimension to your portrayal?
For Fiddler I dived into researching about Russia pre 1905 and Russian attitudes towards jewish people. Also looking at Jewish culture in shetles in Russia. My paternal grandparents were children of immigrants from Lithuania and Oddessa, so I had lots of family history to draw on.
After Anatevka I am enjoying so much, especially now I understand so much more about Hodel. I’m loving reading her journey after she leaves home, and how Alexandra has filled in the parts of Fiddler that we don't see in the musical.
If you’d written After Anatevka would you have given Hodel the same after story?
Alexandra's story has portrayed so many aspects of Hodel's life during the Fiddler story and after that I thought about a lot. Especially the way she highlights her relationship with her sisters and Perchik. As I'm reading, I feel that the story all completely slots into place and I can't imagine her next journey any other way.
Tradition is obviously the central theme in Fiddler. Do you have any family traditions?
My family traditions are the Fiddler traditions! Every Friday night my family and I get together for a shabbat meal. We celebrate Jewish festivals like Rosh Hashana (Jewish New Year) and Yom Kippur (The Day of Atonement), Passover and many others.
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| Emma Kingston (Hodel), Simbi Akande (Tzeitel) , Rose Shalloo (Chava) in Fiddler on the Roof |
How do you keep your voice healthy? Do you have any vocal rituals?
Drink endless amounts of water and concentrate on centring your breathing.
If you had a magic wand, which show would you do next?
After Fiddler, I'm playing Eva Peron in the Hal Prince production of Evita, international tour and I can't wait! My mum is Argentine, so it's a huge bucket list role, much like Hodel in Fiddler is!
Whats a fun fact people might not know about you?
One of my first words was Archemeaies (the owl from sword in the stone) my parents were so proud haha!
What’s your best piece of advice for an aspiring performer?
Don't compare your journey to anybody else's. Be original. I read a quote by Steve Martin "Be so good they can't ignore you”, to me that means work as hard as you can on being the best you can be.
Thank you so much Emma for taking the time for this interview. Fiddler on the Roof runs until September 2nd.
Read my review of After Anatevka here and keep an eye out for an interview with Alexandra Silber and a giveaway!
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
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