Showing posts sorted by relevance for query Bill Russell. Sort by date Show all posts
Showing posts sorted by relevance for query Bill Russell. Sort by date Show all posts

Wednesday 22 May 2019

Elegies for Angels, Punks and Raging Queens, Union Theatre | Review


Elegies for Angels, Punks and Raging Queens
Union Theatre
Reviewed on Tuesday 21st May 2019 by Shaun Dicks
★★

An elegy by definition is ‘a poem of serious reflection, typically a lament for the dead’. An elegy is there to express feelings of something or someone you have lost. So, here we follow the elegies of those who have passed due to HIV/AIDS, all those Angels, Punks and Raging Queens.

The show, with book and lyrics by Bill Russell and music by Janet Hood is fantastic. Russell’s speech is so poetic and lyrical. The colour within phrases and sentences is just magical. There is so much juicy dialogue to enjoy. And Hood’s music is just so beautiful, the amount of emotion within her score is tear jerking alone. The music, book and lyrics deliver stellar material about a very delicate subject.

However, in this production of Angels Punks and Raging Queens, the material is mismanaged. First, the cast is simply too large. With sixteen cast members, the stage was cluttered and honestly half of them didn’t make their mark and faded into the background. The show would’ve been effective with half the cast. There were some standouts like Marcus Ayton as Lamar/Miles, Calum Gulvin as Nick/Paul, Jackie Pulford as Rebecca/Joanne, Fraser Leigh Green as Ray/Joe and Rhys Taylor as Dwight/Roscoe. These five actors truly understood the lyrical essence of the material they we given and delivered it well.


Despite its potential to be great, what let this show down was Bryan Hodgson’s staging. It felt clunky and disjointed, almost like a bad drama school showcase. However, one saving grace for this show was the vocals. The harmonies were well rehearsed and well done, a credit to musical director Henry Brennan. The light design by Alex Musgrave was another positive.

What made up for all the bad within the show was the striking final image. The emotion that you feel and that I felt at the end of the show made sure that the show was better than disappointing. However, one moment doesn’t make a show. It’s a shame because this show had all the potential to be fantastic, but the material was, in my opinion, interpreted wrongly and overall missed the mark.

Elegies for Angels, Punks and Raging Queens runs at the Union Theatre until 8th June 2019

photo credit: Mark Senior

Read post

Saturday 8 September 2018

Unexpected Joy, Southwark Playhouse | Review


Unexpected Joy 

Southwark Playhouse 
Reviewed on Friday 7th September 2018 by Olivia Mitchell 
★★★★

Unexpected Joy, more like an unexpected delight of a show. The latest of Aria Entertainment’s shows to hit London, Unexpected Joy follows three generations as a grandmother, mother and daughter come together after not seeing each other for a long time. There are secrets, past tensions and varying viewpoints which have the potential to break the family apart. This is a heartfelt show that just like real life, features moments of humour, sadness, joy, angst and above all, love. 

The show opens with Joy (Janet Fullerlove) welcoming us to her concert which is celebrating the life and music of her late husband, Jump. From the onset we see that Joy is a larger than life character who has always been a free spirit and is the opposite of her daughter.

Jodie Jacobs gives a moving performance as Rachel/Rainbow, the mother who is struggling to balance her beliefs with change and is losing her relationship with her daughter. Jacobs shows her internal struggle with a perfect subtlety and moments of pure vocal perfection. 


In her professional debut, Kelly Sweeney gives a mesmerising performance as the youngest family member, Tamara, who longs to break free of the constraints her mother has so carefully put on her in an attempt to not expose her to too much. Kelly brings an innocence and energy to Tamara that you can't help being drawn to and her impeccable vocals are to die for.

As Lou, Melanie Marshall brings humour and truth in equal measure and gives a fantastically vibrant performance. As the only person not in the family by blood, it's interesting to see how Lou becomes the mediator and is able to more easily see each side of the story. 

Bill Russell and Janet Hood's musical is a wonderfully nuanced show which brings light to a number of ever relevant issues without being overwhelmingly preachy. Amy Anders Corcoran's direction means that issues with race, social acceptability, and attitudes towards change are approached and discussed in a natural way. The fact that there is not a solid resolution at the end of the show just makes it that bit more truthful.


Unexpected Joy not only shows us the importance of family but also the importance of music to heal; with a number of catchy songs and tight and beautiful harmonies, it really showcases how music can transport us. 

The message throughout, that we should always take each others view points into consideration, even if we don't agree with them is needed now as ever. There will always be some common ground between people, you just have to be willing to look for it.

Unexpected Joy is a beautiful piece of theatre which allows us to see viewpoints of everyone and understand that although families argue, at the end of the day, everything they do for one another is for love. A female led production with wonderful songs, a heartfelt message and a whole lot of love, there's no reason not to see Unexpected Joy.

Unexpected Joy runs at the Southwark Playhouse until 29th September

photo credit: Pamela Raith

Read post

Saturday 3 October 2020

The Theatre Channel, Episode One | Review


Innovation is coursing through the theatre community, as new ideas and ways to spread the joy of performance are brought to life everyday. One of these ways is the new brainchild of The Theatre Café and Adam Blanshay Productions: The Theatre Channel.

The channel is a series of musical episodes which celebrate the all-singing, all-dancing joy of theatre as well as showcasing fantastic performers and the café itself. Each episode is roughly half an hour long and features a different group of stage stars, as well as the Café Four (Alyn Hawke, Emily Langham, Sadie-Jean Shirley and Alex Woodward) who appear in each episode as a sort of omnipresent group of musical theatre muses. The performers are encouraged to perform songs or roles they've not previously had the chance to, which leads to an eclectic episode of musical excellence.

The first episode opens with the café four performing the very fitting Coffee in a Cardboard Cup, in which they use pretty much the entirety of the  café to showcase their vocal, dance and acting skills; they're definitely a talented bunch! From then Tarinn Callender takes us on a soulful journey with On Broadway and Lucie Jones serves her stunning, clear-as-glass vocals with a brilliant rendition of Maybe This Time. Amongst an abundance of flowers, Carrie Hope Fletcher and Oliver Ormson bring the classic duet, Suddenly Seymour to life brilliantly. Jodie Steele takes things up an octave (and a level) as she gives a gender-switched version of Heaven on Their Minds from the roof of the cafe, which oozes sass and strength. Rounding off the episode, Matt Henry is smooth and oh so stirring with Let It Sing from Violet and Jenna Russell is completely excellent in every way with Sondheim's Ladies Who Lunch.


Whilst of course the performances are uniformly wonderful, it's the production value which really makes this series worth the hype. Ben Hewis' outstanding videography is sleek, high quality and just beautifully shot; and alongside Bill Deamer's choreography-which is astoundingly bold for happening in such a small space- the whole thing feels much more cinematic than any of the online theatrical offerings so far.

The creative team clearly have a strong vision and there's no doubt that each episode is going to be a step bigger and bolder. With themed episodes in the works including the upcoming Halloween episode, there are sure to be surprises galore. With everything from the vocals to the finished product being recorded on the premises, this really is a celebration of not only theatre and performance, but the Theatre Café itself where the arts still has the space to thrive, even when performances themselves are few and far between.

With a great team behind it, this series is a treat for those missing theatre and a gem of an online offering. Once purchased for £12 you have unlimited access to the episode so you can relive the stagey goodness time and time again. So grab your laptop and take yourself on a virtual trip to the theatre.

★★★★★


Read post

Thursday 10 February 2022

Blood Brothers (Tour), New Wimbledon Theatre | Review


Blood Brothers (Tour)
New Wimbledon Theatre
Reviewed on Wednesday 9th February 2022
★★★★

Willy Russell's award winning musical Blood Brothers has been wowing audiences around the world for forty years and is also one of the few shows to have run for over 10,000 performances in the West End. It's a regular feature of the theatre touring circuit and 2022 is no exception as it once again hosts Bill Kenwright's brilliant production.

The emotive and dramatic show tells the story of Mrs Johnstone, a single mother in Liverpool who is bringing up a large family alone and has just found out she'll have more mouths to feed as she's expecting twins. She really can't afford this, so in a snap decision she gives away one son to a wealthy lady who cannot have children of her own. They make a deal that the brothers will never know of one another and won't be part of each others lives. But when the two boys meet accidentally aged seven, they form an instant connection becoming 'Blood Brothers'. The story follows them across the years as we see how economic background and nature vs nurture affects the pair; and how it leads to their eventual tragic demise which opens the show.

I think what makes this such an enduring show is a mixture of both its observations on human nature/privilege and the way it swings effortlessly from comedy to tragedy and takes you along on the journey so well. At times it can be melodramatic but it's balanced so well with deep genuine pain that you can see past it.


The show's cast are exceptional, with the core performers showing depth and growth and the rest of the cast nimbly juggling a variety of roles and supporting the action brilliantly. As the son Mrs Johnstone keeps, Sean Jones is outstanding as Mickey. His character development is masterful as he goes from a cheeky seven year old, to a teen learning to love (and dance), all the way to an adult struggling with addiction. Every second is believable and engaging and he's just fantastic. As the other brother, Eddie, Joel Benedict is charming and sweet. His character isn't as multi-layered as Mickey but he does a great job with what he's given and the pair bounce off of one another like real childhood friends. Carly Burns also gives a touching performance as the final addition to the friendship trio. Her portrayal as Linda is nicely nuanced and it's heartbreaking to see her role in the tragedy.

As Mrs Johnstone, the boys' birth mother, Niki Evans is unparalleled. Her portrayal is the definition of honest and the vocals which accompany it are magnificent. Her acting is incredibly natural and you don't doubt for a second that she's really experiencing the highs and extreme lows of her life. Niki's performance of Tell Me It's Not True is astoundingly moving and has the audience raring to give their final standing ovation.

The show is dated in parts but it kind of adds to the charm and history of it all. It's an exhausting journey of a musical but well worth a watch. Pack some tissues and get yourself along to your local theatre to witness the magic and misery that is Blood Brothers.

Blood Brothers plays at the New Wimbledon Theatre until 12th February 2022 and then continues its tour
Read post

Wednesday 10 August 2022

Callum Scott Howells and Madeline Brewer Announced to Join Cabaret From 3 October 2022


The producers of the multi award-winning, critically acclaimed production of CABARET at the KIT KAT CLUB in London’s West End are thrilled to announce that BAFTA Award nominee Callum Scott Howells will play ‘The Emcee’ and Emmy Award nominee Madeline Brewer will play ‘Sally Bowles’ from 3 October 2022 until28 January 2023. kitkat.club

 

Callum Scott Howells said today “I can't wait to work with the incredible team and company, and follow on from two actors who I hugely respect and admire. I feel very lucky and excited to be taking on such an iconic role within this widely celebrated and unique production. It's going to be a ride.”

 

Madeline Brewer said today “Rebecca’s vision is the most magical and emotional and exciting Cabaret I’ve ever seen. It’s a Sally and a Kit Kat Club so thrillingly fun and humbly prescient. I’m beyond honored to be invited to the party.”

 

Callum Scott Howells is best known for playing Colin in Russell T Davies’ hit Channel 4 drama It’s a Sin. For his performance as Colin, Callum won the BAFTA Cymru Award for Leading Actor and the Royal Television Society Award for Best Male Actor. For the same role, he was twice nominated at the 2022 BAFTA Television Awards; for Best Supporting Actor and Virgin Media’s Must See Moment. Later this year, he will be seen in the Netflix film The Beautiful Game opposite Bill Nighy. Callum’s theatre credits include She Loves Me at the Menier Chocolate Factory and Matthew Bourne’s production of Lord of the Flies.

 

Madeline Brewer has starred as Janine Lindo in all four seasons of Hulu’s hit drama The Handmaid’s Tale, for which she was nominated for the Emmy Award for Best Supporting Actress in a Drama Series. She will star in the fifth season of the show, due to premiere this September. Madeline began her career portraying Tricia Miller in the Netflix series Orange is the New Black. Her film credits include Hustlers alongside Jennifer Lopez and Cam for Netflix. Madeline’s other credits include Netflix/Channel 4’s Black Mirror and Apple TV’s Shining Girls. 

 

At certain performances, the role of Sally Bowles will be played by Emily Benjamin.

 

As a member of the original cast of this production, Emily has been a swing and understudy to the role of Sally Bowles since the show opened last year. Her other West End theatre credits include Bat Out of Hell The Musical at the London Coliseum and The Lion, the Witch and the Wardrobe at the Bridge Theatre.

 

Also joining the cast on 3 October 2022 will be Sid Sagar as ‘Cliff Bradshaw’, Danny Mahoney as ‘Ernst Ludwig’ and Michelle Bishop as ‘Fraulein Kost’. Vivien Parry and Richard Katz continue to play ‘Fraulein Schneider’ and ‘Herr Schultz’ respectively.

 

The cast is completed by Gabriela Benedetti, Charles Croysdill, Laura Delany, Sally Frith, Matthew Gent, Ying Ue Li, Ela Lisondra, Chris O’Mara, Grant Neal, Hicaro Nicolai, Adam Taylor, Toby Turpin, Patrick Wilden and Sophie Maria Wojna.

 

The Prologue Company currently includes Rachel Benson, Laura Braid, Asmara Cammock, Julian Capolei, Celine Fortenbacher, Reuben Greeph, Samantha Ho, Andrew Linnie, Carys McQueen, Kate Robson-Stuart and Sally Swanson. 

 

This unique production of CABARET opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April this year, the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history, as well as three prestigious Critics Circle Awards.

 

In a time when the world is changing forever, there is one place where everyone can be free… Welcome to the Kit Kat Club, home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself. 


Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a 'club entry time' to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

 

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

 

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision by Jennifer Whyte and musical direction by Ben Ferguson with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.

 

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.

Read post
Subscribe to: Posts (Atom)

Latest photos from RewriteThisStoryBlog

© Rewrite This Story. Design by Kate.