Showing posts sorted by relevance for query Howard Hudson. Sort by date Show all posts
Showing posts sorted by relevance for query Howard Hudson. Sort by date Show all posts
Friday 15 September 2023
The Little Big Things at Soho Place Review: Shines as a Celebration of Disability
The Little Big Things
Soho Place
★★★★
The Little Big Things at Soho Place presents an emotional journey that triumphs in depicting the resilience of the human spirit. Based on the story of Henry Fraser as told in his 2017 memoir of the same name, the musical tracks his journey from a budding rugby player, to being paralysed from the neck down after a freak diving accident on holiday in Portugal. This production is a testament to the power of adaptation and determination, and instead of being a somewhat patronising portrayal of becoming an inspiration after a life trauma, it showcases the transition from the person Henry was pre-accident to who he became post-accident. It also looks at how Henry's family deal with the changes and features the work of the NHS as well as a small romantic subplot. Each aspect makes this a truly uplifting and charmingly British musical, which feels like it's actively trying to shy away from the typical style of storytelling that often surrounds the stories of disabled people.
Nick Butcher (music) and Tom Ling (music and lyrics) clearly have a talent for writing high energy songs and ballads that tug at your heartstrings. The music is primarily upbeat and big however, while deeply engaging during the performance, the songs don't engrave themselves into memory once the curtains fall. The performances are undoubtedly and unanimously captivating, enriching the scenes and evoking a range of emotions. However, a few standout, memorable tunes would have elevated the overall experience and resonated long after leaving the theatre.
The integration of projections and lighting (Howard Hudson) in The Little Big Things is nothing short of remarkable. The creative use of light and visuals immerses the audience into the heart of the story, enhancing the emotional impact of the narrative. The play of light and shadows amplifies the depth of the characters' struggles and triumphs, leaving a lasting visual impression.
Director Luke Sheppard fearlessly pushes the limits of accessible theatre, infusing innovation, vitality, and charisma into an already poignant narrative. The staging is in constant motion, driven by Mark Smith's lively choreography, which ingeniously integrates moments of BSL (British Sign Language) and embodies the joy and celebration which is infused throughout the show.
Despite the undeniable power of the narrative, there are moments when the production grapples with sudden transitions and dialogues that could benefit from a smoother flow. The pacing occasionally feels a bit clunky, disrupting the overall rhythm. However, this doesn't detract significantly from the musical's poignant message of resilience and adaptation.
The cast's performances are stellar, embodying the characters with authenticity and dedication. Their portrayals breathe life into the story, allowing the audience to connect deeply with the struggles and triumphs of the characters. The musical shines as a celebration of disability, showcasing the strength and adaptability required to navigate a new life.
The Little Big Things is a moving musical that speaks to the resilience of the human spirit. The impeccable use of projections and lighting, along with a talented cast, creates a poignant theatrical experience. Despite minor pacing and memorability concerns, the musical stands as a heartfelt celebration of perseverance and a glowing portrayal of adapting to life's challenges. The little faults don't take away from the big things that make this show as glowing and special as it is and I wholeheartedly recommend it to anyone seeking a meaningful and uplifting night at the theatre, just make sure you take some tissues with you!
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 18 October 2016
Ragtime, Charing Cross Theatre | Review
Ragtime
Charing Cross Theatre
Reviewed on Monday 17th October 2016 by Olivia Mitchell
Reviewed on Monday 17th October 2016 by Olivia Mitchell
★★★★★
Set in the racism filled America of the early 20th century, Ragtime follows the stories of a white family, a black family and a Jewish immigrant family as they navigate their way around the country and discover what life has to offer them. Despite facing their own individual struggles, the families stories intertwine to create a stunning and flowing arc. The story is drama at its highest and features moments of extreme joy as well as despairing pain and heartbreak. It's sure to take you on an emotional roller coaster and leave you with a new view on life.
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}
Tuesday 22 January 2019
Violet, Charing Cross Theatre | Review
Violet
Charing Cross Theatre
Reviewed on Monday 21st January 2019 by Olivia Mitchell
★★★
Based on Doris Betts' short story The Ugliest Pilgrim, featuring music by Jeanine Tesori and libretto by Brian Crawley, Violet follows a disfigured woman as she embarks on a Greyhound Bus journey from Spruce Pine, North Carolina to Tulsa, Oklahoma, to be healed by a famous television healer.
The musical opened to critical acclaim off-Broadway in 1997, spawned various productions in the US and is making its UK debut at the Charing Cross Theatre before transferring to Tokyo and Osaka.
The Charing Cross theatre has been completely transformed as it becomes a theatre in the round, with a sleek and interesting set designed by Morgan Large. The space is so versatile and this is an especially unique set which works well to display the physical and mental journey our lead goes on. The musical features a number of flashbacks which are mirrored on the stage itself by the actors but also helped by the wonderful lighting from Howard Hudson. The present is bathed in warm light, whilst the flashbacks are much cooler and starker; a clever detail which helps the motion of the show.
Violet features a superb cast, led by Kaisa Hammarlund as the scarred Violet, giving a stunningly open performance that feels grounded and truthful. As her younger self, Amy Mepham does a great job. As love interest number one Monty, Matthew Harvey gives a vocally outstanding and all round enthralling performance. Harvey manages to bring the various sides of Monty to life with ease and talent. Love interest number two, Flick, is played with a beautiful vulnerability by Jay Marsh who provides the smoothest and warmest vocals. Marsh could sing the phone book and receive applause.
Despite its wonderfully strong cast, the story of Violet feels bland and somewhat uninspired. Nothing really happens and a lack of character development means the audience don't root for the characters as much as they should. The slow moving show is very plot based, rather than character based but the plot is extremely predictable and leaves much to be desired.
The cast are stellar but unfortunately the book falls flat in this revival.
photo credit: Scott Rylander
The cast are stellar but unfortunately the book falls flat in this revival.
photo credit: Scott Rylander
Wednesday 25 July 2018
Madagascar The Musical (UK Tour), New Wimbledon Theatre | Review
Madagascar The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Wednesday 25th July 2018 by Olivia Mitchell
★★★★
On a scorching summer night, the New Wimbledon Theatre played host to the opening of the high-energy, larger than life Madagascar The Musical. Based on the 2005 DreamWorks film of the same name, Madagascar follows a group of animals from the Central Park Zoo who find themselves in The Wild.
Fabian Aloise's choreography is wonderfully modern whilst not being overly cheesy. The children accompanying me especially loved the flossing and it's evident that Fabian know's what the show's target audience want. The cast of humans and 'animals' fill the space brilliantly and create a sense of motion throughout. This movement works hand in hand with Tom Rodgers' sets which are simplistic but vibrant and transition us well from one location to another. Howard Hudson's lighting is warming and especially effective in the more high-intensity group numbers where it feels like a party in the theatre.
The cast are superb; even in the sweltering heat they don't falter and give us intensity and power from start to finish. Medically challenged giraffe, Melman is embodied perfectly by Jamie Lee-Morgan who wanders round the stage in a somber but truly lovable manner whilst Tammika Ramsay as Gloria is sassy and commanding. As the zebra who dreams of escaping the zoo, Antoine Murray-Straughan is humourous and eccentric and his many talents are showcased especially during his brief rap and dance sections.
As the leader of the pack, Alex the lion, Matt Terry is impeccable. From his superb falsetto, riffs and generally beautiful tone, it's clear why he was voted the winner of X-Factor 2016. But, Matt's acting and dance performance is equally as strong as he owns the stage and draws the audience into the story.
Watching the show you completely forget these are not the same characters from the film. The costumes and puppets are so cleverly done that you even forget there are real humans on stage! The ensemble do a stellar job of playing a number of characters and completely transform themselves right in front of our eyes. Mention must also go to Jo Parsons as King Julian who has the audience in the palm of his hand with his epic performance of Move It.
The music of Madagascar is genuinely catchy and it's a show that both adults and children will appreciate and enjoy. If you want some light-hearted fun with a host of crazy characters and stellar performances then Madagascar is the one for you.
Madagascar runs at the New Wimbledon Theatre until July 28th before continuing it's tour.
photo credit: Scott Rylander
Friday 18 March 2022
Full Casting Announced for 101 Dalmatians at Regent's Park
Regent’s Park Open Air Theatre have today announced full casting for their forthcoming production of 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris. Based on the book by Dodie Smith, leading the cast as the iconic villain Cruella de Vil is Olivier and Tony Award nominee Kate Fleetwood.
Dalmatians Pongo and Perdi are puppeteered by Danny Collins (Pongo Voice), Emma Lucia (Perdi Voice), Yana Penrose (Perdi Head) and Ben Thompson (Pongo Head).
Also joining the cast are: Jamil Abbasi (Ensemble), Stuart Angell (Captain Head), George Bukhari (Jasper), Sonya Cullingford (Ensemble), Jade Davies (Swing), Karen Fishwick (Danielle), Joseph Fletcher (Ensemble), Taofique Folarin (Swing), Courtney George (Ensemble), Tash Holway (Swing and Dance Captain), CJ Johnson (Ensemble), Kody Mortimer (Ensemble), Simon Oskarsson (Swing), Tom Peters (Captain Voice), Eric Stroud (Dominic), Jonny Weldon (Casper), and Grace Wylde (Madam Doué).
Director Timothy Sheader said:“We are incredibly excited to finally bring 101 Dalmatians to our stage after postponing the production twice due to the pandemic. I think audiences are going to love reconnecting with this favourite story outside in Regent’s Park; the original home of Pongo and Perdi. The brand new script and music are both packed with fun and joy and I am delighted that Kate Fleetwood’s filming schedule for The Wheel of Time allows us the opportunity to work with her on creating that all time baddie, Cruella de Vil.”
101 Dalmatians is created by: Shanaé Chisholm (Casting Assistant), Josie Daxter (Associate Director), Jill Green CDG (Casting Director), Tash Holway (Associate Choreographer), Barbara Houseman (Voice and Text & Season Associate Director), Howard Hudson (Lighting Designer), Maia Kirkman-Richards (Assistant Puppet Director), Nick Lidster for Autograph (Sound Designer), Katrina Lindsay (Costume Designer), Ingrid Mackinnon (Season Associate: Intimacy Support), Tarek Merchant (Musical Director), Verity Naughton and Nick Hockaday for Verity Naughton Casting (Children’s Casting Directors), Toby Olié (Puppetry Designer and Director), Colin Richmond (Set Designer), Timothy Sheader (Director), Liam Steel (Choreographer) and Sarah Travis (Musical Supervisor and Orchestrator).
The Open Air Theatre is working with Mousetrap Theatre Projects to create a relaxed performance of 101 Dalmatians on Sunday 14 August (2.15pm). Relaxed performances are designed to provide those with learning disabilities, those who are on the autism spectrum or have other sensory and communication needs who would benefit from a more relaxed environment, the opportunity to experience the production.
Kate Fleetwood currently plays the leading role of Liandrin Guirale in Amazon Prime’s The Wheel of Time. Her previous stage roles include: Lady Macbeth (Chichester Festival/Gielgud/ BAM/Broadway) for which she was nominated for a Tony Award, Medea (Almeida) and Goneril in King Lear (National Theatre). She also appeared in Absolute Hell and Ugly Lies the Bone (National Theatre), Bug (Found111) and Life is a Dream (Donmar Warehouse), for which she received a WhatsOnStage Award nomination for Best Supporting Actress. Kate received an Olivier Award nomination for Best Actress in a Musical for London Road (National Theatre), and she also played Tracy Lord in High Society (Old Vic).
Kate’s television credits include: Victoria, War and Peace, The People Next Door, The Widower, Brave New World and Fate: The Winx Club Saga. Her film credits include: Star Wars: The Force Awakens, The Negotiator, London Road, Philomena, Les Misérables and Harry Potter and The Deathly Hallows: Part 1.
Regent’s Park Open Air Theatre’s 90th Anniversary season also includes the musical Legally Blonde (13 May – 2 July) directed by Lucy Moss, co-writer and co-director of Six the Musical, and - in a second commission from the theatre in 2022 - Antigone (3 – 24 September) by Barber Shop Chronicles writer Inua Ellams after Sophocles, directed by Max Webster and co-directed by Jo Tyabji.
Monday 5 December 2022
Orlando, Garrick Theatre | Review
Orlando
Garrick Theatre
Reviewed on Monday 5th December 2022
★★★★
Thought to be inspired by Virginia Woolf's romance with Vita Sackville-West, Orlando depicts a boisterous protagonist whose journey spans five centuries and two genders. Its awareness of gender politics and expectations as well as the way is defies them is really something special, and it's astounding that Woolf wrote such a groundbreaking piece of work in 1928 and that it remains so relevant now.
Tilda Swinton famously took on the role in the 1992 film adaptation but it's the superb Emma Corrin who plays the title character in Neil Bartlett's production. As a non-binary performer, Corrin feels like the perfect fit for this gender fluid role and they do an outstanding job of bringing Orlando to life with wit and momentum. At 90 minutes, it's impressive how much range Corrin is able to show and as a whole, the production manages to really pack a punch.
Michael Grandage's intelligent direction gives the show a real buoyancy. The ensemble help to create the story as it goes and the narration is spread around to give a continual movement. This adaptation also sees Corrin's Orlando assisted by Deborah Findlay's Mrs Grimsditch who maintains the pace whilst adding comical insights on the predicaments faced throughout. Much of the script is mischievous and sharp, and there are also some really brilliant homages to other literary and theatrical moments, including a particularly witty nod to Cabaret. Despite not being full of content, Bartlett's adaptation does a good job of keeping the audience engaged and showcasing what's there to its fullest extent. The overall idea of personal identity and growth is key throughout.
Peter McKintosh's set design is superbly effective in demonstrating the various eras of Orlando's life, without being at all over the top or gimmicky. The use of banners, beds and boats is extremely well done and cleverly combined lighting choices (Howard Hudson) and projections not only help emphasise the plot and script, but also add an almost fairy-tale like feel to the whole piece.
That line between childlike dreams and theatrical astonishment is truly the heart of this play and it allows the audience to ponder some pretty deep topics, whilst also feeling swept along in the magic and mystery of it all. It may not be quite as groundbreaking as in 1928 but this is definitely a show that's been revived at the right time, with a stellar cast to boot!
photo credit: Marc Brenner
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