Showing posts sorted by relevance for query Lucie Jones. Sort by date Show all posts
Showing posts sorted by relevance for query Lucie Jones. Sort by date Show all posts
Saturday 13 October 2018
Lucie Jones, Live at Zedel | Review
Lucie Jones (Concert)
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell
★★★★★
One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.
The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.
Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.
I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.
Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!
We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.
I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.
photo credit: Olivia Mitchell
Monday 1 February 2016
Lucie Jones, Waterloo East | Review
The Waterloo East theatre was host to an incredible one night only cabaret from Lucie Jones last night and I'm sorry to rub it in your faces but you missed an epic night if you weren't there!
Lucie entered the stage in a sparkling silver dress and immediately belted out the Annie classic, Tomorrow, wowing the crowd from the get go.
After a number of hilarious anecdotes, we got to the X Factor days when Lucie introduced Anton Stephans who belted out a beautiful song and Lucie (along with some audience participation) performed Sweet Child of Mine.
As the night continued, Lucie sung songs that had been prominent throughout her amazing career such as Somebody To Love, Bring Him Home and an acoustic version of Poker Face (complete with unexpected harmonies!!)
Samantha Barks was another guest who joined Lucie on stage to sing an acoustic version of Justin Bieber's Sorry, which I NEED to be released as a single!! Samantha then sung a soulful jazz number, which was, of course, absolutely stunning! Danyl Johnson was the final guest, who, with a belt-tastic duet of Bridge Over Troubled Water made me fall a little bit in love!
A personal favourite of the evening was the hilarious Musical Theatre Boys song which had me in extremely ugly hysterics! Lucie's bubbly personality had the whole audience laughing throughout and by the end of the night it really felt as if we had all bonded during this intimate performance. The closing number With You left everybody speechless and was a fantastic end to a fantastic night.
Lucie is truly a force to be reckoned with, she's not only got the pipes to sing anything and everything, but her magnetic personality and natural personality, along with stunning sparkly dresses, make her a performer you just can't help but love.
If you want to witness the hurricane of amazingness that is Lucie Jones, you can watch her in the upcoming performances of Legally Blonde at the Leicester Curve!
Tuesday 18 June 2019
Waitress, Adelphi Theatre | Review
Waitress
Adelphi Theatre
Reviewed on Monday 17th June 2019 by Olivia Mitchell
★★★★
Sara Bareilles' cherry sweet musical follows Jenna as she bakes her feelings into pies. In an abusive relationship and expecting a child she is not excited about, we follow Jenna as she journeys through life and has some unexpected experiences.
Three new cast members have joined the diner to form the second West End cast. They are Lucie Jones as Jenna, Ashley Roberts as Dawn and Blake Harrison as Ogie. Despite lacking vocal strength, breath control and diction at times, Ashley Roberts grew into the role of Dawn throughout the performance and as her limited run continues, she will surely relax more and bring the quirky character to life in a genuine, witty and entertaining way. Currently she feels somewhat as if she's overacting and is often flat or reaching for the notes in both her solo and group numbers and certainly lacks the finesse expected in the West End, but hopefully this will be rectified and she will prove a good star cast choice. Her partner, played by fellow newcomer Blake Harrison is supremely funny one hundred percent of the time. Again his vocals are ever so slightly lacking, but as the nerves fade, so will the faults. Harrison is a hugely entertaining performer and a pleasant surprise in this sweet show.
As leading lady Jenna, Lucie Jones is second to none. Her impeccable interpretation of the character is charming, sincere, humourous and heartbreaking at once. Each small facial expression and movement is filled with a thousand words; and alongside Lucie's phenomenal, clear-as-glass voice, the performance is mesmerising. The vulnerability of Jenna is brought to life in a nuanced but completely effective way by Jones, with her rendition of She Used To Be Mine not only breaking hearts, but bringing the audience to their feet mid show.
Michael Hamway (swing) embodies the erratic but charming Dr Pomatter admirably, as well as bringing some stellar vocals to the stage. You Matter To Me was performed with heartbreaking sincerity by Jones and Hamway. Marisha Wallace continues to bring sass, sass and more sass to the stage, as well as powerhouse vocals, lively one-liners and delicate moments with Jenna. Take it From an Old Man is a welcome moment of calm and simplicity performed by diner regular, Old Joe, played by Shaun Prendergast.
The villain of the show, and highly flawed character Earl is played with menace by Peter Hannah. Whilst the moments of physical anger are jarring, it's the brief moments of emotional blackmail which really strike the audience. Hannah manages to capture both tormenting sides of Earl, in a spectacularly well-constructed and controlled way. The character is vile but Peter must be applauded for performing him so well and truthfully.
Nurse Norma is a highly amusing character who pops up throughout the show to deliver brilliant one-liners. Brought to life by Kelly Agbowu she is an especially memorable character and manages to gain numerous laughs in the stage time she has. Charlotte Riby also puts a smaller character in the forefront of our minds with her honest performance as Jenna's mum who faced many similar struggles as well as teaching her daughter all she knows about baking. Jones and Riby have a chemistry which is visible even from their brief moments together and it's lovely to see.
Scott Pask's set and Lorin Latarro's choreography are particularly effective with the sets and ensemble often moving as one to create a fluidity throughout. Equally as impressive is the way the stage transforms to mirror the moods of leading lady Jenna. The home shared by Jenna and her abusive husband is surrounded by darkness and is much smaller than each of the other settings so physically emphasises how trapped Jenna feels, and is. When she begins to rediscover her spark, the space expands in a moment of relief and theatrical wonder.
Whilst a lot of the morals and motivations in this musical are morally ambiguous and there is a lack of resolution, there's no denying that it's a sweet treat filled with musical delights and sugary performances. Sara Bareilles' score is a delightful listen and the mostly strong cast do a wonderful job of bringing it to life and showing that there is always light and support at the end of the tunnel.
Waitress is currently booking at the Adelphi Theatre until December 7th 2018, tickets can be booked at www.londonboxoffice.co.uk
photo credit: Johan Persson
Tuesday 25 May 2021
Monday Night at the Apollo, Apollo Theatre | Review
Monday Night at the Apollo
Apollo Theatre
Reviewed on Monday 24th May by Olivia Mitchell
★★★★
Since my last trip to the theatre in December, I have been dreaming of starting my week enveloped in the stagey comfort of musical theatre and I am oh so happy that last night my dream came true. Created by Wild Mountain Productions and presented by Greg Barnett, a spectacular lineup were brought to the stage of the Apollo to take us through a night of vocal gymnastics, diversity, humour and just a bunch of fun in the first instalment of Monday Night at the Apollo.
You couldn't have gotten a much better bunch than the first five performers in the series: Aimie Atkinson, Cassidy Janson, Lucie Jones, Cedric Neal and Julian Ovenden. Every artist gave powerhouse performances, as well as bouncing off one another and highlighting the fantastic camaraderie and community that comes along with the world of theatre.
After a lockdown of creating content online, forming a girl band and most recently performing on This Morning, seeing Aimie Atkinson back on stage was a real treat. Don't Rain On My Parade felt very apt as we all hold our breath hoping theatres can remain open and Aimie's performance was top notch. Sparkles galore, being a complete professional during technical difficulties and serving sassy vocals were the best reminders of why Aimie is quickly becoming West End royalty.
If you search "riff legend", it should really show a whole host of pictures and videos of Cedric Neal who is the definition of control. His smooth, pin-sharp vocals are passionate and utterly mesmerising. It's also incredibly impressive to see and hear how versatile he is as a performer, with So You Wanted to see the Wizard and Hold Me in Your Heart showcasing contrasting vibes but both being completely absorbing and joys to watch.
As always, Lucie Jones provided not only the most stunningly dexterous, ice clear and faultless vocals, but also showed off her excellent humour and stage presence which create a perfect performance. At this point I think Lucie just needs to star in everything and sing everything!
I also wouldn't complain if Julian Ovenden started singing everything, including phone books, instruction manuals, weather reports etc... His absolute dream of a voice carried so well throughout the night and I found myself in complete awe of the the technical ability he displays in every note. He really is a masterclass in the importance of support, diction and classical technique. All of his songs were honestly just joyous to hear.
Completing the line up, recent Olivier Award winner Cassidy Janson brought her usual magnetism and soulful vocals to the Apollo as she performed a variety of songs, with Nobody's on Nobody's Side proving a real highlight.
The evening absolutely wouldn't have been the musical success it was without the stellar band who both backed the singers and also shed light on the importance of live music. The synchronicity and musicality was evident throughout and it really seemed like everyone was thrilled to be back on stage. The simplistic stage adorned by rugs and bathed in warm light worked brilliantly to create a welcoming atmosphere.
Also streaming online via Thespie the future Monday Night at the Apollo events are sure to be complete treats and the perfect way to bring back the stageyness we've all been missing.
photo credit: Danny Kaan
Thursday 9 September 2021
Waitress, New Wimbledon Theatre | Review
New Wimbledon Theatre
Reviewed on Tuesday 7th September by Hope Priddle
★★★★
On the menu at Wimbledon Theatre this week, Waitress the Musical follows Jenna Hunterson (Lucie Jones), an aspiring baker who, with the support of her colleagues and dreamy gynecologist, imagines an escape from her provincial life and unhappy marriage. Based on the 2007 film by the late Adrienne Shelly, Waitress is a bittersweet story of friendship, love and finding yourself, with (nearly) all the ingredients for a tasty theatrical treat.
Music and lyrics by Sara Bareilles add flavour and spice to this quaint story; her playful, folk-pop score is full of frolicking motifs, followed by some gorgeous reflective numbers. They accompany a book by Jessie Nelson which is delightfully witty and whimsical throughout, but sometimes suffers from its more casual tone.
We are introduced to a collective of characters who are wholly endearing yet undeniably flawed, and it is refreshing to spend time with such imperfect and compromised characters. However, their poor choices often lack consequence and the stakes never quite feel high enough. Likewise, the shows treatment of domestic violence is lacking. Her abusive marriage to tip-stealing husband Earl - played by Tamlyn Henderson, who nonetheless deftly balances the fine line between comedic stock villain and insidious manipulator - is explored in a just a few short scenes which are uncomfortably inserted into the narrative. Though pitched as a feminist drama, any moral message is half baked.
Jones steals our heart as weary waitress Jenna, giving a sensitive and nuanced performance which perfectly reflects the heartache, anguish and disappointment of our begrudgingly pregnant protagonist. Her buttery vocals are rich and controlled; her control and clarity unsurpassed. Jones’ soaring rendition of She Used To Be Mine across a silent auditorium scored a well-deserved mid-show ovation.
Jenna’s colleagues are equally well cast. Evelyn Hoskins is totally loveable as the adorably anxious Dawn, whose slow burning affection and excitement for new beau Ogie, brought to life with a welcome touch of innocence and youthfulness by George Crawford, is joyous to watch. Sandra Marvin similarly packs a punch as the feisty, lively yet loyal Becky.
The duo provides comfort and advice to the expectant mother as she cautiously begins to imagine a new life for herself and her baby. Waitress offers such a lovely, intimate insight into female friendship, and it is in these quieter moments that the show really lands. As Dr Pomatter, Jenna’s forbidden love interest, Matt Willis proves himself to be a highly capable actor, capturing the character’s goofy and bumbling demeanour with ease. It is just a shame that his slightly nasally vocals are lost in his duets with Jones.
Lorin Latarro’s choreography is inspired, with instructive and empathetic gesturing by the ensemble used to cleverly mirror the movements of the lead characters. As Jenna goes into labour during Contraction Ballet, a female quartet pulsate and swell perfectly in time. The ensemble is so in sync throughout and are truly mesmerising to watch.
Latarro’s routines are complemented by tastefully restrained lighting design (Ken Billington) that features but a series of coloured spotlights. Likewise, both set (Scott Pask) and costume (Suttirat Anne Larlarb) are simplistic, if not a tad twee, but offer a sense of familiarity and warmth which gives the show heart. A final special mention must go to on-stage band that seamlessly integrate themselves into the diner landscape – you wonder if their music is meant to be diegetic given how often we see into Jenna’s mind as she creates her fantastical pies.
Waitress isn’t perfect, but it most certainly serves the audience with a little slice of happiness pie. Surely they’ll be coming back for second helpings?
Photo credit: Johan Persson
Wednesday 22 July 2020
Spice World drive-in concert to feature Lucie Jones, Aimie Atkinson, Bronté Barbé, Danielle Steers and Zizi Strallen
Five West End stars will come together to perform a live concert of Spice Girls hits before a drive-in cinema screening of Spice World.
Presented at the Troubadour Meridian Water, the drive-in experience will start at 9pm on Saturday 1 August, with doors opening at 8.15pm.
Put together by producer Paul Taylor-Mills, the concert will feature Aimie Atkinson (Six / Pretty Woman) as Ginger, Bronté Barbé (Shrek/Beautiful) as Baby, Lucie Jones (Waitress/Rent) as Sporty, Zizi Strallen (Mary Poppins/Strictly Ballroom) as Posh and Danielle Steers (Bat Out of Hell/Six) as Scary.
The performances are in a raised central location and relayed back to a giant cinema screen, giving everyone a great view wherever they park up.
Social distancing guidelines will be adhered to and updated in accordance with government guidelines for the performances, with cast, crew and audiences all observing protocols throughout the evening.
The concert has lighting by Andrew Exeter, sound by Dan Samson and choreography by Alexzandra Sarmiento.
Tickets are on sale now. There are ten free car tickets per showing for NHS and care workers, booked with the code NHSSTAFF. Valid ID must be presented at event.
Tickets are on sale now. There are ten free car tickets per showing for NHS and care workers, booked with the code NHSSTAFF. Valid ID must be presented at event.
Friday 22 September 2017
Legally Blonde (UK Tour), Churchill Theatre | Review
Legally Blonde (UK Tour)
Churchill Theatre
Reviewed on Thursday September 21st 2017 by Olivia Mitchell
★★★★★
Pink, energetic and a whole load of fun, the current tour of Legally Blonde is a joyous way to spend a carefree few hours at the theatre. It tells the story of Elle Woods, a sorority girl who hatches a plan to get into Harvard Law School to win back her ex-boyfriend Warner who would rather marry someone “serious”. Once there Elle realises she’s more than just the dumb blonde she’s been brought up to be and, joined by her Greek chorus and adorable dog Bruiser, she turns the world of law upside down.
Lucie Jones is a complete triumph as Elle. Having seen her in Les Mis, a solo concert and Rent, I was looking forward to seeing how she'd take on the role of Elle and she just does it wonderfully. Her comedic timing is completely perfect, bringing laughs in left, right and centre with her various one liners, squeals and movements. Lucie’s voice is as clear as a bell, her beautiful tone rings out on every word and she is just outstanding from start to end.
Alongside Lucie is David Barrett as the hard-working, slightly dowdy, Emmett. They have a wonderful chemistry and bounce off each other to create a believable blooming relationship. David has a lovely voice and he perfectly balances his calm and collected self with Elle's hyperactivity. Liam Doyle and Laura Harrison take on the roles of Warner and Vivienne well, both with lovely voices and good characterisation to show their development throughout. The audience were drawn Rita Simons as Paulette as she poured her heart out at her first meeting with Elle; she radiated warmth and nailed the comedic role although her singing could've been slightly more powerful at times.
The ensemble are great and full of energy, especially during Whipped into Shape and There! Right There! both of which were stand outs of the show with the UV skipping ropes in Whipped being particularly effective. I do feel that the Greek chorus could have been developed a little more with extra emphasis on the personality of each member, but their vocals were spot on and I loved their costumes, especially their Heathers-esque court room attire.
The choreography worked well with the piece and was energetic and fun enough to keep the momentum up throughout. The movement in There! Right There! was especially enjoyable to watch and the build throughout the piece was fab. The cheer section in What You Want could definitely be developed more to actually include cheer moves and give it more power but it was by no means unenjoyable.
I have a few reservations with the costumes purely from a picky point of view, such as Vivienne's heels being too high to fit with the frumpy look she is supposed to have and Elle's final court room suit just not having enough oomph and again being a little old-fashioned. Some of the costumes could have been updated to make them look less dated but I did enjoy the various changes and the various shades of pink!
The megamix at the end was over the top and quite unnecessary as, in my opinion it somewhat cheapens the production but it did work well to get everyone clapping along and smiling their way out of the auditorium and I certainly left feeling warm and joyful...
though I would've anyway without the mix!!
Overall this is a really enjoyable production. It's the perfect mix of lightheartedness and a little drama, it doesn't claim to be anything it's not and it's the ideal show for a girls night out. Charming and funny it reminds us that being yourself is the most important thing and will definitely leave you wanting to channel your inner Elle... I'm finding pink, sparkly clothes this minute!
Tuesday 19 June 2018
Legally Blonde (UK Tour), New Wimbledon Theatre | Review
Legally Blonde (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 18th June 2018 by Olivia Rose Dowden
★★★
Based on the 2001 teen movie, Legally Blonde tells the story of Elle Woods, who follows her high school sweetheart all the way to Harvard Law School, finding herself along the way.
This UK touring production is led by the hugely energetic Lucie Jones as Elle Woods. Vocally, she was extremely secure and tackled Elle’s huge numbers with confidence and charisma. Her portrayal of the character was a lot more goofy than I’ve seen done before, which was refreshing and quirky. However, there were moments where Jones occasionally missed the mark with her comedic timing and some of the jokes were lost. There wasn’t as significant a transformation of character as I would have hoped; it was only really at the most serious point in the show during the song Legally Blonde, in which Elle decides to give up on Harvard and return home, that Jones began to show another layer to Elle. Despite this, she remained charming throughout and truly won over the audience, gaining a standing ovation at the end of the performance.
David Barrett was a very strong Emmett Forest, creating an endearing and likeable character. Unfortunately, as his key number Chip On My Shoulder was played so slowly by the band, the song struggled to build as much as it should. This is not something he should be personally scrutinised for, but it admittedly affected his performance. I felt the same was the case for Rita Simons’ number Ireland. Simons mastered the voice of the brassy Paulette but could have offered more in terms of character.
Act One, in particular, was paced very slowly. The songs of Legally Blonde are admittedly very “wordy”, but the slow speed at which they were played meant there was a distinct lack of energy that only really emerged in the final number of Act One with So Much Better. Act Two was much more secure, with the comedic numbers Whipped Into Shape and There! Right There! being definite crowd-pleasers. The cast also coped extremely well with one of the dogs who was rather reluctant to stay in character, ad-libbing in order to keep the piece moving.
The production is nearing the end of its tour and I hate to say it but unfortunately it shows. Some half-hearted American accents and very mechanical blocking meant the production just didn’t have that spark that makes this show so special. I also felt the addition of a Legally Blonde megamix after the bows undermined the genuine message the piece portrays at the end.
Nevertheless, after watching a show with so much wit and charm, portrayed by committed and skilled performers, it’s difficult to leave without a slight smile on your face. I want to emphasise that the cast themselves were very strong, with impressive dance numbers and secure vocals. Those seeing the show for the first time will most likely have an enjoyable evening due to the warm-hearted nature of the piece. However, the many patchy moments made me feel as if the piece had lost some of its soul somewhere along the tour.
Legally Blonde runs at the New Wimbledon Theatre until 23rd June
Tuesday 11 December 2018
A Christmas Carol (LMTO), Lyceum Theatre | Review
A Christmas Carol (LMTO)
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell
★★★★★
The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.
Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life.
Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions.
Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.
As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances.
The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice. David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.
I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.
The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.
The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre.
A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm
photo credit: Nick Rutter
Tuesday 3 October 2017
Legally Blonde (UK Tour), Bristol Hippodrome | Review
Legally Blonde (UK Tour)
Bristol Hippodrome
Reviewed on Monday 2nd October 2017 by Elisha Harris
★★★★★
Legally Blonde is an absolute must see! I've had the Original London Cast Recording on repeat ever since it was released and have always been obsessed with the soundtrack. The songs are upbeat, funny and so catchy and although I can't hold a tune; I often find myself belting 'oh my god' like it was written for me on regular occasions. That being said, I don't know what kept me from seeing this beautiful show for so long, but I can assure you it won't be long until I'm back!
I must admit I struggled to imagine Lucie Jones as Elle before the performance but the second she appeared on stage she took my breath away, her vocals are completely out of this world I was in complete awe. I hadn't seen her in anything since her X factor days so I didn't know what to expect but she was incredible. The other standout for me has to be Rita Simons as Paulette. She had me in tears of laughter from start to finish, and has such a versatile voice; it gave my shivers! In the future, I'll make a conscious effort to see her in any other shows she does.
The cutest cast members have to be Bruiser & Rufus. Rufus didn't do exactly as he was told this evening as he wandered on stage before his cue and long story short, the crowd was in hysterics, and Lucie took 3 attempts to finish her line as she was laughing so hard. The audience roared with cheer when she completed it, it was hilarious! Despite that little mishap, both adorable dogs stole hearts every time they took to the stage.
The whole company gelled together so well, I feel so privileged to have witnessed such an incredible performance.
Legally Blonde is playing at Bristol Hippodrome until October 7th, don't miss out; I promise you won't regret it!
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