Showing posts sorted by relevance for query Lucy Jardine. Sort by date Show all posts
Showing posts sorted by relevance for query Lucy Jardine. Sort by date Show all posts

Friday 8 February 2019

Anthropocene, Hackney Empire | Review


Anthropocene
Hackney Empire
Reviewed on Thursday 7th February 2019 by Lucy Jardine
★★★

Anthropocene opened at the Hackney Empire on Thursday 7th February. After some considerable hype and therefore a sense of anticipation, I found myself scratching my head and, frankly, was left with a sense of disappointment. 

Anthropocene is the story of an arctic expedition, with various set-piece characters: the journalist out to get his story, the pompous funder of the expedition and his wife, his daughter and her love interest (who is murdered) thrown in for good measure.... The story centres around the discovery, by the expedition team, of an ethereal being trapped in ice, who proves to be alive once the ice is hacked away. Jennifer France, who plays 'ice', was the star of the show. Her high soprano matched the other-worldly nature of the character she played; it was a joy to listen to her. 


As for the score, well, call me old-fashioned, but I like a bit of a melody. There was none, and nothing to latch on to. The most exciting parts were when all three female leads sang together, creating the only too brief and infrequent magical moment. 

The set itself was fairly sparse - some white drapes, a white ladder or two and some odd-looking red shapes at front stage left and front stage right - it took me nearly up to the interval to realise that they were meant to represent the outline of the ship and that we were therefore supposed to be inside it.

All in all, I'd say if you're in the neighbourhood, do pop along, but don't go out of your way.

Anthropocene runs at the Hackney Empire until 9th February 2019

photo credit: James Glossop

Saturday 12 May 2018

Soap, Spiegeltent | Review


Soap
Spiegeltent 
Reviewed on Thursday 10th May by Lucy Jardine 
★★★★★

On a sunny evening in May, spending an evening in a dark circus tent might seem like a bit of a waste of the good weather. Why would you want to avoid the sun and warmth to sit in the dark and get wet too? Don’t we get enough of that already?? The sacrifice was, however, worth it. What a fun, uplifting 70 minutes! 

The show, somewhat erroneously entitled Soap (there is no soap in evidence, just lots of water) is, in essence, an acrobatic show by six extremely skilled acrobats from across the globe: Russia, Canada, Germany, Ethiopia, Spain, Portugal and Germany, where the company hails from. Their unique device is to use bath tubs and water to display their skills, and are accompanied by a wide range of music, sung by the American soprano Jennifer Lindshield

From trapeze work, to juggling, partner acrobatics, the aerial hoop and yes, using baths and water as their props, these performers are at the top of their game. What makes them stand out is not just their strength and agility, but the combination of these with gracefulness, humour and a little bit of audience participation. 


The tent is small, enabling spectators to get up close and personal with each of the performers as they perform their acts individually and collectively. 

If you want to spend an hour of pure entertainment and have some fun into the bargain, don’t miss it – as long as you don’t mind getting a little damp!

Soap is at the Spiegeltent until June 17th

Thursday 27 June 2019

On Your Feet!, London Coliseum | Review


On Your Feet
London Coliseum
Reviewed on Wednesday 26th July 2019 by Lucy Jardine
★★★★

Last night at the Coliseum, on a glorious evening, On You Feet, brought some Cuba/Miami sound and spectacle to London.

Mostly, it was a triumph. Christie Prades was a delight as Gloria. It was a treat to hear the authentic American and Latino accents without them being massacred. Her voice, whilst not quite on Gloria's epic scale, carried us along with her. Madalena Alberto was probably the star of the show though - such a strong voice and utterly convincing as the mother who had been forced to give up her dreams and therefore resented her daughter wanting to follow hers. And Karen Mann as Consuela, Gloria's grandmother, although some of her dialogue and mannerisms were a little cliched, brought many a chuckle to the audience.

The ensemble treated us to some fast-paced, foot-tapping, booty-shimmying sets and at the end, yes, we were all on our feet, clapping and dancing along with the excellent band that transported us to the hot steamy nights of Miami. Sergio Trujillo's choreography was solid; the staging, through the use of large moving cloth panels and the projection of images, from clubs in Miami to original photos of the terrible traffic accident that Gloria was in, was well crafted.

The one significant disappointment was George Ioannides in the role of Emilio Estefan. Again, his accent was authentic and his acting good but, unfortunately, his voice could not carry the songs and a couple of the duets with Christie were, frankly, a little uncomfortable. This didn't seem to matter to the audience though. After a rousing encore, we all left with our hearts a little lighter and our smiles a little brighter. Not a bad thing in today's world.

Tickets for On Your Feet are available at LondonBoxOffice.co.uk

photo credit: Johan Persson

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

Thursday 26 July 2018

The Simon and Garfunkel Story, Lyric Theatre | Review


The Simon and Garfunkel Story
Lyric Theatre 
Reviewed on Monday 23rd July 2018 by Lucy Jardine 
★★★★

On a hot, sticky summer's evening, did I really want to sit in an equally hot, sticky theatre to listen to music from yesteryear, music I've heard so many times before? 

On Monday evening, at the Lyric Theatre I expected to hear all the songs we know so well. And I did. Of course. But we were also treated to a raft of lesser known ones. 

In essence, the entire show - The Simon and Garfunkel Story - consisted of 4 guys on stage: 'Simon' (Philip Murray Warson), 'Garfunkel' (Charles Blyth) and their two backing musicians/singers. Warson and Blyth's vocals were almost flawless, perfectly capturing the beautiful harmonies of the original duo. When I closed my eyes I could almost believe it was them. To be honest, that would almost have been enough. 


But what made the evening even better was the story behind the songs - the anecdotes and details about Simon and Garfunkel's careers as a duo and as solo artists. This was illustrated by footage from the era, such served to contextualise the songs - we saw footage of the Everley Brothers, Martin Luther King and JFK, interspersed with photos of Simon and Garfunkel themselves. 

Back to the music. What a fantastic evening. The only reason I would award this show 4 stars out of 5 would be due to the occasional lapses in harmony from the backing singers, but largely due to my frustration at not being allowed to sing along at the top of my voice.... Catch The Simon and Garfunkel Story if you can when it's next back in town!

photo credit: Betty Zapata 

Saturday 24 March 2018

Don Giovanni (Welsh National Opera Tour), Mayflower Theatre | Review


Don Giovanni (Welsh National Opera Tour)
Mayflower Theatre 
Reviewed on Friday 22nd March 2018 by Lucy Jardine 
★★★★

This performance of Don Giovanni was part of a short Welsh National Opera (WNO) season at the handsome, art deco Mayflower Theatre in Southampton. WNO are touring England and Wales until mid-April performing Don Giovanni, Tosca and La Forza del Destino and based on this performance I would recommend seeing any of the three productions if you can.

Don Giovanni is one of Mozart’s best known operas, first performed in Prague in 1787. The events take place in 18th century Seville and this production is true to the original setting, with elaborate costumes to match. The production is sung in Italian, but surtitled in English on a discreet display high above the stage, so you can easily follow the words and see where the story is heading.

Our hero – or anti-hero – is the amoral libertine Don Giovanni (played by Gavan Ring), whose only purpose in life is to seduce as many women as he can, using whatever mixture of money, deception & physical violence is necessary to complete the task.  


Somewhat reluctantly aided and abetted by his servant, Leporello (David Stout), Giovanni attempts to seduce the newly-married peasant girl Zerlina (Katie Bray), while avoiding her husband Masetto (Gareth Bynmor John) and trying to elude his former lover, Donna Elvira (Elizabeth Watts), who cannot make up her mind whether the man who betrayed her deserves forgiving or murdering.

Meanwhile, Donna Anna (Emily Birsan), attended by her steadfast lover Don Ottavio (Benjamin Hullett), is bent on avenging the killing of her father, the Commendatore (Miklos Sebestyen), at the hands of a masked assailant who's eventually revealed to have been the Don himself.

As you might expect from the full title of the opera, “Il dissoluto punito, ossia il Don Giovanni” or “The Rake Punished, or, Don Giovanni”, things do not end well for our main character when he finally has to face something that he can’t bribe, beat up or outwit.

Overall this was an enjoyable performance with a strong cast, but Emily Birsan as Donna Anna and Katie Bray as Zerlina stood out for the combination of great singing and good acting they brought to their roles. David Stout as Leporello also outshone his master on a number of occasions.

photo credit: Richard Hubert Smith