Showing posts sorted by relevance for query Simbi Akande. Sort by date Show all posts
Showing posts sorted by relevance for query Simbi Akande. Sort by date Show all posts
Thursday 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
Friday 5 November 2021
Full Cast Announced for Love Story in Concert
Michael Matus (The Phantom of the Opera, La Cage Aux Folles) will replace Peter Polycarpou as Phil
Cavilleri, who has had to withdraw due to scheduling conflicts.
Simon Green (Titanic, Mrs Henderson Presents, Priscilla Queen of the Desert) will play Oliver Barrett IV.
Completing the cast is Jenna Boyd (Come from Away) as the Doctor.
The Ensemble features Simbi Akande
(The Prince of Egypt), Jordan Cunningham (Priscilla Queen of the Desert), Alison Driver (What’s New
Pussycat?), Charlie-Jade Jones (West Side Story), Maximillian Murphy (Parade), and Nikhil Singh Rai (Les
Miserables, Mountview).
Love Story celebrates the 10th Anniversary of Love Story’s premiere at Chichester Festival Theatre and
subsequent transfer to the West End’s Duchess Theatre.
Based on the 1970 New York Times #1 bestselling novel by Erich Segal - which was adapted into one of the
highest grossing films of all time - Love Story follows Oliver Barrett IV, a Harvard jock, and Jenny Cavilleri, a
gifted musician studying at Radcliffe.
Love Story was Olivier-nominated for Best Musical, Best Actor in a Musical (Xavier) and Best Actress in a
Musical (Williams). Since its West End run in 2010, the show has been performed in the USA, Russia, The
Netherlands, Belgium, Brazil, South Korea, Italy, Germany and Bolton Octagon Theatre.
Wednesday 2 August 2017
Fiddler on the Roof, Chichester Festival Theatre | Review
Fiddler on the Roof
Chichester Festival Theatre
Reviewed on Tuesday August 1st 2017 by Olivia Mitchell
★★★★★
It's not often that I venture out of London for theatre but when I do it's usually to Chichester and so far I've never been disappointed with a production. Of the various shows I've seen there, Fiddler on the Roof is by far the best and I am completely in awe of its brilliance. If I Were A Rich Man, I would fund this productions transfer to the West End right this minute, but as I'm not I will have to settle with the fact that the show, directed by Daniel Evans is absolutely fantastic so is more than likely to make the move without me... I'll just have to wait a little while.
Set in rural Tsarist Russia in 1905 when the first hints of revolution are revealing themselves, we follow Tevye who is trying to preserve tradition in the face of a changing world by marrying off his daughters. They, however, want to marry not for money but for love. In a time when Russia's Jews are facing incredible hardships where tradition is one of the few things keeping them together, Tevye has to decide whether his daughters' happiness is more important than his adored traditions.
Omid Djalili was born to play the poor dairyman, Tevye. His masterful comedic timing is pure excellence but he also manages to capture his internal torment and external hardships perfectly. Djalili is able to involve the audience with every thought that goes through his head and makes sure that every side of the Festival Theatre gets to feel and see the emotion. Tracy-Ann Oberman is great as his wife, Golde, with her caustic personality the ideal contrast to the bright, humorous Tevye.
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| Emma Kingston (Hodel) and Louis Maskell (Perchik) |
The rest of the family are equally strong with the daughters each having clear personalities and being performed to the fullest. Simbi Akande as Tzeitel is sweet but strong, begging her father to allow her to marry the impoverished tailor, Motel (Jos Slovic). The pair work wonderfully together. Emma Kingston shows off her stunning voice as Hodel who falls in love with the forward thinking, Perchik played by Louis Maskell who has an equally beautiful voice which soared over every note perfectly in 'Now I Have Everything'. Particularly touching with the two was during the first Sabbath dinner when they kept subtly making eye contact with one another and we could see the first inklings of their romance. Rose Shalloo as Chava and Luke Fetherston as Fyedka have fantastic chemistry, showing their struggles with honesty and strength.
Lez Brotherston's design is bare and simplistic as it should be but transitions and evolves wonderfully to create the various settings and is able to establish feelings of both warmth and stark cold at various times. Alistair David's choreography is spectacular, lively and powerful. It unapologetically shows off Jewish tradition and does so in a extremely striking way; popping and dazzling from start to end.
The entire cast are incredibly strong and this is as much an ensemble piece as it is a lead-led piece. Each moment when the cast come together- either in choreography or in close a cappella harmony- is magical.
I'm truly wowed by this production. My only little niggle is the accents at times, with some attempting and falling somewhat short but this is my only fault in an overall impeccable production. May it transfer and run for a very long time!
Fiddler on the Roof runs at the Chichester Festival Theatre until September 2nd 2017
photo credit: Johan Persson
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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