Showing posts sorted by relevance for query angels in america. Sort by date Show all posts
Showing posts sorted by relevance for query angels in america. Sort by date Show all posts
Wednesday 24 May 2017
Angels in America, National Theatre | Review
Angels in America
National Theatre, Lyttleton Theatre
National Theatre, Lyttleton Theatre
Reviewed on Saturday May 13th 2017 by Olivia Mitchell
★★★★★
Angels in America has got to be one of the National Theatre's most eagerly anticipated productions and one of the hottest tickets in London right now. The production boasts a line-up of incredible stars with the entire run sold out apart from lottery and day seats. Due to the sheer size and epicness of this play, it is rarely staged so seeing this revival from director Marianna Elliott is a once in a generation opportunity.
The show is big. The glossy A4 programme is big, the set is big, the cast names are big and the length is big. So much is packed in and the scope of the production and the ideas within it are vast and although slightly overwhelming at times, it's an extremely well put together and a mesmerising production.
The cast includes Broadway's Nathan Lane, Olivier-winner Denise Gough, NT stars Russell Tovey and James McArdle and Hollywood film star Andrew Garfield, who had performed in shows at the NT before heading to Hollywood. The acting is utterly sublime, with ridiculous talent and confidence that is breathtaking throughout.
Tony Kushner's two-part play tells the story of the emerging AIDS crisis of the 1980s as it hit the gay community in New York, by as cast of both real life and fictional characters who are living through it. Both parts are dense but liberating in the way they play with form, moving from domestic realism to hallucinatory fantasy, especially in part two Perestroika.
Part one, Millennium Approaches is full of angst and drama but is extremely humorous at points. A homeless woman chaotically exclaims "In the new century I think we will all be insane", when get to part two, Perestroika, twenty-five years later we see that that premonition may have come to be.
Nathan Lane manages to have both our hate and sympathy as the vicious, closeted lawyer Roy. Denise Gough lives right up to her superstar name and she embodies the role of the drugged out, angry and upset, Harper, giving a mesmerising performance. James McArdle is wonderful as the infuriatingly sensitive Louis. Russell Tovey brings pain and innocence to the confused Mormon Republican Joe and Nathan Stewart-Jarrett is fantastic as Belize who is perhaps the only sane one of the group. But it's Andrew Garfield who steals the show. He is breathtaking as the shows lead, Prior Walter. Garfield is intense and committed to the role with just the right amount of wit and grit to make this somewhat wacky character come to life in perfect colour on stage.
Although the context of Angels in America is different in 2017, especially with regards to AIDS, the play feels extremely relevant and the revival couldn't have come at a better time. The action looks back at the time Reagan was in office and studies his right-wing policies which are scarily analogous with Donald Trump's. This makes everything even more resonant and emphasises the fractured America where opinions on gender, wealth and race have unfortunately not changed.
This play is unlike anything else, with a mix of angsty, sardonic, gloomy surrealism which is a roller coaster from moment one. There are so many moments of shock that jump out like an endless stream of consciousness and it's really like being inside Kushner's brain as his thoughts vomit out. Although that doesn't sound particularly pleasant, it really is. There's something magical and truthful about the craziness. This play is not likely to be seen again in the near future and this production of the modern masterpiece is sure to stay with everyone who sees it until the next one comes about. Angels in America is epic but the most important thing is that it promotes discussion and remains relevant.
Angels in America will be broadcast to cinemas by NT Live from 20 July.
Tuesday 4 July 2017
Andrew Garfield and Denise Gough on Angels in America | Platform Review
Andrew Garfield and Denise Gough on Angels in America
The National Theatre have begun a series of talks and events relating to their mammoth, hit play Angels in America, starting with Tony Kushner discussing his plays and work in conversation with Ola Animashawun and continuing with other members of the cast/ crew of the play.
Yesterday I was lucky enough to attend a talk chaired by Kate Bassett, as Andrew Garfield, who plays Prior Walter, and Denise Gough, who plays Harper Pitt, discussed their experiences of performing in the epically relevant show. It is clear from the praise and awards both actors have been receiving that they are masters of their craft and at the top of their game but sometimes this level of 'celebrity' status can make people seem sort of mystical. So it was lovely to see them in an intimate, laid back setting to prove that although they're supremely talented, they're just like everyone else. Kate, Andrew and Denise sat on the stage in front of the angel set of part two: Perestroika whilst we filled the auditorium of the Lyttleton theatre.
The pair spent the majority of the time praising one another, their other cast members and the incredible writing of Tony Kushner. It's truly lovely to see how passionate they both are about the work they're doing with Andrew describing it as "the most fulfilling experience [he'll] ever hope to have." When asked why she initially took the role of Harper, Denise explained that after her Olivier award winning role in People, Places and Things she thought Angels would be a walk in the park. However, soon discovered she was wrong and didn't realise how much the role would take out of her. Despite having time off stage she said she is so mentally attached that time isn't a break, stating that "profound writing has a profound effect" with Andrew echoing the amount of work and energy that goes into playing Prior and that Kushner's writing "demands you to surrender".
This led into a particularly interesting discussion when an audience member asked how the cast take care of themselves to perform in such a demanding and long show. Andrew spoke candidly about how actors are expected to answer that it's a breeze but how it really is draining to give that much on stage all the time. He spoke about the effects on his mental health and how completing the play is his form of self care. Although it's long, especially on a two show day, he explained how getting to the end is somewhat of a therapeutic experience. Denise agreed with this, also laughing about the amount of self-care remedies she has, including massages, reflexology and air purifying!
A personal highlight of the talk was when the pair spoke about the need for connection and how this play provides that. "People flock to certain shows in the West End and I think that's all about connection." This is certainly true and in the dark times the country is going through at the minute I think it's really important to have an escape and a safe place where we can all unify over shared interests. Both actors said how they feel that the audience are really part of the play, especially on two show days and that the curtain call feels like an applause for both the cast and audience. Andrew described it as a "communion with the audience. Us all going through the same things together and how prevalent and necessary it is to tell this story right now."
Andrew and Denise are both hilarious, frequently taking the mickey out of themselves and again proving how normal they are. Especially funny moments were when Andrew exclaimed "Jeremy Corbyn for Prime Minister" and when he explained how although he doesn't identify as a gay man, he is basically living as one "just without the physical act" and how Ru Paul's Drag Race was an extensive and essential part of his research process: "every Sunday I would have eight friends over and we would just watch Ru".
Overall this was a wonderful and enlightening talk on one of the theatrical highlights of the season. It's incredible to see such passionate performers talk so candidly and emotionally about the struggles of their roles as well as what goes into performing such a colossal play. The National is one of the most accessible in the West End and this series of talks is just another example of that. If you haven't seen Angels in America then you better get in that returns queue because you don't want to miss out!
Read my review of Angels in America here: http://www.rewritethisstory.com/2017/05/angels-in-america-lyttleton-theatre.html
Read my review of Angels in America here: http://www.rewritethisstory.com/2017/05/angels-in-america-lyttleton-theatre.html
Tuesday 8 August 2017
In Conversation With... Karen Fishwick | Our Ladies of Perpetual Succour | Interview
I am an absolutely massive fan of Our Ladies of Perpetual Succour (it was number 5 in my Top 10 Shows of 2016) and its incredible cast. One of its members is Karen Fishwick who plays the role of Kay spectacularly. She embodies various other characters brilliantly and is just a fantastic performer. Karen was lovely enough to sit down and answer some questions and the show, the music and advice for aspiring performers.
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
I went straight from high school to Motherwell College where I did two years of Musical Theatre (HND) and rounding off my BAhons on the Acting course. Before that, all through high school my summers were filled with any creative short courses I could possibly apply for - acting, opera, contemporary dance, circus. I wanted to do it all. I think these were valuable training without noticing it at the time.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
It was always there though I do remember a brief spell of hoping to become a zoo keeper. I remember playing defense on the school football team; everyone chased the ball to the other end of the pitch while I'd stand there on my own and sing. And thus my dazzling football career came to an end.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
Thanks, that's kind. No, I mean, you never know do you? You, of course, always hope a piece will be received well but if you go in thinking "this could be the next big hit" you're kinda focussing on the wrong thing. When I first read it, I was amazed at how different it was to anything else I'd ever auditioned for and that was thrilling. That made it stand out for me. I don't remember rehearsing and thinking oh wow, this is going to be nuts. It was really hard work, that's all we were thinking. Gotta nail this bit, then this bit. When the first audience response came at the Traverse in 2015, that was the moment. I'll never forget it.
I saw the show both at The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work at rehearse change at different venues?
Absolutely. With every single new venue we played, as soon as we got onto the stage it was "ok, what are we dealing with here". We need to know there isn't one corner we'll miss flinging this story at. Eye-balling the audience is one of my favourite parts of the show. The sound would feel different depending on how big or small and venue was. The huge rock moments or intimate confessions need to carry the same wether we're at the brilliantly close Live Theatre in Newcastle or the Theatre Royal in Brighton. Vicky always made sure it was the first thing we'd address.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
A mixture, I think. The classical to rock stuff has different demands. Even within the ELO numbers themselves, they're songs are eclectic! Martin Lowe, our beyond wonderful MD leaves no stone unturned there and we worked hard with him on each sound. His attention to detail for each different style is what makes the show so successful.
How do you keep your voice healthy? Do you have any vocal rituals?
I didn't sing in the play I did before this so a few weeks before we started rehearsal, I made sure I was strengthening it up. I found YouTube videos for that (thank you Verba Vocal Technique). I drinks tonnes of water and try to keep on top of tension in my neck and shoulders. Steaming is good. And not being hungover.
Besides yourself, who would you like to see play your role?
Can I pick anyone? Christopher Walken.
Can you sum up Our Ladies in five words?
Messy. Honest. Loud. Touching. Empowering.
Have you had any funny onstage or offstage mishaps in the show?
For sure. I panicked and took off one shoe once. Did a couple scenes without it. I really didn't know when I'd be able to put it back on. Another time, I accidentally threw a box of candy sticks straight into the face of a girl sitting on stage. Other venues didn't have a chair there, it was muscle memory gone daft! She lived.
 |
| Karen Fishwick (Kay), Caroline Deyga (Chell), Melissa Allan (Orla), Frances Maylie McCann (Kylah), Kirsty MacLaren (Manda), Dawn Sievewright (Fionnula) |
Is there a musical or play you’ve seen recently that you loved?
I freaking loved Book of Mormon! I thought it was so funny and done so well. There's so such much I wanted to see but can't make; Angels in America, Hamlet.
What’s a fun fact people might not know about you?
My great, great, great, great grandfather was a tiny little mushroom.
What’s your best piece of advice for an aspiring performer?
If you work as hard as you possibly can, you will not fail. You will not. What about luck? Work hard to generate it. Nothing will happen if you don't work for it.
A huge thank you to Karen for doing this interview! Keep your eyes peeled for another Our Ladies interview coming soon!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017Interview by Olivia Mitchell, Editor
Wednesday 26 September 2018
Once on This Island, Circle in the Square | Review
Once on This Island
Circle In The Square
Reviewed on Tuesday 18th September 2018 by Olivia Mitchell
★★★★
Once on this Island is basically the show version a huge hug; filled with a heartwarming story, spectacular talent and amazing use of theatrical devices it's a truly brilliant piece of theatre.
The Circle in the Square theatre provides the perfect, semi-immersive space for this show which follows the story of Ti Moune, a young peasant girl, who with the help of the Gods, sets on a journey to unite with the boy who has captured her heart. The story itself is pretty random and far-fetched: Ti Moune falls head over heels with this boy she has only glimpsed at for a second (very Little Mermaid-esque) and decides she must dedicate herself to saving him. However, the way the story is told is truly beautiful.
Michael Arden has directed a feast for the eyes which is magical, moving and heartfelt in equal measure. The simplicity of the show is what makes it so special. The use of debris and fragments of clothes/products immerses us in the world and transports us subtly to a place ravaged by a natural disaster which has to piece itself together the best it can. Clint Ramos has done an outstanding job of bringing pieces together without making anything look tacky of lacklustre.
With musical gems such as Mama Will Provide, Waiting For Life and Why We Tell The Story, it's no surprise that this show is a hit. The Caribbean-infused musical theatre songs are catchy and supremely well performed. Despite premiering in 1990, the entire production feels fresh and enticing and is undeniably a show to be loved by any audience members.
The cast perform Ahrens and Flaherty's music with life and joy, Alex Newell's Mama Will Provide is a sure stand out, whilst Tamyra Gray brings an Angels in America vibe to the death God, Papa Ge who flicks around the stage with a menacing presence, especially in Forever Yours. Other stand outs include Quentin Earl Darrington who's booming voice fills the intimate space, Kenita R. Miller who draws the eye from the moment the audience enters the theatre and Isaac Powell who is vocally strong as Ti Moune's love interest, Daniel.
Whilst this is truly an ensemble piece, with the cast filling the space with sounds and movements whilst every 'solo' piece takes place, the heart is definitely Hailey Kilgore as the young Ti-Moune. Her voice and performance is compelling and heart-wrenching whilst remaining vulnerable and full hearted. There's no doubt that Hailey will be a staple on Broadway stages from years to come as she performs free from constraint and provides one of the most moving and nuanced performances I have ever witnessed.
Michael Arden has directed a feast for the eyes which is magical, moving and heartfelt in equal measure. The simplicity of the show is what makes it so special. The use of debris and fragments of clothes/products immerses us in the world and transports us subtly to a place ravaged by a natural disaster which has to piece itself together the best it can. Clint Ramos has done an outstanding job of bringing pieces together without making anything look tacky of lacklustre.
With musical gems such as Mama Will Provide, Waiting For Life and Why We Tell The Story, it's no surprise that this show is a hit. The Caribbean-infused musical theatre songs are catchy and supremely well performed. Despite premiering in 1990, the entire production feels fresh and enticing and is undeniably a show to be loved by any audience members.
The cast perform Ahrens and Flaherty's music with life and joy, Alex Newell's Mama Will Provide is a sure stand out, whilst Tamyra Gray brings an Angels in America vibe to the death God, Papa Ge who flicks around the stage with a menacing presence, especially in Forever Yours. Other stand outs include Quentin Earl Darrington who's booming voice fills the intimate space, Kenita R. Miller who draws the eye from the moment the audience enters the theatre and Isaac Powell who is vocally strong as Ti Moune's love interest, Daniel.
Whilst this is truly an ensemble piece, with the cast filling the space with sounds and movements whilst every 'solo' piece takes place, the heart is definitely Hailey Kilgore as the young Ti-Moune. Her voice and performance is compelling and heart-wrenching whilst remaining vulnerable and full hearted. There's no doubt that Hailey will be a staple on Broadway stages from years to come as she performs free from constraint and provides one of the most moving and nuanced performances I have ever witnessed.
photo credit: Joan Marcus
Saturday 30 December 2017
Olivia's Top 10 Shows of 2017
This year I saw 105 shows so picking my top 10 was pretty tricky! I know everyone does these posts but it's always interesting to see what peaked everyones interests so without further ado, here are the shows I loved in 2017. Grab a mince pie and settle in!
PS. They're in reverse order as always to bring that extra bit of drama!
10. Yank | Charing Cross Theatre
I saw the West End premiere of this show and completely fell in love. The storyline was gripping, the acting was outstanding and it was a highlight of my summer. Scott Hunter was a particular stand out and I can't wait to see what 2018 brings for him.
9. Follies | National Theatre
This was one of my most anticipated shows of the year and it certainly wasn't a let down. The glorious staging was spectacular and I adored hearing Sondheim's music live as well as seeing queen Imelda Staunton on stage again.
8. Mack and Mabel (LMTO) | Hackney Empire
This was such a surprising show for me. Of course I expected good things from the LMTO but I was so blown away by every performance in Mack and Mabel. Natasha J Barnes singing 'Time Heals Everything' was definitely my stand out vocal moment of the year.
7. Funny Girl | New Victoria Theatre
Natasha also gave an amazing performance as Fanny Brice in the UK Tour of Funny Girl. To date this is the best touring production I have ever seen!
6. Hamlet | Alemida Theatre
Andrew Scott was just spectacular. That's all.
5. Fiddler on the Roof | Chichester Festival Theatre
I must admit, I don't travel outside of London for theatre very often but I am so glad I made the trip to Chichester to see this production which completely blew me away. This show needs a West End transfer and I'm praying its life isn't over.
4. Angels in the America | National Theatre
How could I not mention this?! A marathon show but packed with drama, talent and grit at every moment. Truly a theatrical masterpiece- Broadway get ready!
3. Lady Day at Emerson's Bar and Grill | National Theatre
Audra is just a queen. I was mesmerised by every single moment of this show. I first saw it on press night and then went back with my parents, both times were breathtaking and it was such an honour to see a Broadway superstar on stage.
2. Romantics Anonymous | Sam Wanamaker Playhouse
My lovely friend Hayley took me to see this for my birthday and for some reason I never got round to reviewing it (hopefully I'll do it soon!) But it was honestly just brilliant. Both literally and metaphorically sweet it was the perfect way to spend an afternoon. If you want a heartwarming tale, this is the one for you!
1. Hamilton | Victoria Palace Theatre
I know this is the most typical answer and so not a surprise but Hamilton just blew me away. I still can't believe that it exceeded my expectations and if you can get a ticket, you HAVE to see it!!
I also want to give a special mention to a couple of other outstanding shows which I mentioned in last years wrap up: Rent and Dreamgirls, both of which amazed me again this year! I have a couple of concert shout outs too- Rachel Tucker, Kristin Chenoweth and Lea Michele. I saw Rachel perform 5 times and was completely astounded by her voice and stage presence every time. Kristin had me bawling from start to finish. Her concert was definitely the most memorable I've ever been too. Finally, Lea was a bucket list concert for me and I'm so honoured to have seen (and met) her this year!
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
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