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

Saturday 13 August 2016

Children of Eden, Union Theatre | Review



Children of Eden
Union Theatre
Reviewed on Friday 12th August 2016 by Olivia Mitchell
★★★★

Inspired by the Book of Genesis, Children of Eden tells the timeless and beautiful story of bringing a child into the world and becoming a parent. It features stunning music and lyrics by acclaimed composer Stephen Schwartz,  who is perhaps most well known for Wicked which continues to play all over the world, and a book by the fantastic John Caird who along with Trevor Nunn, adapted and directed Les Miserables.

Thursday 1 February 2018

Eugenius, The Other Palace | Review


Eugenius
The Other Palace
Reviewed on Tuesday 30th January 2018 by Olivia Mitchell 
★★★★★

I saw and loved Eugenius back in 2016 at it's premiere concert at the London Palladium, so I was very excited when I read it was returning to The Other Palace. I'm pleased to say I stand by my initial review- I absolutely adored this, unique, hilarious, feel-good show. 

Eugenius tells the story of Eugene, a G-E-E-K who has written a comic book and gets thrown into a crazy Hollywood, space story. Alongside we have Janey who is head over heels in love with him and does everything she can to impress him but has been placed firmly into the friend zone. 

With music and lyrics and a book by Ben Adams and Chris Wilkins, Eugenius is a full on cheese fest of all things brilliant about the 80s. I'm 21 so wasn't alive then but it's so iconic that I couldn't help but feel nostalgic in a weird way. The music is catchy, the dialogue is laugh a minute and the whole show is just a big, joyous delight.


The cast are absolutely outstanding. As Eugene we have West End newbie Liam Forde, who is geeky and charming with a beautiful voice. His chemistry with everyone is great but especially with the delightful love interest Laura Baldwin as Janey. Laura's voice is something else, 'The Future is Bright' is definitely a stand out moment. Equally witty and loving, Laura is perfectly cast in the role.

As the best friend, Dan Buckley is hilarious as Feris. Despite being a comic role, Daniel's vocals shine and he is wonderful throughout. Equally comic is Scott Paige as Theo who is sassy and vocally outstanding. As the mean man, Cameron Blakely is perfectly despicable as Lex. His demeanour and crude actions make you pray for his demise. Ian Hughes is striking as the other, spacey villain, Evil Lord Hector.

This show creates an infectious atmosphere and has everyone bouncing and humming the songs as they leave the theatre. In my initial review I said that "this musical is bound to become a cult classic and pave the way for a whole wave of new musicals" and I think that still sums up my feelings. Eugenius is a unique, humourous celebration of being yourself and embracing your inner geek. With catchy music and a stellar cast, there's not a reason you shouldn't see this show!

Eugenius runs at The Other Palace until 3rd March

photo credit: Pamela Raith

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

Thursday 7 March 2019

Waitress, Adelphi Theatre | Review


Waitress
Adelphi Theatre 
Reviewed on Thursday 7th March 2019 by Olivia Mitchell 
★★★★

Based on the 2007 film of the same name, Waitress is a quirky, sweet, fun show by late comedic legend, Adrienne Shelly. Having taken Broadway by storm, it has now opened in London and is a pastry wrapped parcel of theatrical sweetness. 

With music and lyrics by Sara Bareilles, it's the score that's really the stand out factor of this show. The music is a magical combination of folk, pop, country and musical theatre, and gives the musical a really cinematic element. The contrast between high energy songs, calmer numbers and highly emotive pieces, cleverly matches the way the show emphasises the highs and lows of life. 

As we are welcomed into the Adelphi Theatre with the smell of pie permeating the air, we instantly feel a sense of relaxation and as if we really are visiting the small diner in rural America where most of the show is set. We're introduced to the characters as if they're friends and get to see the great cast at work. 


In Waitress, the ensemble act as though they are one. Of course they scatter the stage and have individual character moments (a particular stand out is Kelly Agbowu as the wonderfully sarcastic Nurse Norma as well as Charlotte Riby who is fantastic as Jenna's mum and really shines during her featured moments) but they really come into their own when they work as a team. Much of the choreography (Lorin Latarro) is ensemble based and features smooth movements as well as perfectly timed motions. The men and women combine at times to symbolise Jenna's internal thoughts, as well as keeping the show fluid and highlighting the connections between people on stage. Natural feeling movements are in reality, highly choreographed but the show still feels pretty free and spontaneous.

Whilst the show is cute and there are various witty moments, the book itself is not particularly strong as a whole. Leading lady Jenna, is pregnant with her abusive husband's child and falls in love with her gynaecologist Dr Pomatter, whilst her work colleagues also have romances of their own. 

The romantic encounters are charming but the consistent cheating which runs throughout the show, feels somewhat jarring. It's not the cheating itself which feels wrong- Jenna wants someone who loves her outside of her abusive relationship, whilst Becky's husband is unwell so she feels tied to him but wants something more- but the lack of resolution to these stories feels unfulfilling. The story is clearly meant to be about female empowerment, but it doesn't seem right that the men are allowed to act in any way they like (and motivate all decisions the women make). Ogie for example, doesn't think twice about hounding Dawn when she says no to seeing him again, whilst Dr Pomatter has no qualms with seducing a vulnerable patient. Of course these things are meant to make us root for them and see it as 'forbidden love' but unfortunately it leaves a bit of a sour taste.


However, the performances throughout are pretty uniformly wonderful and the cast do all that they can with the book they've been given. Katharine McPhee as Jenna, gives a graceful but vivacious performance, which at times feels a little too understated but truly delivers in her stand out moments such as She Used to be Mine and she leads to show with a delicacy that is enviable. David Hunter is suitably geeky and charming and brings a great vocal performance to Dr Pomatter, whilst Jack McBrayer is hilarious but lacks vocal strength and technique as Ogie. Marisha Wallace is sassy as Becky and Laura Baldwin gives a standout performance  both vocally and in terms of characterisation as timid, love-struck Dawn. 

Waitress is a show that takes you off the beaten track and provides a more intimate, less flashy show compared to those we usually see. This nuanced musical is a sweet treat that will warm your heart, purely thanks to it's quirkiness and affectionate score. 

Tickets for Waitress can be booked via www.londonboxoffice.co.uk

photo credit: Johan Persson

Friday 21 February 2020

Laura Baldwin on The Importance of Female Led Musicals | Beautiful: The Carole King Musical | Interview

A jukebox musical with a book by Douglas McGrath, Beautiful: The Carole King Musical tells the story of the life and career of Carole King, using the songs she wrote as well as others by people she knew or were influential in her life. 

Taking on the role of one of these, is Laura Baldwin who plays Cynthia Weil, King's best friend and writing rival. Having previously starred in Waitress, Laura is no stranger to female led stories, she sat down to tell us why these stories are so important and what people can expect from this musical...


Give us the lowdown on Beautiful, what can we expect?
Well you can expect a story of what went on behind the music surrounding the life of Carole King, told by an AMAZING cast. You’ll hear incredibly nostalgic songs and hopefully you’ll leave feeling elated, inspired and a little bit warm inside.


Whats your favourite song from Beautiful and why?
God that is SO hard! The Locomotion is definitely up there but it has to be Walking in The Rain. It’s just such a stunning song and it feels so lovely to sing.


You’re playing Cynthia Weil, what do you draw from in your own life and what research do you do to play a real person?
So Cynthia Weil is the first character I’ve played that I don’t feel anything alike. I couldn’t find any similarities for a while so that was a new challenge for me. It did however feel really refreshing to become someone completely different and, play parts of her that don’t come naturally to me. Now we’re well into the run I do see myself in her, like I love making people laugh, so does she! We’re both very ambitious and love our work. It was great to finally identify with her in some way. 

I researched lots about Cynthia! I watched so many interviews and we talked extensively with Ed Goggin our director, all about the characters lives and motives throughout the show. I wanted to make sure I do her justice!! Hopefully I’m doing enough!


You previously starred in Waitress, another musical about female empowerment, what do you think makes these musicals so important and special?
Because we need women to be seen as the hero’s that they are and have always been! Waitress was a human story and Beautiful is a real life story, both with an underdog message. The characters find strength from within and that is always incredibly special to watch. Sara Bareilles is a power house as is Carole King. Their stories and music should be heard simply because of the talent behind them. I am honoured to be a small part of their work and portray the characters that are so dear to them, and inspiring to women and to everyone.


If a musical was going to be made about your life, who would you like to play you?
Oh Amy Adam’s or Kristen Wig just because I love them!!


What’s your best piece of advice for aspiring performers?
Keep the gorgeous people around you who lift you up! ALWAYS treat yourself after an audition. You will constantly struggle to balance everything and things will get hard but that’s okay. There will be highs and lows but the lows make it worth it. Stay humble, find ways to reconnect with yourself, book the holiday and know that your career doesn’t define you. I also feel like being yourself is HUGE and the moment I started accepting my weird crazy self, everything started to fall into place :) stay strong! x


Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22nd February before continuing its tour

Interview by Editor, Olivia Mitchell

photo credit: Helen Maybanks

Friday 18 November 2016

Half a Sixpence, Noel Coward Theatre | Review

Half A Sixpence is just what the West End needs


Half a Sixpence is an oh so British musical which really packs a punch. 

Half a Sixpence
Noel Coward Theatre
Reviewed on Thursday 17th
 November 2016 by Olivia Mitchell
★★★★

Whilst this production, opening for the first time in 50 years, is technically described as a revival, I would say its more of a reinvention. With 80% new material including a new score by Stiles and Drewe and a new book by Julian Fellowes, the show is brought into the 21st century in a refreshing and exciting way.


We follow the story of Arthur Kipps who mysteriously inherits a large sum of money and suddenly finds himself flung into a world of garden parties and riches, a far cry from his childhood days in the countryside with his best girl Ann. Caught in between two worlds and two women, Arthur must decide whether he wants half a sixpence or a fortune.

The plot is somewhat simplistic and predictable which is beautiful but annoying at the same time. Of course simplicity is lovely because it makes it easy to follow and really puts the emphasis on the music and choreography but there were some moments which I would have liked to delve deeper into; such as the mysterious uncle, but overall its a sweet story full of joy and humour.

The set is very simple, with a revolving stage supplemented with decorative additions and projections throughout which work wonderfully to move seamlessly between the changing scenes of the show, from bar, to beach, to garden party and more! This simple staging allows Andrew Wright's choreography to be a focal point of the show. The energetic dances create absolute elation throughout and every fresh faced member of the 24 strong  cast put their all into every step, creating a truly mesmorising sight. Of course the show favourite "Flash, Bang, Wallop" was a standout, with a standing ovation and smattering of applause beginning as soon as the last note was sung.

The entire cast are sublime and completely faultless. Ian Bartholomew is hilarious as the larger than life Mr Chitterlow, bringing out some of the biggest laughs of the night, especially through "The Joy of the Theatre" which felt like a big wink to all us press members sat in the audience! Bethany Huckle is fabulous as the sweet but strong-minded Flo who has fabulous chemistry with each character she interacts with. Helen Walshingham is vulnerable, graceful and tiny bit malicious but Emma Williams manages to make us understand why she makes every decision through her clear and well thought out portrayal.


Obviously the ultimate stand out of the show is the exceptional Charlie Stemp who must have a Best Actor in a Musical award waiting for him in the near future. From the moment we witness his charming, boyish grin, we fall in love with Arthur Kipps. Charlie is a true triple threat star, and its a joy to see him shine on stage in moments of humour and love as well as more serious times. Charlie's voice is beautiful, his dancing is effortless and he is just charming. He makes each move quirky and charismatic and absolutely fantastic. Keep your eye on this man because he is going to be a star for a long time!

Half a Sixpence is exciting, infectious, joyful, glistening and a billion other things. Its most definitely a show you should go and see and a production worth far more than half a sixpence! Experience the joy of the theatre and book tickets for this show which is running at the Noel Coward theatre.

Thursday 7 July 2016

Breakfast at Tiffany's, Theatre Royal Haymarket | Review












Lets start out by saying that Breakfast at Tiffany's at the Theatre Royal is not the same as the 1961 film starring Audrey Hepburn.

Unlike the film, this play sticks very closely to the novel by Truman Capote, therefore, the production, adapted by award winning Richard Greenberg is set in the 1940's as opposed to the 60's, automatically creating a different feel to the film we've grown to love.

Wednesday 19 January 2022

Bat Out of Hell (Tour), New Wimbledon Theatre | Review


Bat Out Of Hell (Tour)
New Wimbledon Theatre
Reviewed on Tuesday 18th January 2022 by Olivia Mitchell 
★★★★★

There aren’t many touring shows where fire, confetti and belts that melt your faces off are the key selling points, but that’s what makes Bat Out of Hell such a unique and refreshing addition to the touring circuit.

The jukebox musical, with book, music and lyrics by Jim Steinman has had various incarnations since it originally opened in Manchester in 2017. From London to Germany to New York, it’s now entertaining audiences across the country with its larger than life performances.

This certainly isn’t a show that relies on its book which is sometimes hard to follow and all in all is very bare and ridiculous. Instead it is helmed by the stellar effects and outstanding solo and ensemble performances that make it such a high octane and enjoyable show.

Choreography adapted by Xena Gusthart is snappy and incredibly tight as well as being very fitting for the apocalyptic-place-like-no-other Obsidian where the musical is set. This is further helped and developed by Jon Bausor’s grungy set and Patrick Woodroffe‘s lighting which both shocks the audience into watching as well as literally highlighting more tender moments on stage.

Of course over the various productions there have been a number of changes. Perhaps most noticeable with this current iteration, is the smaller cast and cut down set. Despite being somewhat noticeable if you’ve seen the show before, these cuts don’t mean there’s any less oomph or energy and in fact, a Tuesday night performance in Wimbledon, felt like a Saturday show (complete with some audience members who wanted their own solos!) In many ways, it’s a show which thrives off of its audience, with many loyal fans supporting it in every possible way. And despite it sometimes detracting from the performers on stage, it’s quite nice to see and hear people so engaged and uplifted by a performance after so long not having live theatre. It's really a show which encourages community and enjoyment, two things we could all use a little more of.



Bat Out of Hell is very much cast led and excels due to its incomparably talented performers who are full out in every moment. As the caged daughter Raven, Martha Kirby is excellent, showing both a tempestuous side and a softer, head over heels in love side. Alongside this her vocals are extraordinary, with a number of stand out moments including Heaven Can Wait and All Coming Back to Me Now. Matha's stage presence is magnetic and it's just a 10/10 performance all round. Alongside her as the male lead is Glenn Adamson who is bold and boisterous with his performance. He brings a kind of frenzied side to Strat and is utterly engaging, as well as giving vocals that soar and shine.

Another change from past London productions is the reworked  placement and character of Valkyrie who becomes one of the main trio of The Lost. As Valkyrie, Kellie Gnauck is a complete powerhouse who steals the show several times and adds a lovely new dimension to many songs thanks to her fine tuned harmonies. Bat Out of Hell veterans Rob Fowler and Sharon Sexton continue to triumph and delight as Raven's parents, Falco and Sloane. Their comedic timing is marvellous, as are their vocals and ability to switch moods on a dime. It's a joy to watch them perform together and with the other cast members. What Part of My Body Hurts The Most is a real high point of the show.

Everything is brought together by the ensemble who are electric and so in sync with one another. What's also great about this show is how you can watch various mini plot lines unfurl throughout and the ensemble especially do a great job of highlighting anxieties, relationships etc... within the group. 

If it's a sophisticated narrative you're after, this categorically isn't the show for you, but if you want to escape reality, hear top notch vocals and have an evening that's truly like no other, then fly down to see Bat Out of Hell on tour.

Bat Out Of Hell plays at the New Wimbledon Theatre until 29th January before continuing its tour

photo credit: Chris Davis Studio

Wednesday 9 February 2022

Alex Brightman Will Return to Play Beetlejuice

It's the Day-O audiences have been waiting for....two-time Tony Award nominee Alex Brightman will re- incarnate as Beetlejuice when the smash-hit musical returns from the dead at Broadway's Marquis Theatre on Friday, April 8, 2022. Full casting to be announced scarily soon!

It's showtime, folks! The ghost-with-the-most makes his Broadway return in this edgy and irreverent musical comedy based on Tim Burton's dearly beloved film. Beetlejuice tells the story of Lydia Deetz, a strange and unusual teenager whose life changes when she meets a recently deceased couple and Beetlejuice, a demon with a thing for stripes. When Lydia calls on Beetlejuice to scare away anyone with a pulse, this double-crossing specter unleashes a (Nether)world of pandemonium, and the biggest sandworm Broadway has ever seen.

Alex Brightman (Beetlejuice) is a writer and two-time Tony-nominated actor who has been seen on Broadway in School of Rock, Matilda, Big Fish, Wicked, and Glory Days. TV credits include "Law & Order: SVU", "Documentary Now," "The Good Fight," "Impractical Jokers," "Blue Bloods," "SMILF," and "Important Things w/ Demetri Martin." You can hear Alex on the acclaimed animated series, "Helluva Boss", and the upcoming Netflix series, "Dead End: Paranormal Park." Musical writing credits include It's Kind of a Funny Story (Universal Theatrical), The Whipping Boy, and Make Me Bad (all with writing partner Drew Gasparini). His newest play, Everything is Fine, and television series, "Singular", are currently in development. He dedicates his performance to those living with chronic pain and illness and urges you to check out and donate to The Arthritis Foundation.

Tickets for Beetlejuice at Broadway's Marquis Theatre range from $69-$169 and are now available at www.Ticketmaster.com, with the Marquis Theatre box office opening Friday, February 18. The playing schedule for Beetlejuice is as follows: Tuesday and Thursday at 7pm, Wednesday, Friday, and Saturday at 8pm, with matinees Wednesday and Saturday at 2pm, and Sunday at 3pm.

Beetlejuice is directed by Tony Award winner Alex Timbers (Moulin Rouge!, Director of Warner Bros. forthcoming TOTO, the animated musical film adaptation of Michael Morpurgo and Emma Chichester Clark's 2017 book), with an original score by Tony Award nominee Eddie Perfect (King Kong), a book by Tony Award nominee Scott Brown ("Castle Rock") & Tony and Emmy Award nominee Anthony King ("Robbie"), music supervision, orchestrations and incidental music by Kris Kukul (Joan of Arc: Into the Fire), and choreography by Connor Gallagher (The Robber Bridegroom).

photo credit: Matthew Murphy

Wednesday 19 January 2022

Bonnie and Clyde to Open at the Arts Theatre April 9th



DLAP Group are delighted to announce that the West End premiere of the cult-favourite BONNIE AND CLYDE THE MUSICAL will open at the Arts Theatre on Saturday 9 April 2022. This brand-new production will be directed by Nick Winston with set and costume design by Philip Whitcomb. Full casting to be announced in due course.

 

Priority sign-up is open now with priority on-sale from Monday 24 January and general on-sale from Friday 28 Januarywww.bonnieandclydemusical.com


Following the phenomenal response to Bonnie and Clyde In Concert at Theatre Royal Drury Lane, having sold out in just six minutes, DLAP Group are thrilled to be bringing a brand new full production of the Tony Award nominated show to the West End for the first time.

 

Emmy Award nominated writer of the book, Ivan Menchell said today, “There is a tremendous love for this show now, and it’s fantastic that it is getting a West End run. The only thing the British love more than Americans on stage, is America's behaving badly on stage!”

 

Tony-Award nominated composer Frank Wildhorn added, “The show has built such a wonderful cult following, especially with younger audiences and I’m so excited to see Bonnie and Clyde find its audience here in London!”

 

Lyricist, Tony and Olivier Award winner, Don Black said, “The show has become so loved by people in the ten years since it was on Broadway. In fact, in one year we had something ridiculous like 60 productions going all over America, so we knew that people liked it – and now our time has come for London.”


At the height of the Great Depression, Bonnie Parker and Clyde Barrow went from two small-town nobodies in West Texas to America's most renowned folk heroes and the Texas law enforcement's worst nightmares. Fearless, shameless, and alluring, Bonnie & Clyde is the electrifying story of love, adventure and crime that captured the attention of an entire country. The show features the songs “Raise A Little Hell”, “This World Will Remember Me” and “Made In America”.When Bonnie and Clyde meet, their mutual cravings for excitement and fame, combined with a desperate need to lift themselves out of the endless banality and poverty of West Dallas, set them on a mission to chase their dreams. Their bold and reckless behaviour turns the young lovers' thrilling adventure into a downward spiral, putting themselves and their loved ones in trouble with the law. Forced to stay on the run, the lovers resort to robbery and murder to survive. As the infamous duo's fame grows bigger, their inevitable end draws nearer.

 

BONNIE AND CLYDE THE MUSICAL has a book by Ivan Menchell (Blended [movie], The Cemetery Club, Death Note The Musical), a Tony Award nominated score by Frank Wildhorn (Jekyll and Hyde, The Scarlett Pimpernel), lyrics by Don Black (Tell Me On a Sunday, Sunset Boulevard, Mrs Henderson Presents). The production will be directed by Nick Winston (Director of the feature film Tomorrow Morning, MAME, The Royal Variety Performance) with Set and Costume Design by Philip Whitcomb (Atlantis, Stones In His Pockets, MAME).


Sunday 15 January 2017

How To Get Hamilton London Tickets


The time is coming. It's time to get your computer ready. Check your bank balance. Prepare your rap battle and get ready to face the rest of the Musical Theatre world in... The battle to get Hamilton tickets!

Priority booking for the supernova shows transfer to the West End opens tomorrow and I think we're all feeling slightly nervous in anticipation of the online war to snatch a coveted ticket! So in preparation, I've prepared a list of 5 tips to help you grab those tickets and be on your way to see the story of the founding father!

1. Sign up to Ticketmaster: Ticketmaster is one of the three official websites selling Hamilton UK tickets so to save time and make sure you don't accidentally lose your tickets sign up for an account before Monday! It's super easy, just go to www.ticketmaster.co.uk for all the information.

2. Have your priority email on hand: If you've signed up for the priority sale then you should have received your unique code by now. But make sure you don't accidentally delete that email or forget about it when it gets to 12 tomorrow. You need that code to enter the sale so learn it by heart, print it and stick it on the fridge, flag the email or write it all over the walls, just make sure you don't misplace it! (You can only use each code once though so don't use it on a billion tabs or it might not go through!)

3. Get all your friends involved: The number of people trying to get Hamilton tickets is going to be off the charts so I would say to work as a team. Each person can book 4 tickets so get a group together and come up with a game plan! Remember though, that whoever's card is used to buy the tickets MUST be present at the performance!

4. Know when you want to go: Booking will be open for performances from  November 21st to June 30th, with performances taking place Monday to Saturday at 7.30pm with matinees at 2.30 on Thursday's and Saturday's. Knowing a rough time period will make it easier to get tickets instead of scrolling through all the dates. I'd also advise not trying to book the first preview or opening night as these will be super popular!

5. Don't give up: If you don't get tickets in the priority sale it's not the end of the world! General sale opens on January 30th and there's always the lottery when the show opens. There will be a daily lottery at the theatre as well as a weekly online one so keep your fingers crossed! Also, if the show sells as well as it's anticipated to it's almost certain to get an extension so there will be plenty more chances to nab your tickets to be in the room where it happens!

For all the official information about purchasing Hamilton tickets, visit www.hamiltonthemusical.co.uk

Tuesday 31 May 2022

We Will Rock You (Tour), New Wimbledon Theatre | Review


We Will Rock You (Tour)
New Wimbledon Theatre
Reviewed on Monday 30th May 2022
★★★

Back for its 2022 tour, We Will Rock You is set in a dystopian future where "real" music has been outlawed and replaced with manufactured pop. Society is lived online and it's up to a group of Bohemians to travel across the Seven Seas of Rye, declare themselves the champions and bring back rock and roll and freedom for all.

This truly is a show about the music so you can somewhat overlook book issues but in terms of pacing it's a little clunky. The first act is chockablock with world-building including long winded character and plot introductions; and act two is a game of musical tetris where all the popular tunes we haven't already heard, are fired one after the other. In this production the book also has some modern updates thrown in here and there (some of which fall flat), but the rest of the set and staging doesn't match up and it certainly feels like it missed a chance to be revamped for 2022. There's an element of the outdated screens that does feel fitting but coupled with the budget wigs and costumes, it lacks the sparkle you expect with a tour of this scale.

The heart of We Will Rock You is certainly the cast and the show would be equally as good if it was just a concert of Queen's greatest hits performed by the superstars on stage. As leading man and hero Galileo, Ian McIntosh is wonderful. His vocals soar with so much power behind them and he really embodies the spirit of Queen. Alongside him, Elena Skye as Scaramouche is a dream. Giving major Kerry Ellis vibes, albeit in a different role, Elena's voice is outstanding and she really works with the limited script to make it funny and engaging.

As Killer Queen, Jenny O'Leary is a vocal powerhouse. Her command of the stage is enthralling to watch and she rightfully earns some of the biggest applause of the show. Michael McKell, David Michael Johnson and Martina Ciabatti Mennell also give strong performances. The rest of the cast and ensemble are also very good vocally but there is at times a lack of tight synchronicity that detracts from the clone message which is being put across.

The performances are absolutely top notch but the production itself gives more 'high-school final show' as opposed to 'big-buck tour' and for a show with such bold songs and ideas, there's no continuity or backup given through the sets or costumes, and they feel lacklustre in comparison to the score. 

Faults aside, if you want face melting vocals and all your favourite Queen songs, absolutely take a trip, but for a show that feels luxe and finessed, you'll need to look elsewhere.

photo credit: Johan Persson

Wednesday 3 August 2022

Chess the Musical in Concert, Theatre Royal Drury Lane | Review


Chess the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Tuesday 2nd August 2022 by Olivia Mitchell 
★★★★

After the success earlier in the year of Bonnie and Clyde in Concert, the bar has been set rather high for what concert productions at the Theatre Royal Drury Lane can provide, and this most recent one certainly hits the mark.

Chess, last seen in London in 2018 at the Coliseum, is set in the 1970s/80s amid the Cold War. Two chess masters meet in Bangkok to fight it out for the world championship title, but also end up in political and romantic competitions. 

By Tim Rice's own admission in the programme notes, the music is the heart of this show, with many finding fault with the book that is sometimes all over the place. Thankfully in this production everything is fairly sleek and issues with the book can be overlooked thanks to the sumptuous cast, choir and orchestra.

Director Nick Winston put on the show in a previous iteration in Japan and has superbly brought it to the London stage with a version that puts the focus strongly on storytelling, both through the music and the buoyant choreography by Alexzandra Sarmiento and Tara Young

This is further helped in no small way by the outstanding LMTO Orchestra, directed expertly by Freddie Tapner. The sumptuous, melodically complex, beautifully syncopated score is showcased to the highest degree. There's a sensitivity given to the more pared back moments whilst the rousing, dramatic pieces of score are stretched to their full extent to provide real wow moments. The LMTO Chorus also bring add excellent power and oomph to the proceedings.

There were some songs which were cut from the show, namely the song Talking Chess between Anatoly and Freddie and Commie Newspapers which I think would have helped the plot be a bit clearer, especially for those seeing the show for the first time. But of course given the short turnaround and runtime for the concerts, I can certainly understand why some pieces had to be cut and shifted and what was still included was excellent. Any plot issues really fly under the radar when you have such a wonderful team on stage and offstage making everything else so enjoyable.

This onstage team is made up of some musical theatre heavyweights and there are standout performances throughout. Samantha Barks' rendition of Nobody's Side and the Anthem Reprise are definitely at the top. Joel Harper-Jackson's Pity The Child, Hadley Fraser's Anthem also bring the house down, and Frances Mayli McCann and Barks also compliment one another beautifully in the classic I Know Him So Well.

Having first seen Chess in concert version at the Royal Albert Hall in 2008 and falling in love with it at age 10, seeing this production of equal strength was an absolute treat to witness. Here's hoping we see more of this outstanding adaptation and the stellar cast who brought it to life!

photo credit: Mark Senior

Friday 5 January 2018

Bananaman The Musical, Southwark Playhouse | Review


Bananaman The Musical
Southwark Playhouse
Reviewed on Thursday 8th January 2018 by Nicola Louise
★★★
Since his first appearance in 1980 Bananaman has become somewhat of a cult classic and it’s not hard to see why. A relatively geeky young kid eats a banana and he turns into a superhero known as Bananaman, a super strong, super fast, spandex dressed muscle man with not many brain cells.
With the book, music and lyrics by Leon Parris and directed by Mark Perry, the legend of Bananaman comes alive in this comic musical. From the moment you walk into the theatre you’re transported into the world of comics: Acacia Road, Beano Town where Eric Wimp and his mother live.
The show opens with the bad guys; Dr Bloom played by Mark Pickering and General Blight played by Carl Mullaney, both of whom worked well together and it felt like they had walked straight out of a comic strip into the real world; bouncing off each other perfectly. Pickering is considerably smaller then Mullaney which just adds to their evil comedy duo.

Eric Wimp is the boy who can turn into Bananaman himself, but as his original self, he’s a small skinny boy who has trouble saying hi to the girl he likes. With a cast full of adults playing 15-year-olds you’re always worried how well it’s going to turn out, are you going to believe it? Will it start to get old real quick? Luckily this was not one of those times, Mark Newnham played a very convincing 15-year-old and a strangely convincing geek, he showed real emotion when he thought everyone hated Bananaman and it got you feeling sorry for him.
Bananaman himself was completely different to Wimp and Matthew Mckenna brought the cartoon hero to life, he was tall and handsome and worked well to bring comedy to those one-liners. Seeing this show with my 9 year old nephew really got me to see it from the shows intended audiences side and although he may not have gotten all of the jokes in the show he did say; "It’s the way he said them made them funny". Kids aren’t going to get everything, we know this, but if you can make something sound funny for them and have the adults laugh, you’ve done a good job
Now every hero needs a sidekick right? Bananaman did, although most sidekicks are not necessarily talking birds, or Crows, in this case. That’s right, Bananaman’s sidekick is a talking crow and it’s not until Eric is hit with lightning that makes him able to turn into the superhero is he able to talk to him. I love that they’ve used a puppet for this with Jodie Jacobs as the puppeteer. I thought she brought the Crow to the front of the show and she became my main focus... even if she wasn't really meant to be! This is the same when it came to Jacobs singing, a wonderful voice and she hit every note perfectly, but I feel toning it down just a little would have taken the focus off of herself and her character and allowed the audience to focus more on what was happening on stage around her.
Other main characters included Wimps love interest, Fiona Mullins, played by Emma Ralston who played the non-damsel in distress perfectly, Chief of Police: Chief O’Reilly played by TJ Lloyd, Lizzii Hills who plays Mrs Wimp & Brian Gilligan who played the Mad Magician. All of whom worked well together to make you feel like the Acacia Road was a real community of people who will always look out for each other no matter what.
I would recommend this show for children 8+ and adults alike, especially those adults who remember the cartoon, the music and lyrics of this show which fit in perfectly with the comic book feel whilst the fight scenes are a perfect ode to the old style comic books.
Bananaman runs at the Southwark Playhouse until January 20th 2018
photo credit: Pamela Raith