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

Wednesday 30 March 2022

Singin' in the Rain (Tour), New Victoria Theatre | Review


Singing in the Rain 
New Victoria Theatre
Reviewed on Tuesday 29th March 2022 
★★★★

It's been 10 years since Jonathan Church's stage version of Singin' in the Rain was brought to life at the Chichester Festival theatre, showering the front rows during the title number and delighting audiences with its sheer spectacle. The show is a fast-footed feast which is full of charm and keeps its wow factor after all these years.

This UK tour which opened with a run at Sadler's Wells closely mirrors the original film in which Gene Kelly created some iconic moments, including his joyful tap dancing through puddles. This scene and many others are performed brilliantly by Adam Cooper as the lead Don Lockwood. A former Royal Ballet dancer, Adam has been with the show since the start and is enthralling in the role of the silent movie star making the transition to 'talkies'.

His famous counterpart, Lina Lamont (played hilariously by Faye Tozer) doesn't make the move quite so seamlessly, with her poor singing voice and harsh, shrill speaking voice not quite delighting audiences. So, at the suggestion of Cosmo Brown, Don's real life love interest Kathy Selden is drafted in to dub the voice and vocals.

Alastair Crosswell plays the highly energetic Cosmo Brown in the most engaging and entertaining way. His incredibly hard working performance provides great slapstick moments alongside stellar dancing. As Kathy Selden, Charlotte Gooch is a sleek, stunning, star. Her magnetic aura is a delight to watch and she never falters for even a second.

What's so impressive about this touring production is the sheer scale of it. It's amazing how such a detailed and technical show can go on such a quick turnaround tour- major props to all the backstage team! Simon Higlett's set is brimming with art deco features and feels like it goes on far beyond the stage of the New Victoria Theatre; and the costumes are utter treats.

This is a complete spectacle of a show that feels sleek and refreshed. Comedic moments including the re-creations of stilted silent films contrast beautifully with Andrew Wright's larger than life choreography which floats and fills the stage with the elegance you dream of. This is a decadent production that really stands the test of time and provides a treat for all the senses.

Singing in the Rain plays at the New Victoria Theatre until 2nd April and then continues its tour

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

Wednesday 17 October 2018

Company, Gielgud Theatre | Review


Company
Gielgud Theatre
Reviewed on Tuesday 16th October 2018 by Olivia Mitchell
★★★★

Marriage is the order of the day with Marianne Elliot and Chris Harper's gender-switched version of Company. Bobbi (formerly Bobby) has reached aged 35 and is surrounded by an endless barrage of questions about why she's single and when she's gong to become 'whole' and partner up.

Bunny Christie's set design is artwork of its own in the way it reflects the isolation one can feel in life, especially when living in a city which can make you feel small. The set is make up of cool neon framed cubes which interconnect to make up the various parts of Bobbi's life. The set also works well as its own character to contrast Bobbi. The cold stage is perfectly balanced by Bobbi's vibrant red dress so she always stands out amongst the others.

The show avoids a formal linear structure and instead jumps from tableau to tableau, which are linked by a reoccurring surprise birthday party. The spitfire force that leads the show is Rosalie Craig who is humourous, enticing and charming in the lead role, Bobbi. On stage for pretty much the entire show, Rosalie performs with the stamina and vocal agility of a true star and will no doubt receive much acclaim for her portrayal.


Our leading lady's married friends are an amusing group who have been given a modern makeover and been switched up to be more fitting for a contemporary audience. As the loving but smothering Paul and neurotic Jamie, Alex Gaummond and Jonathan Bailey are outstanding. Bailey's performance of Not Getting Married is a stellar tutorial in how to perform a patter song and he's a complete revelation in the role. The scene is entirely heightened and wholly hilarious. As the couple who are always playing a game of push and pull Sarah and Harry, Mel Giedroyc and Gavin Spokes are witty and very well performed. Susan (Daisy Maywood) and Peter (Ashley Campbell) are questioning whether marriage was the right choice for them whilst Jenny (Jennifer Saayeng) and David (Richard Henders) are settling and changing to keep one another happy. Our final couple are Joanne and Larry who mirror Bobbi a huge amount. As Larry Ben Lewis is sweet and giving, whilst his partner Joanne, played by musical theatre veteran Patti LuPone warns Bobbi of the downfalls of falling into what society expects of you and how life can be empty if you simply become a wife and a lady who lunch. As expected, she is a scene stealer who brings earth shattering vocals.


Bobbi's three boyfriends are played uniquely and faultlessly to highlight some of Bobbi's issues and struggles, whilst bringing a realness to the show that is easily relatable. Matthew Seadon-Young plays Theo, who has a past with Bobbi but their snaps with each other quickly bring to light why they didn't work out. Richard Fleeshman plays the dim but kind flight attendant, Andy very well; and George Blagden is the most hisptery-hipster ever in his portrayal of PJ. All three men deliver some stellar vocals and well rounded characters despite not having a huge amount of solo stage time each. The moment they join forces in You Could Drive a Person Crazy, with sleek choreography and super sharp Barber Shop harmonies,  is one of the stand out moments of the production. 

Company is a show for a 2018 audience. Well directed with boat loads of humour and an equal amount of subtlety, its opens up the question of whether marriage is for everyone and prompts us to examine our own choices. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.



photo credit: Brinkhoff/Mögenburg

Tuesday 7 May 2019

Man of La Mancha, London Coliseum | Review


Man of la Mancha
London Coliseum 
Reviewed on Friday 20th October 2017 by Olivia Mitchell 
★★

Man of La Mancha is considered a 'rare' revival and from this production it's pretty clear why. The story is highly dated and it's evidently a very hard piece to stage. Whilst the cast do as much as they can with what they've been given, the production feels un-engaging and insufficiently developed.

The structure of 'a show within a show' does little other than make the piece feel static. No context is given for the prison setting and the transition from the damp cell to the dreamlike play is jarring at times. The switches feel bulky and instead of moving on what little story there is, add an unnecessary layer which isn't resolved in any way.

The thin plot follows author Cervantes (Kelsey Grammer) who has been thrown into the prison. In an attempt to save his manuscript of Don Quixote and his worldly possessions, he acts out the novel and allows the other captives to take part. Grammer is good in his roles most of the time but feels unsteady, especially during the fight scenes, and doesn't bring the show's hit song 'The Impossible Dream' to life with much bravado. In general the cast are strong but there are moments of weakness, mostly due to the book itself.


Nicholas Lyndhurst plays both the sinister Governor and boozy innkeeper and is highly entertaining. The story may be strange but Lyndhurst amuses and brings his unsophisticated characters to life. 

Soprano Danielle de Niese plays Aldonza, the local prostitute who Quixote sees as his princess and damsel in distress, Dulcinea. De Niese is vocally strong and brings an entertaining feistiness to the stage, but her incredibly dated role which features a brutal rape scene, again feels discordant. There seems to be a lack of balance between comedy and drama, with whimsical moments suddenly being taken over by shocking social commentaries, that do little to resonate with a modern audience.

There are brief sparkles of greatness in this production: David Seadon-Young stands out among the ensemble, Peter Polycarpou is engaging and whimsical and the gypsy dance is well choreographed. However overall Man of La Mancha feels like a show which cannot be made relevant for a contemporary audience. The bizzare characters are too far removed from anything the audience can sympathise with which makes the whole production feel empty.

If Fotini Dimou's beautifully detailed costumes and David White's superbly virtuosic orchestra are enough for you to fork out the the ticket money then by all means go to this show, but don't expect much more.

For more information and tickets, visit https://www.londonboxoffice.co.uk

photo credit: Manuel Harlan

Tuesday 28 November 2023

Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out


Pretty Woman (Tour) 
New Victoria Theatre 

A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off! 

Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…

The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for. 

Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together. 

Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly.  The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence. 

With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.

The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire! 

Overall, the lightheartedness of the story and the fantastic talent onstage makes for a  perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking! 

★★★★★ 
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

Wednesday 3 April 2019

Abigail's Party (UK Tour), Orchard Theatre | Review


Abigail's Party (UK Tour)
Orchard Theatre 
Reviewed on Monday 1st April 2019 by Holly Bridges
★★★★

I am a huge fan of Mike Leigh’s classic play Abigail’s Party, therefore it is difficult to imagine any current touring production doing it justice. However, upon entering the Orchard Theatre auditorium, and being transported back to the Seventies via an impressive set, complete with brown décor and cheese plants, any apprehensions regarding Sarah Esdaile’s version quickly subside. 

As our hostess with the ‘mostess’, Beverly Moss sashays into the room to the sounds of Donna Summer, complete with long, printed maxi dress and a drink in hand, it is clear she is out to impress. This role was famously played by the inimitable Alison Steadman in the original, and whilst these are gold heels which are impossible to fill, Jodie Prenger is excellent as Beverly. 

We watch as Beverly’s stressed husband, Laurence (played by Daniel Casey) deals with yet another business matter on the telephone whilst she looks on irritably; just one of many fractious moments which go on to scatter the evening. It’s as her guests arrive that Prenger really comes into her own, with Beverly flitting between the sofa, cocktail cabinet and nibbles, all the while her shoulders arched and ready to schmooze. 

Vicky Binns plays Angela, the slightly naïve and very eager to please nurse, who is new to the area and neighbour of Beverly and Laurence. She is joined by reluctant husband Tony, who sits sullenly in a chair as ‘Ange’ chatters on. Binns nails the role, with the audience darting between feelings of slight annoyance at her inane conversation, to those of pity as Tony belittles her. 


Thrown into the mix of this farcical soiree is the fifth character, Sue. A middle-aged, intelligent divorcee, and now single mother, we are led to believe that Sue has been invited over by Beverly in order to ‘save’ her from her fifteen-year-old daughter’s (Abigail) party in a neighbouring property. Rose Keegan plays the part of Sue extremely well, all soft tones and worrying nods, this is a woman who is clearly out of her depth in this environment. 

There is no doubt that Beverly is awful, yet she is also completely enthralling as we see her try to flirt up a storm with ‘Tone’ and attempt to haul herself up the class ladder as she makes constant comparisons between herself and her guests, whilst also force feeding them cheese and pineapple! 

It is the fraught and somewhat uncomfortable moments between each of the warring couples which occasionally give the play a slightly unhappier tinge, as the sometimes-awkward laughter from the audience suggests. Beverly’s withering put-downs of Laurence, however, cannot help but draw genuine chuckles. Casey’s performance as her long-suffering partner is excellent, but let’s face it, who could ever win when up against the force of nature that is Beverly? 

Abigail's Party does not disappoint, and whilst nothing could ever match up to such a classic piece of work as the original, this production is full of laughs, perfect details and moments that will leave you squirming in your seat (in a good way!) Little top-up, anyone?

Thursday 6 February 2020

Rachel Tucker on Starring in The Pirate Queen | Interview

Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland. 

From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.

Rachel Tucker is taking on the role of Grace O'Malley in the one night only London premiere of the musical. Rachel told us all about the show, her favourite moments and what it's like to bring real life characters to life on stage...


Tell us about The Pirate Queen, what can we expect?
The Pirate Queen is a very old, true Irish story about how the daughter of the O’Mally clan became the first woman Queen of in Ireland in 16th century. She was known for her fearlessness not just as a woman but as a leader and was known for her ruthlessness in political negotiations with Queen Elizabeth I and trying to get her peoples land back no matter what it took.

Today in rehearsals I sang two very powerful duets with Hannah Waddingham who plays Queen Elizabeth and we were both struck at how amazing it is that these two women back in the 1500s were the leaders of each of their own lands and negotiated with each other not just as chieftain & queen but woman to woman. 

Their dialogue together is fascinating, the lyrics are so graceful yet explosive! It’s been a long time since I’ve listened and sang through an known score with so much excitement! 


You're currently playing Beverley Bass and are now taking on Grace O'Malley for one night only. What's it like bringing real life people to life on stage? 
Well as a job, it’s blooming great! I love bringing my own take and as much as Rachel to each role. I am constantly looking to bring only truth to every line and character I get to play, whether it be a comedic, tragic or heroic role. What ever the room, I love to tell the truth. 


What's your current favourite moment of the show?
Can I say all of it?! Well today has been a first day rehearsals so my favourite moment of the day was hearing Queen Elizabeth sung like only Hannah could sing it! Just jaw dropping! 


Why should people come and see The Pirate Queen?
I think this is a piece of musical theatre that should be seen and heard in this day and age. It almost feels more relevant now than it was when it first was first conceived. 

You do not want to miss hearing the stunning choral ensemble of around 40 members and the orchestrations by Julian Kelly are going to transcend you to another level! The event of 2020 if you ask me!!! 


The Pirate Queen plays at the London Coliseum on 23 February, 7pm

photo credit: Danny Kaan

Friday 14 December 2018

Aladdin (Panto), New Wimbledon Theatre | Review


Aladdin (Panto)
New Wimbledon Theatre
Reviewed on Tuesday 11th December 2018 by Becca Cromwell
★★★

Panto season is upon us once again, and this year at the New Wimbledon Theatre, we are transported to Old Peking in Aladdin. 

We are first introduced to the wickedly evil Abanazar (Adam Pearce), who explains that Aladdin is the 'Chosen One', and must go into the cave to collect the magic


Then comes along Blue's Lee Ryan, most recently of Strictly fame, who plays the title character of Aladdin, a peasant boy who dreams of marrying the Empress (Linda John-Pierre)’s daughter, Jasmine (Lauren Chia). However, his brother Wishee Washee (played by magician Pete Firman) has the same ambition. Have I Got News for You's Paul Merton plays Widow Twankey, and provides more laughs than everyone else put together. Unfortunately, it's the unscripted lines that are funnier than the script itself. With quick witted, hilarious responses to hecklers, he keeps the audience in stitches. 


Pete Firman, who is better known for being a magician on ITV1's The Next Great Magician, does a pretty good job of the comedy sidekick. Magic tricks are thrown in for good measure, thoroughly entertaining everyone. 




Everyone in the show gives a good performance, and the team of dancers are spectacular. We are treated to renditions of Defying Gravity and One Love as well as some new music written specially for the show. In one particular scene, we even see Lee Ryan come out over the audience, which brings a smile to most people’s faces. 

The pantomime features a 3D screen with various special effects such as the Genie and a second magic carpet ride, which is an impressive feat and something relatively new to pantomime. 


However, the special effects are more suited to a horror film than a family pantomime, with some children in the audience screaming in terror, rather than amusement. The second carpet ride taking five minutes, does drag and feels like a filler.



At times the show is lacking. For example, an actual genie rather than a 3D animation, or an actual story that is easier to keep up with. 

As this is pantomime, all ends happily ever after with Abanazar turned good and Aladdin and Jasmine married. Its an overall entertaining evening with plenty of laughs and jokes for all of the family. Even the teenagers enjoyed it. 

Aladdin runs at the New Wimbledon Theatre until January 6th 2019


photo credit: Craig Sugden

Saturday 8 December 2018

Nine Night, Trafalgar Studios | Review


Nine Night 
Trafalgar Studios 1 
Reviewed on Friday 7th December 2018 by Olivia Mitchell 
★★★★★

Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief. 

The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.

Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.


It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.

This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more. 

photo credit: Helen Murray

Thursday 12 April 2018

Quiz, Noel Coward Theatre | Review


Quiz
Noel Coward Theatre 
Reviewed on Wednesday 11th April 2018 by Shaun Dicks
★★★★

‘In a world that is so confusing, I like to know there is a right and a wrong.’

Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward theatre, a venue steeped in prestige and history. It plays host to many an iconic show. Quiz, being a transfer from the Chichester Festival Theatre, comes from a long line of excellent shows and is penned by a writer (James Graham) who is on a streak of West End transfers. This show has all the initial components to be a great show, and I believe, it lives up to all its potential. 

This show is all about an infamous scandal of the early noughties, cheating to win a million pounds on ‘Who Wants to be a Millionaire?’. In this retelling of infamous events, we follow multiple narratives, all following the people involved in this scandal, all leading to the main narrative, the courtroom, where the suspects are put to trial, we as an audience act as their jury. The show is of two halves, the first act is the prosecution, which is well presented by Paul Bazley (Nicholas Hilliard QC), with the second act being the defence, well presented by Sarah Woodward (Sonia Woodley QC). 


The show is presented in a slick, poignant, and often humorous manner. The humour is a particular highlight, with the inclusion of a hilarious warm up act (Kier Charles) who created a community in the audience, and the use of spoofs throughout, there is a light-hearted element to this dark complex narrative. My highlight for this show was Kier Charles as Chris Tarrant, his mannerisms and facial expressions were absolute perfection, Charles must have studied Tarrant for a long time because it was absolutely on point. Charles is a comedic genius. 

Despite its humorous side, this show is very psychoanalytical, it plays with your thought process through the ideas of circumstantial evidence, distorted evidence and fake news. It creates a grey area on what is True and what is False, and therefore creates a social relevance and poignancy, as well as an empathy for the accused. This show is a slow build drama, but that is how the tension is kept high. 

Quiz as a show is brilliant, it lives up to it's potential and delivers a great night of entertainment, with a few messages placed throughout. It makes you laugh, it makes you think and it makes you question. That is what all shows should aim for. I highly recommend this show, phone a friend and watch it together.

Quiz runs at the Noel Coward Theatre until 16th June

Tuesday 3 September 2019

The Feeling, The Other Palace | Review


The Feeling
The Other Palace
Reviewed on Monday 2nd September 2019

With an influx of Broadway transfers and film/book to movie adaptations dominating the London theatre scene, it's always wonderful to see new British theatre developing. The Feeling by Kyra Jessica Willis is a good example of this, as it brings social troubles to light in a headstrong way that feels authentically British.

The Feeling follows a tight knit group of friends who congregate in their local cafe to chat, moan and laugh. Various issues begin to plague the group as they struggle through life's ups and downs and we see how easy it is to fall apart. The small cast features cafe owner Mel (Halie Darling) who is a little unsure of herself as she begins a relationship with geeky and incredibly caring Jamie (George C Francis).  Kyra Jessica Willis plays the snide Jessie who has an innuendo to offer at every moment; with PJ Tomlinson playing her ex and moral supporter Kasey. Chloe Hazel brings the psychologically controlling Edie to life and Chris Barton is Holt, the new man in Jessie's life. Completing the cast are Pippa Lea as Lexie and Sean Erwood as Archie who have a good chemistry with one another and provide some touching moments.

Director George C Francis does a good job of utilising the small stage of The Other Palace but at times there seems to be either too much or too little going on in terms of action. The cast are clearly developing their characters as they exchange knowing glances which extend beyond the text, but these sometimes detract from crucial moments on stage. This is especially evident when conversations continue as the cast exit the stage and space. Whilst, at times this brings an effective realism to the characters, at others it takes away from the main action and would perhaps be more efficient if mimed.

The text lends itself to being a straight play but this show takes on a jukebox format, with several pop songs dotted throughout to further the drama and emotions. Often these work but the show could work equally well as a sleek play, perhaps with musical interludes to fill scene changes as opposed to full songs. Despite this, the song choices are catchy and there are a number of strong performances, especially from Pippa Lea and Chloe Hazel. From Kelly Clarkson to Kate Nash, there's a variety of music that does provide entertainment and varies the tone throughout. The lighting changes from the spoken scenes to the sung scenes are somewhat abrupt in their contrast but do a good job of differentiating the emotions from being internal to external.

As Willis' first foray into theatrical writing, this is a production which shows promise and a positive willingness to create new work which sheds light on intense subjects. For the most part the dialogue is realistic, the characters are well defined and the subject matter is delicately handled. There are several tweaks which can made in terms of rounding out the story and bringing further truth to the text, and the show definitely needs to be streamlined to make it a real competitor in the theatre scene, but as a work in progress The Feeling definitely has potential. Monsteers Artistry continues to rattle forward with innovative ways to break down barriers in the theatre industry and provide opportunities for a range of people, something which can only be applauded.

The Feeling plays at The Other Palace on 7th September at 3pm and 8pm

Sunday 17 February 2019

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Come From Away is one of the most inspiring and heartwarming musicals to hit the West End in a long time. Telling the story of the planes diverted during 9/11 and what happened to the people on them and those in the place they landed: Gander, Newfoundland. 

One amazing story is that of Nick and Diane Marson who met on a diverted plane and fell unexpectedly in love. Editor, Olivia, got to chat to Nick and Diane about the show alongside their actor counterparts, Robert Hands and Helen Hobson...


Can you sum up Come From Away in 5 words?
Nick Marson: A show about human kindness
Diane Marson: Love and acceptance
Robert Hands (plays Nick): Friendship
Helen Hobson (plays Diane): Human spirit, community


What's it been like seeing yourselves brought to life on stage?
Diane: well it was rather unnerving at first but we're used to it by now. We've seen the show eighty-eight times, in nine cities, in four countries and with four casts, so we're used to it now. But at first it was very unusual to hear your words come back to you.

Nick: When we gave our story to this nice young couple, David and Irene, they were making a musical not a documentary so they could've done anything with our stories, but they kept it very true and I'm very grateful and thankful to them. Our story was in the Washington Post and the reporter said "it has to be true, nobody could've made all of that stuff up!"

Helen: I think that was a clincher for one of our producers, John Brandt. When he was first invited to come and see the show, to find out if he wanted to be part of it, he watched the show and wondered about the love story, he wasn't sure because it seemed too amazing. But, Randy one of the other producers said "come with me, there's a couple you need to meet" and introduced him to Nick and Diane... and John was in!

Diane: At the time it was just our life that was unfolding; it wasn't something we had any designs on producing or writing about, we were just living it.

Nick: Neither one of us got on the airplane that day expecting a romantic occurrence



What's it like to bring real people's stories to life onstage?
Helen: It was good because our producer released us from the notion that we would have to do a carbon copy and do an impersonation of these two. He said you do what's in the script and what we put out and yes, you have to learn a Texan accent but that's really about it, so the pressure was off in that way. We were lucky enough to FaceTime them [Nick and Diane] early on in rehearsals which was great and we've improvised and used their real selves in the show.

Robert: They're so natural together so we try and bring that and make it as real as possible without trying to impersonate them as such.



The show is five days condensed into one hundred minutes, are there any stories from those days that are special to you and didn't make it into the show?
Nick: There are many other things that happened. There's the classic one where we went for a walk with another couple, and you see that in the show, but it was actually a man and his wife, the wife was a doctor and she had to turn back because she had sandals on and it was a gravel road. We carried on, and this was a checkmark in my mind because we went into a convenience store to buy a diet coke and some trail mix and normally I would buy it, cause that's what guys do, and Diane whipped it up and paid for it!

Diane: Well I figured if I did that, he'd have to sit on the park bench with me and spend more  time with me so there was method behind the madness!

Nick: Also, the show gloss' over it but the next year we go back to our lives and for me it was an emotional rollercoaster. I was thinking "was that real?", "is that woman really how I remember her?... I've got to go back and check it out" which I did and then I proposed to her
Diane: On the phone in November
Nick: and I was working in England and wondered how I was going to get to Houston but fortunately the parent company of mine was based in Houston, so the president of the company in England made it possible for me to transfer to Houston. But I was doing two weeks here, two weeks there and it was an emotional roller coaster itself. So I got to Houston properly in May and was a nobody; I didn't exist, I couldn't get a car or a driving licence, or anything until I had a social security number.

Diane: It was a lot of paperwork! We had to come back here in June and July of 2002 to get him a work visa because without that he couldn't get anything in the United States. We couldn't even get married in the United States.

Nick: It's a huge mountain to climb to move countries and basically, I saw this lady, threw my life up in the air and went off to America! It sounds very romantic but it was also stressful and took quite a toll on us. Of course it was worth it though!


How has the show been going so far?
Nick: The first time we saw the show here, there was a line of Delta Airways stewards behind us and they were a mess! When they found out who we were they were even more of a mess! And the lady behind us couldn't stop crying, so I said "come here, I've got to give you a hug!"

Whether they come here excited for the show or not really bothered, people are going to leave happy!

Diane: It's a 9/12 show, what happened on September 11th, everyone remembers that, but this is forward and it's a feel good story.


Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Helen Maybanks and Matthew Murphy

Friday 3 November 2017

Macbeth, Bussey Building | Review



Macbeth
Bussey Building 
Reviewed on Thursday 2nd November 2017 by Alessandra Cenni 
★★★

Nothing screams ‘welcome to this production of Macbeth’ better than a lovely full-body skeleton comfortably sitting centre stage.

The charming gentleman was the first character I met last night at the CFL Art Cafe in the Bussey Building - a suggestive performing space, large enough to allow an interesting setting, but that nonetheless will give you the chills when the lights go out.

The premise of this post-apocalyptic retelling of the famous tragedy was clearly stated in the programme: civilisation had met its fall, and humanity is trying its best to survive through violence, living on the scraps of the previous world. The setting and costumes give justice to this new world, and I found myself wondering how military clothes and bullet belts could feel even more appropriate than traditional costumes. Because they really did. This new desperate-fallen-revolutionaries look just clicked with the characters better than I expected.

I found the visuals and sounds of the second act particularly beautiful - especially if you have a thing for dark and stormy nights, blood-thirsty characters, and violent actions, like I do. That was the part where the raw savagery of the plot found its perfect expression in this broken, hopeless imitation of humanity.

And yet, this backstory also becomes a downside to the production. It raised lots of expectations on the way this story was going to intertwine with the original and what it could add to it, but these were never fulfilled. The backstory was more of a background than a story, maybe also due to a pretty static stage. Since I love the idea, I would definitely love to see how this would play out in a larger production.

The cast gave a fierce, energetic performance that had its strongest moments during the second act. At points I was amazed at how I felt as though I was in the middle of a epic war with only six actors actually fighting on stage. 

The witches chose to go for a seriously creepy effect (borderline disturbing, I would say). Their movements had something feral, that belongs to wild beasts rather than humans. The main pair - Macbeth and his Lady - were just made for the part. Henry Proffit’s Macbeth starts off with a cheeky smile, almost playful, but his later torment seems genuine. Sadie Pepperrell (also one of the witches) plays a Lady Macbeth who looks extraordinarily young, charming, and ambitious.  Her mental breakdown in Act 2 was particularly strong and convincing.

My loyalty, however, goes to Macduff (Jared Fortune) and his family. Lady Macduff (Danielle Bond - again, one of the witches as well) fights like a tiger against four men, and so does her son, before being slaughtered. Macduff’s despair was so authentic I took his family's death as a personal offence, and I was really invested in their revenge.

A special mention goes to the kids - Quentin Debone as Macduff’s son, and Adam Nkomo as Fleance at this performance - who really made an impression on me and, from the high-pitched noises I heard, on the rest of the audience as well.

This Macbeth could be a starting point for something truly great; it is also a good way to get to know this venue, and definitely worth a trip to South London even if you're not local.

Macbeth plays until the 18th of November at the Bussey Building, Peckham

photo credit: Scott Rylander