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

Wednesday 8 March 2023

Five Reasons to see Heathers the Musical on Tour


Since making its London debut in 2018, Heathers the Musical has gained a massive cult following and has gone on to do a number of London runs and touring productions. This current version takes the iconic show around the UK and features a fantastic cast who absolutely nail the roles. If you're still debating whether you should catch the show on tour, here are five reasons why we think you should...

The Soundtrack is Super Catchy
Kevin Murphy and Laurence O’Keefe’s book, music and lyrics have so many witty moments where you'll be laughing out loud and there are also some genuinely touching moments. The music is engaging and camp with so much 80s realness woven throughout. If you're remotely stagey, you've probably heard some of the songs, most likely Candy Store which is a definite stand out of the show. Aside from the humourous songs there are some very heartfelt moments like Kindergarten Boyfriend, a beautiful soliloquy performed by Martha aka Kingsley Morton, and some definite earworms such as Seventeen and Shine a Light.

The Cast are SO Talented
This touring cast are one of the strongest I've seen in Heathers with a number of standout performances and some great ensemble work. As Veronica Sawyer, Jenna Innes gives a really well developed performance and feels vocally strong throughout. Her chemistry with the brooding serial killer JD (Jacob Fowler) is pretty strong and the duo really shine in their moments together, especially when the drama really gets going. The Heathers themselves bring all the farce and sass you'd expect. Elise Zavou is enjoyable as Duke, Verity Thompson is hilarious and vocally dreamy as Chandler and Billie Bowman really highlights the reluctance of McNamara to go along with her 'friends' and gives a surprisingly nuanced and emotive performance, not always seen in Heathers.

The Production Value is Really Strong
This is a show which transfers so effectively to touring, David Shields' 80s design is bright and engaging whilst Ben Cracknell's lighting is super effective, especially when highlighting the cast in their signature colours. The fairly simple set is elevated by a number of special effects and costume quick changes, all of which really feel at home on a touring stage. The slow mo fight scene and clever sound effects (Dan Samson) for the croquet game work really well too, and the ensemble do so much to really embellish all the scenes, with individual characteristics and storylines shining through and adding a lot of interest.

It's Melodrama at its Finest
Whilst Heathers touches on some really sensitive topics, it does so in a way that is hilariously over the top. It's camp and angsty at the same time. With deep moments suddenly balanced with a gag; the more times I see this show, the more effective I think it is. Kurt Kelly (Alex Woodward) and Ram Sweeney (Morgan Jackson) are peak hilarity in their portrayals and really lean into the teen humour of the piece. The whole shebang, with the ott choreography and character entrances make the whole thing so dramatic you cant help but enjoy it. Once you get over the slight cringe of it all, it's a really fun night out!

The Audience Atmosphere Needs to be Experienced
Heathers is an absolute crowd pleaser that has made and retained so many fans over its time and the way these fans love and support the show is truly lovely to experience. Cheering and whooping as if their family members are on stage, the audience appreciation is so real and makes for a really warm feeling theatrical experience.


Heathers The Musical plays at the New Victoria Theatre, Woking until 11th March 2023 and then continues its tour

photo credit: Pamela Raith

Tuesday 28 February 2023

Oklahoma, Wyndham's Theatre | Review


Rodgers & Hammerstein's Oklahoma
Wyndham's Theatre
★★★★

One of the most exciting and invigorating productions of recent time, Oklahoma at the Wyndham's theatre is truly a spectacle of theatre which uses a number of engaging elements to transform this old school show, into something which feels fresh and bracing.

Directed by Daniel Fish, the reimagined musical has lot of interesting moments and is a deliberately unsettling and provocative piece of theatre. This is a show which delivers some interesting social commentaries and has been updated to be relevant for contemporary audiences. As a commentary on mob mentality and societal positions, it's very effective and well done; and the plot/character change to the end completely turns the show on its head and leaves the audience to draw its own conclusions on right and wrong- a very impressive ending.

Among the changes, are those to the score which is totally switched up from how it's classically been heard. Daniel Kluger's arrangements allow the music to soar in a completely different way and make it sound as though it was written today. Hearing it like this, it's quite unbelievable that this is one of the first ever book musicals and even more so that it feels so relatable. One of the biggest differences is the vocal style of leading lady Anoushka Lucas as Laurey who in contrast to the usual soprano performance, sings the songs like the singer/songwriter she is; and really grounds the music in reality. Alongside Arthur Darvill who also plays the guitar on stage, there is an incredible level of vulnerability and angst shown throughout.

The rest of the cast are astounding and do an excellent job of interpreting the musical in their own way. As Ado Annie Georgina Onuorah is incredibly witty as well as being a vocal powerhouse, her rendition of I Can’t Say No is an absolute stand out and highlight of the show. Liza Sadovy is a powerful presence on stage and gives Aunt Eller a lot more autonomy than usual, especially in her romantic endeavours. As Will Parker James Patrick Davis is gloriously clueless whilst Stavros Demetraki is his own worst enemy. There's also a moving section with the dream sequence dance which Marie-Astrid Mence performs excellently. You couldn't ask for a better gelled, and talented cast.

Whilst there are humourous moments, the show could lean into the comedy more and have some more ramped up moments. The subdued moments work very well and the tension is continually built up but there aren’t any hugely contrasting moments of joy. The cast are unanimously strong but due to the stylistic choices of the show, there’s rarely a truly positively moment and at times it feels like the cast are constrained by the intense nuance and darkness.  

The use of lighting (Scott Zielinski) is one of the most effective and exciting parts of the show. Beginning with the house lights up and the whole audience in plain view, the sudden changes to an eerie green hue and later on full blackouts, have an amazing influence on the story and how the audience feel about the characters. It’s quite incredible how a small lighting change can completely subvert a song and show it, both literally and figuratively, in a new light. The initial blackout which features Curly (Arthur Darvill) and Jud (Patrick Vaill) creates a theatrical atmosphere like no other.  In a sort of asmr style moment, the full darkness, with even the fire exit signs turned off, means you can’t help but focus completely on the actor’s voices as they boom out via handheld mics. The already tense scene becomes completely unnerving for the audience and is a theatrical moment that will stay with audiences for a long time.

This is a very different Oklahoma to the one your grandparents know so you may want to consider that before booking (especially if planning on taking children) but for the boldness and pure invigoration that this show brings, it’s definitely worth seeing. A non-traditional production which is jarringly dark, Oklahoma will give you a theatrical experience like no other and is a stunning addition to the West End.

Reviewed on Saturday 25th February
photo credit: Marc Brenner

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

Thursday 19 January 2023

Allegiance, Charing Cross Theatre | Review


Allegiance
Charing Cross Theatre 
Reviewed on Wednesday 18th January 2023 by Olivia Mitchell 
★★★★

The Charing Cross Theatre is one of the best venues for showcasing a variety of interesting musicals, and thankfully it’s currently playing house to George Takei’s brilliant show, Allegiance. Having last visited the venue to see From Here To Eternity, which chronicles the lead up to the Pearl Harbour attacks, this moving musical felt like a very fitting follow on.

Inspired by Takei's life, Allegiance tells the story of over 120,000 Japanese Americans who were thrown into internment camps following the attacks on Pearl Harbour in 1941. The musical is a timely one indeed and really highlights an awful part of history. A "legacy project" for Takei, it's clear that a lot of time and love went into making it as sweet as it is.

Now this is by no means a flawless musical but it is full of emotion and drama that keeps you invested throughout. Marc Acito, Jay Kuo and Lorenzo Thione have written a book which is multi layered, taking into account history, family drama, romance, humour and heartbreak, and is well paced with a good amount of build up and tension. At times it gets a little bit confusing but is continually an easy show to watch.

Kuo's music is not particularly memorable but has some lovely moments as you're watching. Given the subject matter it's surprisingly upbeat, and despite not having any ear-worms, it is suitably stirring and enjoyable to listen to. Group numbers are especially effective and there's also a nice mix of styles and vocal inflections. Andrew Hilton and Charlie Ingles' orchestrations highlight the intense emotions well.

It's always a treat to see how the Charing Cross theatre is transformed and Tara Overfield Wilkinson's staging is extremely well done.  The stage becomes a variety of settings, from a moving train to a battlefield and each setting feels completely realistic. The continual motion of the set pieces and the actors throughout makes the whole thing flow so seamlessly and it's very impressive how large the stage feels.

Cast wise this show has a uniformly strong group of performers who completely give themselves over to the story and create some splendidly magical moments. Earning applause when he enters the stage Takei is an endearing and commanding stage presence who brings different shades to the characters he plays and does a stellar job of taking us through the family saga. As Takei's younger self (Sam) Telly Leung brings such warmth and charm. It's a treat to see him on a London stage and especially to hear his wonderful voice fill the arches of Charing Cross. 

Megan Gardiner showcases equally beautiful vocals as the nurse for the camp and there are also excellent performances by Aynrand Ferrer and Masashi Fujimoto who both bring great depth to their characters. Ferrer's voice is particularly stunning as she performs her solo moments with impeccable clarity.

Whilst this is a show about the atrocities which happened in 1941, it's surprisingly uplifting and often celebrates love and community. There are some tear-jerking moments at the end but overall this is a really heart-warming piece of theatre that deserves to be seen.

photo credit: Danny Kaan

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

Monday 5 December 2022

Orlando, Garrick Theatre | Review


Orlando
Garrick Theatre
Reviewed on Monday 5th December 2022
★★★★

Thought to be inspired by Virginia Woolf's romance with Vita Sackville-West, Orlando depicts a boisterous protagonist whose journey spans five centuries and two genders. Its awareness of gender politics and expectations as well as the way is defies them is really something special, and it's astounding that Woolf wrote such a groundbreaking piece of work in 1928 and that it remains so relevant now.

Tilda Swinton famously took on the role in the 1992 film adaptation but it's the superb Emma Corrin who plays the title character in Neil Bartlett's production. As a non-binary performer, Corrin feels like the perfect fit for this gender fluid role and they do an outstanding job of bringing Orlando to life with wit and momentum. At 90 minutes, it's impressive how much range Corrin is able to show and as a whole, the production manages to really pack a punch.

Michael Grandage's intelligent direction gives the show a real buoyancy. The ensemble help to create the story as it goes and the narration is spread around to give a continual movement. This adaptation also sees Corrin's Orlando assisted by Deborah Findlay's Mrs Grimsditch who maintains the pace whilst adding comical insights on the predicaments faced throughout. Much of the script is mischievous and sharp, and there are also some really brilliant homages to other literary and theatrical moments, including a particularly witty nod to Cabaret. Despite not being full of content, Bartlett's adaptation does a good job of keeping the audience engaged and showcasing what's there to its fullest extent. The overall idea of personal identity and growth is key throughout.

Peter McKintosh's set design is superbly effective in demonstrating the various eras of Orlando's life, without being at all over the top or gimmicky. The use of banners, beds and boats is extremely well done and cleverly combined lighting choices (Howard Hudson) and projections not only help emphasise the plot and script, but also add an almost fairy-tale like feel to the whole piece.

That line between childlike dreams and theatrical astonishment is truly the heart of this play and it allows the audience to ponder some pretty deep topics, whilst also feeling swept along in the magic and mystery of it all. It may not be quite as groundbreaking as in 1928 but this is definitely a show that's been revived at the right time, with a stellar cast to boot!

photo credit: Marc Brenner

Friday 25 November 2022

Elf The Musical, Dominion Theatre | Review


Elf The Musical
Dominion Theatre
Reviewed on Thursday 24th November 2022 by Olivia Mitchell 
★★★★

If you're looking for some festive magic this year, look no further than the Dominion Theatre for their gloriously Christmassy, sparkly production of Elf The Musical. Based on the cult classic film, it tells the story of Buddy the Elf who finds out he's really a human, so makes the journey from the North Pole to New York City to meet his biological father and experience the world. This musical adaptation has all the most iconic parts of the film plus a heap of theatrical magic that makes it the perfect festive treat.

This version of the show does a superb job of being laugh out loud funny and completely joyous without overstepping into pantomime territory; it's entertaining for all the family but not in a way that has you cringing at the jokes. Of course it's saccharine and over the top but isn't that what Christmas is all about?! At the heart of the story and its success is Simon Lipkin as Buddy, who takes on the role with complete joy and authenticity. Having previously given a starring performance in Nativity The Musical,  Lipkin clearly has the Christmas magic which makes him such a dream to watch.  From shredding paper to create snow to joyfully rollerskating, Buddy is an exuberant and endearing character who you can't help but love. 

Alongside the humour, Lipkin also plays Buddy with a lovely vulnerability which comes across at various points, especially during his encounters with Jovie (played brilliantly by Georgina Castle) when he is completely overwhelmed by her "miraculous" self. His naivety comes across in an authentic and touching way, that doesn't stray into slapstick and gives a real depth to the plot. 

The rest of the cast are incredibly strong throughout. Rebecca Lock is treat as Buddy's step-mum who's heart is slowly opened to Christmas; her duet in Act Two with Buddy's brother (Logan Clark) is absolutely outstanding. Tom Chambers is good as the businessman, absent father whilst Kim Ismay has some really witty moments as his secretary and the pair are great together. Another stand out performance comes from Dermot Canavan who is hilariously entertaining as the Macy's Manager. The ensemble give a really punchy performance, especially when performing Liam Steel's choreography. There's great variety in the show from jaded Santa's giving an impassioned, Newsies-esque display to a full company tap number which is marvellous.

Philip WM. McKinley's direction brings abundant joy to the stage as well as a healthy dose of magic. Tim Goodchild's set is suitably whimsical and there are some certified wow moments through a recreation of the Rockefeller Centre ice rink and some real life snow.

As a whole Elf The Musical is a perfectly packaged Christmas show, which has commercial elements to appeal to the masses as well as some theatrical gems for regular theatre goers. It's a wonderfully enjoyable show that's well worth a visit. Take a trip to the Dominion Theatre, have your elf a very Merry Christmas and feel the festive spirit from your head to your mistletoes!

photo credit: Mark Senior

Wednesday 2 November 2022

Jayme-Lee Zanoncelli on Taking Rock and Roll On Tour | Bat Out Of Hell | Interview

It’s wild, it’s fun, it has everything

Bat Out Of Hell is rocking its way across the UK with its larger than life production values and stellar cast. Swing and Assistant Dance Captain Jayme-Lee Zanoncelli tells us about her experience in the show and why you should take a trip to see it!



For anyone that hasn’t seen Bat Out of Hell, can you explain a little bit about the show?


I would describe Bat out of Hell as a gothic love story. Shown musically, by the intricate and theatrical song writing by Jim Steinman as well as visually on stage. It’s unapologetically “out there.” There’s nothing else like it.


What do you think makes the show appeal you both old and new fans of Jim Steinman/Meatloaf? 

I think for the old fans, the show gives them a chance to reminisce and enjoy the music they love so much. Even for the newer fans, Jim & Meatloafs music is exciting and unique. The characters are vibrant, the set is epic of course, fire, lighting and explosions all add to the experience. 


What’s your favourite song to sing and what’s your favourite song that you don’t sing? 


So many to choose from! I love All Revved Up. It’s intense and fast paced; a great opening for this show. I think my favourite song in the show is What Part Of My Body Hurts The Most. It’s song-writing at its finest.


Is there a Meatloaf song that isn’t in the show, that you wish was?

Midnight At The Lost and Found! It’s a great song!


What’s your favourite tour memory so far? Are you keeping track of the places you visit in any way?


There have been so many great memories on this tour! Our Bat Halloween party was really cool! Everyone put so much effort in. 

I have kept a log of the places we have travelled to over the last 14 months. Plymouth and Edinburgh have both been memorable places for me.


In one sentence, why should people come and see the show?

Everyone should see this show. It’s wild, it’s fun, it has everything; you will not leave bored that’s for sure! 


Bat Out of Hell plays at the New Victoria Theatre until November 5th and then continues it's tour


Wednesday 7 September 2022

The Cher Show (Tour), New Victoria Theatre | Review


The Cher Show (Tour)
New Victoria Theatre
Reviewed on Tuesday 7th September 2022
★★★

A world renowned singer, actress and age defying star, Cher has had a longtime career full of ups and downs, which have now been transformed into a glitz-filled stage show.

Turning back time from her Las Vegas residencies, The Cher Show begins in the 1950s with a young Cherilyn Sarkisian who's longing to be a star, and progresses through her various ventures, successes and failures up to the modern day. Taking on the role of the musical icon, are three superstars who share (cher) the role and show her at various stages of her life. Debbie Kurup plays the Star, Danielle Steers is Lady and Millie O'Connell is the youngest, Baby.

It's Cher's rich, contralto voice which makes her so recognisable and the three actresses do a great job of mirroring her style as well as her mannerisms and speaking voice. All are vocally excellent and give performances that the icon herself would be proud of.

Whilst the three Cher's represent different times in her life, they also interact throughout and almost act as a Greek chorus or moral compass for one another. This is one of the most effective parts of the musical as the trio interact so wonderfully and have some really witty moments. They also help to keep the plot moving and provide somewhat of a through line to the show.

Aside from this, the script and storyline are somewhat lacklustre. There's not a real cohesion to the story and while of course liberties can't be taken with a real life story, it does feel like there needs to be a theme which ties the show together, or at least more of a conclusion. Towards the end of the musical there is more mention of Cher as a Goddess Warrior but it kind of comes from nowhere. This as a recurring theme throughout could be more effective as a way to show that Cher was a strong business and career woman who got herself back up every time. Instead, the main points and moments are the relationships in Cher's life. That's not to say these aren't enjoyable to watch, and the whole cast do a great job of portraying them, but for Cher being such a powerful woman, there is a distinct lack of oomph and empowerment overall.

The show also has a few moments which fall flat, such as the tap scene where the dancers aren't actually tapping. For a show which packs in thirty of Cher's greatest hits, there also isn't a real crowd pleaser until the megamix at the end. The songs are effectively shoehorned in to tell the story but don't get a chance to shine in their own right as the musical classics that they are. Perhaps less would be more in terms of showcasing the real bops of the track list and leaving out some of the small interludes.

However, less is most definitely not more in the general visual spectacle of the show. Tom Rodgers' set is fairly simplistic but cleverly transforms and feels like a thousand sets in one. Gabriella Slade's costumes take inspiration from Bob Mackie's originals and bring superb glitz, glam and dazzle to proceedings, with the Cher's quite literally beaming sparkles around the auditorium. Ben Cracknell's lighting is a star in its own, completely fitting the vibe of the show and bringing energy and excitement throughout, even more so in the huge finale.

Whilst the tour of The Cher Show does have some faults, it's a treat to see such strong performances on stage and Cher's persona and discography speaks for itself. For glitz and glam you couldn't really ask for more and will Cher-ly have a great time soaking it all in.

photo credit: Pamela Raith

Thursday 21 April 2022

The Cher Show (Tour), Leicester Curve | Review


The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★

After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.

This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.

The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.

As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.


It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.

Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.

Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.

The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.

photo credit: Pamela Raith

Wednesday 20 April 2022

Matthew Bourne's Nutcracker (Tour), New Victoria Theatre | Review


Matthew Bourne's Nutcracker
New Victoria Theatre
Reviewed on Tuesday 19th April 2022 by Angie Creagh-Brown
★★★★

The Nutcracker Suite is an old and much beloved family Christmas favourite. Matthew Bourne's version, however is a somewhat different take on the classic.

What can I say about it? Well it was just wonderful!!! The New Victoria Theatre is a large, modern and inviting building, which at this performance welcomed an audience of all ages; there were some young children (well-behaved) and the ambience was happy and inviting, a taste of the sweet treat evening to come.

Bourne takes the original story of a well to do family celebrating Christmas Eve with friends and family and turns it completely round; his version starts in an orphanage, the cast are dressed in grey, the scenery is grey - no light, no joy. The teenage children are preparing to 'enjoy' their meagre Christmas Eve and are joined by the owner, Dr Dross, danced by Danny Reubens, his wife the Matron, Daisy May Kemp, son Fritz, Dominic North and their very spoilt daughter Sugar, Ashley Shaw.

The children manage to find a Nutcracker, which had been locked away in a cupboard, and they escape to a wondrous scene of falling snow, ice-skating and snowballs. To add to their excitement the Nutcracker miraculously changes from a toy to a handsome, well-muscled and talented young man, (Harrison Dowzellto the delight of the children and the leading lady.

The ensemble dancing was lovely, there were comic moments, surprises and hints of jealousies to come. The dancers were performing with large smiles on their faces, which in turn put joy onto the faces of the audience.

Act Two opens with a kaleidoscope of colour which is The Road to Sweetieland. Clara, beautifully danced by Cordelia Braithwaite, is desperately trying to gain entrance to Sweetieland aided by the The Cupids, wonderfully portrayed by Enrique Ngbokota and Shoko Ito. She is still dressed in her undergarments and they find a pretty dress for her, but it does not compare in any way to that worn by her nemesis, Sugar.

There is a lot of humour in this act. Superbly bright costumes and a plethora of well-known sweets dancing wonderfully. It's a visual treat like no other.

The cast is very diverse, which would mirror the children in an orphanage. The story has been re-written in a modern way. This means it would possibly not be suitable for very young children on whom the innuendoes would be lost, but in terms of aesthetics it's sure to appeal to all ages.

The staging, set design, lighting and costumes all added wonderfully to the most enjoyable evening which finished with a standing ovation and joy abounded both on the stage and in the auditorium.

The Nutcracker plays at the New Victoria Theatre until 23rd April

photo credit: Johan Persson

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 25 March 2022

Lois Morgan Gay Releases Debut Single 'Don't Be That Guy'


Listen to the single ‘Don’t Be That Guy’ here

Lois Morgan Gay is so excited to release her debut single ‘Don’t Be That Guy' which will be available on all music streaming platforms from March 25th 2022. The track is influenced by a mix of performers including Lianne La Havas, Amy Winehouse and Aretha Franklin. 'Don’t Be That Guy' explores the inner monologue of yearning more from someone rather than just being friends.

"Have you ever gotten to that point in a relationship where it is going really well and you are hopeful that it's going to work then…BANG! They are not ready for anything “serious” and then end up being just another failed relationship? That's what this song is about haha” Lois says.

Lois crafted the single with musician/guitarist Jack Louis Rennie who helped with music arrangement and also plays guitar on the track alongside Meelie Traill on bass, and Max Blunos on drums. The track is produced by Ben Robbins.

The London based singer/songwriter was born and raised in Bristol, she delivers smooth R&B with a soulful feel to her voice, writing about heartbreak, relationships, and yearning. Her music is vocally led, having been heavily inspired by the likes of Adele, Aretha Franklin and YEBBA. Music has always been a huge part of Lois' life, there was always music playing in the house growing up. Lois began her performing career in theatre and then discovered her love for singing and writing at the age of 14. She states "Telling a story and expressing my feelings and inner thoughts through my music enables me to connect with the audience and that is the best feeling in the world”.

Lois is currently in the line-up of the final to win a £100,000 record deal with Alpha records, she will perform at the Indigo at the O2 Arena on March 30th where she will debut this song live for the very first time.

Tuesday 22 March 2022

Rebecca Lock on Bringing Rock to the Stage | School of Rock | Interview

it has been such a joy to recreate this role and wonderful story
School of Rock is a cult classic film which celebrates music and how it brings people together. Post- pandemic it provides the perfect, lighthearted, high energy, night out. Currently starring in the show as headmistress Rosalie Mullins, Rebecca Lock tells us about her experience in the show and who her own inspirational teacher was...


Firstly, for anyone that doesn’t know could you explain a little bit about School of Rock?
A wanna be failed rockstar pretends to be his flat mate and earn some money by being a substitute teacher in a posh prep school. He forms a band with the class and enters into the battle of the bands whilst charming the headmistress Rosalie Mullins along the way.
 
This is such an iconic story and now show, what’s it been like bringing it to the stage?
It’s one of my favourite films so it has been such a joy to recreate this role and wonderful story.
 
If you could star in any other screen to stage adaptation, which film would you choose?
Oh cripes… there’s far too many to choose from… all the best ones have already been adapted!
 
Aside from the music, this is really a show about an inspirational teacher, have you had any influential teachers in your life?
Oh definitely… Mr Cobly my first drama teacher taught me so much and encouraged my pursuits.
 
You play the headteacher Rosalie Mullins who is an authority figure but also has some really humorous moments. How do you balance the two?
That’s the joy.. she’s one extreme and then she flips and you see a whole new side to her… super fun to play
 
Why do you think people should come and see the show?
It’s a proper family show… something for everyone! From 8- 98… you’ll leave wanting to pick up a guitar and form your own rock band!
 
Thank you so much Rebecca for taking the time to chat to me. School of Rock plays at the New Wimbledon Theatre until 26th March and then continues its tour.

Interview by Olivia Mitchell, Editor

photo credit: Paul Coltas
 

Jake Sharp on Bringing Rock to Wimbledon | School of Rock | Interview

All that was taken away from us during the pandemic is celebrated in the show by some genius young superstars. 

School of Rock is a cult classic film which celebrates music and how it brings people together. Post- pandemic it provides the perfect, lighthearted, high energy, night out. Currently starring in the show as leading man Dewey Finn, Jake Sharp tells us about his experience in the show and what it's like stepping into Jack Black's shoes...




Firstly, for anyone that doesn’t know could you explain a little bit about School of Rock?

School of Rock is about a wannabe rockstar Dewey Finn, who, needing some money, intercepts a phone call and poses as a substitute teacher at a prestigious school. When he hears the straight-A students playing classical music he transforms them into mini rockstars in order to compete at the Battle of the Bands.

Jack Black made Dewey such an iconic character, what’s it been like creating your own version?
Obviously Jack Black is a genius so they are quite big shoes to fill. But the blueprints that his performance has given means there is so much room to play. Dewey Finn is basically a big kid so it’s so much fun seeing how he reacts in the world of Horace Green School.

What’s been your favourite part of starring in School of Rock?
Playing ‘Teachers Pet’ to audiences all round the country. In that moment everything the audience hears is just us playing live on stage. It never fails to give me goosebumps and the reaction from the crowds is next level. The fact that people from all over have the opportunity to see the show is amazing, but the knowledge that we are inspiring the next generation of musical protégées is super cool.

It’s a very high energy show, how do you keep your voice and body strong doing the show every night whilst touring the country?
A lot of water, a lot of sleep and a lot of pasta. It’s been a real personal undertaking to get myself to a fitness level vocally, physically and mentally to be able to keep producing the energy levels that the show requires. But it’s absolutely worth it! Plus pasta is delicious. 

Dewey inspires his students in many ways, did you have an influential teacher growing up?
I did but when it comes to Dewey I always think more about the other adults that have been influential. I grew up playing sports and a lot of the time as a kid I would be around or apart of the adult teams. The way that they treated me as an equal in that environment is how I think Dewey treats the kids. They are all level pegging in the band - it doesn’t matter how old or how ‘cool’ they might seem in ‘normal’ life.

Why do you think people should come and see the show?
I hate it when people say this but it’s completely true for this show. It’s absolutely fun for all the ages. Whether on a date, a solo trip, with kids, with a school - everyone will enjoy School of Rock. It’s high energy, face melting rock and roll and champions live music and being creative. All that was taken away from us during the pandemic is celebrated in the show by some genius young superstars.

Thank you so much Jake for taking the time to chat to me. School of Rock plays at the New Wimbledon Theatre until 26th March and then continues its tour.

Interview by Olivia Mitchell, Editor

photo credit: Paul Coltas