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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
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Wednesday 19 February 2020

Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review


Beautiful: The Carole King Musical (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 18th February 2020 by Olivia Mitchell 
★★★★

Beautiful opens with music icon, Carole King sitting alone on stage at a piano, singing to a sold out audience at Carnegie Hall. In an instant the piano moves out of view and we are taken to a Brooklyn apartment where a 16 year old Carole, with songs sing sell and dreams to dream, arrives on stage.

It's from here that we follow King through the trials and tribulations of her life from the vivacious teen, to young mother, wife, divorcee and eventually solo Grammy Award winner. From the outset Daisy Wood-Davis is engaging and endearing; giving a performance as Carole which certainly blooms throughout the musical and ends on a high. Her unique Brooklyn accent is strong, and whilst her performance is not always completely convincing, Wood-Davis does a solid job at bringing the legend to life. 

What's impressive about this musical is how cleverly the scenes transition from the song-writing to the actual performances. The famous artists appear to perform the songs as the final lyrics and chords are written and highlight just how fast the music world moves. At times, some of the ensemble are a little lacklustre in their performances, but it's still nice to get a chance to hear the music of The Shirelles and The Drifters. 


Aside from the music, the show mainly focusses on the relationship between Carole and her husband/lyricist Gerry Goffin. Played by Adam Gillan, Gerry is equal parts endearing, fragile and gushy. His vocals are strong and the chemistry between the pair, especially in the young love phase at the start, is very enjoyable to watch. We also see writing rivals/best friends Cynthia Weil (Laura Baldwin) and Barry Mann (Cameron Sharp) who want to succeed in all aspects of their lives. The pair give great vocal performances and bounce off one another well.

Many aspects come together to make this such a wholesome and enjoyable musical, including the excellent set design by Derek McLane which seamlessly transforms the stage and provides a welcoming backdrop for every moment. Alejo Vietti's costumes are also highly detailed and it's great to see how fashions changed as well as the music. Also, giving standout performances are Susie Fenwick as Carole's witty New York mother; Jordan Fox who shines in his vocal moments and Carly Cook who draws the eye throughout and gives an excellently polished performance all round.

A sentimental musical which captures all generations and celebrates the talent and drive of Carole King, and showcases the music industry Beautiful is certainly worth the watch. 

Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22 February and then continues its tour

 photo credit: Helen Maybanks
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Thursday 13 February 2020

Lesli Margherita on Bringing Zorro Back to London for One Night Only | Interview

The musical version of Zorro premiered in the West End in 2008. With a score by the Gipsy Kings, it tells the good versus evil tale of the legendary hero Zorro. In it's first London performance since closing, the musical will be performed as a staged concert at Cadogan Hall this month.

Lesli Margherita, who starred in the original workshops and West End production, will be reprising her Olivier Award winning role as Inez at this concert. Lesli sat down with Rewrite This Story to discuss bringing the show back to London, her advice for performers and the lowdown on her other musical, Emojiland...


You are the Queen of self branding, do you have any advice for performers wanting to create their own space in the industry?
I didn’t try to brand, and I think that's probably the most important thing. This all came out my family calling me queen and being a kid writing ‘Lesli Rules’ on everything. So, the best thing for branding is just being yourself. I think I’m authentically myself and I share the good parts and the bad parts of me, and I think that’s maybe what people or kids have kind of gravitated to. Yeah, so the best thing is to just be yourself, people can tell fake branding from a mile away. This totally happened by accident!


You’ve returned to a few musicals with Mrs Wormwood and now Inez, what’s that like? Do you set out to change parts or just go with the process and see what happens?
I think naturally it’s gonna change, because I’ve changed. It’s inherent that it will change, especially with something like Zorro because I spent so many years on it before the West End, and then I changed it during the West End and then even after that I did a few versions of it. Even just listening to the recording now I’m like “why did I do that?!” so that’s gonna change. And with Matilda there were little things that I’d always wanted to change and I think it’s great to leave something alone for a little while and see what happens.


Do you think because this is a concert version, you’ll have more space to alter things and play around a bit?
Totally yeah. I would love to do a full version to see how it would be different but I think with this the focus is really on the music which is exciting!


You’ve got such an amazing cast to perform it as well!
I know! I’m so excited! I’m really excited to perform with Emma [Williams] again, it’s going to be so nice

The cast of Zorro in concert at Cadogan Hall 

Since you’ve found out you’ll be doing the show again, is there a particular song you’re excited to sing once more?
Every time I get to do Bamboleo I’m happy- it’s my favourite. I never get tired of it, even when the actual Gipsy Kings version comes on on my ipod I never skip it cause it’s just so good. 


Well hopefully we’ll get an updated recording soon, after this maybe it’s time for West End and Olivier number two!?
Oh I mean I would love that. I’d really really love it to come back- hopefully soon!


Can you sum up the show in five words?
Romantic, adventuresome, electric, uplifting and swashbuckling!


Aside from Zorro, you’re working on Emojiland, tell us a little about the show
It sounds crazy! It sounds like it’s gonna be a dumb show but it’s not! It’s about a bunch of emojis living in a phone and what  happens after an update is implemented and a bunch of different emojis come in. It’s really about not looking at things for face value and seeing what’s behind the face, and seeing that just because that’s how someone looks, it might not be how they’re feeling. It also gets a little political, it’s about not wanting change, not wanting different types of people or emojis going into their land; it’s really got so much heart. 

I did it first at a festival two years ago here in New York, kind of as a bare bones version and when I found out they were doing it off-Broadway as a full production I couldn’t wait to be a part of it, I love it so much.

It’ll be nice when people can hear the recording that comes out in a couple of weeks, because the songs are amazing and it really is so touching and funny, but also meaningful which people aren’t expecting cause it’s called Emojiland!

Lesli Margherita in "Emojiland." (Photo: Jeremy Daniel)

Yeah, I mean when I first heard about it I was a bit on the fence but everyone says it’s amazing!
Exactly! That’s kind of what we’re counting on. We’re counting on getting people in there and then them changing their minds because that’s what always happens. People come and say it really wasn’t what they expected and they really enjoyed it!


So you’re obviously a very busy lady with all your shows and travelling, do you have any advice for looking after your voice when it’s under pressure?
Really it’s the same stuff that everybody tells you. It’s the steaming and the rest and all the things you can never do. I never have time to rest, I never have time to steam but they’re the things you’re supposed to do and I really think that they’re important. Also, overall general care of yourself at all times, so that even when you don’t have time, your body is in good condition. It’s just a constant sort of upkeep.

I also think that the foundations and training are so important. I rely on my training so much when my voice is tired. Especially when I was dong Matilda because that role is so difficult vocally and while you’re dancing and screaming, so I really relied on my training and on the vocal team there at Matilda to keep me in shape and healthy.

I think it’s a lot of common sense, don’t go out drinking late at night and try and get some rest!


Mrs Wormwood is a very shrieky role, it must’ve been hard!
Well we worked on it so it was really a mix, it sounded screechy but it was just a mix. My mix has never been stronger than when I was in Matilda! It was really interesting trying to find that place and it never hurt once. It’s really difficult to explain to somebody though, there are all these high schoolers and stuff doing it and losing their voices and I just say “don’t scream!”


I saw your panel at BroadwayCon a few years ago and you mentioned wanting to return to the role of Inez which is happening now, so I just wondered if you have any other dream roles you’d like to put out into the universe?
I’ve been really lucky with the shows I‘ve gotten to do around the country here, but every time I’ve played Adelaide in Guys and Dolls I’ve loved it so it would be great to be able to play her again.

I’d also love to do Evita, and I really want American audiences to get to see Zorro so I hope that’ll happen someday soon!


A huge, thank you to Lesli for taking the time to chat with us. Zorro plays at Cadogan Hall on 23 February for one night only!

Interview by Olivia Mitchell
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Monday 10 February 2020

Emma Lucia talks life on tour in Once The Musical | Interview

Beginning life as a low budget feature film, Once, the story of a Dublin street busker and a Czech musician who bond over their love of music, has enthralled audiences since it was released. Audiences are now getting the chance to see it live on a UK tour.

Emma Lucia plays Girl, in this simplistically beautiful production. We chatted to her about her role, life as an actor-muso, her tour essentials and much more...



Give us the lowdown on Once, what can audiences expect? 
Once is such a tricky show to explain because it’s really unique, but it’s essentially a play about an Irish guy and a Czech girl who meet in Dublin and form a really special friendship based on their love for music. The show is packed with Irish/folk music and each song is played by the 16 actors on stage - there are about 30 instruments in total so the sound is really something! Anyone watching the show for the first time can expect to laugh (a lot), cry (a bit) and leave feeling really uplifted.


You play Girl, what’s she like as a character? Are you alike in any ways?
Girl is SUCH a fun character to play. She’s ridiculously optimistic, hilariously blunt and incredibly kind which is quite inspiring because they’re all qualities that I love in a person. I think I’m quite a positive person (or at least I try to be… I sometimes struggle on Mondays…) so I guess we have that in common!


The cast is made up of amazing actor-muso’s, what’s it like being surrounded by music all the time both on and offstage?
Oh it’s amazing - these guys are sooo talented! It’s so inspiring to share a stage with such incredible musicians and they’re all so lovely which makes it even better. Everyone’s constantly practising or working on new material for the pre-show jam - there is literally no peace and quiet but I love it!


If your life was going to be made into a folk musical, who would you want to play you?
I love this question. Mmm probably Jessie Buckley because she has the most beautiful voice and she seems like an equally beautiful person! And she has fabulous hair. I’m aiming high here.


This is an ensemble led piece, with every cast member invested in every moment. What was the rehearsal process like to create such a tight-knit group?
We actually gelled really quickly in rehearsals. A lot of people had worked together before so most people already knew each other, and I remember sitting on our lunch break on day one and thinking that we’re going to have a lot of fun on this tour. I also think it helps that it’s such an ensemble-led piece because it means there’s a constant feeling of it being a team effort - no one actor is more important than another and that keeps us all really grounded and connected.


What's your favourite moment in the show?
It has to be When Your Mind’s Made Up in Act 2. It’s my favourite song in the whole show and it’s so fun to play! I really struggle to describe why I love it so much but there’s a point where the lyrics stop and the whole cast just hold their notes, and I remember hearing that moment for the first time when I watched the show in the West End and understanding exactly what they were all feeling - even though they weren’t actually saying any words. It’s bizarre how music can make you feel connected in a way that words sometimes can’t.


What are your tour essentials?
Hmmm… I have a sleep mask which is an absolute life-saver - it means I can nap just about anywhere! I also like to have lots of pictures/positive quotes to put up in my dressing room and an unlimited supply of rescue remedy for when I feel particularly nervous. Oh and berocca. Lots of berocca.
Other than the beautiful music, what do you think makes Once such a special and enduring piece of theatre? 
I think it’s because it’s such a simple and realistic story - the characters (aptly named Guy and Girl) could literally be anyone. Falling in love is wonderful but it doesn’t always work out the way you want it to - life sometimes gets in the way and I think a lot of people can relate to this. Once isn’t hugely romanticised and I think that’s what people love about it. 


What’s your top piece of advice for aspiring performers? 
Without a doubt: have confidence in yourself. There’s so much criticism and rejection in this industry - it’s all part of the job, so you have to make sure that you believe in yourself otherwise you’ll never be able to enjoy it! Even if you have to fake it for a while, it’s so important that you compliment and congratulate yourself for achieving the tiniest of goals or even just for being brave enough to have a go! I think most actors go through phases of having imposter syndrome, where they don’t think they’re “good enough”, and I really struggle to take my own advice sometimes… but it really is the most powerful thing - if you believe in yourself, nine times out of ten so will everybody else.


 Once next plays at the New Victoria Theatre and then continues it's UK tour

 Interview by Editor, Olivia Mitchell
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Thursday 6 February 2020

Hannah Waddingham on Bringing a Queen to Life 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. To protect her people and save her one true love, O’Malley must confront the one woman more powerful than her— her fierce rival, Queen Elizabeth I of England.

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.

Playing Queen Elizabeth I in this one night only extravaganza is Hannah Waddingham, who told us what we can expect from the musical, what other historical figure she'd like to play and what her favourite moment of the musical is...

Tell us about The Pirate Queen, what can we expect?
Audiences can definitely expect an absolutely glorious wall of sound to hit them from the get go. Just sitting in on rehearsals the last few days I can’t quite believe what the ensemble have already achieved, quite irritatingly quickly really! It’s the most beautiful, expansive, atmospheric  piece and I can’t wait for us to unleash it on the London Coliseum. 


You're playing Queen Elizabeth, what's it like brining a royal to life?
What’s struck me most about trying to mould myself into Queen Elizabeth I is the sense of responsibility and how information received by her from her court must be firstly processed as Queen, not as a woman. 


What's your current favourite moment of the show?
My current favourite moment of the show is when she and Grace (Rachel Tucker) are in their own heads ruminating about the “other woman” in the duet She Who Has All. 

It’s that beautiful construct of the audience seeing and hearing their insecurities in life and about the other person before they see it in each other in the flesh. 


If you could star in a musical about any other historical figure, who would you choose?
If I were to take on the role of any other historical figure it would have to be a biblical one! Nothing touches Judas Iscariot for me. Both vocally and emotionally there could be no more satisfying a role for me than that. 


Why should people come and see The Pirate Queen?
People should come and see The Pirate Queen because it deserves to be heard in the beautiful, epic setting of The London Coliseum. They are such fitting bed fellows. 


The score is Alain Boublil and Claude-Michel Schönberg at their atmospheric best, and what greater cause could there be than for the Leukaemia Uk charity. The evening will be a great privilege for everyone to be part of, both on stage and off. 


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

photo credit: Danny Kaan
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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
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Wednesday 5 February 2020

Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review


The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell 
★★★★

Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.

With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.

What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.


Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.

Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.

Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing.  This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.

The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.

The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour

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Monday 3 February 2020

Stephanie Billers on starring in Matthew Bourne's The Red Shoes

Matthew Bourne's New Adventures company continually wows audiences around the world with their intricate, unique and entertaining ballets. Currently touring the UK after a stint at Sadler's Wells is The Red Shoes. Having previously starred in Swan Lake and Cinderella for New Adventures, we sat down with Stephanie Billers a dancer from the company as she told us all about herself and her roles within the ballet. 


The Red Shoes is a tale of obsession, possession and one girl's dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.


Set to the achingly romantic music of golden-age Hollywood composer Bernard Herrmann, The Red Shoes is orchestrated by Terry Davis and played by the New Adventures Orchestra, with cinematic designs by Lez Brotherson, lighting by Paule Constable, sound by Paul Groothuis and projection from Duncan McLean.


Watch Stephanie discuss her characters in the ballet and get a sneak peek backstage here

Get to know more about Stephanie and her life outside of dance here

The Red Shoes next plays at the New Victoria Theatre, Woking from 4th-8th March and then continues it's tour around the UK
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Thursday 23 January 2020

Sex/Crime, Soho Theatre | Review


Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★

The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.

The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…

 Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.


Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.

 Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.

It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.

 SEX/CRIME runs at the SOHO Theatre until 1st February 2020

 photo credit: Matt Spike
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Tuesday 14 January 2020

Peter Pan Goes Wrong (UK Tour), New Victoria Theatre | Review


Peter Pan Goes Wrong (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 14th January 2020 by Olivia Mitchell 
★★★★

The masters of laughter, Mischief Theatre are back at it again with a gut wrenchingly funny touring version of Peter Pan Goes Wrong, which takes everything theatrical and jumbles it into a mess of impassioned, choreographed mayhem.

The Goes Wrong franchise has achieved an astounding amount of success. From a Fringe company, they have taken over the West End, with new productions regularly being released and a series recently beginning on BBC One. Their timeless form of physical comedy, provides excellent entertainment, as well as a celebration of the intricacies of theatre.

Previously televised, this raucous version of Peter Pan, performed by the most bumbling amateur dramatic group ever, is as amusing as ever as it journey's around the UK. It's slapstick of course, but more than that, it is a precisely executed piece of theatre, full of well thought-out characters and exuberant joy. From the pre-show that audience are involved in the mayhem and it's quite excellent how the cast are able to mould us to laugh both at and with them.

During the show, there are missed cues, comedy falls, props malfunctioning, wires crossing and many, many casualties. Mischief Theatre wonderfully balance physical and visual gags, and never cross the line of overdoing their jokes. That's not to say all the gags are highly original, but they're pulled off so seamlessly that this farce is almost comedic perfection.

Tonight's performance was a real testament to understudies, as they really saved the day for the show. Amongst the host of theatrical parodies are Katy Daghorn as Wendy who boastfully struts around the stage and gives a completely stellar performance. Chris, the grandiose director who also plays Hook and Mr Darling, is expertly portrayed by Tom Babbage who bounces back and forth with the audience as he insists the show is not a pantomime. Stepping in as Trevor, Ava Pickett is a complete joy to watch and Christian James' Peter is likeable and dynamic as he dizzily flies around the stage.

This is clearly a physically demanding piece of theatre, which is expertly performed by the entire cast, of which there are zero weak links. A genuinely entertaining show, this is a definite family pleaser and a great night out at the theatre. The company may get everything wrong, but in the end it all seems so right.

Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour

 photo credit: Alistair Muir

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Saturday 9 November 2019

Reputation, The Other Palace | Review


Reputation
The Other Palace
Reviewed on Friday 8th November 2019 by Olivia Mitchell
★★

It's the 1930s and the males in Hollywood are King. The world is glamourous, 'talking pictures' are all the rage and a good story can get you far. Alick and Suzanne Glass' musical is narrated by Freddy Larceny, a huge Hollywood producer who steals a young up-and-coming writer's work and has to fight for the reputation he's so carefully sculpted. 

At this time, women are expected to be domestic creatures who stay in their lane and are there to support men with all they require; however, our heroine Michelle Grant confronts this and aims to write a novel and be her own boss. Maddy Banks plays Michelle with a burning energy and a sweet level of self-confidence. Her voice is strong, well-controlled and perfectly fitting for the musical style of the show, but the lack of variation in the score means we don't hear the full extent of Banks' vocals. 

Alick Glass' music is entertaining at times and is certainly evocative of the 30s, New York and Paris, but overall the musical feels overstuffed with underdeveloped pieces. Abrupt stops and repetitive melodies often hinder the flow of the show and instead of adding anything to the story, just reiterate something already mentioned. The best musical moments happen when the girls join together in ensemble harmony but these are equally overused and begin to lack oomph quickly.

Tamsyn Salter's choreography is delightful and again very fitting for the time period. Salter has worked wonderfully with the limited space of The Other Palace Studio and will surely look even better when the show develops to bigger venues. 

As the sleazy but kind of likeable crook, Jeremy Secomb is superb as Freddy Larceny. He is confident, slick and highly accomplished in his performance, giving a super strong vocal performance and is seeming well rounded despite actual character development. The lawyer who takes on Larceny, Archie Bright is played well by Ed Wade who is charmingly awkward and gives a stand out performance in act two when his vocals really shine.

Overall this is a production which certainly has potential but definitely needs to be edited and streamlined. It's great to see a show which focusses on a female narrative and rewriting history but it's hard to sympathise fully with our leading lady when many of her decisions remain motivated by a man. The love story is sweet but overshadows the female empowerment aspect which had the potential to be crucial and really make this show stand out. The cast do a great job and there are glimmers of magic but there absolutely needs to be more.

photo credit: photo donato
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