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

Wednesday 16 March 2022

Everybody's Talking About Jamie (Tour), New Victoria Theatre Theatre | Review


Everybody's Talking About Jamie (Tour)
New Victoria Theatre
Reviewed on Tuesday 15th March 2022
★★★★

Everybody's Talking About Jamie is fast becoming a staple piece of theatre in the UK and indeed across the world. Having had various iterations in many countries including Japan and Italy, as well as the hit film which was released last year; the musical retains its Britishness, strong heart and morals and continues to be an inspiring and entertaining experience.

Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New faces a number of hurdles and people who try to dull his sparkle. So, he works to overcome these and to show the close-minded people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to keep its spot in theatre lover's hearts for a long time.

As the title character, Layton Williams is a treat to watch. He brings Jamie to life truthfully and so glamourously. From the opening of 'And You Don't Even Know It', Layton completely owns the character and shows us the light and shade enveloped in it. At times his vocals get lost but he makes up for this with his incredible wit and larger than life personality that soars on stage.

Playing Jamie's kind and strong mum is Amy Ellen Richardson who's vocal performance is outstanding. 'He's My Boy' is an absolute highlight of the show and her vulnerable performance is incredibly moving. Her chemistry with Layton is great and she also works incredibly well with her best friend Ray (played brilliantly at this performance by Lisa-Marie Holmes).

Another lovely friendship is that of Jamie and Pritti. The pair are both misunderstood and confined in their own ways and it's so sweet to see them discuss this and to support each other without any toxicity. Sharan Phull is endearing and moving as Pritti, especially in her solo moments and fantastic monologue at the end of the show.

Shane Richie as Hugo/Loco Chanelle is fantastically entertaining, giving a really strong vocal performance and also showcasing fabulous comedic timing. Other stand out performances come from George Samson as Dean Paxton and Gary Lee in various roles including Laika Virgin at this performance.

Everybody's Talking About Jamie is a musical which inspires us all to own what makes us 'different' and is a really heartwarming portrayal of family, friendship and acceptance. It's contemporary and over the top and so much fun. Let's talk about Jamie a bit longer! Go see the show on tour!

Everybody's Talking About Jamie plays at the New Victoria Theatre until 19th March 2022 and then continues its tour
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Monday 14 February 2022

Waitress (Tour), New Victoria Theatre | Review


Waitress (Tour)
New Victoria Theatre
Reviewed on Monday 14th February 2022
★★★★

The dish of the day at the New Victoria Theatre this Valentines day is Waitress the Musical which follows Jenna Hunterson (Chelsea Halfpenny) an aspiring baker who wants nothing more than to escape her life and unhappy marriage. With the help of her colleagues and new gynaecologist, her dreams start to become possible as she bakes herself a new life. It's a heartwarming tale of romantic and platonic love, that is a sweet treat indeed.

Based on the film of the same name written by Adrienne Shelly, the stage version adds the extra ingredient of Sara Bareilles' score. Memorable, folky songs are a joy to watch and feature a number of gorgeous motifs which appear throughout. There is a great mixture of humourous numbers, as well as more emotional, reflective ones. The book by Jessie Nelson is dotted with wit and whimsy but occasionally feels a little underdeveloped with some moral ambiguity that is never resolved.

As leading lady, Chelsea Halfpenny is an utter delight in the role of Jenna. Vocally she is faultless and gives a beautifully nuanced performance full of charm and warmth. Her comedic timing is wonderful and she also brings Jenna's vulnerable side to life truthfully. 

As her friends, Becky and Dawn, Sandra Marvin and Evelyn Hoskins are marvellous. Evelyn is completely adorable as Dawn, bringing the house down with her laughs and her completely frenetic performance that oozes humour. As her partner in crime, Ogie, George Crawford is completely stellar. His comedy chops completely shine and are matched by his great vocals.

As Dr Pomatter, Jenna's gynaecologist and love interest, Nathanael Landskroner is brilliantly bumbling. His chemistry with Chelsea is glorious to watch and he also matches her perfectly in terms of vocals and they really complement one another. The ensemble also work together like a well-oiled machine.

Just like the ensemble, Scott Pask's set and Lorin Latarro's fine-tuned choreography work seamlessly together. They are not only incredibly in sync with the whole show but are also greatly reflective of the story and emotions; with the set literally coming to life and expanding as Jenna finds herself. 

Waitress is an intimate show which transfers wonderfully for touring venues. Despite its faults, it's almost baked to perfection. Excellent performances and major whimsy make it a stagey slice of sweetness that's well worth seeing. 

Waitress plays at the New Victoria Theatre until 19th February 2022 and then continues its tour

photo credit: Johan Persson

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Thursday 10 February 2022

Blood Brothers (Tour), New Wimbledon Theatre | Review


Blood Brothers (Tour)
New Wimbledon Theatre
Reviewed on Wednesday 9th February 2022
★★★★

Willy Russell's award winning musical Blood Brothers has been wowing audiences around the world for forty years and is also one of the few shows to have run for over 10,000 performances in the West End. It's a regular feature of the theatre touring circuit and 2022 is no exception as it once again hosts Bill Kenwright's brilliant production.

The emotive and dramatic show tells the story of Mrs Johnstone, a single mother in Liverpool who is bringing up a large family alone and has just found out she'll have more mouths to feed as she's expecting twins. She really can't afford this, so in a snap decision she gives away one son to a wealthy lady who cannot have children of her own. They make a deal that the brothers will never know of one another and won't be part of each others lives. But when the two boys meet accidentally aged seven, they form an instant connection becoming 'Blood Brothers'. The story follows them across the years as we see how economic background and nature vs nurture affects the pair; and how it leads to their eventual tragic demise which opens the show.

I think what makes this such an enduring show is a mixture of both its observations on human nature/privilege and the way it swings effortlessly from comedy to tragedy and takes you along on the journey so well. At times it can be melodramatic but it's balanced so well with deep genuine pain that you can see past it.


The show's cast are exceptional, with the core performers showing depth and growth and the rest of the cast nimbly juggling a variety of roles and supporting the action brilliantly. As the son Mrs Johnstone keeps, Sean Jones is outstanding as Mickey. His character development is masterful as he goes from a cheeky seven year old, to a teen learning to love (and dance), all the way to an adult struggling with addiction. Every second is believable and engaging and he's just fantastic. As the other brother, Eddie, Joel Benedict is charming and sweet. His character isn't as multi-layered as Mickey but he does a great job with what he's given and the pair bounce off of one another like real childhood friends. Carly Burns also gives a touching performance as the final addition to the friendship trio. Her portrayal as Linda is nicely nuanced and it's heartbreaking to see her role in the tragedy.

As Mrs Johnstone, the boys' birth mother, Niki Evans is unparalleled. Her portrayal is the definition of honest and the vocals which accompany it are magnificent. Her acting is incredibly natural and you don't doubt for a second that she's really experiencing the highs and extreme lows of her life. Niki's performance of Tell Me It's Not True is astoundingly moving and has the audience raring to give their final standing ovation.

The show is dated in parts but it kind of adds to the charm and history of it all. It's an exhausting journey of a musical but well worth a watch. Pack some tissues and get yourself along to your local theatre to witness the magic and misery that is Blood Brothers.

Blood Brothers plays at the New Wimbledon Theatre until 12th February 2022 and then continues its tour
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Wednesday 9 February 2022

Dirty Dancing, Dominion Theatre | Review


Dirty Dancing
Dominion Theatre 
Reviewed on Tuesday 8th February 2022
★★★½

Dirty Dancing is one of the cult classic films that's beloved by many generations and continually stands the test of time, so a stage version has a built in audience. The show is a faithful adaptation of the film, following the story of 'Baby' Houseman as she spends a family holiday discovering love, relationships, sex and inequality.

There's also a number of subplots including an illegal abortion and the civil rights movement which doesn't quite land and feels somewhat shoehorned in but is a nice attempt at making an otherwise surface level show have some depth. Parts of the plot are lacklustre but overall it's a fun revival that doesn't take itself too seriously.

Filling Patrick Swayze's shoes as leading man Johnny Castle is definitely a tough job but Michael O'Reilly does so excellently and has the audience in the palm of his hand from the moment he enters in a Disney prince fashion. His dancing is skilful and he uses the minimal dialogue to command the stage and draw attention throughout, as well as showing a more vulnerable side to the character in the second act.

Kira Malou is wonderful as Baby, showcasing her character growth and dancing ability brilliantly. As a character Baby can be annoying at moments but Kira does a great job of making her seem real and brings her concerns and values to life in a way that feels genuine without being over the top or too whiney.


As her sister Lisa, Lizzie Ottley is delightful, bringing her comedic timing to the role and being a step behind just at the right time. Carlie Milner is a complete stand out as Penny, providing energy, legginess and such precision in her dancing, she's an absolute dream to watch and also gives a touching acting performance.

Aside from the dancing this is really a show about the music, which is so iconic. Whilst all the classic tunes are included in the show, I do wish there was more singing as opposed to some of the instrumental or extremely brief moments of song. Some vocal treats however, are provided by Mimi Rodrigues Alves who is fab. Additionally the Kellerman's band are first-rate as they become part of the on stage action.

Despite its shortcomings, Dirty Dancing is a lovely, feel-good tribute to the film. There's iconic moments aplenty, sleek lifts, sweet romance, a big dose of nostalgia and all in all it's a lot of fun. Did I have the time of my life? Not quite. But was it an enjoyable, carefree night out at the theatre? Absolutely!

Dirty Dancing plays at the Dominion Theatre until 16th April 2022

photo credit: Mark Senior
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Tuesday 8 February 2022

Evelyn Hoskins on Returning to the Diner Post Pandemic | Waitress the Musical | Interview

I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!

Waitress, based on the 2007 movie of the same title, follows the story of Jenna, a woman who longs to escape the life she's trapped in. Alongside her friends and her handsome new gynaecologist, she begins to step towards the dreams she's always harboured. Since taking the West End by storm, Waitress is now delighting audiences across the country. Evelyn Hoskins plays Jenna's lovable friend Dawn who's looking for love of her own. Evelyn spoke to us about taking the show on the road and how the pandemic changed her portrayal...


If you were telling someone who knows nothing about Waitress why they should see it, how would you sum it up?

It’s the most joyous, hilarious, heartwarming, life-affirming, beautiful show you could possibly see, especially if you’re a woman!


Is there a song in Waitress that makes you particularly emotional?

Definitely A Soft Place to Land. It’s the song before they sort of glow-up Dawn a little bit before her date and it’s just beautiful. The harmonies are stunning.


You’ve had a kind of different experience with Dawn because you played her pre and post pandemic. So, what was it like originally creating your version of Dawn and do you think she’s changed since you’ve come back to the show?

She’s definitely changed. I saw the original Broadway cast of Waitress in 2016 so I saw Kimiko Glenn play Dawn and Kimiko and I both played a role called Thea in Spring Awakening so we’re obviously similar castings anyway; but I think I was definitely influenced by Kimiko’s portrayal because that was my first impression of Dawn. 


My portrayal has changed since the pandemic, for sure. I mean, more so because I just feel older if I’m honest; and also I'm more grateful to be here. I was grateful anyway because it’s such a dream show and job of mine but now I feel super grateful.


When you were doing the show at the Adelphi, were you already booked to do the tour?

No I wasn’t. The resident director had kind of asked me if I’d be interested but at the time I was due to do six months in the West End so I was a bit like “I don’t know, maybe, I’ll see how I’m feeling” cause obviously a year is a long time. And then when the show closed in the West End, the producers were very kind and asked all of us if we’d be interested and I was like, yeah, because I didn’t feel done with her at all. I’d barely touched the surface so I’m so glad to be doing it.


How was it when you reopened, did you find it emotional?

Yep! I think I was more emotional on the first day of rehearsals when we did a full read and sing through first thing on the Monday morning. Obviously I hadn’t heard the music since the last show so that was super emotional. Also putting on the little waitress dress again!


You know, when we closed it was so uncertain and the tour got pushed back and pushed back, and we didn’t know if it would actually ever happen so it’s so good to be back!




So far, have you noticed any differences between touring the show and playing on the West End?

It’s very interesting to see the different reactions, I don’t know if I could pinpoint what they are though but Northern audiences have been PHENOMENAL, very very loud!


We’re in Bristol this week which I’m super excited about because it’s near my home town and it’ll be great to get to Woking and then we’re in Bromley so we’ll have some more London audiences. But it’s just a really great show to take around the country and make accessible to people.


Definitely, and here compared to the US, people don’t know the film as much so it’s more of a word of mouth show which must be lovely...


Yeah! Honestly I was really surprised at the reaction. We’re sold out most Saturdays and the audiences have been incredible. We also have some very loyal fans and we often see familiar faces most weeks. I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!


That’s so lovely, I’m coming to see it with my mum who’s very excited!


I think it’s a phenomenal show to see with your mum! Bring the women in your life because it’s got such girl power.


Leading on nicely, I wanted to know why you think having a female led show like Waitress tour the country is so important?

The themes of the show are so important. There’s the domestic abuse theme which really strengthens the message and importance of female friendship and female support.


I also think it’s important that we start recognising that the other relationships in our life are just as important as the romantic ones and that’s something this show does.

What’s your best piece of advice for aspiring performers?

Believe in yourself. That sounds super cliched but it’s true. My personal experience is not like a traditional one. I’m from quite a working class background. I didn’t grow up with lots of money which obviously would help you if you wanna go to drama school. But, I didn’t do drama school.


So it’s really about the hustle. Just hustle hard. If you really like an actor’s performance, find out who they’re represented by. Reach out to them and say I really like your client, I feel like I would be a good fit for you too. Same with casting directors, if you really enjoy a show and think it would be something you could do, write to them, tell them how much you like the show, just put yourself out there. And don’t feel like drama school is the be all and end all!


Thank you so much to Evelyn for taking the time to chat to me. Waitress runs at the New Victoria Theatre, Woking from 14th to 19th February before continuing its tour.


Interview by Olivia Mitchell, Editor


photo credit: Johan Persson

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Friday 21 January 2022

Beauty and the Beast to Play at the London Palladium


Disney’s beloved Olivier Award-winning stage musical Beauty and the Beast - re-imagined and re-designed in a completely new production staged by members of the original award-winning creative team - will come to London in Summer 2022, as part of its UK & Ireland Tour.

Performances will begin at the London Palladium from Friday 24 June 2022, for a strictly limited season until Saturday 17 September.

Tickets will go on-sale for London at 10am on Friday 28 January. Customers can sign up to be amongst the first to access tickets and can find all tour dates and information at BeautyAndTheBeastMusical.co.uk

The UK tour opened at Bristol Hippodrome on 25 August 2021 and is currently playing at the Sunderland Empire.  

Spectacular new designs and state-of-the-art technology fuse with the classic story, as the timeless romantic tale is brought to life on stage like never before, with all the charm and elegance audiences expect from Belle and her Beast.

Courtney Stapleton and Shaq Taylor will play the iconic lead roles. Courtney’s credits include Dear Evan Hansen, Six, Les Misérables and Bat Out of Hell, and Shaq is best known for performing in Girl from the North Country, Hadestown and Hex.

Gavin Lee (Mary Poppins, SpongeBob SquarePants, the Broadway Musical, Les Misérables) plays Lumiere and Tom Senior (The Pirates of Penzance, Eugenius!) is Gaston.

Sam Bailey (The X-Factor winner 2013, Blood Brothers) plays the legendary role of Mrs Potts, with Nigel Richards (The Phantom of the Opera, Les Misérables) as Cogsworth.

Martin Ball (Les Misérables, Wicked, Top Hat) takes the role of Maurice, Samantha Bingley (Martha In The Secret Garden) is Wardrobe, Emma Caffrey (Curtains, 42nd Street, Funny Girl) is Babette and Louis Stockil (Miss Saigon, Mamma Mia!) plays Le Fou.

The full company is completed with Richard Astbury, Sarah Benbelaid, Jake Bishop, Pamela Blair, Liam Buckland, Jasmine Davis, Matthew Dawkins, Autumn Draper, Daisy Edwards, Alyn Hawke, George Hinson, Jennifer Louise Jones, Brontë Lavine, Thomas-Lee Kidd, David McIntosh, Aimee Moore, Sam Murphy, Ashley-Jordon Packer, Emily Squibb, Grace Swaby, India Thornton and Rhys West.

Beauty and the Beast is reimagined in startling new designs which use the latest theatrical innovations. Among the many new features is an exuberant tap dance within the legendary production number Be Our Guest, created expressly for Gavin Lee, recognised as one of the great tappers on either side of the Atlantic.

Olivier Award nominee Matt West directs and choreographs this new production, leading a team that includes composer Alan Menken, lyricist Tim Rice, bookwriter Linda Woolverton, scenic designer Stan Meyer, costume designer Ann Hould-Ward and lighting designer Natasha Katz. The team collectively received five Tony® nominations and a win for Hould-Ward’s costume design, when Disney first debuted Beauty and the Beast on Broadway 28 years ago.

The structure and tone of the story and score – as conceived for the 1991 film by its executive producer and lyricist Howard Ashman with a continued evolution for the Broadway adaptation three years later – made Disney history. Only once before – in Menken and Ashman’s previous film musical The Little Mermaid – had a Disney film been structured like a stage musical where the songs are integral to plot and characterisation rather than only ornamental or digressions. This Menken/Ashman innovation is credited with the 1990’s Disney animation renaissance that went on to create such film classics as Aladdin, The Lion King and Hunchback of Notre Dame and helped re-introduce the book musical form to popular culture.

This new Beauty, while retaining the lush period sound of the Oscar-winning and Tony®-nominated score - which brought classics including Be Our Guest and Beauty and the Beast, as well as Change in Me, added to the musical production in 1998 and retained thereafter - has new dance arrangements by David Chase, allowing original choreographer Matt West to re-visit his work. Longtime Menken collaborators Michael Kosarin and Danny Troob are musical supervisor/vocal arranger and orchestrator, respectively.

Completing the design team, Tony®-winner John Shivers is sound designer, Darryl Maloney is the video and projections designer, and David H. Lawrence is hair designer. Jim Steinmeyer is the illusions designer, as he was on the original 1994 production. Casting for the production is by Pippa Ailion Casting.

The original West End production of Beauty and the Beast opened at the Dominion Theatre in April 1997, playing over 1100 performances to more than two million people. It won the 1998 Olivier Award for Best Musical and enjoyed a hugely successful UK & Ireland tour in 2001.

Based on the 1991 film – the first animated feature ever nominated for an Oscar for Best Picture – Beauty and the Beast opened on Broadway in April 1994 and garnered nine Tony nominations and one win. It played for more than 13 years on Broadway, closing in 2007. It remains to this day – 28 years after it opened – among the top 10 longest running shows in Broadway history. The 2017 live-action retelling of the animated classic quickly became the highest grossing live action film musical of all time, a record only beaten by The Lion King live-action release in 2019.

Beauty and the Beast is produced by Disney Theatrical Productions, under the supervision of Thomas Schumacher.

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Wednesday 19 January 2022

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


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

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

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

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

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

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



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

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

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

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

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

photo credit: Chris Davis Studio

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Friday 19 November 2021

Little Women, Park Theatre | Review



Little Women 
Park Theatre
Reviewed on Thursday 18th November 2021 by Olivia Mitchell 
★★★★

Louisa May Alcott's timeless 1886 classic has earned praise and adoration, especially after the recent adaptation starring Florence Pugh and Timothée Chalamet, therefore there's a lot of excitement surrounding  the London premiere of the Little Women Musical.

Thankfully, this production, adapted by Allan Knee and directed by Bronagh Lagan is a completely wholesome treat which is full of youthful energy and is brilliantly loyal to the novel. It's a tale of life and love, with dramatic ebbs and flows that fit perfectly with musical moments.

The story follows the March sisters, with Jo, the outspoken writer taking us on a whirlwind journey through her life with her other sisters and the people they meet along the way. Everything about the story is intimate and familial and the sleek two level set and general feeling of the theatre fits it exactly.  Particularly enjoyable are the moments when Jo brings her stories to life, at times cleverly mimicking the actions of various performers and later on with projections.

Whilst most of the music adds emotional depth, there are quite a few songs and at times the dynamic feels somewhat one level. They're performed admirably but several songs are a bit samey. However, that's no reflection on the female string quartet who are vivacious from start to finish, nor the cast who are stellar.

Leading the charge is Lydia White as Jo who is entirely excellent. Her voice is clear as ice and her emotional variety and intensity is a dream to watch; she exudes star power from start to finish. As the other sisters Hana Ichijo (Meg),  Anastasia Martin (Beth) and Mary Moore (Amy) complement one another as well as having super strong solo moments. Savannah Stevenson's voice is stunning as she plays the role of the matriarch Marmee. Stevenson's vocal technique shinea through as she gives a nuanced and throughly endearing performance.  Ryan Bennett as Professor Bhaer is charming as is Sev Keoshgerian who makes Laurie a bumbling, loveable and humourous character. Mention must also go to Lejaun Sheppard who is brilliant as John Brooke. 

As a whole this is a wholesome musical that will have you laughing and tearing up. A number of shining performances and a story which highlights the importance of both unity and independence make it a thoroughly enjoyable time. Little Women is a little show with a big heart and hopefully a big future ahead of it!

photo credit: Pamela Raith
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Friday 12 November 2021

The Choir of Man, Arts Theatre | Review


The Choir of Man 
Arts Theatre 
Reviewed on Thursday 11th November 2021 by Olivia Mitchell 
★★★★

Nine men, a pub, singing, dancing and amazing energy levels, The Choir of Man is an absolute treat of a show that's ready to entertain audiences this year at the Arts Theatre. Following three sell-out seasons at the Sydney Opera House and various US and European tours, a West End debut seems like the natural next step and how lucky we are that it's found a home in London where it can spread musical joy every evening.

Set in your average pub (The Jungle), the show follows nine individuals as they discuss aspects of their lives and share their stories with one another in a sort of beer filled utopia. The show features a number of reimagined classic songs such as Sia's Chandelier, The Impossible Dream from Man of La Mancha, Somebody to Love and many more. Every single number is performed expertly by the performers and you're constantly waiting for the next song to start and wrap you up in its harmony filled embrace.

What's so wonderful about this show is the simplicity of it. The basic set includes a bar, some tables and the band set up on a higher level. The costumes are everyday clothes and aside from some glasses and the occasional other item, there are no props. This is a show which really relies on its cast to carry it and they do so with an ease and grace that only comes with innate musicality. It's wonderful to experience such powerful harmonies without any gimmicks overshadowing them. One aspect which must be mentioned though, is Richard Dinnen's lighting design which works perfectly with the songs and helps evoke the various moods throughout.


The only flaw with The Choir of Man is that there isn't really any story or through line to the songs. Whilst it's great that each moment is a snapshot into one of the men's lives, it would be nice if there was a little more plot to tie everything up and round it out. However, credit must go to Ben Norris who plays The Poet and also wrote the monologues which open and close the show and are dotted throughout. These moments are funny, moving and so well performed. Ben is really a masterful storyteller and is completely enthralling.

In fact, the whole cast and band are first-rate. They work smoothly both individually and as a team and really make you feel like you're on a night out with a group of friends.

The energy of this show is really like nothing else on in the West End. Each moment was a sucker punch of emotion or musical brilliance and the whole audience seemed to be buzzing throughout. If you want feel-good, The Choir of Man is the show for you! The cast seems to so genuinely enjoy performing and it really shows and helps make the experience so uplifting and welcoming. This show is a perfect reminder of the importance of community, a message which couldn't be more prevalent now, and it's well worth a visit (and probably a repeat visit) for a night of carefree fun.

Photo credit: Helen Maybanks
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Thursday 16 September 2021

Bat Out of Hell (Tour), Manchester Opera House | Review



Bat Out of Hell (UK Tour) 
Manchester Opera House
Reviewed on Saturday 11th September by Hope Priddle
★★★★★

Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend. A stunning realisation of Jim Steinman’s life’s work and Meat Loaf’s iconic trilogy, the rock-opera is set in the dystopian city of Obsidian, a wasteland governed by the despotic Falco in the wake of a chemical war. Falco embarks upon a campaign to rebuild his metropole, which has since been overrun by a gang of feral, mutated youths – The Lost - frozen forever at the age of eighteen. As their leader Strat falls for the tyrant’s daughter Raven, an epic drama unfolds.


Bat Out Of Hell has undergone numerous changes across its various iterations; this new touring production is no exception, having been understandably shortened and scaled back. The book, which was already somewhat nonsensical, has suffered because of this. Amendments to the script, which were clearly made to clarify and accelerate the storyline, are overly literal, with clunky dialogue often betraying the visceral atavism of Steinman’s poetry. However, it’s foolish to think that anyone coming to see Bat Out Of Hell is after a refined and sophisticated narrative. Bat Out Of Hell is bursting with knowing irony and sarcasm – it has its tongue firmly situated in its cheek throughout. It’s a magical fever dream that invites you to suspend your disbelief.


Incoherency is irrelevant when you have a cast as stellar as this one - a cast who perform with such raw passion and hunger, you absolutely cannot take your eyes off them. As the black-hearted leader of The Lost and ultimate manic pixie dream boy, Glenn Adamson is mesmerising as Strat. His powerful performance of the titular song blew the roof of the Manchester Opera House. Adamson shares sizzling chemistry with Martha Kirby, our atypical teenage ingénue Raven, who perfectly captures the character’s fearless spirit and delivers flawless vocals. Rob Fowler and Sharon Sexton triumph as Raven’s parents, Falco and Sloane. While the couple are outrageously comic and camp, their failing marriage inspires genuine pathos as they reflect upon What Part of My Body Hurts the Most. Sultry and savvy, Joelle Moses embodies the role of Zahara; James Chisholm is charming as  tough yet huge-hearted Jagwire, and Killian Thomas Lefevre plays a wholly endearing Tink, the youngest member of The Lost. Whilst supporting characters Valkyrie (Kellie Gnauck) and Ledoux (Danny Whelan) demonstrate stunning vocal prowess, the loss of an all-male rendition of Objects In The Rear View Mirror during the second-act, is felt massively.  In previous productions, the number provided an emotional antidote to examples of sexually-charged masculinity and it was always refreshing to see raging machismo tempered by platonic male love.


The ensemble are electric, executing Xena Gusthart’s dynamic choreography with real attitude. They are complimented by a spectacular use of multi-media effects, including live video. Action is televised, Big-Brother style, across the auditorium, with an on-stage camera woman magnifying the drama. Given that the cast have free-reign over Jon Bausor’s multi-levelled post apocalyptic playground, this technique proves highly effective in capturing every little detail. The show is a huge assault on the senses, in the best way possible; expect a cacophony of colour, light, sound (and fire)!


If you’re after an evening like no other, exploding with hedonistic pleasure and unadulterated euphoria, head out on your Harley and get yourself a ticket…before they’re too hot to handle. 


Bat Out of Hell is currently touring the UK and Ireland


photo credit: Chris Davis Studio

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