Showing posts sorted by date for query sister act. Sort by relevance Show all posts
Showing posts sorted by date for query sister act. Sort by relevance Show all posts
Friday 3 November 2023
Lizzie at the Southwark Playhouse (Elephant) Review: A Bloody Good Time
Lizzie
Southwark Playhouse (Elephant)
A transfer from the Hope Mill Theatre, Lizzie boasts a cast that impresses with their strong vocals and well-defined characterisations. The performers do an excellent job bringing their characters to life and infusing the show with their energy and passion, making it an engaging experience for the audience.
The musical takes inspiration from the infamous Lizzie Borden case and the story revolves around Lizzie Borden and her sister; exploring the mysteries and events leading up to the gruesome murders of their parents. It delves into themes of murder, mystery, and the complexities of human nature, all set against a rock opera backdrop. With a gripping narrative, powerful performances, and a thrilling atmosphere, Lizzie invites the audience to step into a world where dark secrets are uncovered, and the truth is as elusive as the swing of an axe.
One of the standout features of Lizzie is the striking lighting design and stage setup by Andrew Exeter, which, particularly during the climactic moments of Act One, leave you breathless with its deathly allure. The lighting and set design effectively create an atmosphere that's visually captivating and in keeping with both the rock musical vibes, and the traditional 1800s setting of the story.
While William Whelton's choreography wields a sharp blade and is executed very well, it sometimes feels like it's hacking away at a different story, leaving us with a tenuous connection. It adds some movement and visual appeal, but it doesn't fully meld with the narrative.
Direction wise though, Whelton has approached the show at a fun angle, melding massive arena concert energy with traditional musical theatre techniques. The energy is consistently high and despite knowing the ending, you're still on the edge of your seat, awaiting the next thrilling act. The use of handheld microphones is a cool twist on the storytelling, and hung in holsters at their sides it's almost as if the ladies are wielding them as potential murder weapons. However, when they're actually in use, it doesn't always make sense within the context of the show, I think it would be more effective if it was made clear that they were symbolising inner most thoughts or something of the like.
This really is a girl power musical and each character in the production is well-defined, allowing the audience to connect with their individual stories and motivations. The attention to detail in the character development adds depth to the overall performance, revealing layers like peeling back the pages of a forbidden diary.
The cast deliver exceptional performances, with each woman commanding the stage with finesse. As this performance, Lizzie Borden was played by Emma Louise Hoey who seamlessly transitions from innocence and sweetness to sheer and utter madness. Her expressive eyes, and body tics convey a myriad of emotions, and every movement she makes skilfully illustrates her transformation into the manic killer fully. There's also a real level of innocence woven throughout the character and despite her gruesome act and obvious manipulation, you can't help but root for her. Vocally, Emma is marvellous, providing literal killer vocals with ease and conviction.
Shekinah McFarlane shines as Lizzie's sister, particularly in Act 2, showcasing her superb vocal prowess, that peaks and troughs in all the right places. For vocal masterclasses, this truly is the show to see. It's certainly a trend, as Mairi Barclay also astounds with her killer voice, as Bridget Sullivan. Barclay not only gets to showcase her impressive vocal range but also adds a touch of humour to this otherwise dark drama, often subtly encouraging Lizzie to commit the heinous acts in clever and witty ways, even if her motivations remain somewhat ambiguous. As Lizzie's friend Alice Russell, Maiya Quansah-Breed's performance is nuanced and heartfelt, offering a soothing contrast to the intense and rage-filled numbers that punctuate the show.
Rachel Tansey's costumes are notably well-executed, dressing the characters for their gruesome deeds and helping transport the audience back in time to the historical setting, where every outfit feels like a well-prepared disguise.
Musically Steven Cheslik-Demeyer and Tim Maner have created songs which sound great in the moment but aren't particularly memorable. Lyrically they are fast-paced and super action packed, sometimes to their detriment. So much is crammed in that you don't know what to focus on so things come across somewhat disjointed.
However, despite its minor shortcomings, Lizzie manages to transform the intimate Southwark Playhouse into a high-energy rock concert experience that's a crime of passion, making it a unique and memorable theatrical event that keeps you on edge and engaged.
★★★
Reviewed on Thursday 2nd November 2023 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 7 March 2023
The Bodyguard the Musical (Tour), New Wimbledon Theatre | Review
The Bodyguard the Musical (Tour)
New Wimbledon Theatre
★★★★
Literally opening with a bang, The Bodyguard the Musical takes you on an exciting and exhilarating journey of glorious music and a sweet romance, which will have you engaged throughout.
Based on the 1992 movie of the same name, the show tells the story of a Secret Service bodyguard hired to protect a world famous singer/actress from a threatening stalker. When released the movie became one of the highest grossing of all time and this stage adaptation includes all the memorable moments as well as retaining the original 90s vibes which so many love.
The leading role of Rachel Marron was made famous by Whitney Houston and is a huge role to fill. Taking the cup and stepping into the glitzy boots for this production is Melody Thornton of The Pussycat Dolls. Melody absolutely nails the role and provides some killer vocals throughout, really coming into her own and becoming the star in act two. Thornton performs the iconic songs incredibly well, keeping close enough to the originals that the audience are satisfied but also putting her own small twist on them.
As her love interest and bodyguard Frank Farmer, Ayden Callaghan is an imposing but charming character, easily gaining empathy from the audience through his serious and stern but sensitive portrayal. The chemistry between the pair is pretty strong with some touching moments, especially when the drama really amps up. They're sure to become even more comfortable with each other throughout the tour!
A stand out performance comes from Emily-Mae as Rachel's sister, Nicki. Not only does she portray her unrequited love and upset at constantly being overshadowed extremely well. But her vocal moments are some of the most memorable in the show.
Reneo Kusi-Appauh is equally delightful as Rachel's son Fletcher, especially during act two and the bows when he shows off some killer vocals. Definitely a performer to keep an eye on!
The second act is where things really get going, including the audience getting to see more of the ensemble who are absolutely fantastic. They don't get a massive amount of stage time but when they do, they are outstanding; full of energy they really elevate the show.
The set and costume design by Tim Hatley fit the vibe of the musical well and for a touring production are very effective but at times the space does feel underused and there could certainly be some more wow factor added throughout.
The overly dramatic sound effects and scene transformations are very telenovela/soap opera-esque and the intense thriller aspect doesn't quite transfer, but mostly the show is effective and is a faithful screen to stage adaptation.
The story is well paced and you can't help but revel in the brilliance of Whitney Houston's music from start to finish. The Bodyguard is a well performed show that works well on tour. Run To You-r closest touring venue to see this sparkling production for yourself.
Reviewed on Monday 6th March 2023 by Olivia Mitchell
photo credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 21 February 2023
Sister Act (Tour), New Victoria Theatre | Review
Sister Act (Tour)
New Victoria Theatre
Reviewed on Monday 20th February 2023
★★★★
If you're looking for a great night out, look no further than Sister Act. It's a heat-warming show that doesn't take itself particularly seriously, while also boasting a wonderfully talented cast and songs that'll have you dancing in your seat. The musical has got something for everybody and certainly feels like bang for your buck.
Based on the iconic Whoopi Goldberg film, Sister Act tells the story of wannabe singer Deloris Van Cartier (Sandra Marvin) as she's hidden away for protection in a nunnery by Mother Superior (Lesley Joseph) after witnessing her gangster boyfriend (Jeremy Secomb) kill someone. It's a riotously funny show which thrives on excellent characterisation and really cohesive staging.
Leading the show, Sandra Marvin has star quality and seems to get more and more comfortable in the role as the show progresses. Vocally she is really strong and does brilliantly at developing her character throughout and clearly has the magnetism needed in a role like this. Lizzie Bea really does the character of Sister Mary Robert justice and gives and incredibly sweet performance, which of course is vocally outstanding. There's a not much emotional development throughout the show so Lizzie never truly gets to connect with the audience but her performance is still a touching one. As the policeman Steady Eddie, Clive Rowe is lovely to watch and has some moments which border on emotional, if never quite peaking. His solo number is vocally perfect and a real standout of the show. However, there is a slight lack of nuance to his whole characterisation which means the audience never get a chance to truly root for him.
That being said, this is a still a completely enjoyable show and the cast perform Alan Menken's disco score with great energy. The individual personalities of each nun really shine and there are some proper laugh out loud moments.
Morgan Large's set literally frames the show perfectly and Tim Mitchell's lighting transforms the space into a party within moments. It's an incredibly cohesive show which is so sleek that it allows you to bask in the joy its feel-good fabulousness throughout.
Sister Act is an utterly crowd-pleasing musical which often ascends the superficial and has some thoroughly pleasing moments. There could be some more heart and a little more development of character motives to give everything a touch more impetus, but as a whole it's a Nun-derful treat of a night out that's worth a late bedtime.
photo credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 2 February 2023
Full Tour Cast of Annie Revealed with Craig Revel Horwood, Paul O'Grady and Jodie Prenger and More
Michael Harrison and David Ian are delighted to announce full casting for the forthcoming UK and Ireland tour of their smash hit production of the musical ANNIE opening at Curve, Leicester on Saturday 25 February 2023. Joining the previously announced Craig Revel Horwood and Paul O’Grady, will be Scottish BAFTA winner Elaine C Smith and Jodie Prenger, all starring as ‘Miss Hannigan’ at various venues. Alongside them will be Alex Bourne as Oliver Warbucks, Paul French as Rooster, Amelia Adams as Grace Farrell, and Billie-Kay as Lily St. Regis. The title role of Annie is shared by Zoe Akinyosade, Harlie Barthram and Poppy Cunningham. They are joined by three teams of young performers who play the residents of Miss Hannigan’s orphanage.
Completing the cast will be Emily Barnett-Salter, Alistair Beattie, David Burrows, Sergi Ibanez, Rosalind James, Belle Kizzy Green, Ellie May-Wilson, Martin McCarthy, Phoebe Roberts, Lukin Simmonds, Matthew Sweet, Dawn Williams, and Tommy Wade-Smith.
*Full tour dates, including details of at which venues Craig Revel Horwood, Paul O’Grady, Elaine C Smith and Jodie Prenger star, are in the listings below. www.anniethemusicaltour.uk
Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom the Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act the Musical, as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.
BAFTA Award winning television, radio and stage star Paul O’Grady returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Elaine C Smith is perhaps best known for playing Mary Doll in the BBC comedy Rab C Nesbitt, as well as her role as Christine in the BBC sitcom Two Doors Down, for which she won a Scottish BAFTA for Best Actress in 2018. On stage she consistently headlines major pantomimes, having just finished her 13th year at Glasgow King’s Theatre. She played Cora in the original UK Tour and West End run of Calendar Girls as well as playing Susan Boyle in the UK tour of I Dreamed A Dream which she co-write with Alan McHugh.
Jodie Prenger recently joined ITV’s Coronation Street as Glenda Shuttleworth. Her West End credits include A Taste of Honey at the Trafalgar Studios. Oliver! at Theatre Royal Drury Lane, One Man Two Guvnors at Theatre Royal Haymarket and Spamalot at the Playhouse Theatre. On tour she has appeared in Abigail’s Party, Shirley Valentine, Annie, Fat Friends, Tell Me on A Sunday and Calamity Jane. On television she has appeared in the BBC’s Shakespeare & Hathaway, Years and Years, Casualty and Waterloo Road.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role both in the West End, Toronto and the UK Tour. His other theatre credits include Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and Lex Hogan in Eugenius! at The Other Palace. On film he can be seen in Sony Pictures’ Cinderella.
Paul French was most recently seen as TinMan/Hickory in The Wizard of Oz at Curve, Leicester. His other theatre credits include Kenickie in Grease at the Dominion Theatre and in the production’s UK Tour and Double J in Saturday Night Fever at the Peacock Theatre. On film he can be seen in Visualize Films’ Tomorrow Morning.
Amelia Adams has most recently been seen in the UK Tour of Friends! The Musical Parody. Her previous theatre credits include Lois Lane/Bianca in Kiss Me, Kate for Welsh National Opera, Mary Delgado in Jersey Boys at the Piccadilly Theatre and on tour, Martha Burelli in The Rat Pack at the Haymarket Theatre and on tour. She has also appeared in the UK Tour of Hairspray and Spamalot both in the West End and on tour.
Billie-Kay recently appeared as Angel in Anything Goes at the Barbican and its UK and Ireland tour. She has also appeared as Dale Tremont in Top Hat at The Mill at Sonning and in 42nd Street at Theatre Royal Drury Lane. On film she has appeared in Disney’s Dis-Enchanted and Beauty and the Beast, and Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
The producers of Annie cannot guarantee the appearance of any particular artist, which is always subject to illness and holidays.
Completing the cast will be Emily Barnett-Salter, Alistair Beattie, David Burrows, Sergi Ibanez, Rosalind James, Belle Kizzy Green, Ellie May-Wilson, Martin McCarthy, Phoebe Roberts, Lukin Simmonds, Matthew Sweet, Dawn Williams, and Tommy Wade-Smith.
*Full tour dates, including details of at which venues Craig Revel Horwood, Paul O’Grady, Elaine C Smith and Jodie Prenger star, are in the listings below. www.anniethemusicaltour.uk
Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom the Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act the Musical, as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.
BAFTA Award winning television, radio and stage star Paul O’Grady returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Elaine C Smith is perhaps best known for playing Mary Doll in the BBC comedy Rab C Nesbitt, as well as her role as Christine in the BBC sitcom Two Doors Down, for which she won a Scottish BAFTA for Best Actress in 2018. On stage she consistently headlines major pantomimes, having just finished her 13th year at Glasgow King’s Theatre. She played Cora in the original UK Tour and West End run of Calendar Girls as well as playing Susan Boyle in the UK tour of I Dreamed A Dream which she co-write with Alan McHugh.
Jodie Prenger recently joined ITV’s Coronation Street as Glenda Shuttleworth. Her West End credits include A Taste of Honey at the Trafalgar Studios. Oliver! at Theatre Royal Drury Lane, One Man Two Guvnors at Theatre Royal Haymarket and Spamalot at the Playhouse Theatre. On tour she has appeared in Abigail’s Party, Shirley Valentine, Annie, Fat Friends, Tell Me on A Sunday and Calamity Jane. On television she has appeared in the BBC’s Shakespeare & Hathaway, Years and Years, Casualty and Waterloo Road.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role both in the West End, Toronto and the UK Tour. His other theatre credits include Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and Lex Hogan in Eugenius! at The Other Palace. On film he can be seen in Sony Pictures’ Cinderella.
Paul French was most recently seen as TinMan/Hickory in The Wizard of Oz at Curve, Leicester. His other theatre credits include Kenickie in Grease at the Dominion Theatre and in the production’s UK Tour and Double J in Saturday Night Fever at the Peacock Theatre. On film he can be seen in Visualize Films’ Tomorrow Morning.
Amelia Adams has most recently been seen in the UK Tour of Friends! The Musical Parody. Her previous theatre credits include Lois Lane/Bianca in Kiss Me, Kate for Welsh National Opera, Mary Delgado in Jersey Boys at the Piccadilly Theatre and on tour, Martha Burelli in The Rat Pack at the Haymarket Theatre and on tour. She has also appeared in the UK Tour of Hairspray and Spamalot both in the West End and on tour.
Billie-Kay recently appeared as Angel in Anything Goes at the Barbican and its UK and Ireland tour. She has also appeared as Dale Tremont in Top Hat at The Mill at Sonning and in 42nd Street at Theatre Royal Drury Lane. On film she has appeared in Disney’s Dis-Enchanted and Beauty and the Beast, and Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
The producers of Annie cannot guarantee the appearance of any particular artist, which is always subject to illness and holidays.
photo credit: Matt Crockett
Friday 25 February 2022
Millie O’Connell, Danielle Steers and Debbie Kurup to Play Cher in The Cher Show
“All of us invent ourselves.
Some of us just have more imagination than others.”CHER
The producers of the brand new production of The Cher Show are delighted to announce that the role of Cher will be played by Debbie Kurup, Danielle Steers and Millie O’Connell. The production features the actresses portraying Cher in three different ways throughout her iconic career, with Debbie as ‘Star’, Danielle as ‘Lady’ and Millie as ‘Babe’. Further casting is to be announced.
With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family, Peter and the Starcatcher), direction by Arlene Phillips (Saturday Night Fever, Starlight Express, Grease), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights, Spice World 2019 Tour), the UK & Ireland Tour will open at Leicester’s Curve on 15 April 2022 and will continue through to 1 April 2023.
Debbie Kurup’s theatre credits include Bonnie & Clyde (Theatre Royal, Drury Lane), Queen Tuya in The Prince of Egypt (Dominion), Blues in the Night (Kiln), Sweet Charity (Donmar Warehouse), Mrs Neilsen in Girl From The North Country (Old Vic/ Noël Coward), The Threepenny Opera (NT), Anything Goes (Sheffield Crucible/UK Tour), Nikki Marron in The Bodyguard (Adelphi - Olivier Award nomination for Best Performance in a Supporting Role in a Musical), Velma Kelly in Chicago (Cambridge/Adelphi), Sister Act (London Palladium), East (Leicester Curve), West Side Story (Prince of Wales), Tonight’s The Night (Victoria Palace), Rent (Prince of Wales/UK Tour), Fame (UK Tour), Guys And Dolls (Sheffield Crucible), Pal Joey (Chichester) and Boogie Nights (Savoy).
Danielle Steers’s theatre credits include The Empress in Aladdin (Theatre Royal, Plymouth), Catherine Parr in Six The Musical (London), Zahara in the original cast of Bat out of Hell: The Musical (Manchester Opera House, London Coliseum, Ed Mirvish Theatre, Toronto, Dominion Theatre, New York City Centre), Carmen in Sweet Charity (Donmar Warehouse), Lead Shirelle in the original London cast of Beautiful - The Carole King Musical (Aldwych Theatre), swing and cover Nikki Marron in The Bodyguard (Adelphi Theatre) and cover Killer Queen in We Will Rock You (International Arena Tour). Her debut album, The Future Ain't What It Used To Be, was released in 2021.
Millie O’Connell’s theatre credits include Maureen in Rent (Hope Mill Theatre - WOS Award Nomination), Jeanie in Hair (Turbine Theatre), Chloe Valentine in Be More Chill (Shaftesbury Theatre and The Other Palace), Anne Boleyn in SIX: The Musical (UK Tour and Arts Theatre, London - Olivier Award nominated), Ensemble/cover Millie in Thoroughly Modern Millie (UK Tour), Ensemble/Understudy Annie in 42nd Street (Theatre Royal, Drury Lane), Ensemble/Understudy Peggy Sawyer in 42nd Street (Theatre Du Chatelet).
From a young child with big dreams, the shy daughter of an Armenian American truck driver, to the dizzying heights of global stardom, The Cher Show tells the incredible story of Cher’s meteoric rise to fame. Cher takes the audience by the hand and introduces them to the influential people in her life, from her mother and Sonny Bono, to fashion designer and costumier Bob Mackie. It shows how she battled the men who underestimated her, fought the conventions and, above all, was a trailblazer for independence.
The musical is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’.
With over 100 million record sales, an Academy Award®, an Emmy®, a Grammy®, three Golden Globes® and an award from The Council of Fashion Designers of America, Cher has influenced popular culture more than most. Her on-screen career started in 1971 with her weekly television show that attracted 30 million viewers a week, and went on to include starring roles in iconic films from Moonstruck, for which she won the Oscar for Best Actress, to Mamma Mia: Here We Go Again!, which prompted the New York Magazine to realise “every single movie—no matter how flawless—would be infinitely better if it included Cher.” Her ‘Farewell Tour’ became the highest grossing music tour in history – in true Cher fashion, she followed up her ‘Farewell Tour’ with two further sell-out, worldwide arena tours. She is the only artist in history to have a number one hit in the Billboard chart for six consecutive decades; an achievement that caused Vogue to deem her “eternally relevant and the ruler of outré reinvention”. She became known as the Queen of Reinvention.
In the 1990s, she established The Cher Charitable Foundation to support causes around the world. She has been a long-time donor and supporter of Habitat for Humanity, The Intrepid Fallen Heroes Fund and Keep A Child Alive, an organisation that helps to combat the AIDs epidemic. Most recently, she co-founded Free the Wild to help rescue Kaavan the Asian elephant from Islamabad zoo.
Written by Tony Award-winning Rick Elice, The Cher Show made its debut on Broadway in 2018 in a production that earned two Tony Awards and delighted fans from around the world. This new production will be the European premiere.
The Cher Show UK & Ireland Tour will have set design by Tom Rogers, musical supervision by Rich Morris, lighting design by Ben Cracknell, sound design by Dan Samson, music production by Gary Hickeson, wigs, hair and make-up design by Sam Cox, associate direction by James Cousins, associate choreography by James Bennett and casting by Will Burton CDG.
The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group.
Website: www.cheronstage.com
Twitter, Facebook, Instagram: @TheCherShowUK
photo credit: Matt Crockett
Friday 11 February 2022
Instructions For a Teenage Armageddon, Southwark Playhouse | Review
Instructions For a Teenage Armageddon
Southwark Playhouse
Reviewed on Thursday 10th February 2022
★★★★
Currently playing in The Little at the Southwark Playhouse, Instructions For a Teenage Armageddon is a solo show performed expertly by Rosie Day who also wrote the script (and the book on which it's based). With direction by Georgie Staight, it's an incredibly well written and performed social satire which broaches and discusses some incredibly emotional topics.
At 75 minutes long it's quite impressive how much Day is able to fit into this painful coming-of-age story and it really is an intense rollercoaster. The show is a series of monologues from a witty, introspective teenager who is trying to cope with the death of her sister as well as teen betrayal, manipulation, isolation and trauma. What is a very deeply dark show is made lighter by looking at it all through the main characters eyes as she frames each section with gaining a new scout badge.
The entire show uses quick, clever prose and black humour which consistently walks the line of being too much, but always adds to the story and characterisation of the leading lady. What's particularly striking about the show is that you're seeing real trauma of a child brought to life; and aside from the more intense topics broached, many aspects are, unfortunately, hugely relatable for girls and women everywhere. The idea of altering who you are to fit in to societal norms and hiding pain behind humour is something many people grow up doing, and the pressures on girls to look and act a certain way never seems to change no matter how many developments are made. At the end of the day Instructions For a Teenage Armageddon acts as a fable or a cautionary tale on why we need to support one another and have open and honest conversations about mental health amongst other things.
Instructions For a Teenage Armageddon is incredibly engaging throughout, with Rosie Day bringing every story to life brilliantly and giving an outstanding performance. The use of projections also adds another element and make it feel more well rounded. Isabella Pappas' on screen performance is particularly memorable. This is an extremely timely, intense show that is expertly performed.
photo credit: Mark Senior
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
Friday 2 July 2021
Wonderful Town, Opera Holland Park | Review
Wonderful Town
Opera Holland Park
Reviewed on Thursday 1st July 2021 by Olivia Mitchell
★★★★
As the world returns to a new normal, there aren't many better ways to spend a Thursday evening than enjoying a glorious musical in the beautiful setting of Opera Holland Park. Quick Fantastic have returned to the space to present Wonderful Town, the half-forgotten 30s musical which brims with exhilarating jazz and witty comedy.
Under Alex Parker's musical direction, Bernstein's score soars around the auditorium and reminds us just how brilliant the older Broadway musicals can be. The comedy on stage is matched perfectly with the music and the whole affair feels as rich and jubilant as can be. The musical diversity is also a treat to hearr, with an Irish jig, a beatnik scat and some moving ballads, there's really something for everyone.
The book by Jerome Chodorov and Joseph Fields is basically the story who two sisters from Ohio who arrive in the New York with dreams of taking the town by storm. The source material for the show was taken from autobiographical short stories by Ruth, the sister who longed for a writing career and chronicled her and her sisters' lives in The New Yorker. There are a number of little adventures the duo go on whilst finding their careers (and romances) which make for a highly entertaining and all round wholesome story.
Ruth is played with grit and wit by West End superstar, Louise Dearman, who seems almost made for the role of the sassy, vulnerable, bookish author. Of course Louise is vocally effortless and provides some real highlights, but she also shines in the humourous moments which help make the whole production feel so jubilant.
Balancing Dearman out is the equally brilliant Siubhan Harrison as Eileen, the sister who knows how to get what she wants but in the end is unwaveringly committed to her sister. The double act are a dream to watch and have the audience wrapped around their little fingers, especially during their smooth as butter rendition of Ohio.
The male love interests are performed by Ako Mitchell who is vocally divine and very authentic as magazine editor Bob; Roger Dipper who is utterly wonderful and so humourous as the bumbling Walgreens worker Frank Lippencott; and Alex Lodge who is suitably sleazy as newspaper hack Chick Clark.
Billy Nevers is the washed up football player The Wreck, and Emma Harrold is his secret fiancé, Helen. Both do a great job of padding out their characters as well as providing super strong vocals and some light-hearted comedic moments.
The rest of the cast made up of: Jade Albertsen, Robson Broad, Ashley Daniels, Tamsin Dowsett, Gregory Haney, Jas[er Kajd and Natasha Leaver are super sleek throughout whilst bringing the vibes of 30s New York to life. Carrie-Anne Ingrouille's choreography is superb and a joy to watch.
From a conga to an incarceration there's a lot to enjoy and laugh at, and the cast do an outstanding job of making a semi-staged production feel full. Overall it's a wonderful night at Wonderful Town.
Photos by Danny Kaan
Thursday 14 March 2019
Madagascar the Musical (UK Tour), New Victoria Theatre | Review
Madagascar the Musical (UK Tour)
New Victoria Theatre
New Victoria Theatre
Reviewed on Tuesday 12th March 2019 by Glenys Balchin
★★★½
Madagascar the Musical was a perfect family night out, full of fun for the young audience as they tapped, cheered and danced their way through the story, against the backdrop of a damp and drizzly night outside the New Victoria Theatre. It has to be said, that many of the adults accompanying their young charges were enjoying the performance of the energetic cast just as much; with the cast bringing alive the animal inhabitants of New York Zoo and the story of their escape into the wilds of Madagascar.
Having seen other Dreamwork productions: The Lion King and Shrek on both film & stage, I was not sure what to expect of Madagascar and unfortunately for me this did not reach the same pinnacle as the others. This was due to lack lustre look of some the main character costumes as well as having pre-recorded music rather than a live band.
The puppetry was well executed and the presence of a human controlling them soon disappeared and captured the spirit of your imagination. A stand out for me was Melman the Giraffe, whose characterisation by Jamie -Lee Morgan was thoroughly enjoyable and he delivered an excellent performance.
Although, the show was packed full of songs, none of them were very memorable. However, the dancing and abundance of energy displayed by all the cast members did not go unnoticed and I enjoyed the choreography, especially the exuberant 'Move It', but on the same note it was a little bit repetitive.
The plot itself is a little thin on the ground but the uncomplicated storyline makes it easy for small children to follow and remain enthralled by plenty of packed action fun and dazzle. Act two was more animated than the first, mainly thanks to the irrepressible, vigorously imaginative artistic style of Jo Parsons playing King Julien.
A little older than many of the children at the theatre, my companion's mane attraction for seeing the show was Matt Terry, so she was a little disappointed he was not playing Alex the Lion at this performance. However, I asked her verdict about the musical and she told me that whilst she had preferred The Lion King, she thought her younger sister (9) would love Madagascar. At the mature age of 14, she enjoyed it but was too cool to get up dance in the aisles with the other children and would certainly not have been happy if I had!
Her conclusion was that it is a song filled production, that features a set that is inventive and all flows well. She loved how the characters were portrayed, in particular the Lion and the Hippo, and she thought that the voice of Marty was the same as the Zebra in the movie.
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
photo credit: Scott Rylander
Saturday 9 February 2019
The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review
The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★
Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.
This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.
Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.
For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.
Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.
As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).
Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.
Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits.
Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece.
Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.
Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.
Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.
Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony.
What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.
Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore.
Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production.
The Bodyguard runs at the Grand Opera house until 16th February 2019
photo credit: Paul Coltas
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