Tuesday 12 September 2017

In Conversation With... Marta Jorgensen | Donny and the Sun King | Interview

I am all about helping new writing because who doesn't want something fresh? So when Marta Jorgensen contacted me about her show which she has written and is currently trying to raise funds for, I was very intrigued and excited to talk to her about her process and what she's trying to do... 



What got you into writing?

In my thirties I was married to a songwriter who ran off with his songwriting partner. In the beginning the urge to write was spurred on by wanting to get even. But as time goes by, one realises that revenge is a dish best left in the ice box. I was ready to throw it out and just write. Screenplays, songs, a lot of political writing and opinion pieces. 

I found it nice to be published until… well you know, then you get a rebuttal. I ran for political office in the US and wrote extensively for that. Sustainability, Straight Talk and Citizen Activism. Politics is like theatre and that inspired several songs about politics and media. From those songs came the play.


Has it always been a passion of yours? 

No, but singing has been since watching tiny Michael Jackson onstage at a young age singing like an adult. I wanted to be on stage at six years old. I caught a fame bug.


Can you explain what Donny the musical is about?

Donny is done as a play within a play or a kind of Metatheatre. I use this literary device; it is Rhoda’s inner workings, her mind and her thoughts, her emotional state. Freud talks about the dream within a dream and Shakespeare used it with success. The play talks about itself and is aware of itself. In the story she brings her family into her imagination, they sing about it, she sings about how she wants to write an ending she can live with. Rhoda in her dialogue calls attention to the plot and how it is not going her way. Characters give advice to her about what others should do.

Rhoda Haynes, a quirky New York playwright has a grudge against Frenchy King and his lying King Media Empire. Rhoda and her family are suing King Media over fake stories written about them. She can’t do anything or say anything to jeopardise it. But, she wants to get even. Hubert, Rhoda’s husband tells her to write and get it off her chest. So Rhoda, sitting at her desk, starts banging away on an old fashioned typewriter. She starts a play called “Donny and the Sun King”. Here is the story as she creates it - inserting herself and her family members, husband Hubert Haynes, daughter Blaze Haynes, as themselves (Rhoda Haynes, a playwright, Blaze Haynes, Rhoda’s daughter, a famous singer and Hubert Haynes, a Congressman). Just like in real life, the character family debates with Rhoda about plot issues involving them. Rhoda wants an ending she can live with so she tries to write one.



What made you write this show?

From the 80’s to now media has evolved and taken over our lives to an extent that we have lost control of it. Standing at the checkout counter you see name after name splashed there about some affair or travesty they had, then later you read the paper got sued for writing a fake story. Now everyday it’s on the Internet. I started this play three years ago with just that in mind. Now it’s done and we have Mr. Trump in office and all anyone talks about is fake news. So I have tapped into the zeitgeist of the times. But to tell you the truth, I have a fascination with the tabloid world. I love headlines like I married Bigfoot; Aliens are Living in my Basement. Frenchy King sings about these kinds of stories.


The subject is extremely relevant, what made you choose it?

The subject chose itself. How can you not write about it? It is today’s reality. How else can you write about Perry’s Poorhouse, Rhoda’s concept of Hell, a combination of Don Giovanni and Married with children and get away with it. Tabloid media lends itself to fanciful worlds and situations.


You’re raising the money for a score through Hatchfund, can you tell us a little about that?

Yes, Hatchfund is an arts crowd funding organisation. You have to submit to get accepted. They give you an account manager who baby sits you through the crowd funding process. They have a 75% success rate. I am raising money to hire a studio in Santa Barbara CA, Hidden City Studios and its owner, Elliot Lanam, to help flesh out the play songs and other music. 

It’s a long process and the biggest part of producing a musical of course. I need $4000 to $5000 to meet my goal by October 31, 2017. There are 19-20 songs with names like My Story, Ratings R Us, Donny’s Lament, Hope and Pride, Perry’s Poorhouse, Babel, Ball and Chain, What’s in a Word, Lower Slobovia. The music is a mix of styles, kids have their sound, the media upper class have their sound and the Rhoda and her family have a sound of their own. All pulled together by a thematic through line.


Did you model the characters on anyone you know?

Well yes, but I might not be able to divulge that. LOL. I don’t want to be sued. That would be too much like the story acting out itself.

But I have to say there is a lot of Rhoda Haynes in me. If you want to know what parts you will have to read the play and donate to the cause. Then I might reveal it.


If you could sum the show in 5 words what would they be?

Beware of writers with grudges.
Hilarious, satirical and very entertaining.


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

Go to school and learn it right. Treat writing like a job but be yourself. Or if you are not yourself, after you write for awhile you will find yourself. Then maybe you might want to lose yourself. 

Listen to the small still voice in your head at 5 AM saying get up I have a scene I want to work on. That’s the muse. Or it could be the TV. Most of my work comes while walking in nature. Writing is channeling the universe. A wise man once said that and I find it to be true.

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 Interview by Olivia Mitchell, Editor
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Friday 8 September 2017

Zigger Zagger, Wilton's Music Hall | Review


Zigger Zagger
Wilton's Music Hall
Reviewed on Thursday 7th September 2017 by Alex Saddiqi
★★★★

I personally was unfamiliar of the work of Peter Terson prior to my viewing of the National Youth Theatre production of Zigger Zagger, so I was watching this performance with no context and knowledge prior. I only knew the subject of what the performance was based around.
Zigger Zagger tells the story of Harry Hilton played by Josh Barrow, an avid fan of his local football team, torn between the life of sex, drink and violence which football hooliganism offers and the prospect of a stable future. It's one of the first stories to capture the culture of football hooliganism and was the National Youth Theatre's first ever new writing commission.
Watching the entire performance, I was blown away by the ensemble moments that were dotted throughout. I felt as though they were very well presented and the vocals of the entire cast resonated  throughout the whole venue and created beautiful sounds. Also, the vibe of the 70s/80s setting around the piece was very well presented; from the Jackie magazine to the music that was played, even down to the choreography. While we are on the subject of music I have to highlight the outstanding work of the musicians who played live during the piece. They both worked very well together to create some lovely sounds that really benefitted many of the scenes. 
There are a huge array of characters that show very interesting development as the story progresses and the actors who portray them do a brilliant job. There are some rich and beautiful character relationships with one another that are very strong and I found great pleasure in watching how the story unfolded. There was so much talent and professionalism during this show, especially from some of the younger performers. 


They all seemed in the moment and seemed to be really indulging in the world that was built around them of this 70s/80s football hooligan setting. There are visuals inside the piece that are very interesting and turn the set from one space to another. 


At some points there were parts of the show where you could see actors crossing in the back of a scene or shadows cast by cast members which distracted from some points on the centre stage, but such a minor “inconvenience” does not distract from the hard work and power that each cast member has put into this show. If I were to put the piece in a rating out of five stars I would give it a four out of five and I would recommend this show to others especially young people who might find passion in the arts and theatre as a whole.
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Follies, National Theatre | Review


Follies
Olivier Theatre, National Theatre
Reviewed on Thursday 7th September 2017 by Olivia Mitchell 
★★★★

It's been 30 years since a fully staged production of Follies has been seen on a London stage so there's been a huge buzz surrounding the current production at the National Theatre, which boasts a stellar cast.  The production is largely sold out but don't fret if you didn't manage to snap up tickets as it is set to be broadcast to cinemas through NT Live on November 16th.

Mr Weismann's iconic theatre is closing so to commemorate he invites all his old Follies to dance and reminisce about their time in the company. Being back in the places of their youth, many characters start being pulled back to the past and we watch as the past and present become intwined. Childhood best friends with a past, Sally and Phyllis and their husbands Buddy and Ben reopen a chapter of their lives which they all thought closed.  Both couples are experiencing problems in their marriages and despite time having passed, they can't help but relive old feelings. 

Follies was originally written as a straight-through piece with no interval; whilst some productions have included intervals, the National Theatre's doesn't. Speaking to others about the show it seemed that people were wary of having to sit for that long without a break and whilst it is the same as watching a film, I suppose there's more freedom and less embarrassment to have a loo break during a film. This needn't be a worry at all though as the show flows wonderfully and really builds up momentum throughout, meaning that stepping out doesn't cross your mind as the show flies by.


The entire cast are absolutely stellar, keeping up the energy from the get go to the end. I particularly enjoy Di Botcher's rendition of 'Broadway Baby' which is completely hilarious and gorgeously sung and Tracie Bennett's 'I'm Still Here' which is gritty and powerful. Her nuanced performance is one of the best I've ever seen on stage. The younger selves of the two main ladies, played by Zizi Strallen and Alex Young are extremely well performed. The mirroring of the young and old girls is spectacular and extremely moving. Alex's transition from the giddy girl into the obsessed girl is striking.

This obsession continues with the adult Sally, played by the ever brilliant, Imelda Staunton. Sally has not really changed throughout the years and comes onto the stage just as giddy as a child when we first see her. Her fragility begins to show little by little, coming to a head in her stunning rendition of the classic, 'Losing My Mind'. Sally's partner in crime, Phyllis is played by the equally brilliant, Janie Dee who is strong and sassy from start to end. 

Dominic Cooke's direction creates a flow of movement and an ease throughout which is joyful to watch. Bill Dreamer's choreography works hand in hand with is and showcases the best of the Follies era. Along with the National's revolve, the choreography swims along and is faultless. A particular stand-out moment is the tap number 'Who's That Woman?'... I'm a sucker for tap and this was pulled off perfectly as the older Follies girls join their younger selves to create a thing of beauty.


Vicki Mortimer's set design cleverly shows hints of the former glory of the grand Weismann theatre as it crumbles in current day. The costumes are stunning not only with the gorgeous glitz and glam of the Follies but with how well they show off the character of each individual lady in the current day.

Overall this is an absolutely wonderful production which has everything you could wish for in a musical. There's glitz, glam, grit and emotion, which along with a perfect cast create an absolutely wonderful production of Sondheim's classic musical. 

Follies runs at the National Theatre until January 3rd. 

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Thursday 7 September 2017

Wait Until Dark (UK Tour), Richmond Theatre | Review


Wait Until Dark (UK Tour)
New Victoria Theatre
Reviewed on Wednesday September 6th 2017 by Lucy Jardine
★★

Wait Until Dark, a 1966 thriller by Knott is a play about, well, a rather implausible and confusing plot where criminals try to recover, by kindness then by force, a object that the photographer husband has been persuaded to bring back from Amsterdam. We are never quite sure why he agreed to do this - was he a deliberate drugs runner (although drugs are never mentioned), or simply a gullible stranger?  He never quite convinces as to what he does, in his love for Suzy, or indeed why he is away at key moments in the play. So that's the plot. 

The set however, convinces more, and makes a nod to the 1960s original, the furniture and decor all instantly place us firmly in that era. The characters vary in their portrayals: there's nothing subtle about the bumbling crooks, the husband's fondness for his wife never seems quite genuine. The real tour de force is Karina Jones who herself was registered blind at the age of 13.  Not having known this before the play, I had been utterly convinced by the way she felt her way around the stage, negotiating obstacles (a great many obstacles!) as she did so. 


Overall however, by the end of the play you are left feeling that you have just watched a rather dated, over-theatrical production by a rather ho-hum am dram company. See it if you want a chuckle, but otherwise don't bother.
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Tuesday 5 September 2017

Dirty Dancing (UK Tour), New Victoria Theatre | Review


Dirty Dancing (UK Tour)
New Victoria Theatre
Reviewed on Tuesday September 4th 2017 by Olivia Mitchell
★★★

The best way to start this review is probably to say that I've only seen the Dirty Dancing film once. Whilst that's probably a movie crime I think it's pretty good because I don't have much to compare the show with.

Based on the 1987 movie, there is a large and eager fan base ready to lap up a live-action, energetic romance between the lower class dance instructor, Johnny Castle and daddies girl teen, Frances 'Baby' Houseman. There have been a number of reincarnations of the show which always garner solid box office sales but sadly I feel this is purely because of the cult popularity as opposed to the quality of production.

There's nothing I can precisely pinpoint that's bad about this production but I just feel that it doesn't transfer particularly well to stage. The performances are extremely good and Gillian Bruce's choreography is wonderful but the sudden changes and bitty moments which work well on screen just don't transfer on stage.

Katie Eccles is suitably sweet but feisty as Baby and seeing her transition and personal growth on stage was lovely. Lewis Griffiths is sexy and brooding as Johnny; his chemistry with Katie is great and they work together wonderfully to make the story flow.


I would describe this production as more of a play with music than a musical which was a bit of a let down to me. Sophia MacKay and Michael Kent lead the very few pieces that are actually sung with ease and style. It feels that there are too many little things added in that are not fully explored, making the show a little confusing and disjointed. Carlie Milner plays the character of Peggy brilliantly and her dancing is sublime however, her whole storyline feels a little rushed and we don't have time to fully connect with her. 

The set changes are smooth and effortless with clever effects such as the water scene and I loved the lighting, especially when the morning light is supposed to be coming through the blinds. 

The final scene is by far the stand out with the iconic lift being pulled off perfectly. Whilst it isn't my ideal production, I love seeing the audience reactions and it really is lovely seeing huge fans of the film smile and swoon each time an iconic moment happens or line is spoken. I personally wouldn't race back to the show but for a fun, light-hearted and sexy night out it's certainly a lot of fun and if I could kick my leg that high I would love to spend my nights dancing away!

Dirty Dancing runs at the New Victoria theatre until 9th September before continuing on its tour.
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Tenderly: The Rosemary Clooney Musical, New Wimbledon Studio | Review


Tenderly: The Rosemary Clooney Musical
New Wimbledon Studio
Reviewed on Monday September 3rd 2017 by Olivia Mitchell
★★★★
The New Wimbledon Studio is currently playing host to the UK premiere of Tenderly: The Rosemary Clooney Musical; a two-person musical written by Janet Yates Vogt and Mark Friedman. The production, gloriously directed by Tania Azevedo, gives insight to the hardships and trials that singer/actress Rosemary Clooney faced in her extensive career, and the lengths she went to in order to hide her struggles from the world.

Ms. Clooney's life was non-stop from her youth and although to the public she seemed to have it all- the money, fame and famous friends- in reality she was heading down a dark road of intense pain and loneliness which led her to become addicted to pills. This addiction led to a breakdown during a performance at Harold's Club in Reno, Nevada which prompted her to be admitted into hospital to see a psychiatrist. It's at this point that the musical picks up, with Rosemary telling her life story to her therapist during her treatment. This is done in the form of flashbacks with the doctor transforming to play a number of other characters in Rosemary's life.

We are given the opportunity to get to know Rosemary herself, as well as her wonderful music. Each song is placed seamlessly into the story and although it is a jukebox musical, it doesn't feel like it's been written purely because the music is popular. Instead each song really adds something to the story and helps it flow. The music is performed emotively by the onstage band under the direction of Simon Holt.

The cast is made up of just two people, Katie Ray as Rosemary and Fed Zanni as the doctor (and others). Both pull off the roles with sincerity, humour and elegance. Katie Ray embodies Rosemary perfectly with a fierce and emotional performance that's truly outstanding. Her facial expressions and movement throughout are delightful as are her wonderful vocals. Ray's voice is powerful and filled with with emotion. Whilst she is wonderful at all times, the breakdown in act two is especially mesmerising and heart-wrenching.

Fed Zanni transforms into a number of characters including Rosemary's mother, sister and uncle, as well as Frank Sinatra and Bing Crosby. He transitions very smoothly and gives a believable performance. At times he is hilarious and at others extremely serious but manages to flow and differentiate the various people well. His voice is also wonderful and perfect for the delightful music of Rosemary Clooney.

The lighting is crucial to this production as it symbolises when we are in the present therapy room or part of a flashback. Ali Hunter has done a wonderful job of making this clear whilst being quite subtle at the same time. Particularly effective was when the house lights slowly come up during Ms. Clooney's breakdown.

Whilst I wouldn't say that, Tenderly: The Rosemary Clooney Musical is a groundbreaking piece of theatre, it does do exactly what you want a show to do: tells a  wonderful story with beautiful music. The performances are outstanding and whilst I did feel the show dragged marginally at times, the pace was kept up by the stellar performances. Tenderly is definitely worth making the trip to see and certainly provides a fun, roller coaster night out.

Tenderly runs at the New Wimbledon Studio until September 25th
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Sunday 3 September 2017

In Conversation With... Stacey McClean and Stevi Ritchie | Sword and the Dope | Interview

Sword and the Dope is a musical retelling of the story of King Arthur, written by a dyslexic who can not read or write music but wrote the show as a bet/joke with a friend. It has now gone out for over 150 shows at three different venues prior to this run. Sword and the Dope stars Stacey McClean and Stevi Ritchie who sat down with Rewrite This Story to talk all about the show.



Can you both give a brief overview of your career and what your highlights have been?

Stacey: I was once a member of pop band S Club Juniors. Highlights from my time in the band were probably performing a Wembley and for the Queen at Buckingham Palace. Also getting down to the final 24 and performing for Kylie in Dubai when I went to the judges houses for X Factor.

Stevi: I started performing at the age of 15 at my high school in Grease the musical and played Kenickie. I've always loved performing but got many knock backs. But 2014 I entered the X Factor and since then life has changed.


You’re both musicians, how has the transition to concert performances to musical theatre been?

Stacey: In ways it is very different. Put me on stage with a mic and a band and I can do it with my eyes closed, but theatre is a little more challenging for me. It's a lot more intense, there is a lot of preparation involved and a lot more a stake. 

Stevi: For me it's been amazing and I've always loved musical theatre I trained at LSMT. Playing a prince in this show is great and taking me out of my comfort zone but I love it.


Can you explain what The Sword and the Dope is about?

Stacey: Sword and the Dope is a comedy musical with a politics edge. Think Monty Python, Black Adder and politics in a way you have never seen! 

Stevi: A sideways telling of King Arthur with a modern day political twist. One review said British humour at it's best with great musical numbers, for me that sums it up well. 



What drew you to the production? Are your characters anything like you?

Stacey: I play Sir Lancelot, a Knight who is a huge fan of the Green Party, so nothing like me really as I'm not into politics in the slightest. My character reminds me of Hermione from Harry Potter, slightly irritating, bit of a know it all who no one wants to listen to. The script was what sold it for me initially, I laughed my head off when I first read it. 

Stevi: I loved the script and especially the songs they are amazing. The character is similar to me it's cheesy and he loves singing.


The Sword and the Dope is a retelling of the story of King Arthur, if you could retell any story which would you choose?

Stacey: Amy Winehouse, now that would be a fantastic role!

Stevi: I would retell the story of maybe Bruce Lee or Elvis Presley or Freddy Mercury.


Can you sum up the show in five words?

Stacey: Funny, ridiculous, offensive, rude and camp! 

Stevi: Witty, camp,cheesy,Funny,eccentric.
Is there a play or musical you’ve seen recently that you loved?

Stacey: I have been to see Our Ladies of Perpetual Succour at the Duke twice now I loved it so much.  

Stevi: I love Les Mis and Grease.


Do you have any dream roles?

Stacey: Dream role would probably be Sophie in Mamma Mia, the lead vocal in Thriller and anything Disney!

Stevi: Yes, Thenadier in Les Mis or Kenickie in Grease.


Whats a fun fact people might not know about you?

Stacey: I was one belt away from a Black Belt in Taekwondo when I was 7 but I gave it up because I wanted to sing!

Stevi: Think everyone knows everything about me due to the press and being in the public eye.


What’s your best piece of advice for an aspiring performer?

Stacey: You have to have a thick skin in the industry otherwise you won't survive. The amount of times you get knocked back is not necessarily a reflection of how good you are, and that's something you have to be prepared for. I'm a firm believer that you get out what you put in.
Stevi: Just keep going and be you.


Thank you Stacey and Stevi for this interview. The Sword and The Dope is on at Waterloo East Theatre from Tuesday 5th September until Sunday 1st October.

 Interview by Olivia Mitchell, Editor

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