Tuesday 8 May 2018

Kinetics (Film) | Review


Kinetics (Film) 
★★★★★

Sue Wylie’s stunning play, Kinetics has been adapted for film. The moving story is told through the eyes of Rose who has recently been diagnosed with Parkinson's disease. She meets Lukas, a free-runner with whom she forms an unlikely friendship. Both have a desire to move and be free and ultimately remind one another that life is worth living. 

'Accept, adapt, adjust' really sums up this play in a nutshell. Not only is it a beautiful story but it raises awareness of Parkinson's a relatively unknown disease that affects around 127,000 people in the UK alone. 

Lukas played by Roly Botha is a wonderful addition to the film. He adds so much movement and fluidity; a brilliant contrast to Rose. He has heaps of talent, not only acting but also free running. His story within the play is touching and the interplay between the characters really gives out a message of hope. 

A special mention must go to Steve Eaton Evans who plays Mr Burton and successfully portrays an older gentleman with Parkinson's who eventually gives the best advice of the whole film. 

Rose played by Sue Wylie is a wonder to see. She really does tell her story well. Her play is well worded and very powerful, while staying respectful to those suffering from Parkinson's. By telling her own story regarding her diagnosis of Parkinson's and how it affects her both in her job and personal life is simply beautiful. 

I urge anyone and everyone to watch Kinetics either in film or play version as it has so much potential not only to spread awareness with Parkinson's but also as it gives the audience a wonderful feeling of hope.

Review by Isobelle Desbrow
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Wednesday 2 May 2018

Chess, London Coliseum | Review


Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell 
★★★

Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum. 

The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming  and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.

Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming. 


Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.

On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own. 

Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.

The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more. 


Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum. 

There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short. 

Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it. 

Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with. 

Chess runs at the London Coliseum until June 2nd.

photo credit: Brinkhoff Mögenberg
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Tuesday 1 May 2018

Young Frankenstein, Garrick Theatre | Review


Young Frankenstein 
Garrick Theatre
Reviewed on Monday 30th April by Olivia Mitchell 
★★★★

So far in 2018, Young Frankenstein is the show which has pleasantly surprised me the most. I must admit, all I knew of the show was the performance I'd seen at the Olivier Awards so I expected a cheesy, ridiculous story that I wouldn't enjoy. What I got was a cheesy, ridiculous story which I thoroughly enjoyed!

Young Frankenstein is a hilariously brilliant night at the theatre and certainly one of the funniest shows in the West End. Of course it's the work of comic genius Mel Brooks so you'd expect greatness, but the show had a less than stellar run on Broadway and despite it's huge budget, failed miserably. However, from what I've read and been told, this production is scaled down and swifter. The book by Brooks and Thomas Meehan is the most successful aspect of the show, with emphasis solidly on the comedy.


Frederick Frankenstein (pronounced "Fronkensteen") is an American professor of neurology who is drawn to Transylvania when his grandfather passes away and he is set to inherit his gothic home and all that's inside it. There, he meets a number of wacky characters and begins to toy with the idea of recreating his grandfather's famous experiment and reanimating a corpse.

Ben Cracknell's atmospheric lighting alongside, William Ivey Long's fabulous costumes and, Gareth Owen's effective and spooky sound design create a thrilling assault on the senses and add to the humour and drama of the show without becoming repetitive or sleazy. Any moments which could be cringy and cliched are cleverly avoided by onstage characters pointing out how ridiculous they are! Beowulf Borritt's set design cleverly intertwines aspects of the film and moves seamlessly from one location to another. Again, nothing is too over the top.

The cast are exceptional. Each giving spades and spades of energy whilst perfecting the comedic balance. Making it hysterical without being forced. Hadley Fraser is delightfully dynamic as Frederick and his glorious vocals ring out beautifully, especially in Frederick's Soliloquy.


Cory English scuttles round the stage humourously as the contorted, gormless Igor. He brings a warmth to the role as well as a somewhat eerie side. Lesley Joseph is gleefully devoted to the older, violent Frankenstein. Her rendition of He Vas My Boyfriend is wonderfully weird and enjoyable.

Young Frankenstein is definitely not an ode to feminism, but the political incorrectness makes it all the more funny. Summer Strallen and Emily Squibb bring their tongue-in-cheek characters to life with side-splitting humour and verve as well as giving wonderful vocal performances.

This show is funny beyond belief and a real joy to watch. If it's a feel good show you want, then Young Frankenstein is the one for you.

photo credit: Alistair Muir
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Friday 27 April 2018

In Conversation With... Lizzie Winkler | Quiz | Interview

Quiz is one of the hottest plays on in the West End right now. Transferred from Chichester Festival Theatre, it is an immersive experience which examines the conviction of 'the coughing Major', Charles Ingram, following his appearance on Who Wants to be a Milionaire? Lizzie Winkler plays a variety of roles in the show and sat down to talk about that experience as well as who'd she's share a million pounds with...


Hi! You've had a varied career so far. What have some of your highlights been?
This! 


Can you tell me a little about Quiz and your role in it?
I play the most characters, ranging from real people Claudia Rosencrantz (Head of light entertainment for ITV), Ruth Settle (Head of Marketing for the show) Alyn Morris (cough doctor) to characters whose names I've been allowed to make up, police officer (PC Jill Salmon) attractive assistants (Denise Body and Kirsty Sparkle) Pregnant Juror (Alison De Winter) Court Stenographer (Linda Bland) I really enjoy creating characters' back stories and histories even if they don't have lines. 


What do you think people will be saying as they leave the theatre after experiencing Quiz?
"What did you vote?". "Do you think they are innocent?" and hopefully "that was amazing "


Can you sum up the play in five words?
Entertaining, interactive, thought-provoking, political, human.


What has your favourite immersive/interactive theatrical experience been?
All the Punchdrunk shows. 


If you won Who Wants to Be a Millionaire? who would you share your money with?
Whoever asked the nicest. 


If you had a magic wand, which show would you do next?
I write television comedy, with Emma Jerrold I would get one of our shows commissioned and be in it. 


Finally, what's your number one piece of advice for aspiring performers? 
Be yourself and work hard!

Thank you so much Lizzie for taking the time to do this interview. Quiz runs at the Noel Coward Theatre until 16th June.

Interview by Editor, Olivia Mitchell
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Wednesday 25 April 2018

Morgan and West: Time Travelling Magicians, Wilton's Music Hall | Review


Morgan and West: Time Travelling Magicians 
Wilton's Music Hall 
Reviewed on Wednesday 25th April 2018 by Nicola Louise
★★★★★

Just when you think magic has died, in come Morgan and West the time travelling magicians armed with some spiffing looks, a couple of top hats and of course a trusty pack of cards. The two take on Wilton's Music Hall with flair and brilliance.

This is not just your average music show, Morgan and West have a theme. As the name suggests,  they time travel! The pair incorporate comedy, ad libbing, suspense and the  all things 1900s into a 90 minute show. With audience participation involved, this is a show that both adults and kids alike can get involved with and the magicians really they really know how to hold a crowd from the word go.


The tricks on stage are a mix of some I've seen before and some I haven't, but the child in me can't get enough and I could gladly watched them all night. They are skilled as well as witty and really capture the essence of magic.

Although the stage has quite a few props on it and is decorated in a way that implied they were going to be used more, they were used, and needed, very little.

I was lucky (or unlucky depending on how you see it!) to be called up on stage. Now, what I was part of is not one for the faint hearted but the outcome will amaze you... I won't say more to spoil the surprise...

If you've always questioned magicians I recommend you see this show. The comedy alone will leave you wanting more, and if you're like me, you'll want to back again and again to try and work out how everything is done! 

Morgan and West: Time Travelling Magicians is on at the Wilton's Music Hall until the 28th April, take your mum, dad, brother, sister, aunt, uncle, nan, grandad... bring everyone! You won't want to miss out.
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Son of a Preacher Man (UK Tour), New Victoria Theatre | Review


Son of a Preacher Man (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 24th April 2018 by Valerie Field
★★


Son of a Preacher Man is directed by Craig Revel Horwood. Based on the music of Dusty Springfield, I expected good things. Unfortunately the story is not very believable and times the production felt disjointed and rather amateurish.

As I have never seen any of Craig's work before it’s difficult to compare, but I wouldn’t have thought this was his best.

The three main characters are brought together because they are all looking for love. They decide to go to ‘Soho’ to find the record shop of the 60s named ‘The Preacher Man’ as they had heard the owner was someone who everyone went to for advice, especially when it came to ‘Love’. Unfortunately the owner had died and it was now a coffee shop run by his not so clever son, played by Nigel Richards.

Alison, a young widow played by Michelle Gayle had a very good singing voice. I felt she should have been more involved in the show as Alice Barlow who played Kat was definitely not such a good singer, although she came across as very confident in her acting. The reason she wanted to go to the record shop was because her gran who had just died told her the story of ‘The Preacher Man’


Paul played by Michael Howe remembers going to shop in the 60’s and was hoping to rekindle a lost love from those days.

I felt the show had been advertised around Dusty Springfield and I was disappointed that more was not mentioned about her as I thought the production was going to include some of her life. A photo of her on stage or as a backdrop I feel would have enhanced her songs and made some form of connection rather than being completely unrelated.

The singing by the ensemble was not the best and I don’t think it worked very well having the musicians on stage throughout. The girls playing the Cappuccino Sisters however, were very energetic and a gave a lively and uplifting performance throughout.

The second half of the show was so much better and more lively and ‘Dusty Springfield’ inspired although it still wasn't the best.

I do feel anyone going to see it because of Dusty Springfield could be a bit disappointed, but in saying that it was an entertaining and enjoyable evening and the audience seemed to appreciate it. Go along for fun but don't expect a masterpiece.

Son of a Preacher Man runs at the New Victoria Theatre until 28th April

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Strictly Ballroom, Piccadilly Theatre | Review


Strictly Ballroom 
Piccadilly Theatre
Reviewed on Tuesday 24th April 2018 by Olivia Mitchell 
★★★★

Strictly Ballroom is a chilled out, glittering celebration of dance and a refreshing show to add to the list of ones to cheer us up in these dreary times. 

Based on  Baz Luhrman's 1992 film, Strictly Ballroom tells the story of Scott Hastings, a young Australian man who’s been dancing and winning awards for almost his entire life. He longs to break free of what moves are ‘expected’ and 'strictly ballroom' and pave his own way in the dance world. Enter Fran, just Fran, the overlooked dancer who wants a life of love, passion and to dance with Scott. When Scott starts improvising at a dance competition again, his partner  Liz leaves him and he and Fran become secret dance partners.

This show is cheesy beyond belief but it’s also extremely self-aware. The over exaggeration and somewhat cringy humour works because it doesn’t try to be anything other than fun. The characters are larger than life but work to create an embellished version of life as a competitive dancer.


This show is of course, all about the dance and Drew McOnie has done an outstanding job choreographing his West End debut. The moves are sharp, sleek and a real joy to watch. When attending this show, I wasn't aware that it's not a typical musical. In fact, I would describe it more as a play with songs. Will Young takes on the role of Wally Strand who acts as the compere, narrator and singer. His voice is beautiful and he does a fabulous job of performing Marius De Vries' arrangements of hit songs such as Dancing With Myself, Love is in The Air, I Wanna Dance with Somebody and more. This set up doesn't take away from the show at all but it would be nice to see the rest of the company getting a chance to show off their vocals. However, it's the dance that's the star of the show. Taking  the place of big vocal numbers, it's stunning to see such colourful, glitzy routines on the stage. The act 2 close of the Paso Doble and Habañera is especially powerful, with Fernando Mira's flamenco routine wowing the audience and proving how emotive dance is.

There’s a running joke that the west end isn’t the west end unless a Strallen sister is in a show. Seeing Zizi Strallen perform you can understand how their talent has made them a crucial part of the London theatre scene. Zizi’s performance is dorky and heartfelt and her character arc throughout is beautiful to watch. It’s truly joyous to watch her perform and you can't help but keep your eyes on her every second she's on stage. I am definitely going to have to bring my apricot face scrub out of the cupboard if it'll make me look like Zizi! Ms Strallen's footwork is also sublime and she works in perfect synchronicity with Jonny Labey who is is dazzling on stage and clearly the perfect choice for the role. The pair of actors are a winning combo.


Anna Francolini is suitably hilarious as Scott's mother who lives vicariously through him- her comedic timing is outstanding. Eve Polycarpou is sweet and endearing as Fran's Abeula and her latin vocals really stand out amongst the rousing music. The ensemble of Strictly Ballroom are great, all with clear personalities in their dancing duos. Gabriela Garcia and Liam Marcellino really stand out as Vanessa and Wayne. The entire cast work brilliantly together to create a polished show.

It's a lovely feature to have the band live on stage and it's amazing how they become part of the action rather than being overshadowing at all. Catherine Martin's costumes are as sparkly and over the top as you could want and Soutra Gilmour's set is simplistic but emotive. This production is well thought out and it's clear to see how much care and love has gone into it from the entire cast, crew and company.

It's time to escape the grey for the colour filled dance hall of Strictly Ballroom. Bogo Pogo your way to the Piccadilly theatre for a spectacularly sparkly experience, and a fun, chilled out night that'll make you want to get out of your seat and dance. 

Strictly Ballroom runs at the Piccadilly Theatre until October 20th 2018

photo credit: Johan Persson

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Monday 23 April 2018

We Won! | UK Blog Awards 2018: A Thank You


Hello Stagey people,

This is a much more informal post than those you usually see on Rewrite This Story but I really wanted to post about this as I'm so overwhelmed by the achievement. Last Friday at the Marriott Hotel, Grosvenor Square, Rewrite This Story was awarded the UK Blog Award in the Business Arts and Culture Category!

Now when I say I didn't expect to win, I'm not just saying it to be humble. Although I think this site and all it's stageyness is wonderful, I really didn't think we had a chance against amazing blogs such as Ticketmaster, Heritage Daily (who won the highly commended award- congratulations!) and Eight Ray Music. But against all the odds- we won!

I don't want to drag this out but I truly want to send my deepest thanks to everyone who is a part of this site. Firstly, thank you to our amazing reviewers! This site wouldn't work without you. Thanks to you guys we have consistent theatrical reviews, interviews, news and opinion pieces. Our reviewers range from age 14 all the way to 78 which is incredible and just proves how universal theatre is.

Secondly, thank you to all the readers! Thank you for supporting us, continuing to read our posts, and commenting and interacting with Rewrite This Story on it's social platforms. Thank you for voting and supporting us. Also thank you to Head Judge Gina Akers and the Arts and Culture judge Tamsin Ace for believing in the blog enough to vote for us! Other than the feeling of watching a show, the joy of theatre is being able to share it with others and I am so happy that this site has become a hub for that. 

On a personal note I want to thank my family and friends for putting up with all my theatrical adventures and going on's. Although I now have an amazing team of reviewers who are extremely helpful and supportive, I started this site alone and it's taken a lot of graft to get to this point. There have been many emotional, stressed moments and I truly couldn't have gotten through it without my amazing support network. I've got to give my mum a special mention (not only because she'll be furious if I don't) she is my number one supporter and Rewrite This Story couldn't have got where it is without her. She contributes emotionally as well as reviewing on the site herself! Thanks mum!

This award isn't just for this site though. This award is for the theatre community as a whole. I truly hope this is a step forward for us all and that it's an entry way for us to be a bigger part of the universal blogging community. Theatre bloggers really are a force to be reckoned with and I can't wait to see what we all achieve in the future! 

Thank you, thank you, thank you. The future is certainly stagey!

Olivia, Editor x

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Friday 20 April 2018

Bat Out of Hell, Dominion Theatre | Review


Bat Out of Hell
Dominion Theatre 
Reviewed on Thursday 19th April 2018 by Olivia Mitchell 
★★★★★

Bat is well and truly back and at home in its new space: The Dominion Theatre. When I first saw this show back at it's press night at the Coliseum I wasn't the biggest fan. The performances were outstanding but the book itself really let it down. This time however, I knew what to expect so was ready for a carefree night of relaxed, rocking fun. Obviously the story is still the same (although this time around did feel less cheesy) but if you can overlook its short-fallings you are destined to have an electric night. The show has matured a lot and it's evident that work is continually being done to make it the best show it can be. 

Jim Steinman's rock musical is an electrifying roller-coaster of drama, lights, confetti, and so much more. Everything is thrown together to create a show that's refreshing and really like nothing else currently in the West End. This show is a Romeo and Juliet-esque retelling of Peter Pan. With Strat, the leader of The Lost who's frozen at aged 18, falling in love with Raven, the girl whose dad is the tyrannical ruler of Obsidian and doesn't want her leaving the house, let alone mixing with The Lost. Bat Out of Hell is a wild ride from the opening moment to the final bows.

It's not a stretch to say that the cast of this show are potentially the most talented currently on the West End. There is not a weak link throughout, with every member not only committing themselves fully to the show and looking as though they're truly loving it, but showcasing their outstanding vocals and performing with enough vigour to make us feel as though we're at a rock concert. 

 A search call might need to be put out for the roof of the Dominion because Andrew Polec and Christina Bennington's voices completely blew it off last night. The two bounce off each other as if they're electrical currents and their ridiculously powerful voices compliment each other beautifully. Whilst their characters are very archetypal of rebelling teens, they also showcase needs and desires of being a young adult. Raven comes across as an aggressively whiney/needy character which although somewhat grating, is also a wonderful portrayal of what being an 18 year old is like. The constant desire to rebel but remain loved is something which we can all relate to growing up. Strat is larger than life and crazy but completely draws you into his world. The pair are receiving high praise for Bat Out of Hell and I doubt it's the only show they'll be applauded for in the future- they're definitely ones to watch!


Also vocally outstanding is Danielle Steers who once again received an audible gasp from the audience when she sung her first notes of Two Out of Three Ain't Bad. Her voice is sexy, strong and oh-so-powerful; when she joins forces with Wayne Robinson (Jagwire) they create vocal bliss as well as working with each other wonderfully.

As Raven's parents who are fighting to regain their spark, Sharon Sexton (Sloane) and Rob Fowler (Falco) are fantastic. Again they have voices to die for and are suitably wacky in their roles. The duets are stellar and they work fantastically as a pair to complement each other rather than over powering one another. Each of the leads truly command the stage but the ensemble also get a chance to shine, especially during Objects in the Rearview Mirror May Appear Closer Than They Are. Mention must go to Giovanni Spano, Jonathan Cordin, Emily Benjamin and Charlotte Anne Steen who really caught my eye throughout. 

If you were to search for the definition of Energetic,  I wouldn't be surprised if the cast of Bat Out of Hell popped up. Every ensemble moment is full-out and it's amazing how many intricate details are woven in. This is one of those shows that you need to see several times just to pick up every detail; there's action on every inch of space. The innovative use of live-camerawork throughout the show helps pick up these details very cleverly. The screens on either side of the stage and the use of vast projections allows the large space of the Dominion theatre to feel intimate whilst also adding to the futuristic, always being watched, vibe of the show. Jon Bausor has done a wonderful job creating this set and all the surprises included in it. 


Patrick Woodroffee's lighting is blinding and is just what you'd expect and need in a show like this, whilst Emma Portner's choreography is suitably strange and futuristic, with the sharp movements adding to the frenetic energy on stage. 

Everything about Bat Out of Hell is extra and excessive but that's the charm and appeal of it. The story isn't the focus; instead, we get to hear Jim Steinman's rousing music and see it performed with a vigour and drive that seems unattainable for 8 shows a week. What's special is that the cast do attain it and give 110% every show. If you like energetic, fast paced shows then For Crying Out Loud go and see Bat Out of Hell. Below all the lights and drama this is a show about love. From the audience reaction and instantaneous standing ovation when the last note was played, it's clear that a lot of people love this show. I am definitely a Bat convert and thoroughly recommend you see and EXPERIENCE this show for yourself.

Bat Out of Hell runs at the Dominion Theatre until 27th October 2018

photo credit: Specular
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Wednesday 18 April 2018

Chicago, Phoenix Theatre | Review


Chicago
Phoenix Theatre
Reviewed on Tuesday 17th April 2018 by Olivia Mitchell 
★★★

Everyone knows Chicago so it has a lot to live up to. For me personally it holds a special place as it was one of the first West End shows I saw and really fell in love with. I also saw the 2016 UK Tour which I loved so I was extremely excited to see what the current production at the Phoenix Theatre has to offer. Unfortunately, I left feeling a little deflated and let down.

This show isn't bad but it definitely doesn't have the energy and pizazz that's expected with a show as big, bold and sexy as Chicago. The production is almost identical to the 2016 tour, with basic staging and a focus on the choreography and singing but it seems that over two years it's gotten a little tired. It's almost as if the creatives decided Chicago is now in it's finest form and needs no edits. Of course the choreography is still sleek and the stage with the band in the forefront works well but instead of being an energetic extravaganza, its a bit... old.

Taking the leads as Roxie and Velma are Sarah Soetaert and Josefina Gabrielle who do a stellar job. Vocally Sarah is great but it's her facial expressions which steal the show. Channeling Kristin Chenoweth at times, she is funny and light-hearted but also calculating.  Josefina is suitably sexy and vivacious as Velma. When the ladies combine forces such as in My Own Best Friend, they compliment each other wonderfully and create moments of magic.


Other than the name and legacy of Chicago itself, there's no denying (especially from audiences cries) that Hollywood star, Cuba Gooding Jr. is selling seats and drawing people in. It's a shame that Cuba falls flat. Gooding has charisma and stage presence when speaking and acting but his singing feels somewhat strained and is underwhelming especially in his money-number: Razzle Dazzle.

Chicago veteran Ruthie Henshall is vocally great as Mama Morton but looks like more of a sister and unfortunately seems too much of a 'walk-on' role. I saw Ruthie play Roxie in 2009 when I was thirteen and she has definitely been one of my musical theatre inspirations since then, so I was looking forward to seeing her take on her third role in this classic. Therefore it was a shame that she was a little underused and under-developed. 


A D Richardson gives a convincing performance as Mary Sunshine and Paul Rider is suitably pathetic but loyal as he gains the audience's sympathy through his performance as Amos. The ensemble do a fantastic job of keeping the action moving, with my eye continually being drawn to Frances Dee as she moved around the stage with ease and drama.

The lack of changes or focus on quality make this production feel a bit like a money making machine instead of an stunning piece of theatre. It's clear that Chicago and certain names will draw a crowd  which is clearly what's wanted, so the show has lost some of it's magic. Although Chicago is still a fun night out that's sure to please and delight many loyal fans and people who just want a chilled theatrical experience, for me it felt too flat in its current form.

photo credit: Tristram Kenton
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