Wednesday 30 May 2018

The Rink, Southwark Playhouse | Review


The Rink
Southwark Playhouse 
Reviewed on Tuesday 29th May 2018 by Olivia Mitchell 
★★★★★

The Rink at the Southwark Playhouse is theatrical brilliance, made even greater by a spectacular cast, including Caroline O'Connor who understudied Diane Langton as Angel in the 1988 London production of the show. With a book by Terrence McNally and music and lyrics by Kander and Ebb, the show focusses on Anna, the owner of a roller skating rink on a fading seaside boardwalk, who has decided to sell it and move on. This goes smoothly until her prodigal daughter, Angel, returns on a mission to reconnect with her past. Through a series of beautiful songs and flashbacks, the pair try to deal with their past resentments and move on with their lives.

Adam Lenson's production is subtlety and sparkle perfectly combined, with the complexity and fragility of the mother-daughter relationship the firm focus. The small Southwark Playhouse is masterly transformed into the cast off roller-rink with Bec Chippendale's minimalistic set providing a back drop which will work equally as well on a bigger stage when this show hopefully takes it's place in the West End.


As well as the story, the cast are the core of this show. The leads are meaty roles so it's great that we have two brilliantly talented women heading the show. The extensive ovation after Caroline O'Connor's first solo, Chief Cook and Bottle Washer, proved that she is the embodiment of star power. Caroline is raw, ugly, homourous and emotive, all combined to create a masterclass in musical theatre and a performance which leaves you wanting more and more. With equal measures of ferocity and warmth, it's Caroline who steals this show and makes it as special as it is.

Despite a few brief moments of vocal/accent faults, Gemma Sutton gives a stellar performance as daughter Angel and matches O'Connor in oomph and vigour. The pair are extremely well cast; pulling off the mother daughter relationship extremely realistically whilst supplying laugh out loud joy, as well as tear in your eye sentimentality.


Fabian Aloise's choreography is again simplistic perfection. Tap dancing on roller skates- what more could you want? The tight cast do an exceptional job of using the space without making it feel cramped. Each member is outstanding but mention must go to Stewart Clarke as Dino who suitably transitions from loved up to angry at the world; Ben Redfern who is sweet as Lenny but shines in What Happened To The Old Days? and Jason Winter who dances with such power and precision that you can't help but be drawn to him.

For a technically brilliant show with performances that will leave you wanting to return to the Coloured Lights again and again, go see The Rink. This is musical theatre at it's best- lets just hope that the rink keeps rolling in London.

The Rink runs at the Southwark Playhouse until 23rd June

photo credit: Darren Bell
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Tuesday 29 May 2018

A Little Princess, Southbank Centre | Review


A Little Princess
Southbank Centre 
Reviewed on Monday 28th May 2018 by Olivia Mitchell
★★★

After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa's lesser-known show A Little Princess was brought to the west end for it's UK Premiere at the Southbank Centre. Telling the story of Sara Crewe, a girl sent from Africa to a boarding school in London where she meets mean girls and a strict headmistress, this is a sweet story, with melodically beautiful songs and a heartwarming moral. 

As Miss Minchin, the headmistress who's a melange of Miss Trunchbull, Mrs Lovett, Mdme. Thenadier and others, Amanda Abbington was good. In her musical theatre debut she did well to convey the tiredness of the character but lacked menace. Vocally she was a little lacking and tended to speak-sing but still gave a pretty solid performance and I look forward to seeing her tackle future theatrical roles.

Danny Mac was dashing as ever as Captain Crewe, with wonderful vocals alongside a sweet connection with the children of the cast. The pacing of the show itself is funny and means that all the characters are a little under-developed. We got to see a lot of Captain Crewe at the start but as the show went on (especially in Act 2) everything felt rushed. With some rewrites this could be a lovely show and it would be great to see Danny having a bit more time to shine. Mention must go to his stellar performance in the pattersong-esque, Timbuktu.

Equally deserving of more time to shine was the stunning Rebecca Trehearn who always manages to steal her scenes. As Miss Amelia, the ditsy sister of Miss Minchin, Rebecca gave a wonderfully humourous performance and shone in her solo, Once Upon a Time.

Alexia Khadime and Adam J Bernard as Aljana and Pasko gave vocally stunning performances despite being a little overpowered by the orchestra at times. 

This was the first production which had actual children playing the children and it was them who stole the show. All the young cast did a great job of owning their roles, with Jasmine Nituan giving a heartfelt, funny performance as Sara's best friend and maid, Becky.

Jasmine Sakyiama is truly a star in the making. Her performance as Sara Crewe was 100 miles a minute from the start with her vocals and emotive facial expressions never failing. Of all the children, Jasmine also had the strongest diction which made her stand out even further. Keep an eye on this girl because she's going to go far!

Nic Farman's lighting added a mystical, magical vibe to the story which was lovely and took the show from a simple concert to an emotive production.

Despite enjoying this production, it does need some edits. I'm no one to say what these edits should be, but Act 2 felt extremely rushed and there were a number of moments that felt unnecessary/over-extended. However, the cast were great and I hope this isn't the last we see of this sweet show in the UK. 
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Friday 25 May 2018

Confidence, Southwark Playhouse | Review


Confidence
Southwark Playhouse 
Reviewed on Friday 25th May 2018 by Olivia Mitchell 
★★

The Southwark Playhouse is a hub for amazing theatre and has been the home to some of my favourite, fresh, exciting, talent-filled productions. Unfortunately, the first UK revival of Judy Upton's 1998 play Confidence is not one of these shows. There is nostalgia and some positives but overall the play feels shaky and underdeveloped. 

The plot of Confidence is pretty random. There's a dead hamster, ice cream, flakes and fake dolphins. Ella is on a mission to make money and move to LA where she can mingle with celebrities and live a dream life. For the moment she is stuck with her friend Dean on the pier of a seaside town. From here we see the characters strive for love and money.

Overall the piece feels slow, simmering but never reaching the boil. What could have been explosive moments are dimmed down and any real drama happens too fast for it to have an impact.


The standout performances of the show come from Will Pattle and Rhys Yates who could genuinely be brothers. The two humourously bounce off one another as they vie for money and Ella's love.  Will is particularly impressive, especially towards the end - a great professional debut. Anna Crichlow is funny and random as cafe worker, Ruby. Her quirky role provides some comic relief whilst also hinting at a more painful side.

As the commanding, Machiavellian girl who oozes sex appeal and fire, Tanya Burr falls flat. It’s certainly admirable that she is taking steps to make the jump into theatre but taking on a lead role, in an intimate space, with very little to work with has not led to the greatest debut. The character of Ella is someone who is able to wrap people (specifically men) around her finger and make them believe she can offer them everything. Whilst there were brief moments of fluidity and power, ultimately Tanya’s newness and one-dimensional acting is sub-standard and it's hard to believe Ella's power over people. 

From a number of sold out performances, it’s evident that Tanya’s fans are booking to see the show and whilst it’s great that this could potentially be introducing new audiences to theatre, this show is far from suitable for her younger viewers. Of course that is not Tanya’s fault at all and this is clearly a step towards her maturing her career, but just a warning to anyone going with younger children that whilst this is a 90s throwback show, the emphasis is on much deeper, less child-friendly themes.


The set design by Amelia Jane Hankin is suitably 90s filled, with the carpet and retro kiosk designs alongside little features such as a walkman adding to the atmosphere. 

Something about Confidence just doesn't click. Given more time and a bit of a rework it could be a layered, interesting show but in it's current state there is a unity and flow missing. Hopefully the energy and verve will come and those seeing future performances will experience a solid (if random) story, alongside some wonderful 90s nostalgia.

Confidence runs at the Southwark Playhouse until June 16th

photo credit: Helen Murray
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F*cking Men, King's Head Theatre | Review


F*cking Men
King's Head Theatre 
Reviewed on Thursday 24th May 2018 by Shaun Dicks
★★

I’m a massive advocate for LGBTQ+ theatre and the King’s Head Theatre is a fantastic platform for LGBTQ+ art. It is a venue that I whole heartedly support. It produces exciting work – like Strangers In Between, which I previously reviewed - and is really a benchmark for pub theatres. The King’s Head is currently home for the show F*cking Men, written by Tony Award winning writer Joe DiPietro. The show follows a multitude of characters that are interwoven into multiple narratives, exploring monogamy, lust and cruising. 

In recent times I’ve come across the quote of ‘Happiness writes white,’ but in a play where there is no happiness, simply sex, the word I would use to describe F*cking Men is beige. Don’t get me wrong, there are a few redeeming qualities that I commend. One of the shows biggest pluses is its characters. In mainstream media there is a overwhelming amount of archetypal gay characters that only represent a small cross section of the community; here there is a smorgasbord of characters covering much of the gay community. Another redeeming quality is the performance of the actors, they do the best they can with what they have been given. 


Despite these redeeming qualities, there are too many negatives in this show that far outweigh the positives. As I was reflecting on the show after I’d seen it, I couldn’t decide whether it was brave or demoralising that the show was so full frontal with its exploration of the modern gay relationship and cruising culture. Ultimately, I concluded that it’s demoralising. F*cking Men takes a metaphorical dump on one of the rights the LGBTQ+ community have fought for, monogamy. 

DiPietro presents men of the gay community as lust driven, predatory creatures who can’t hold down a monogamous relationship. It is repeated throughout the script that one of the bonuses of being gay is that we aren’t bound by monogamy. The show is also hampered by it’s painstakingly long transitions from scene to scene, and when we finally get to a scene, they are very vague and basic; the actors spend more time taking their clothes off than they do act. We were given no time to invest into characters, so when heartfelt moments happened, I felt nothing. 

I simply don’t understand why most LGBTQ+ shows insist on including such vulgar nudity. I’m no prude but I don’t come to a theatre to stare at a chiselled man and his penis. I implore all who are writing LGBTQ+ theatre, raise your taste level, we will rise with you. 

I urge you to go and support the King’s Head Theatre, it is an incredible venue with a very bright future but do it in ways other than seeing F*cking Men. It’d be a waste of your time and money. I’m not angry, I’m just disappointed. 

photo credit: Christopher Tribble

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In Conversation With... Anna Crichlow | Confidence | Southwark Playhouse



Confidence opens tonight (May 25th) at the Southwark Playhouse. It features a small cast, some of whom are making their theatrical debuts. Anna Crichlow, who has previously appeared in Pride and Prejudice for Regents Park Open Air and Common at the National Theatre, plays Ruby, who works at the cafe on the pier in the show. Anna took the time to talk to us about Confidence, the 90s and what the audience can expect from the show...


Can you explain a little about Confidence and how your character Ruby fits into it?
Confidence follows four young people who live in a seaside town in the 90s. The world is shaken up by the introduction of Ella, played by Tanya Burr, who’s dreaming and scheming attitude gets some of them into a pickle. Ruby runs the cafe on the promenade and has a more down to earth approach. She’s sweet and seems less ambitious than the other characters but she is a grafter. 


The show has a small cast and is playing at the intimate Southwark Playhouse, you must all have had to grow close quickly. What was the initial meeting and rehearsal process like for you?
It was lovely and really chill. We all met initially trying on loads of hilarious 90s clothes on in a vintage shop so I think that definitely broke the ice. It being some of the cast’s first theatre job made it even more exciting because everyone was so ready to get stuck in. The rehearsal space was always really open and Rob made us all feel comfortable to play with each other and the piece. 


You get to live out your 90s dreams in this show, what's your favourite song from the 90s?
That’s a really hard question, there are so many bangers from the 90s. I think right now it’s Jade-Don’t Walk Away. 


Ruby works in the cafe over summer, have you had any random summer jobs?
Don’t know how random it is but I used to works as an usher at Regents Park Open Air Theatre over summer. It was lush and I got to go back to act there three years later. 


Why should people come and see Confidence? What will audiences be saying as they leave the theatre?
Confidence is an explosion of 90s fun but it also explores what it means to work and all the different ways people, especially young people, achieve their dreams. 

I think they’ll leave thinking “I didn’t see that coming” and hopefully having laughed.


If you had a magic wand which show would you do next?
Gosh that’d be nice but genuinely I want to do the next show that is meant for me. If I had to say it would be amazing to get stuck into some Shakespeare. 


What's your best piece of advice for aspiring performers?
Don’t give up and be your most authentic self. 

Thank you so much Anna for taking the time to do this interview. Confidence runs at The Southwark Playhouse until 16th June.

Interview by Editor, Olivia Mitchell

photo credit: Clare Park and Helen Murray

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Thursday 24 May 2018

In Conversation With... Freya Parks | Teddy | Interview

Teddy runs at the Vaults until June 3rd, it is an innovative show which not only showcases the actors on stage, but also the musicians. One of whom is Freya Parks who talked to us all about her experience with the show...


Teddy is such a fun show, it must be amazing to be a part of! Have you had a favourite moment so far?
Yeah it's a complete dream to be playing rock 'n' roll on a stage! 

Looking back I think my favourite moment was probably when everything came together the first time we performed to an audience. That was when we all realised how wild and intricate and special what we'd created really was. That's always a good feeling. 
For anyone that hasn't seen the show, can you explain what it's about and how you fit into it? 

It's about a Teddy boy and Teddy girl (Teddy and Josie) and the adventures they have during a rainy Saturday night in Elephant and Castle in 1956. After their paths cross, they discover they're both massive fans of an American band called Johnny Valentine & the Broken Hearts and so do anything they can however risky to get into their gig. Then everything kicks off... 

I play Jenny O'Malley, the bassist, a lady with sass who keeps her boys (fellow band mates) in line! 
Teddy is set in the 50s, if you could transport to any other era, when would you go to and why? 
I could quite easily spend every night at a Weimar Cabaret in the 20s. Thinking about it, the 20s and 50s were both quite wild times as there was a similar post-war attitude of making the best from nothing, living in the moment and partying amongst the rubble. They must've been exhilarating times to live in. 
You not only get to play live during the show, but also after the show. What's been your best audience reaction post-show? 

The audiences always impress us with their dancing but there was one particular Friday night during our cover of Johnny B. Goode when a guy - who was joyously reliving his youth - jumped up onto Johnny Valentine's platform, grabbed the microphone and sang the rest of the song to perfection! I'm really glad there's video footage... 



In 5 words, can you tell us why people should come and see Teddy? 
Female-empowering, gritty, nostalgic, heartfelt....ROCKIN'!!! 
If you had a magic wand, which show would you do next? 

I recently read Teeth 'n' Smiles by David Hare. It's a bit like Teddy but a decade later! I'd love to have a bash at that. 
What's your number one piece of advice for aspiring performers? 

If it's really what you want to do, keep going no matter what and whenever you hit a lull, surround yourself with other creative things - just keep your mind active! You never know what's round the corner. 

 Thank you so much Freya for taking the time to do this interview. Teddy runs at The Vaults until 3rd June.

Interview by Editor, Olivia Mitchell

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Strictly Ballroom, Piccadilly Theatre | Review


Strictly Ballroom
Piccadilly Theatre 
Reviewed on Wednesday 23rd May 2018 by Nicola Louise
★★★★

Every now and then a show fly's into theatres that involves more sequins and glitter that you can shake a stick at... this is DEFINITELY one of those shows!

Set in Australia, in the crazy world of ballroom dancing competition, the show focuses on Scott Hastings (Jonny Labey), a young boy wanting to break out of the norm. There's no denying Labey's skill on the dance floor but it's his ability to adapt to different to the various dance styles with ease and grace that make him really stand out. When joined by Fran (Zizi Strallen), you're blown away by the chemistry of the two. Strallen's character has the perfect edge of adorableness and elegance. When dancing, this elegance shines through and even as the dance and drama become more intense, she retains her somewhat geeky side.

Will Young stars as the host of the Ballroom competition and the shows narrator, Wally Strand. Young has the comedic timing down like the best of them, however, I felt his voice let him down. Although a great singer, it's clear that Young's voice still has more of a pop sound than a traditionally musical theatre one and at points I felt his voice was not as strong as needed.


Strictly Ballroom is very predictable but this doesn't take away from it. I was still awe struck by the amount of talent each dancer has on stage; "Watching this makes me want to learn how to Ballroom dance" said a friend of mine, and I was right behind her on that, you'll be mesmerised my the swift movements and sparkles.

I wasn't a huge fan of Anna Francolini, playing Scott's mother Shirley Hastings. Although clearly a very funny actress, I couldn't help cringe a little at her over the top interpretation which at times felt a bit panto. (Think Kath and Kim do Panto!)

Although this show focused on the dancing, it is classed as a musical and maybe I'm wrong but I would expect more than one person singing. Young sings the whole show with the main characters singing one or two lines at the very end. It would be nice to have more variety of voices, especially as I didn't feel Young's voice was strong enough to carry a whole show by himself.


This show is perfect for all the family and anyone who loves ballroom dancing, the comedy is perfectly timed and the direction by Drew McOnie is perfect. 

There was a full theatre standing at the end cheering and clapping, something which I assume happens every night after this up-beat, joyful musical.

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

photo credit: Johan Persson
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Wednesday 23 May 2018

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


Beautiful: The Carole King Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 22nd May 2018 by Becca Cromwell 
★★★★

Beautiful: The Carole King Musical is based on the life, trials and tribulations of singer-songwriter and Grammy Award winner Carole King. The story begins in 1950s Brooklyn, where a bright eyed and bushy tailed Carole goes to 1650 Broadway, New York City, to sell her song. Producer Don Kirshner buys the song, and offers her a contract. From there, she meets Gerry Goffin, her soon-to-be husband, and they collaborate on a song. Their collaboration brings them hit after hit and soon enough they are a successful musical duo, with Carole writing the melodies and Gerry writing the lyrics. Things are not always sunny however, as Gerry and Carole divorce and Carole goes on to release her album Tapestry, which won her Grammy awards and allowed her to play a sold out concert at the Carnegie Hall.

Bronté Barbé, gives an incredible performance and Carole. She captures Carole perfectly, from her mannerisms to the recognisable voice. Barbé astounds from the beginning, right through to the very end, giving a performance that must be extremely hard to match night after night.

Gerry Goffin played by Kane Oliver Parry, is a lovable character who makes some big mistakes. Kane plays him brilliantly with astounding vocals.  

Honorable mentions must go to Amy Ellen Richardson, Matthew Gonsalves and Adam Howden, who play Cynthia, Barry and Don respectively. These characters are some of the most important people in Carole’s story, and the portrayal of these characters is excellent. 


Throughout this particular performance, there were unfortunately periods where the singing could not be heard over the volume of the band, which means some of the hits including the Loco Motion and Will You Love Me Tomorrow were not as spectacular as I had hoped. However, the singing that we could hear was extremely good, with harmonies that were marvellous.

The quick changes performed by the ensemble cast are mind-blowing, leaving the audience gasping as they effortlessly switch costumes within seconds. 

The set, designed by Derek McLane, works well within the show. The simplicity of it and the continuous use of the piano allows the actors to truly transport us back to Brooklyn in the 1950’s and 1960’s. I particularly enjoyed the 1650 Broadway set, which served as various offices and performance rooms. 

The entire ensemble give fantastic performances and the show is thoroughly enjoyable. I had high expectations, all of which were met for a fun-filled night out at the theatre. 

Beautiful continues its UK tour into June, so grab your tickets for the final venues whilst you can!
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Summer Holiday: The Musical (UK Tour), New Victoria Theatre | Review


Summer Holiday: The Musical (UK Tour) 
New Victoria Theatre 
Reviewed on Tuesday 22nd May 2018 by Olivia Mitchell 
★★★★

Based on the 1963 Cliff Richard hit, Summer Holiday: The Musical, taps into nostalgia and humour as a group of youngsters hop on a bus to live their dreams and go on a whirlwind adventure of self-discovery and love. The story follows four mechanics who, on a quest for the perfect summer holiday, travel around Europe on a double-decker bus as they plan a travel business. Along the way they meet a three person girl group and a runaway singer. Romance, laughter and catchy songs ensue.

Having not seen the film (it came out 33 years before I was born) I was not sure what to expect but this production delivered on so many levels and pleasantly surprised me. The humour is predictable and the plot isn't anything special but this is a high-energy, feel good show that's perfect for warm summer nights of escapism.

The set is basic but the big red bus certainly provides the wow factor. Steve Howell's design is simplistic without being basic and really helps highlight Racky Plews' fantastic choreography which is certainly one of the finest aspects of the production. The mixture of dance styles are extremely impressive. There are some West Side Story vibes as well as fabulous rock and roll moments. I didn't expect this show to be so choreography heavy but was very dazzled. The sleek movements are pulled off by the entire cast to great affect. There were a few errors such as dropped props but the professional cast did a wonderful job of covering up and making mistakes a part of the show.

Summer Holiday's cast give high-energy performances matched with strong vocals. Ray Quinn as Don gives an especially strong performance although his different accent whilst singing vs speaking did throw me a bit. However, he is a very strong singer, dancer and actor and is perfect for the role- suitably cheesy but well-rounded. As runaway singer, Sophie Matthew gives a lovely performance, with her bright eyes gleaming from the stage and her vocals shining during act two especially. 

Each cast member does a great job of looking as though they're having fun on stage. This show is a real team piece with everyone working together well; particular stand out's are Billy Roberts as Steve and Alice Baker as Alma.

Summer Holiday: The Musical is lighthearted fun, perfect for those who want to reminisce on the 60s as well as those experiencing the story with fresh eyes. Take a break from the weight of the world and board the red bus for a few hours of carefree, musical fun.

Summer Holiday: The Musical runs at the New Victoria Theatre until May 26th before continuing it's UK tour.
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Monday 21 May 2018

Divalution: The Re-Launch, The Other Palace | Review


Divalution: The Re-Launch (Concert) 
The Other Palace 
Reviewed on Sunday 20th May 2018 by Olivia Mitchell 
★★★★★

What a night. Divalution took over The Other Palace for a Sunday night of flawless vocals, spades of personality and a whole load of fun. I was made aware of Divalution (previously Sapphire Soul) when I saw them perform at West End Live Lounge. From the first time I heard their killer voices I was obsessed. These ladies are class, sass, fire and vocal prowess combined to create a perfect group who deserve to been seen and heard everywhere.

Made up of friends Laura Tebbutt, Sejal Keshwala and Lisa-Marie Holmes, Divalution come together to belt out new songs and classics which are beautifully arranged and showcase the ladies' brilliant technique. It's clear from their polished performance that many hours of hard work have gone into creating a perfectly oiled machine and their passion, determination, dedication and love really shine through.

The ladies opened the show as they meant to go on, with a fiery rendition of Survivor by Destiny's Child and the song of the moment, This is Me from The Greatest Showman. We were then introduced to their fab personalities, with each including jokes and anecdotes throughout. Every song was wonderful but standouts included Over The Rainbow, their 23 song 90's Medley, Defying Gravity and All I Ask/When We Were Young.

As well as hearing the delightful group sound of Divalution, we were also treated to solo performances. Laura Tebbutt put her own spin on Elbow's One Day Like This which included to my delight, some audience participation. Laura, known as the belter of the group has vocals and facial expressions for days and I fully want to be her when I grow up (still fooling myself that 21 isn't grown up.) Laura's vocals are honestly some of the best I've ever heard; just when you think she can't belt any higher she takes it up a billion octaves and sounds impeccable doing it. I don't understand how she hasn't been Elphaba yet, or why she's not in every single show in the West End. Honestly outstanding.

Lisa Marie-Holmes' solo was a haunting version of Snow Patrol/Leona Lewis' Run which showed off her powerful voice, stellar belt and lyrical soprano range. Again, this lady needs more recognition in the world because she is AMAZING!

Completing the trio is Sejal Keshwala who's performance of Dangerous Woman blew the roof of The Other Palace off and had most of the audience on their feet- truly mesmerising.

As well as Divalution themselves, we also got to hear special guests Rob Houchen who perfectly sung I'm Not the Only One and Marisha Wallace who blessed the audience with her Whitney Houston medley. Marisha has taken the West End by storm since appearing as Effie White in Dreamgirls and by god does this lady know how to work a crowd. The audience were putty in her hand as they stood up, sung along and absorbed themselves in her insanely good vocals and stage presence.


Due to the fact that the ladies of Divalution also have solo careers, they have a couple of stand ins who replace them if all three can't make a gig. We were introduced to Nicola and Katie when the five ladies joined together for the rousing act one closing number, Power. West Finchley is very lucky to have so many talented vocalists residing there!

Mention must also go to the outstanding band, led by Robert Eckland and made up of Doug Harper on drums, Richard Coughlan on bass, Jeff Leach on keys and Adam Goldsmith on guitar. They kept the night going and provided fantastic accompaniments throughout with Adam completely wowing me with his insane playing. My only negative of the night was that the mics were a little too loud at the start but this was quickly remedied and didn't diminish my enjoyment of the evening at all.

Every song was so full out that my larynx hurt for Divalution when leaving the theatre and as a  classical soprano who can't belt to save her life, I can only dream of being able to hit the notes they do. It's concerts like this that get me riled up because these ladies are so so SO talented but don't get half the recognition they deserve. With so many 'famous' artists nowadays being auto-tuned beyond belief, it sucks that naturally talented people such as Divalution are not at the stratospheric levels of fame they deserve to be at. Of course it's not about fame and it's clear from the three ladies that they do what they do for a love of singing and music but tell all your friends, families, acquaintances and people you meet on the street to listen to Divalution so they can keep wowing people. Spread the Divalution word and be inspired not only by their vocals but their strength and conviction as women.

Keep up to date with Divalution via their twitter and instagram.

photo credit: West End Video & Olivia Mitchell

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