Thursday 13 September 2018
Wasted, Southwark Playhouse | Review
Wasted
Southwark Playhouse
Reviewed on Wednesday 12th 2018 by Olivia Mitchell
★★★
With a cast of just four, Wasted tells the story of the Brontë siblings and their journeys to success, and questions (to an extent) what makes a legacy and how fulfilment is achieved. Whilst there are some catchy songs and the cast do a good job conveying the struggles of 18th century women, Wasted is drawn out and somewhat uninformative.
The entire show has a tonne of potential and with tweaks could certainly be a coherent, enjoyable show. However, in it’s current state it feels somewhat self indulgent and the basic story (the girls struggle, eventually get published but feel they have Wasted their lives) is stretched unnecessarily to fill almost three hours.
The cast are helmed by West End superstar, Natasha Barnes who has made a triumphant return to the stage after giving birth to a beautiful baby earlier this year. Working with Christopher Ash's demanding score, Natasha leads the show with faultless vocals and outstanding commitment to the level-headed, dreamer Charlotte Brontë.
As her brother who aims to be famous, Matthew Jacobs Morgan is suitably humourous but troubled. As her sisters, Emily and Anne, Siobhan Athwal and Molly Lynch give strong performances although at times it is hard to understand what is being said. This may be due to mics but does mean that it takes real attention to keep up with the story.
Another issue is the amount of repetition. The first act especially feels like we hear the same thing over and over again; after the first 10 minutes it was clear the girls “need to work” but we were told several more times which instead of reinforcing something important, felt unnecessary and added to the length of the show dramatically.
Wasted could easily have been performed as two separate shows. Both act one and act two have good starting and finishing points which would make for solid 90 minute straight-through shows but together just felt too much.
Despite it's flaws, it is wonderful to see such an experimental, new, British musical and the cast do an outstanding job of bringing a mischievous, fresh view of the Brontës.
Wasted runs at the Southwark Playhouse until 6th October
photo credit: Helen Maybanks
Monday 10 September 2018
Proms in the Park, Hyde Park | Review and Five Reasons to Go
I have always loved the BBC Proms especially the last night which I have only ever seen on the TV. I was never really that aware of its alter ego The Proms in the Park, that is until last night. A friend and I were not only fortunate enough to attend this musical extravaganza but we were also given access to the VIP and Press arena. I can honestly say that it was one of the best evenings out I have ever had.
Every year the line-up of performers changes, this year as in previous years the event was hosted by the multi-talented Michael Ball. He was absolutely perfect in this role, linking everything seamlessly whilst making everyone feel included and thoroughly enjoying himself, which was totally infectious.
The afternoon kicked off at 3pm with the BBC DJ Tony Blackburn, who was then followed by the London based, Country, Folk, Pop quartet The Wandering Hearts. We were then treated to outstanding performances from The Rock Choir with the BBC orchestra followed by Lisa Stansfield, who performed some new material and wowed us all with her older hits. Matt Goss was next accompanied by the BBC Big Band, his set was not only excellent, but he also personally surprised and shocked a superfan.
Another highlight was the hugely talented and energetic cast from Bat out of Hell, led by Jordan Luke Gage and Christina Bennington, who had everyone on their feet belting out the songs. Just a small plug, if you only go to one show in London this year go and see Bat out of Hell, you won’t be disappointed! Also, on the bill was the young saxophonist Jess Gillam and award-winning songwriter Albert Hammond who were both outstanding.
The Maltese opera star Joseph Calleja was wonderful, and my personal favourite Josh Groban performed a truly beautiful version of Somewhere over the Rainbow, among other stunning songs. It was then time for the headline act which this year was Gladys Knight. What a fantastic performance she gave, she still has the most incredible voice and had all 40,000 of us dancing and singing along to all the hits we know and love.
Then came the iconic flag waving finale, it was so amazing to be part of this experience which was being mirrored over at the Royal Albert Hall. We all played our part in the rousing renditions of Land of Hope and Glory and Jerusalem. A spectacular firework display was a very fitting end to a truly wonderful day. I hope to be fortunate enough to go again next year and as if the musical performances aren’t enough of a reason to go, here are 5 more:
- This event is in the most glorious setting of Hyde park in central London, arrive early and take a stroll around this magnificent space. Maybe take a boat out on the lake, marvel at the stunning plants, trees and statues or simply sit peacefully and watch the world go by for a while, before entering the arena.
- This is a wonderful iconic event to attend, whether with a group of friends, as a couple or a family but even if you went alone you wouldn’t be for long. The camaraderie amongst the attendees was like nothing I have ever experienced at a large event or concert. People of all nationalities and ages from tiny tots to shall I say a more mature contingent were sharing, stories, drinks, food and lots of laughter.
- Whatever your taste in music there is absolutely something for everyone, from musical theatre, to Opera, rock, pop and disco. This is a wonderful opportunity to see a multitude of fantastically talented artists at one venue.
- The organisation of such a huge event, 40,000.00 people attended, is mind boggling and needs to be seen to be believed. I have no idea how something like this is put together so slickly. From the fabulous selection of food and drink vendors, the security, the staging, lighting, superb sound and visuals to the properly plumbed in toilets. Certainly, a feat of engineering in themselves.
- This event is a wonderfully eclectic mix of music, food, fun and revelry mixed with the superb Pomp & Circumstance associated with the Proms. In the words of a fellow reveller “it made you proud to be British”.
★★★★★
Last Night of the Proms, Royal Albert Hall | Review
Last Night of the Proms
Royal Albert Hall
Reviewed on Saturday 8th September 2018 by Olivia Mitchell
★★★★
After a spectacular eight weeks of concerts, the 2018 BBC Proms came to an end on Saturday night in a grand and celebratory fashion. As a first time attendee of the last night, I was excited to be part of such a well-known piece of theatrical history and the atmosphere and performances left me elated and proud to be British.
The concert followed it's traditional format, with a more serious first half followed by an audience participation fuelled second act. Master of ceremonies for the night was Andrew Davis who made a triumphant return after eighteen years and brought together a magical night.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Saturday 8 September 2018
Unexpected Joy, Southwark Playhouse | Review
Unexpected Joy
Southwark Playhouse
Reviewed on Friday 7th September 2018 by Olivia Mitchell
★★★★
Unexpected Joy, more like an unexpected delight of a show. The latest of Aria Entertainment’s shows to hit London, Unexpected Joy follows three generations as a grandmother, mother and daughter come together after not seeing each other for a long time. There are secrets, past tensions and varying viewpoints which have the potential to break the family apart. This is a heartfelt show that just like real life, features moments of humour, sadness, joy, angst and above all, love.
The show opens with Joy (Janet Fullerlove) welcoming us to her concert which is celebrating the life and music of her late husband, Jump. From the onset we see that Joy is a larger than life character who has always been a free spirit and is the opposite of her daughter.
Jodie Jacobs gives a moving performance as Rachel/Rainbow, the mother who is struggling to balance her beliefs with change and is losing her relationship with her daughter. Jacobs shows her internal struggle with a perfect subtlety and moments of pure vocal perfection.
In her professional debut, Kelly Sweeney gives a mesmerising performance as the youngest family member, Tamara, who longs to break free of the constraints her mother has so carefully put on her in an attempt to not expose her to too much. Kelly brings an innocence and energy to Tamara that you can't help being drawn to and her impeccable vocals are to die for.
As Lou, Melanie Marshall brings humour and truth in equal measure and gives a fantastically vibrant performance. As the only person not in the family by blood, it's interesting to see how Lou becomes the mediator and is able to more easily see each side of the story.
Bill Russell and Janet Hood's musical is a wonderfully nuanced show which brings light to a number of ever relevant issues without being overwhelmingly preachy. Amy Anders Corcoran's direction means that issues with race, social acceptability, and attitudes towards change are approached and discussed in a natural way. The fact that there is not a solid resolution at the end of the show just makes it that bit more truthful.
Unexpected Joy not only shows us the importance of family but also the importance of music to heal; with a number of catchy songs and tight and beautiful harmonies, it really showcases how music can transport us.
The message throughout, that we should always take each others view points into consideration, even if we don't agree with them is needed now as ever. There will always be some common ground between people, you just have to be willing to look for it.
Unexpected Joy is a beautiful piece of theatre which allows us to see viewpoints of everyone and understand that although families argue, at the end of the day, everything they do for one another is for love. A female led production with wonderful songs, a heartfelt message and a whole lot of love, there's no reason not to see Unexpected Joy.
Unexpected Joy runs at the Southwark Playhouse until 29th September
photo credit: Pamela Raith
Friday 7 September 2018
Five Reasons to see Eugenius
I've been lucky enough to see Eugenius throughout it's journey, from it's first public concert at the London Palladium, to its first stay at The Other Palace and now at its triumphant return. It's wonderful to see such a fun British show become an audience favourite and a cult classic. At risk of full on repeating myself, instead of reviewing the show again, I bring you a list of reasons why should see it...
It's the Definition of Catchy- If you're a fan of upbeat, 80s inspired music and heartfelt ballads then this show is for you. If you don't find yourself humming "go Eugenius" or "Don't shoot for the stars, shoot higher" basically all the time after seeing the show, then you are very good at escaping musical earworms! (It's in my head even just from writing those words)
The Cast are Superstars- The talent on the stage of The Other Palace is unreal. Rob Houchen perfectly embodies the geeky Eugene who loves comics more than life and dreams of a brighter future where he will "inherit the earth". Laura Baldwin's voice is complete perfection as she balances angst, humour and joy with ease. Dan Buckley is the ultimate musical theatre comedian and Scott Paige brings the ideal level of sass to The Other Palace. Basically, this cast are astronomical and deserve to be seen.
It Allows us all to be G.E.E.K Geeks- However hardcore we try and be, deep down (or not deep down in my case) we're all geeks. This show allows us to embody this whilst living our best 80s lives. The message of the show is all about acceptance and inspiring us to strive for more, which is pretty great indeed.
The Whole Show is Pure Fun- Eugenius is one of the most self-aware shows I've ever seen. There are so many parts that are ridiculous and super cheesy and it does have it's faults but it knows that and doesn't try to be anything more than it is, which is a pure fun-fest. For a light-hearted, truly joyous night, get yourself along to Eugenius.
The Fans Are the Best- It's my belief that the fans can make or break a show. Regardless of what critics/reviewers say, a shows fanbase can spread the love and word quicker than wildfire. Sitting in row G I had a wonderful view of the fantastic fans who took up much of the first two rows and who were giving as much to the cast as the cast were giving to the audiences. Their beaming smiles, instant applause, knowledge of every word and action in the show and love on social media is heartwarming to watch. Go see Eugenius purely to see what the fans are raving about!
Eugenius runs at The Other Palace until October 21st 2018
photo credit: Scott Rylander
Wednesday 5 September 2018
Six, Arts Theatre | Review
Six
Arts Theatre
Reviewed on Friday 31st August 2018 by Olivia Mitchell
★★★★★★ (it seems only right)
As someone who grew up spending her weekends visiting Hampton Court Palace, Six is pretty much my ideal musical. Bringing the wives of Henry VIII to us live in concert and changing HIStory to HERstory this show is a celebration of girl power and shows us that there's far more to the rhyme we all grew up hearing.
Written by Toby Marlow and Lucy Moss, Six is fresh, modern and unlike anything I've experienced. The lyrics are fast paced and extremely clever but draw you in so much that at no point do you find yourself struggling to understand them. Each Queen has a distinct style which works fantastically. From the jazzy feel of Catherine Parr's solo to Catherine of Aragon's Beyoncé style song, all the music feels relatable and makes you feel you could be friends with any of the Six ladies.
Each Queen is inspired by current pop-stars with the cast bringing clear influences from pop culture as well as making the roles truly individual and memorable. As their respective wives (Ex-Wives *mic drop*) Jarneia Richard-Noel, Millie O'Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed are outstanding. It's unfair to talk about them individually as they all bring so much to the show and despite having solo's, make this show the united, ensemble piece it's meant to be.
The Ladies in Waiting aka the on stage band bring energy and even more power to Six. Emma Bailey's set is simplistic in the tiny space of the Arts Theatre but extremely fitting, with the black box almost becoming a chapel where we can worship these powerful women. Tim Deiling's lighting helps achieve the pop concert vibe and is especially effective in Haus of Holbein where Anna of Cleves' tells her story accompanied by strobe lights and fluorescent neck ruffs.
Carrie-Anne Ingrouille's choreography is sharp and fills the space extremely well. Alongside Gabriella Slade's fabulous and flirty costumes and Jimmy Jones' chiselled makeup looks, the ladies really do own the Arts Theatre and become the hottest girl group in London.
Six is inventive, coherent, uplifting and full to the brim with talent. The varying tempos and genres make the piece continually engaging and the "Britishness" of it all is truly wonderful when so much of the West End is currently/soon to be dominated by imported shows. Henry VIII may have been the Tudor King, but these Queens are the rulers of London theatre.
Six runs at the Arts Theatre until 14th October, and then tours around the country
photo credit: Idil Sukan
Friday 31 August 2018
There is Nothing Like a Dame, Cadogan Hall | Review
There is Nothing Like a Dame (Concert)
Cadogan Hall
Reviewed on Thursday 30th August 2018 by Olivia Mitchell
★★★★
Combine four of the most talented female performers to have ever graced the West End stages and a celebration of 100 years of Women in musical theatre and you have a stellar debut show from Lambert Jackson.
West End superstars Rachel Tucker, Louise Dearman, Ria Jones and Alexia Khadime joined forces to showcase some of the most iconic female roles of the last 100 years and highlight the positive changes that are happening for women in the industry. Every song seemed to top the last and it was a truly uplifting night at Cadogan Hall.
The concert opened with all four ladies floating onto the stage accompanied by rapturous applause to perform Anything Goes which set the benchmark for the night extremely high and began our journey through a number of beautiful solo's, duets, trios and quartets.
The ladies gave all round stellar performances, with highlights including a great medley of Rodgers and Hammerstein songs; Rachel Tucker sung a hilariously drawly version of I Can't Say No, Alexia Khadime a playful I'm Gonna Wash That Man Right Out Outa My Hair, Ria Jones a graceful Shall We Dance and Louise Dearman a pin-drop perfect, You'll Never Walk Alone.
Since seeing Louise Dearman in her solo concert earlier this year, I have been continually surprised by her versatility as a performer and she once again showcased her ability to transform both her vocals and mannerisms to fit any style. Louise is truly a musical theatre chameleon; her performance of I Dreamed a Dream was certainly a stand out.
Other highlights included Ria Jones' With One Look from Sunset Boulevard which brought the audience to their feet, Alexia Khadime's heartfelt, Home from The Wiz and a lovely rendition of In His Eyes from Jekyll and Hyde from Rachel Tucker and Louise Dearman. Mention must also go to the wonderful duet from the three former Elphaba's, Louise Dearman, Alexia Khadime and Rachel Tucker who put a fresh spin on The Wizard and I.
The audience were also treated to a peek at the future of the West End with a great and powerful performance of Don't Rain on my Parade from Daisy Greenwood who won a competition to perform at the concert. Aged only 17, she commanded the stage and is sure to be seen again among the great performers.
It must also be pointed out how fantastic all four ladies looked, donning two glamourous gowns each and embodying the superstar vibes. Also joyous to watch, was the way all the women supported one another and watched each other as if in awe. Women supporting women is just as important now than it's ever been and it's wonderful to see women who could so easily see each other as competition, admire each other and celebrate talent.
If the next 100 years of musical theatre is filled with performances like the ones this night provided then it will be truly wonderful!
Photo credit: Danny Kaan
Wednesday 29 August 2018
Bat Out of Hell Sing-along, Dominion Theatre
Bat Out of Hell | Sing-along
Dominion Theatre
Reviewed on Tuesday 28th August 2018 by Olivia Mitchell
★★★★★
I'm going to start this post by saying it's not really going to be a review but more of a babbling-praise-fest for the amazing team at Bat Out of Hell and the fantastic sense of community they have created over their various runs.
It's no secret that I wasn't the biggest Bat fan when I first saw it at the Coliseum, but since then, something has changed and I just can't get enough of the show. Sure, the story is lacking but the performances and intricacies of every element just make it a complete extravaganza for all the senses and you can't help but feel energised and elated every time you see it. I certainly don't think the show is everyone's cup of tea, but if you go into it ready to be shocked, wowed and dazzled, then there's not much that can go wrong.
I've raved about them on twitter and praised them vastly in my previous posts about the show, but last night's sing-along just brought to light again, the incredible talents of the entire Bat cast. Whilst not everyone in the audience was singing along (the lady next to us told us to stop, so we just sang LOUDER) those that were, were giving it their all just like the cast do every night (minus all the dancing, quick changes and acting they do on top). My friends and I were going pretty full out in our sing-along "performances" but were giving no where near the energy and precision the cast provide night after night and we were still exhausted. This just highlights further the immense talent and stamina of the cast who perform night after night, giving it 150%; I truly believe you'd be hard-pressed to find a more well-rounded, powerful cast in the West End.
The sing-along itself was a wonderful thing to be a part of; I've been trying (and failing) to be a bit subtle about my adoration for Bat but last night I fully embraced the love and fangirling. With a small screen above the stage and a couple of others dotted round the theatre displaying lyrics, it was clearly shown which songs the audience were invited to sing along to. Much of the audience seemed to come out of their shells and start belting for their lives in Act 2, with Objects In The Rearview Mirror and I Would Do Anything For Love being clear audience/fan favourites. The microphones being turned up also meant that none of the cast's vocals were missed and we were still able to bask in the beauty of their voices. These sing-along performances not only give fans a chance to live their best lives, singing along whilst hearing their favourite songs live, but also puts the message out clearly that the normal shows are not for people to sing at. When you pay for a ticket to the theatre, you want to hear the performers sing, not someone next to you, so these special performances provide the perfect outlet and are a happy medium for everyone.
The Bat community are a wonderful family, that's for sure. I have only recently gotten into the show but have been welcomed in with open arms and have experienced the kindness and generosity of the fans several times already. The fans support not only the cast and show itself, but each other. A number of people at the singalong had met through the show and bonded over their love for it, so to see and hear them celebrate that was truly magical to be a part of. I expect the future singalongs and the upcoming last show of Patrick Sullivan and Andrew Polec will continue to highlight the fantastically dedicated community and show how music and theatre can really bring people together.
I'm aware this post really has very little content and is just me putting my post-show Bat thoughts out into the world but I felt I had to write something because the sing-along has made me feel so energised, inspired and content. The generosity of the cast with both their talent and time is fantastically motivational to see. I personally find stage-dooring very awkward but find myself drawn to it at Bat, purely to gush at the cast about how amazing they are. Despite having been rehearsing all day, performing a show a preparing for a double show day, the cast members who came out were so gracious and giving of their time. It's been discussed many times before that casts don't owe coming out and chatting/signing to any audience members, but it is great when a cast so clearly appreciate the people who support them and their show.
If you get the chance to see a normal show or a sing-along, you should grab it with open arms. If you haven't seen Bat Out of Hell before, go into it with an open mind and I am sure you'll leave feeling elated. If you have seen it before, then you know what to expect and can just relish in the pure spectacle of it all!
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
I am a mixture of larynx pain and adrenaline but couldn't be happier to have been a part of this exhilarating and special show... can I say I've played Raven now I've belted out It's All Coming Back to Me Now at the Dominion!?
Further Bat Out of Hell sing-along performances are taking place on September 25th, October 31st, November 27th and December 31st and the show is booking until January 5th.
Sunday 26 August 2018
Flashdance, Grand Opera House, Belfast (UK Tour) | Review
Flashdance (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 22nd August 2018 by Damien Murray
★★★★
Book-ended by its ever popular signature song, this was a fantastic feel-good show for people who remember the popular film with its memorable big hit songs or for those who just want an entertaining night of light-hearted escapism (which, judging by public reaction, was 99% of the audience).
Although there were some dramatic moments, this rather shallow and cliché-ridden story was never going to be a platform for displaying acting skills but simply a dance-based showcase for fancy footwork and ridiculously high-energy routines that made me exhausted just watching them.
When you know not to have high dramatic expectations, then you will not be disappointed, but you will be guaranteed to be blown away by this show’s series of storming dance routines for, as a dance-based piece, it proved to be every bit as energetic as one would have expected.
Going back in time to the era of baggy blue jeans, shell suits, work-out outfits, neon leg-warmers and equally bright head-bands, it all began with the mundane and relatively colourless world of welders contrasting in so many ways with the, sometimes sleazy, but always dazzling one of the dancers with Matt Cole’s spectacular and varied routines being so well realised by the extremely fit cast and even including choreographed cyclists at one point.
For those who don’t know the story, it is basically about a tom-boyish welder, Alex (Joanne Clifton), with dreams of training to be a professional dancer at an elite dance academy and her relationship with her well-meaning and influential boyfriend, Nick (Ben Adams), who is also her boss.
The sub-plot centres on another relationship – that of her down-on-her-luck dancing friend, Gloria (Hollie-Ann Lowe) and her wannabe, but unsuccessful, comedian boyfriend, Jimmy (Colin Kiyani).
Surrounded by the symbolic brick and metal stage frame, the dual level set may have looked cumbersome at times, but it was very cleverly designed to be both mobile, functional and versatile, using its many steps, projection screens and positioning points to become everything from a ballet studio to a run-down bar and from a work canteen to a nightclub.
I particularly liked the unusual angular performance space that it created at times and the performance space height variations that it allowed and, common to a lot of shows nowadays, I thought the use of the cast moving the props and set worked well for slick and distraction-free scene changes.
Andrew Ellis’ lighting plot was varied (often pulsating to the music) but was also subtle during the more dramatic scenes and very effective at key moments, while the blue and red neon lighting helped to establish the era of the piece.
With such a poor script, director, Hannah Chissick, must have had a difficult job inspiring her cast in the non-dancing parts of the show, but she did capture the frustrating reality of the audition process.
Strictly Come Dancing champion, Joanne Clifton, was a natural on stage as she took the demanding challenges of the dance routines in her stride; totally nailing the films two iconic moments (the chair-drenching Act 1 finale and the Academy audition routine), and, surprisingly for some, coping well with her acting and singing roles.
In many ways, this piece gave former A1 star, Ben Adams, very little to do, as – not being involved in the dance scenes - he had to rely on a few acting moments to show his skills.
I felt he was very much under-used, but, thankfully, as a more romantic character, he did get to use his impressive vocals to good effect, especially in his duets with Clifton.
Both Hollie-Ann Lowe and Colin Kiyani impressed here as the less successful couple, with Lowe capturing her character’s frustration about her general bad luck and life with her failed comedian boyfriend; a role that Kiyani made his own as he realised their relationship was more important than his dreamed about comic career.
Also worthy of mention were Demmileigh Foster as dancer, Tess, who was excellent throughout with great stage presence and top dancing skills, and Carol Ball’s Hannah; a Grand Dame of dance who lives in the past reminiscing about the successes of her glory days with unrealistic hopes for more.
Musical Director, George Carter’s 5-piece band offered solid backing throughout with musical highlights including: the song of dreams and hopes, It’s All In Reach; the female ensemble showing the first signs of what was to come in terms of manic movement during Maniac; the comic routine, Put It Down; the male choral work of Justice; the energetic and almost acrobatic version of I Love Rock And Roll; the duets, Here And Now and Hang On; the Act 1 finale reprise of Maniac; and Where We Belong, which sounded like it was written and performed by Dean Friedman .
Some additional songs for the stage version worked better than others, but it was always going to be difficult to match the quality of the show’s big well-known hit songs.
Finally, What A Feeling at the end of the show was well worth the long wait to see the iconic audition piece recreated, before a long curtain call and an all-dancing finale which gave everyone a chance to throw some serious moves centre stage (even Ben Adams).
It must be said that these dancers worked harder in the finale than most performers do in an entire show … never mind What A Feeling … What A Dance Show … you would be a Maniac to miss it!
Flashdance runs at the Grand Opera House, Belfast until 25th August
On The Town (Prom 57), Royal Albert Hall | Review
Prom 57: On The Town (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 25th August 2018 by Olivia Mitchell
★★★★
What better way to celebrate what would have been Bernstein's 100th birthday, than at the Royal Albert Hall with a glorious performance of On The Town?! Written in 1944 with Adolph Green, Jerome Robbins and Betty Comden, this show is a light-hearted look at love which takes place over 24 hours in New York and is accompanied by beautifully woven music.
The plot follows three sailors who are in the Big Apple for one day only. Their time soon becomes commanded by some humourous, strong, powerful women who provide a larger than life experience. Each character is memorable and brilliantly performed by the stellar cast which celebrates some of the best the West End theatre scene has to offer.
Each cast member came at their roles with vigour and embraced both the humour and more nuanced moments, fantastically. Whilst the humour is repetitive at times, it was very well pulled off, with well timed motifs remaining humourous instead of grating, especially the entrances of Pitkin (Barnaby Rea) whilst his fiancé Claire (Celinde Schoenmaker) and Ozzie (Nadim Naaman) were getting closer and closer.
Nathaniel Hackmann's smooth vocals were especially striking as the lovestruck Gabey, whilst Siena Kelly was perfectly flirty and humourous as Miss Turnstiles, Ivy Smith. Claire Moore was equally witty as drunken singing teacher, Madame Dilly, and earned several laughs from the audience.
Whilst the entire leading cast were extremely strong, it was Come Up To My Place, a back-and-forth duet by Hildy (Louise Dearman) and Chip (Fra Fee) which provided the most memorable scene of the night.
This very simplistic concert, whilst beautifully staged by Martin Duncan, with basic projections and innovative prop usage, really just highlighted how stunning the score of On The Town is. The music has wit and sharpness embedded in it which brings the story to life without a need for dramatic sets and scene changes.
John Wilson brought the vivid score to life, conducting the London Symphony Orchestra with energy and bringing out flawless sounds. The varied musical sections showcased the adaptability and versatility of the orchestra and really evoked feelings of the golden age.
The full-house of the Royal Albert Hall were treated to a truly spectacular performance which you would be a fool to miss on BBC catch up! Full of joy and life, watching On The Town was a joyous experience.
photo credit: Mark Allan
Friday 17 August 2018
Gangsta Granny, Harold Pinter Theatre | Review
Gangsta Granny
Harold Pinter Theatre
Reviewed on Tuesday 16th August 2018 2017 by Emma Gradwell
★★★★
Old people are boring, smell like cabbage and are prone to knitting us unfashionable jumpers for Christmas. Or so we are led to believe at the start of this story. Birmingham Stage Company have brought David Walliams’ modern classic to the stage for a two-hour romp that all ages can enjoy – and they have rightfully been nominated for Best Entertainment and Best Family Olivier Awards.
Ben (played by Tom Cawte) not only has to live with shallow and celebrity-obsessed parents (played by Jenny Gayner and Jason Furnival), he also has to endure Friday evenings playing scrabble and eating cabbage soup with his Granny (played by Louise Bailey) – who happily acts a free babysitter, while Mum and Dad live out their dreams at a local Ballroom Dancing class. When Granny overhears Ben begging his parents to let him come home because of his boredom, this visibly upset old lady hatches a plan to lead Ben to believe she’s not as dull as he thinks she is.
When Ben discovers a stash of jewels in Granny’s Queen’s Jubilee biscuit tin, he learns that Granny once led another life as notorious jewel thief, The Black Cat, who liked to steal “for the buzz”. What ensues is a plot to steal The Crown Jewels from the Tower of London via the sewerage network, using Ben’s expert knowledge of plumbing.
This production is very much a family comedy: it’s a little bit rude, with lots of fart and bum jokes, but also relies on a more subtle and gentle humour at times, with some of the funniest moments involving Granny and Ben flying round the stage on her mobility scooter, complete with buggy board. Dance sequences transition scenes, as the ensemble cast move the large revolving cube boxes of the set to reveal different scenes to good effect.
Louise Bailey as Granny performs well as the frail old lady who finds her energy through her love for her grandson – and delivers the role with a twinkle. Emma Matthews plays her characters for laughs, with Matron being a clear favourite with the audience. Aosaf Afzal is fantastic as both the ridiculous Flavio – and shop owner Raj, who also engaged the audience during the interval with his special offers.
Unexpected bear dances, daring escapes, Gangsta raps and naked yoga all helped to engage the younger audience, whilst managing to deliver a poignant message at the heart of the story – a delightful realisation that behind the caravan club magazines, there may be exciting secrets. Excellent acting, slick scene changes and a very charming story of a boy and his Granny managed to captivate all ages, while reminding us to appreciate our older relatives while we still can.
Wholly enjoyable and a great way to spend some time with our families this summer!
Gangsta Granny runs at the Harold Pinter theatre until 26th August 2018
Spring Awakening, Stockwell Playhouse | Review
Spring Awakening
Stockwell Playhouse
Reviewed on Thursday 16th August 2018 by Olivia Mitchell
★★★★★
I would hazard a guess that there aren't many musical theatre fans of my age that didn't go through a Spring Awakening phase. For me it went a little like this: watched the Glee pilot episode, became obsessed with Lea Michele, watched everything related to her entire career, found the bootleg of Spring Awakening, watched said bootleg obsessively, downloaded the cast recording, sung Mama Who Bore Me on an endless loop and never looked back. For someone who went through the phase hard, it's surprising that despite a number of revivals in the past few years, I'd never seen an actual production of the show so when the opportunity arose to see the British Theatre Academy's (BTA) production, I couldn't resist.
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
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