Wednesday 21 November 2018
Glyndebourne's La Traviata (UK Tour), New Victoria Theatre | Review
La Traviata (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 20th November 2018 by Olivia Mitchell
★★★★
La Traviata, Verdi's well loved opera, has spawned various productions and inspired a number of other works, including Moulin Rouge which is set to open on Broadway in June 2019. This success is partly due to the fact that it is a passionate and moving piece which still remains fiercely relevant in terms of gender roles and male privilege.
This current Glyndebourne Tour which is celebrating its 50th year, is a beautiful showcase of Verdi's music and an emotive story about honour, honesty and love. The inbuilt drama from Violetta abandoning her life as a courtesan, living with Alfredo, having their idyll torn away by his father and facing terminal illness the entire time, of course leads to a well rounded piece. However, in this production, there is little chemistry between the struggling couple so they fail to fully capture the audiences hearts and take them on the gut wrenching journey, La Traviata should provide.
The production's most moving pieces come from Giorgio (Noel Bouley) and Violetta (Mané Galoyan) who have an unequal, but well performed bond on stage. Armenian Soprano, Galoyan is certainly the star of the show, providing vulnerability, fragility and beauty whilst also giving us emotionally intense and opulent vocals. The Glyndebourne Tour Orchestra deftly perform the intricate score, with guidance from Conductor Christoph Altstaedt who manages to highlight key moments of score and plot-line with ease and dexterity.
Hildegard Bechtler's sets and costumes are not period specific so work well to make the piece feel strangely relevant, whilst also embodying an eerie air about the whole thing. A cool colour palette of beiges, blacks and greys, punctuated with sharp hints of red, does a good job of drawing our eyes to certain places and highlighting the passion and greed throughout.
The sets and costumes, alongside Peter Mumford and Keith Benson's extremely subtle lighting, make this an engaging but not over the top piece of theatre. The transitions from warm light to cool light throughout Act 1, Scene Two, as well as the removal of the few pops of pink on stage, do a great job of mirroring the tensions which are rising. Another detail is Violetta's hair which changes fractionally throughout, from an intricate updo at the start to an untamed style as her health reaches its lowest point.
This really is a production of subtlety where everything is brought out gracefully to have a fully enchanting effect. It's a production to welcome you into opera with open arms and either reignite a passion or create a passion for the art-form and Verdi's music. Outstandingly controlled vocal performances make this a must see production.
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
photo credit: Robert Workman
Tuesday 20 November 2018
In Conversation With... Mollie Melia-Redgrave | Doctor Dolittle | Interview
Mollie Melia-Redgrave is currently starring as the female lead, Emma Fairfax in the UK Tour of Doctor Dolittle which brings the classic film to the stage and introduces us to a host of marvellous animals. Mollie spoke to Rewrite This Story about her part in the show, what audiences can expect and her advice for aspiring performers...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is such a family show, brought to life through the pages of the book. We have 36 amazing puppets and a mesmerising Ensemble. There’s something for everyone to learn from it, and it is a story that comes from the heart.
You’re playing Emma Fairfax, what’s she like as a character? Are you alike in any ways?
Emma really knows her own mind and isn’t afraid to stick up for what she knows is right. She would go to the ends of the earth to fight for justice. Her only family mentioned is her Aunt so I don’t think she has many people supporting her and has just ended up working for her Aunt out of convenience, therefore when she meets the doctor and Matthew she sees a completely new outlook on life. But it’s a tough choice to choose between family and the heart. She really comes to life once she lets her hair down.
Emma and I have a few similarities. She is very defensive and I’m sure I can be at times, I hate feeling unjustified. I’m awful at confrontation however Emma is the first to speak up. I’d say our biggest similarity is that we are both super passionate and wear our hearts on our sleeves.
You’ve previously toured with Chitty Chitty Bang Bang, what are your favourite and least favourite parts of touring?
My favourites are the fact we can explore new cities I’ve never been to and would never have the opportunity to spend two weeks there. Also doing it with a great bunch of friends. I don’t really have a least favourite but I guess it’s organising the digs haha!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
Fascinating. Watching Jimmy, our puppet director, bring them to life is crazy. Our ensemble have worked effortlessly on making all this happen and they really are the best! When a puppeteer holds a puppet you genuinely stroke it or interact with the puppet without realising it’s not real.
Have you got a favourite puppet in the show?
My favourite at the moment are the seals. They make my heart melt. However you’ve got to love them all. Especially Jip, Chee Chee and Gub Gub.
Can you sum up Doctor Dolittle in five words?
Never seen anything like it.
If you had a magic wand, which show would you do next?
I would do anything to work for Disney. However at the moment I’d love to play Sylvia in Finding Neverland.
If you could go back to any era, when would you go to and why?
40’s for sure!!! The classic movies, the fashion, the history, the achievements, the romance!
What’s your top piece of advice for aspiring performers?
Be yourself. Everyone is equal and everyone has a life outside of this world so focus on you and don’t try to change. Also enjoy whatever it is you are striving for, life is too short.
A huge thank you to Mollie for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
Benidorm Live (UK Tour), Bristol Hippodrome | Review
Benidorm (UK Tour)
Bristol Hippodrome
Reviewed on Monday 19th November 2018 by Emma Gradwell
★★★★
After ten years on our television screens, the long running sitcom Benidorm has found a new home on stage as a national touring production. Written by Derren Litten, the result is a mix of familiar storylines and musical interludes which give us two hours of uncomplicated silliness. The show is largely driven by double entendres and the saucy seaside humour you will have come to expect.
The show is led by six familiar actors from the television cast and the audience were very pleased to see them, with huge cheers to be heard as they appeared on stage for the first time. The storyline works for both fans of the original show and new audiences.
Two middle class holidaymakers, Sophie and Ben (played by Tricia Adele-Turner and Bradley Clarkson), find themselves at the 3½ star all-inclusive hotel, The Solana, when their original hotel is overbooked – and they are not impressed. Bribery and seduction are the obvious answer when Hotel Manager Joyce Temple-Savage (Sherrie Hewson) decides they must be undercover hotel inspectors tasked with shutting them down.
Jacqueline (Janine Duvitski), a member of the Swingers Association, and her very open-minded friend, ‘Gay Derek’ (Damian Williams), baffle the newcomers with their friendly charms. Duvitski is a master comedienne – and Jacqueline’s rendition of “Rubber Ball” at Karaoke Night is one of the shows highlights. There were even a few nods to Jacqueline’s late husband, Donald, and his penchant for their alternative lifestyle, which fortunately for us, Jacqueline is still thoroughly enjoying as a singleton.
Adam Gillen’s Liam is as quirky and naïve as he is on screen, and his continued devotion to his absent father, Leslie, and his Solana family are charming. Tony Maudsley as Kenneth, owner of the on-site hair and beauty salon, ‘Blow and Go’, gives a slick comedic performance. His naughty slogan t-shirts are in full force, my favourite being ‘Mince, Wince, Repeat’.
Stellar dance moves are provided by Jake Canuso (a former dancer) as barman and lothario, Mateo, and new staff member, Ricky (Will Jennings). Shelley Longworth as Travel Rep, Sam provides cabaret at Neptune’s Nightclub alongside Neptune’s own crooner, Asa Elliott, belting out some favourite holiday tunes. What was lacking was a live band, which for a production of this size was disappointing.
The clever set design by Mark Walters took us from reception to poolside via the Salon and eventually to Neptune’s Nightclub for the second half. Director Ed Curtis pulls it all together seamlessly and at two hours, five minutes it doesn’t outstay its welcome.
Benidorm Live is cheesy, camp and refreshingly unpolitical, and I came away still chuckling about Jacqueline’s pink pussy and the sausage in cider.
Benidorm Live runs at the Bristol Hippodrome until 24th November, before continuing its tour.
photo credit: Paul Coltas
Friday 16 November 2018
Doctor Dolittle (UK Tour), Churchill Theatre | Review
Doctor Dolittle (UK Tour)
Churchill Theatre
Reviewed on Thursday 15th November 2018 by Olivia Mitchell
★★★
He talks to the animals, sings with the animals, dances with the animals and is now in a musical with the animals. Doctor Dolittle follows the "impossible" man who understands animals better than people so with the help of his parrot Polynesia, learns their languages to help cure all their ailments. After a run-in with the local magistrate, Dolittle escapes prison to go on a mission to find the giant pink sea snail. There's also a budding romance between Dolittle's right hand man, Matthew Mugg and the magistrate's niece, Emma Fairfax.
This UK tour features book, music and lyrics by original Doctor Dolittle composer, Leslie Bricusse who, alongside Director, Christopher Renshaw, has reinvented the story to make it an entertaining show for the entire family.
Mark Williams takes on the title role and does so fairly well. Whilst he speaks most of his songs, he does so with an energy that fits the character. It would be nice to have the role sung more seeing as this is a musical, but Williams' performance does fit the show well.
It's the Doctor's friend Matthew Mugg, played by Patrick Sullivan who steals the show with his magnetic charm and personality. Matthew is an instantly likeable character who holds the show on his shoulders with charisma. Sullivan also shines vocally with his beautiful tone- it's just a shame we don't get to hear a bit more. As Matthew's love interest, Mollie Melia-Redgrave is excellent and provides great support as Emma Fairfax.
The other stars of the show have to be the intricate puppets designed by Nick Barnes and directed by Jimmy Grimes. A host of animals hop, slide and prowl around the stage, filling the space with liveliness and spirit. Especially memorable are the wonderful seal (Evonnee Bentley-Holder ) and dog, Jip (Jacob Fisher and Richard Vorster) who, like all the animals, are controlled masterfully by the ensemble. Vicky Entwistle also gives a lovely performance as Polynesia and cleverly disguises herself with the puppet to make us forget she's even there, which really brings a hint of magic.
Tom Piper's set is very simplistic and at first comes across as amateurish but as the show continues it becomes fitting and works well to create the storybook like atmosphere. However, the sets being a little larger and more vibrant would add a lot to the show, as would some more inspired lighting. At times it feels like there is an inconsistency with the show. Whilst the basic sets and beige costumes are, I assume, supposed to leave space to highlight the puppets, they instead feel too rushed and cheap compared to the puppets which are so bright and detailed.
This isn't a masterpiece of a show but it is a whole lot of fun for families. Act two is certainly aimed at children but does have some magical moments of choreography (Josh Rhodes) as well as a star feature from the giant pink snail which fills the stage and seems to wow many of the younger audience. For a fun night out and a reminder of why we should protect and love animals, go see Doctor Dolittle but don't expect a monumental show.
photo credit: Alistair Muir
The Band (UK Tour), Grand Opera House, Belfast | Review
The Band (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 13th November 2018 by Damien Murray
★★★★
Take the story of 5 teenage boyband fans from 1993
Take the women they turn out to be some 25 years later
Take the boyband they adore
… oh, and Take That – or at least a selection of their greatest hits – and you are getting close to some of the magical ingredients of this most enjoyable evening of musical theatre.
Superbly directed by Kim Gavin and Jack Ryder, aided by a strong team of equally imaginative creatives (particularly Jon Bausor’s Design and Patrick Woodroffe’s Lighting Design), there is so much more to the success of this intriguing musical than one would imagine.
Of course, it is not the first time that the music of one of the world’s most popular boybands has been brought to the theatrical stage, but this production demonstrates how it should be done.
Cleverly written by Our House writer, Tim Firth, who again captures the mood and nuances of a particular community (this time, working class Northerners) in the same way that the great Willy Russell highlighted the highs and lows of a Liverpool family as they grew up in the classic musical, Blood Brothers, this show also uses comedy and tragedy to bring life’s dark and shade to us in an evening of emotional ups and downs.
Rather than opting for the easier and more commonly used concert-format to give a platform for the popular music, this production is unique in that it is not a traditional jukebox musical, nor is it a tribute act to Take That, but rather an engaging and believable story-based show with many surprises about a group of female fans who grow older and grow apart, before reuniting, like their beloved boyband, many years later.
Apart from some impressive production numbers of the type Take That are famous for and the perfect vocals and harmonies of ‘The Band’ themselves –AJ Bentley, Nick Carsberg, Curtis T Jones, Yazdan Qafouri and Sario Solomon– in re-workings of the well-loved hits, the key to the success here lies in the fact that the songs are all so cleverly integrated within the story without sounding overtly contrived.
Musical director, John Donovan, and his, mostly hidden, on-stage 5-piece band of musicians is always sympathetic to the story, while providing solid support to the spot-on vocals of The Band and to its enthusiastic dancing as Kim Gavin’s energetic take on Take That’s choreography is brought to life, complete with iconic positioning and poses.
As if the boys in The Band don’t work hard enough performing all 18 songs and their associated dance moves, they also have to deal with numerous quick changes and the playing of many extras throughout.
Having always been known for respecting their fans, it is not surprising that this show is not about Take That (they are not even mentioned in the show), but – like a present to their loyal fans – they opted to make the show about a group of fans and the fun and friendship that ensued through the shared experience of fandom.
We follow them from their hormone-filled teenage years (when they are played by Faye Christall, Katy Clayton, Rachelle Diedericks, Sarah Kate Howarth and Lauren Jacobs) to an unexpected reunion when they are all forty-something (and played by Rachel Lumberg, Alison Fitzjohn, Emily Joyce and Jayne McKenna).
Providing universally great performances throughout, the members of this precious sisterhood reveal many stories, secrets and surprises … not least the fact that life did not turn out as expected for any of them.
This is a clever plot as many Take That fans in the audience can readily identify with some of the circumstances, characters, problems and stories being portrayed on stage.
In contrast to the complicated lives of the ladies, Martin Miller gives a nice understated performance of the simple life led by Jeff, while Andy Williams is outstanding in a series of comic cameos.
While musical highlights include the moving rendition of A Million Love Songs, the production number, Greatest Day, and the poignant Back For Good, other songs like Could It Be Magic, Patience, Relight My Fire and Rule The World all stand out.
This fast-paced production also provides some memorable moments like the Roman Chariot scene, the breakable statues in Prague, the aeroplane that becomes a giant glitter ball, the use of a large time-related teletext projection at the start, which progressed to a large digital billboard for the start of Act 2, and the Act 1 finale scene when the aeroplane takes-off over the audience with believable noise and wind effects for those in the front stalls.
Overall, it is easy to see why this is such a great girlie night out for fans of Take That, but it is so much more for, even if you are neither female nor a fan, you will still enjoy this as it is essentially a great night out for anyone.
This engaging, endearing and entertaining production may provide a night of harmonies, hormones and hilarity… but, more than anything, it has heart!
The Band runs at the Grand Opera House until Sat 24 Nov, 2018
Photo credit: Matt Crockett
Thursday 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Grease, Bridewell Theatre | Review
Grease
Bridewell Theatre
Reviewed on Tuesday 13th November 2018 by Nicola Louise
★★
With its cheesy jokes, feel good songs and an array of over enthusiastic teenagers from the 50’s with a rebellious edge, it’s not hard to see why Grease has been at the forefront of musical theatre for over 30 decades.
Songs like You’re the One That I Want and Look at me I’m Sandra Dee have been played countless times, and sung by some well-known names. So when Rewrite This Story got invited to review an Am Dram revival of this well-loved musical, we jumped at the chance to take our seat.
Unfortunately, I wish I hadn’t been so quick off the bat, apart from Yvette Stiel (Cha Cha) and Charlie Smith (Danny) dancing to Born to Hand Jive at the school dance, there’s very little right with this show.
Danielle (Rizzo) had countless face movements, almost like she had a tick and put on a very strange New York/Boston accent which carried on through her singing, making it very hard to hear the words and almost painful to the ears. I was unsure why Director Stuart James had Danielle sing There are Worst Things I Could Do to Sandy (Laura), who looked just as confused as myself and a couple of people sitting next to me.
Casting Smith as Danny, in my opinion was not the best move. He had no charm and nothing about him screamed leader; Jarrod Hawn, who played Kenickie would have been a much better choice as I found him to have more stage presence, charm and wit.
Ellis as Sandy was a decent choice although I felt like she was cast due her voice, her rendition of Hopelessly Devoted to You was pitch perfect and the whole audience was captured by her and her emotion during the song. As sweet and innocent Sandy, Ellis played the role ok at first but as the show went on it looked like she was more comfortable. In the grand scheme of things this is a positive as it mirrors Sandy and her character growth but at the start just felt unsteady.
The rest of the T-Birds and Pink ladies we’re nothing special, however, I was drawn to Ashlie Kenyon-Evason who portrayed Jan, the way she bounced around stage and belted out high notes made the show watchable, as well as Kate Winney (Marty) who carried her character well and had the 'younger girl wishing to be older' scenarios down to a T.
With direction from New Zealand born Stuart James, this show is, unfortunately a massive flop, the singing was mediocre, the acting was barely there and they shoved too many people on the stage at one time making the dance scenes look messy and uncoordinated which I would have thought the choreographers, Samantha Herriot and Vanessa Forte have noticed.
Overall, the show seemed clunky and unrehearsed and this is one showing of Grease I wish to never see again.
Grease is currently playing at the Bridewell Theatre with completely sold out performances.
Wednesday 14 November 2018
Fanatical, Playground Theatre | Review
Fanatical
Playground Theatre
Reviewed on Thursday 13th November 2018 by Olivia Mitchell
★★★
Set at a sci-fi convention for fictional show, Angel8, original musical Fanatical looks at fan culture, the influence of role models and the importance of being passionate.
Originally a comic, Angel8 has been made into a tv series which has gained a cult following. OG fan Trix, wants to celebrate the show and prove the power of the fans so she puts on a convention featuring cosplay competitions, an art hall and a special guest speech by Angel8 creator, Scott Furnish. However, a no show from the creator, a journalist snooping round and some budding romances mean there's more to the convention than meets the eye.
Matt Board's music is witty and catchy from the get go, with When The Internet Was Young, reminiscing about the days of dial-up and setting the tone for this upbeat, heartfelt musical. We are quickly introduced to a number of quirky characters whose commitment to Angel8 is commendable and something I'm sure we can all relate to on some level.
As convention creator Trix, Suanne Braun is suitably caffeinated and passionate, with her act 2 solo, Any Moment Now gaining laugh after laugh. Stephen Frost is hard but worn as writer, Scott Furnish, but also hints at a softer side which makes him a likeable character who, at his core is a fan like everyone else. Eddy Payne gives a humourous performance as Baxter who's lovestruck with his former babysitter, Andra.
Sophie Powles is wonderful as Andra, with her beautiful voice and sweet performance really standing out. Andra is well rounded and goes through a nice character arc as she begins to embody the superhero she's always looked up to; mention must go to Sophie's lovely performance of Spoiler Alert. As undercover reporter and love interest for Andra, Tim Rogers does a great job as Craig.
The rest of the convention goers and staff are brought to life by the fabulous trio, Amber Sylvia Edwards (Jillian), Theodore Crosby (Bernard) and Amy Lovatt (Lizette) who sleekly bring a number of characters to life. Their act one number, Look What I Made is especially admirable and perfectly highlights what it means to be enthusiastic, and find a place where you feel like you belong. All three performers give spades of energy and bring a whole lot to the show.
P J McEvoy's set, although a little flimsy at times, creates the convention atmosphere well and the artwork for the show is so well done that it really does feel like a real comic (the subtle increase in price from £2.50 to £3.350 in the programme is a great detail).
Whilst there are still some things that need brushing up, this is a great base for a production and there's certainly potential for growth and developments to make this show something special which will touch the hearts of fans all over. Fanatical will have you laughing and wanting to celebrate being you.
Fanatical runs at the Playground Theatre until 8th December
photo credit: Scott Rylander
In Conversation With... Rachel Izen | Funny Girl | Interview
Rachel Izen has starred in a number of shows on the West End, Broadway and on tour. Recently, Rachel played Mrs Brice in the UK tour of Funny Girl, which follows Fanny Brice on her journey from wannabe actress to reknowned performer. Funny Girl was recently screened at cinemas, Rachel talked to us about the show and how a filmed version breathes new life into it...
Can you tell us a little bit about your experience playing Mrs Brice in Funny Girl?
This was a very personal experience as I identified Fanny and Rose’s relationship to that of my own.
Funny Girl is a much loved story and show, do you think this filmed version will bring new life to the show and welcome a new audience to it?
This version is heart felt and explores successful women’s turmoil trying to balance career and personal life, so very current today.
What's your favourite memory from your time in Funny Girl?
Dancing to the overture in the wings every show.
Can you sum up Funny Girl in 5 words?
Luckiest people in the world!
If you could bring any other shows which you've been a part of to screen, which would you choose?
The Witches of Eastwick
If you had a magic wand, what would you do next in your career?
I would love to tv series filmed in front of a live audience recreating my favourite musical theatre moments.
What's your top piece of advice for aspiring performers?
Be a sponge. See everything, listen to everything, be practical, take classes. Just because you may have gained a degree and acquired an agent doesn’t mean the world owes you a living.
Thanks so much to Rachel for chatting with us.
Interview by Editor, Olivia Mitchell
Saturday 10 November 2018
Monstersongs, The Other Palace | Review
Monstersongs
The Other Palace Studio
Reviewed on Tuesday 6th November 2018 by Olivia Mitchell
★★★★
The Other Palace played house for the UK premiere of Rob Rokicki's Monstersongs, a theatrical experience that combines rock music, theatre, graphic novels and technology. Taking form as part song cycle, part staged show, Monstersongs is a journey into the minds of often misunderstood 'monsters' and 'baddies'. The music flips the switch on the traditional monster narrative and welcomes us to look at the alternative side of a story and the humanity which unites us all.
This show has the potential to be performed in a number of venues and formats so it will certainly be exciting to see how it evolves and progresses. In its current iteration, we see a series of stories introduced by the young narrator, Bradley Riches who welcomes the creatures to centre stage as well as becoming the Dragon in the rousing song, Reluctantly.
Aside from the vocal performances, the live band are the stars of the show. Providing enough oomph for the rock feel but not becoming overpowering, even in the intimate space of The Other Palace Studio. David O' Neill's graphic novel artwork is also it's own character, with projections adding another layer of interest to the story and helping create the multi-sensory feel of the performance.
Sinéad Wall and Amanda Flynn give a stand out performance with Blood and Brains which is equal measures humourous and gruesome. Sinéad also performs Say Goodbye, a moving number about the pain of Medusa as she freezes another man to stone, with vocal ease and power; whilst Amanda is suitably heartbroken and wicked at the scorned witch in Hell Hath No Fury. Tyrone Huntley is a vocal powerhouse in Down and Under which tells the story of the troll under the bridge and Right Through You is performed with chilling smoothness by Cleopatra Higgins. Another stand out is certainly George Damms in both his first number, The Plans, where he is extremely witty as Igor and his second solo, I'm Sorry in which he showcases his superb vocals.
Whilst I wouldn't say Monstersongs is an immersive show right now, it certainly has the potential to be one and it could definitely do well as a musical which becomes a sort of art installation. It's a 60 minute rock musical about monsters, that provides vocal greatness and heartfelt (if at times predictable) stories- what more could you ask for?
Friday 9 November 2018
Lands, Bush Theatre | Review
Lands
Bush Theatre
Reviewed on Thursday 8th November 2018 by Shaun Dicks
★★★★
Absurd. Absurd is a multifaceted word. It’s volatile, malleable and powerful. Absurd is the word to describe Lands. Produced by the incredible company Antler, Lands is a story of two women, puzzles and a trampoline. We follow their story as one tries to finish their puzzle, while the other tries to give up their addiction. This show is very metaphorical, conceptual and symbolic. You’re in for a ride.
The shows main strength is its humour. The scripted humour throughout this entire piece is brilliant, the use of situational, physical and verbal humour is so perfectly pitched that it’ll make you snort. But not just snort, but loud and ugly snort. You’ll cry because you’re laughing so much. You’ll laugh so much it’ll hurt.
Mainly, this is because of the wonderful leads: Leah Brotherhead as Leah and Sophie Steer as Sophie. They are a wonderful duo, who are great together. They know how to play and bounce off each other and both look like they are having fun together on stage. They interact well with the audience and their stage manager Rachel Darwood throughout. My favourite thing about them was when they were silent. They use silence perfectly. They aren’t afraid to use it.
The direction of this piece by Jaz Woodcock-Stewart is very well done and evident throughout the piece. The set design by Charlotte Espiner is interesting, extremely industrial and cold. The lighting design by Rajiv Pattani is simple and subtle but well presented and constructed. And the use of sound is another highlight, specifically the song choices dotted throughout. My favourite moment in the entire show is a certain dance break. Try and make the connection.
Lands by Antler is a show where you need an open mind. It’s barmy, bonkers and brilliant. It’s just absurd on so many levels. So, you have to go watch it! Do yourself a favour and go laugh for 80 minutes, because you will at Lands.
Lands runs at the Bush Theatre until December 8th 2018
photo credit: Helen Murray
Saturday 3 November 2018
Girlfriends, Bishopsgate Institute (LMTO) | Review
Girlfriends
Bishopsgate Institute
Reviewed on Friday 2nd November 2018 by Olivia Mitchell
★★★
The London Musical Theatre Orchestra are taking a short residency at the Bishopsgate Institute whilst they perform a concert version of Howard Goodall's Girlfriends which follows a group of women as they join the Women's Auxiliary Airforce during World War Two.
Complete with new orchestrations specifically for the LMTO, Girlfriends has some beautiful virtuosic moments which are wonderfully showcased by the orchestra, led by Freddie Tapner. As always, the orchestra give a sleek performance, however, compared to previous concerts where the LMTO have had solo showcase moments playing musical interludes such as the police scene in Mack and Mabel, there weren't any moments where we could purely appreciate the orchestra. These concerts always tend to provide a platform to appreciate stripped back music which of course we could still do, but this particular production lacked some of the "wow" orchestral moments previously experienced.
Whilst the orchestrations are lovely, a lot of the music feels similar and there are a lot of songs which are repetitive. Many of the melodies are catchy but when heard time are time again, become ineffective in conveying the mood/drama they intend to and I believe the whole piece would be much more moving emotionally and technically sleek if it was cut down and smoothed out. That's not to say that there weren't some outstanding moments, especially when the women join together for tight choral moments of chromatic harmony which effectively push the pain and confusion felt by everyone during the war.
The cast are the best of the best who work well as a team and individually. As best friends leaving their "ordinary" lives to join the WAAF, Lucie Jones and Lauren Samuels show off their divine vocals and natural chemistry with effortless talent. Natasha Barnes is vocally stunning, whilst Vikki Stone gives both a humourous and heartbreaking performance and Bronté Barbé gives a memorable performance of The Chances Are. Rob Houchen and Chris McGuigan both give strong performances which showcase their talents whilst perfectly framing the women, as they should in a show focussed on female strength.
Despite the dramatic content, the show itself never reaches a boiling point and somewhat lacks intensity. During act one, I couldn't help but think the show was romanticising war with the various love affairs that formed; however, a moment of text in act two changed that view and brought the stark reality of war back to the heart. Victoria Gosling MBE explains that she was born in a free world and grew up hearing "All You Need is Love" whilst for her grandparents, "All They Had is Love". This reminds us the importance of relationships both romantic and non-romantic as well as how lucky we all are to be able to watch this show without having experienced the pain and turmoil that accompanied the women featured.
Despite this not being my favourite production form the LMTO, there is no denying that the wealth of talent on offer gave remarkable performances. The melodic, complex music does provide moments of power and if anything, this show serves as a fantastic celebration of women and the crucial roles they had in the Second World War.
photo credit: Nick Rutter
The Funeral Director, Southwark Playhouse | Review
The Funeral Director
Southwark Playhouse
Reviewed on Friday 2nd November 2018 by Shaun Dicks
★★★★★
“We all need to be brave, otherwise nothing will change.”
The illustrious Papatango writing prize is now in its excellent ninth year. It’s brought to light some wonderful pieces of work like Tomcat by James Rushbrook and Trestle by Stewart Pringle. This year it is The Funeral Director by Iman Qureshi.
Here we follow the story of Ayesha, a Muslim funeral director who gets a client that forces her to confront a secret she wasn’t ready to face, one she was ready to take to the grave. Here we confront Gender, Religion and Sexuality. Hotbeds of discussion and dissection. Here we need to be brave together.
Iman Qureshi's script is pitch perfect. The dialogue is slick, tight and meaningful. There is a wonderful balance of humour, poignancy and seriousness. The humour is a highlight, as it is all culturally relevant and well thought out. The direction by Hannah Hauer-King is perfection. Also, the set, lighting and sound design by Amy Jane Cook, Jack Weir and Max Pappenheim is flawless and compliments one another.
The best part of the show though is the people that bring it to life. Every actor, Aryana Ramkhalawon (Ayesha), Maanuv Thiara (Zeyd), Tom Morley (Tom) and Jessica Clark (Janey) present such well thought out and multi-dimensional characters. They each play their part in a very affecting story. But the star of the show is Clark as Janey. Clark is an absolute force. Her freedom on stage is refreshing. Her comedic timing is just brilliant, but her skill shown when having to present tender moments is astounding.
The crowning glory of this show is the story. It’s poignant, affecting and necessary. The crossing of gender, religion and sexuality is a very hot topic in modern times. When tackling them it is hard to pitch it right. The Funeral Director pitches it perfectly. There are a few scenes that just hit you. They strike you with a message and emotion. They are worth the ticket price alone. Everything else is just a bonus.
The Funeral Director runs at the Southwark Playhouse until 24th November 2018
photo credit: The Other Richard
photo credit: The Other Richard
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