Saturday 23 February 2019

Jesus Hopped The 'A' Train, Young Vic | Review


Jesus Hopped The 'A' Train
Young Vic 
Reviewed on Friday 22nd February 2019 by Olivia Mitchell 
★★★★

Originally directed by Philip Seymour Hoffman and performed by LABrynth Theatre Company, Stephen Adly Guirgis' Olivier-nominated Jesus Hopped the 'A' Train, returns to London in a striking revival directed by Kate Hewitt.

Set for the most part in Rikers prison, New York, Jesus Hopped the 'A' Train is an intellectual and depth filled examination of justice, faith and redemption. Kate's direction does the perfect job of revealing both the desperation and life found in Guirgis' script, and brings it force in a sharp, to the point way.

The majority of the story is made up from pacy back and forth conversations between multi-murderer Lucius Jenkins (Oberon K. A. Adjepong) who is living his last few weeks before his death sentence, and young man, Angel Cruz (Ukweli Roach) who is battling a charge of first degree murder for shoot and evangelist who he believed was brain washing his friends. These conversations are intense and full of information. The pair debate their sentences, their actions in life and religion with an electricity that never ceases. Angel's attorney Mary Jane (Dervla Kirwan) addresses Angel and the audience as she narrates the story and tells us her part in the trial.  


The contradictions between the characters make lines unsettlingly blurred and its particularly ambiguous who's side the audience should be on. Joplin Sibtain as Valdez acts at times as a moral compass, and through his intense anger and lack of care for the prisoners, reminds us that they are murderers; but at other times, his lack of sympathy purely highlights failures in the American prison system and we again feels for the incarcerated men. This back and forth of the audience questioning morality, is a testament to Guirgis' outstanding writing as well as Magda Willi's long stage which brings these emotions to life in front of us. Glass frames move up and down the stage to show both physical and mental confinement and the clear glass allows us to look straight at the characters and feel as though we're seeing aspects that should be hidden. This brightness and clarity leads to a desire for exploration.

Perhaps the character who embodies self-questioning the most, is Charlie (Matthew Douglas) who at the start is an ally to Lucius but returns at the end to give a particularly moving monologue about how his initial views of the man, were clouded by his final view of him at his execution.

Everything about this production makes you want to ask questions and certainly doesn't leave you with an answer. From the impossibly loud scene transitions to the peaceful feeling when Mary Jane seems to be asking the audience for guidance, we are continually reminded of the balance between good and evil, and justice and repentance. Jesus Hopped the 'A' Train is riveting and engrossing from start to finish and spits energy in your mind, even after you've left the theatre.

photo credit: Johan Persson

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Friday 22 February 2019

Follies, National Theatre | Review


Follies
National Theatre, Olivier Theatre
Reviewed on Thursday 21st February 2019 by Olivia Mitchell 
★★★★

After its sold out run in 2017, Follies is back in true glamourous style as it follows a group of dancers reminiscing and reliving their youth. Mr Weismann's iconic theatre is being turned into a car park, so he's invited his past Follies dancers back to say one last farewell to the space. The walls of the theatre bring back memories and as we see childhood friends Phyllis and Sally reopen chapters they thought were closed, we are taken on a journey where past and present collide.

Dominic Cooke has once again directed a visceral and intense production. At 2 hours 15 minutes with no interval, the piece steadily flows and retains ferocity throughout. Vicki Mortimer's set and costumes are a spectacle in themselves; the crumbling theatre is periodically brought back to life by a subtle change and cleverly used to signify mental changes and journeys as well as the physical flashbacks. The costumes are elaborate and unique to each girl, with the delicate smatterings of jewels and sparkles, shining and flowing as they move around the stage.

Bill Dreamer's choreography brings the best of the Follies era to life  as the girls move around the stage gracefully, as if every movement is strategically planned for attention. Of course, the stand out choreographic moment is 'Who's That Woman' where the young and old combine to create a magical tap routine. Also, particularly striking is the way the young and old follies dancers, reflect themselves across the stage.


In terms of cast, you can't get much better than this one. Tracie Bennett's 'I'm Still Here' is a chill inducing, nuanced filled performance; whilst,  Claire Moore is hilarious throughout, no more so than in her gloriously sung, 'Broadway Baby'. Fellow The Girls alum, Joanna Riding is utterly outstanding as Sally. The transition from excitable girl, to fragile woman is perfectly performed, with 'Losing My Mind' providing a complete masterclass is acting through song and maintaining vocal technique even in moments of peak emotional earnestness. This intensity is mirrored by Gemma Sutton as Young Sally who is perfectly cast, alongside Christine Tucker as Young Phyllis, to show how we change, and how we remain the same.

Janie Dee is striking as Phyllis, whilst husbands, Buddy and Ben have great characterisation and development thanks to Peter Forbes and Alexander Hanson.

Whilst Follies is an outstanding piece of theatre, personally I feel a little far removed from the story; most likely because I lack the life experiences to relate on an emotional level. However, there's not denying that this is one of the most glitzy shows around, with one of Sondheim's finest scores and it's worth a visit to see how theatre should be done. Regardless of being able to relate, this is a marvellous piece of theatre. 

photo credit: Johann Persson
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Thursday 21 February 2019

Jersey Boys (UK Tour), Edinburgh Playhouse | Review


Jersey Boys (UK Tour) 
Edinburgh Playhouse 
Reviewed on Wednesday 20th February 2019 by Liv Ancell
★★★

The latest touring show to grace the Edinburgh Playhouse with a two-week residence is the all-singing show, Jersey Boys. Although, upon curtains up, you could be mistaken for thinking you had perhaps turned up to the wrong show by accident, with an off-theme French contemporary rap song (Ces soirées-là) kicking off the show - the relevance of course, being that the Jersey Boys’ original songwriting and melodies are frequently covered and adapted by modern artists to this day. With this firmly established, we immediately move back to the 1960s where the story of the Jersey Boys - this being of course the collective term for the four iconic Newark lads who formed the rock and roll group The Four Seasons - all began... 

The layout of the performance is such that a different band member in term breaks the fourth wall and introduces parts of the story, or cuts in and interjects the action with a retrospective narrative. They do this in turns and add in their side of the story, but the first up is Tommy Devito, who was one of the groups founding members and in the stage version, is the loudest and most animated of the four protagonists (played by Simon Bailey). 

As Tommy takes us back to the early days of ‘The Lovers’, we begin to learn more about the ups-and-downs the band navigated on their way to stardom, set against the backdrop of Italian-American life in 1960s Newark, New Jersey. 

The songs throughout are sung expertly, keeping true to the band members’ Jersey accents and famous tones and pitches. To master historical regional accents must be no easy feat, but the cast had the audience well convinced. 


The actors are all meticulous in their portrayals, which is made even more apparent when the screen at the back of the stage projects the real life performance from the 1960s, synced in time above the actors’ own rendition. Indeed, Michael Watson (Frankie Valli), Declan Egan (Bob Gaudio), Lewis Griffiths (Nick Massi) and Simon Bailey (Tommy DeVito) all put in truly stellar performances, with the energy kept high throughout and displayed fantastic comedy timing. 

While I have seen many retrospective artist/band stories translated to the stage, this one was possibly the version which glazed the most over the more emotive scenes and elements of the story. In this adaptation, there is no doubt that the iconic songs of the Four Seasons are the real focus. 

For the audience, who were mostly made up of slightly older theatre-goers, this was a welcome move. Renditions of Bye Bye Baby, Can’t Take my Eyes off You and December 1963 (Oh What a Night) had the audience delighted, with the warm feeling of nostalgia palpable in the stalls, circle and balcony. 

For me however, stage biopics about the life and hits of Carole King and Cilla Black were a more rapturous journey to sit back and watch; emotive scenes were explored in depth, with the audience really riding the highs and lows of the protagonists. In this version however, scenes which should have had the audience sympathising at great lengths with the characters (I won’t spoil anything…) were instead given very little stage time, squeezed between hits guaranteed to get the audience going. 


In terms of staging, an industrial static set-up dominates the stage, serving well at times as a prison and a recording studio. However, the set wasn’t particularly versatile or inventive. The screen backdrop was intended to assist in varying up the settings, although there were a few times when seemingly random pop-art pieces were flashed onto this screen in the middle of scenes. This was rather a gimicky addition which didn’t add to the sense of time and place, and only served to distract. 

There’s no doubt, this is a true feel good musical which will have you tapping your toes, but if you’re after a rollercoaster journey of emotion, this one probably isn’t for you.

Jersey Boys runs at the Edinburgh Playhouse until March 2nd

photo credit: Rob MacDougall
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In Conversation With... Shaun McCourt | West End Live Lounge | Interview

West End Live Lounge is back at The Other Palace on March 10th for a celebration of WOMEN. The stellar line up of performers will sings songs from powerful ladies, all whilst raising money for Samaritans. I spoke to founder, Shaun McCourt about all things West End Live Lounge...



Can you tell us a bit about the creation of West End Live Lounge?
West End Live Lounge started in 2017 as an idea for a series of concerts to raise money for charity and has since grown to where it is today. I wanted to create an event which would allow West End performers the platform to sing material which was not from the world of musical theatre with a live band. There was a gap in the gig/concert circuit for such an event and I simply decided to go for it-and what an exciting journey it has been.


You’ve gone from the Union Theatre to the Other Palace Studio to the main house and each concert is getting bigger and better. What’s the next thing you’d like to achieve with your concerts?
I am always overwhelmed by the support that West End Live Lounge receives. It is great to see so many people enjoying the concerts. Without this support, its reputation would not be where it is now. The show continues to grow and there are certainly exciting plans in place for its future. However, I am going to keep the secrets for now I am afraid. Watch this space!

In terms of what I would like to achieve, my aim is to continue to produce concerts that not only entertain our audiences, but also raise as much money for charity as possible.


What’s your favourite part of putting the Live Lounge concerts together?
Though I may look slightly stressed on the day of a Live Lounge concert, I have to say that I enjoy the whole process of putting it together- from picking the theme, to casting the line-up, liaising with The Other Palace, to the day of the concert itself. However, if I had to pick a favourite moment, it would be the rehearsals and soundcheck on the day of each event. The Live Lounge band are all incredible musicians and our musical director, Sam Coates, is a genius. That moment when we are all set up and I hear the band play for the first time is really special. It is always a reminder of just how much hard work people put into making these events a success. 

West End Live Lounge has become a bit of a family. The central team is made up of Sam Coates (musical director), Will Miney (technical manager) and myself. However, all performers and musicians that have been involved become part of this family. Getting to work alongside so many talented individuals always makes this such a rewarding process.


What can people expect when they come and experience a West End Live Lounge?
People can expect a great night at the theatre. If this doesn't happen, then I am doing something wrong! A West End Live Lounge event promises a fantastic line up of incredible singers and musicians. Each concert has an exciting theme and gives the audience the chance to see their favourite West End performers step out of the world of musical theatre. 


Each concert you raise money for a different charity, how do you choose the charities to support and what do they mean to you?
Choosing the charity for each concert is always a tricky job. There are so many important charities, so rather than continue to raise money for just one, I decided that it was really important to me that each concert raised money for a different cause. For some concerts, the theme and charity often go hand in hand. There have also been times where a major event has happened in the world around the time of the concert and it makes total sense to donate the proceeds to this cause. 


If you could have any performer dead or alive to perform at a Live Lounge, who would you choose and why?
This is a tricky question! I am incredibly grateful to every single performer who has given up their time to be part of a West End Live Lounge event. They each bring an amazing talent and such a great energy to the stage. It is important to me that I continue to introduce new faces to the Live Lounge stage and that each concert offers a diverse and exciting line up.

But if I had to pick one person... 

Well...If I could get Jennifer Hudson along to sing a number, would I be excited? Absolutely!


Can you sum up in 5 words why people should come to the next West End Live Lounge?
Belting for a good cause.


West End Live Lounge tickets go on sale March 25th.

Full cast (subject to availability): Adam Bailey, Christina Bennington, Louise Dearman, Lauren Drew, Simon Gordon, Jennifer Harding, Matthew Harvey, Emma Hatton, Lisa Marie Holmes, Claudia Kariuki, Sejal Keshwala, Emma Lindars, Shekinah Mcfarlane, Kayleigh McKnight, Christina Modestou, Brady Isaacs Pearce, Lauren James Ray, Danielle Steers, Laura Tebbutt, Jennifer Tierney, Rodney Vubya.

 Interview by Editor, Olivia Mitchell
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Wednesday 20 February 2019

The Band (UK Tour), New Victoria Theatre | Review


The Band (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 19th February 2019 by Kay Adams
★★★★★

The Band is a unique experience like no other show I have seen. It is a mix of emotions from beginning to end, stirring up personal memories for everyone lucky enough to be in the audience. 

Written by award winning writer Tim Firth and Gary Barlow and directed by Kim Gavin, its a beautiful story for anyone who grew up with a boyband and how those songs became the soundtrack to their lives. 

For five 16 year old girls in 1993, 'the band' is everything. Their lives are intertwined by their obsessions with these boys and their music. 25 years on, we are reunited with this group of friends as they try once more to fulfil their dream of meeting their heroes. 

Featuring the music of Take That, Britain’s most successful boyband of all time, whose songs include Never Forget, Back For Good, A Million Love Songs, Greatest Day, The Flood, Relight My Fire, Shine & Rule the World and starring the winners from the BBC’s Let it Shine, Five to Five, who I have to say have amazing voices, and if you closed your eyes would sound exactly like their mentors. Their live band, playing unseen backstage, except in one scene, were brilliant. 


The show isn’t even about Take That per se, it’s about these five charismatic and funny girls and how their friendships stand the test of time. More importantly, it’s about the emotions and nostalgia that this show evokes for the whole of the audience, taking them back to their lost youth, their teenage dreams and to the adult who never wants to grow old! 

The set is fairly simple but with the aid of graphics, projections and sleek changes it was highly effective. The audience was actually part of the set, re-enacting a concert and even holding phones up in the air, the atmosphere was electric and bad singing not even noticed! 

The female characters were funny, fabulous and really relatable and how they ended up after twenty five years was not at all predictable. 

A five out of five for me, The Band is a musical experience that will leave a lasting impression, have you grinning from ear to ear and feeling so good inside. It is a reminder that we never really change despite age creeping up on us, it will leave you wanting to go back and watch it all again. 

The Band runs at the New Victoria Theatre until 23rd February 2019

photo credit: Matt Crockett
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Zog (UK Tour), Rose Theatre | Review



Zog 
Rose Theatre 
Reviewed on Tuesday 19th February 2019 by Olivia Mitchell
★★★★

Based on the book by Julia Donaldson with illustrations by Axel Scheffler, Zog, in an adaptation by Mike Shepherd with Freckle Productions has made its World Premiere in a superbly fun, colourful and heartwarming way that will entertain adults and children alike. Zog and his friends are growing up and learning how to become the best dragons they can be; on this mission, they attend Madam Dragon's school where they try their hardest to win a golden star. Whilst they struggle and succeed, Princess Pearl is there to help them along and give them the courage they need.

Theatre does an amazing job of subtly giving children the curiosity and creativity they need to understand our world. The characters on stage mirror our world and teach us how to understand emotions and empathise with one another. Towards the end of Zog, there is a particular scene where the dragons have to decide whether they continue for their own personal gain, or, help their friend Pearl. The young girl I took to the show turned to me and said "that's not fair, they're being mean", which may seem like a passing comment but there's no doubt that theatre opens up pathways for conversations about what it means to be good. As a production, Zog brilliantly paves the way for these conversations and brings out the importance of having self-belief whilst helping others. 


The small but mighty Zog cast have done a marvellous job of creating a bright world where rabbits bark and dragons roam theatres. Not only do they give greatly emotive and energetic performances but their musicality is outstanding. With all live music, the team work as one to play various instruments and make use of a loop pedal to provide a score (composed by Johnny Flynn) which bubbles and keeps the piece going. The on-stage instrument changes are just another way the little audience are inspired and its exceptionally entertaining to watch the performers work so seamlessly in this peak of children's theatre.

As title dragon, Elliot MacKenzie is mischievous and caring, whilst Euan Wilson as Madame Dragon is harsh but humourous and feels like the dragon equivalent of Miss Trunchbull! Emily Benjamin gives a heartwarming performance as Princess Pearl, both vocally and acting wise, and shows how strong girls are. The message that you can achieve anything in life as long as you put your mind to it is ever necessary and Emily puts it across in an empowering and lovely way. Robert Ginty as Sir Gadabout the Great is especially humourous as he gets the audience involved in his search for the Knight and Dixie McDevitt, brings the ensemble characters (including the adorable rabbits) to life in a fantastic way.


The simple set of scaffolding and stars, designed by Katie Sykes works well to allow the story to move locations but also leaves room for the imagination to roam wild. Props such as fire streamers, add an extra element of excitement and alongside Lyndie Wright's stunningly crafted puppets, the show feels very well put together. The cast transition from being the dragons themselves, to controlling the puppet dragons superbly and manage to maintain the magic throughout. 

As an adult, there's something wonderful about hearing children be inspired. The excitable gasps of wonder that pepper the audience, the beaming smiles on faces and the buzz of enthusiasm makes us happy in return and shows just how important theatre is as a tool to teach. Team Zog have created a piece of theatre which will captivate and influence the audience in the most wonderful way. 

Zog runs at the Rose Theatre until 23rd February before starting it's UK tour

photo credit: Helen Maybanks

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Tuesday 19 February 2019

Five Reasons to see Fame on Tour


Last night I visited the New Wimbledon Theatre to see the current UK tour of cult classic, Fame! Having already seen the show and reviewing it here, I thought I'd switch it up a bit by bringing you my five reasons to see the, feel-good, high energy show.

Developed by David De Silva and telling the story of a group of aspiring performers, this production, which is celebrating the show's 30th anniversary is all you could wish for in Fame. 

So, Here She Goes with five reasons to see it...

The Emotions: Happy, sad, energetic, heartbreaking. Whatever sort of emotions you crave to feel, this show will have you feeling them. It's a un-sugarcoated look at being a performer and all that entails, and whilst it faces some ugly truths, it also reminds us of the importance of doing what you love and doing it with your whole heart. 

New York: I'm an absolute sucker for anything set in New York. Be it a rom-com, an opera, a book or a musical, there's just something inspiring about watching people succeed in such a harsh but opportunity filled city. The cast do a wonderful job of showing the pure grit and determination it takes to be victorious, and Morgan Large's set brings aspects of the city to life with ingenuity and style.


The History: The original Fame film debuted in 1980 to much acclaim and since then has amassed a big following over it's various incarnations. This history that people have with the show means there's something in this tour for everyone to enjoy and reminisce about, whilst people new to the story and show can also relate and enjoy it. It's not the leg-warmer filled film you might remember, but it has all the heart and drive.

The Cast: A musical wouldn't work without a cast, and this cast is superbly strong. As opposed to having a singular lead, a number of people helm the show and do so with triple threat greatness. Mica Paris' vocal performance is second to none and completely stuns the audience into ovation. Keith Jack and Molly McGuire are suitably dramatic as Nick and Serena as they navigate acting and romance, whilst Jorgie Porter gives a strong performance as Iris. Stephanie Rojas is outstanding as she not only gives a vocally flawless performance but also completely embodies Carmen on her journey from sassy, fiery Latina, to a battered girl, and creates a stunning and moving character arc. This is a largely ensemble led piece and the entire team come together to create a realistic performing arts school, complete with actor musicians and wonderful dancers.


The Music: If you're even the tiniest bit stagey, you'll know the title song, 'Fame' and it will no doubt invoke visions of raised arms and leg-warmers. Well the high octane, upbeat music does not stop there. The show is filled with fun musical numbers that feature various musical styles and influences, with Latin vibes in 'There She Goes' and gospel sounds in 'Mabel's Prayer' that all come together to create a catchy score that'll have you tapping your toes and dancing your way out of the theatre. Mica Paris' 'These Are My Children' is certainly one of the most vocally assured performances out there, whilst Stephanie Rojas gives everything she has in her heartbreaking but exceptional performance of 'In LA'.

 For a fun evening that still tackles serious issues, Fame is the show to see. It's a melodramatic, no gimmick show that'll leave you dancing on the sidewalk and no doubt belting a number of two into your hairbrush when you get home!

Fame runs at the New Wimbledon Theatre until 23rd February before continuing it's tour

Post by Editor, Olivia Mitchell

photo credit: Tristram Kenton
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Monday 18 February 2019

Come From Away, Phoenix Theatre | Review


Come From Away
Phoenix Theatre
Reviewed on Tuesday 12th February 2019 by Olivia Mitchell 
★★★★★

Come From Away is a giant hug in a musical which even the most icy of people will be moved by, as it portrays a time of amazing and heroic hospitality under immense pain and pressure.

Discussed as a 9/12 musical, Come From Away is set on and after the horrific events of September 11th 2001, but instead of leaving you downtrodden, it will leave you inspired and probably feeling a little sentimental. Written by Irene Sankoff and David Hein, it is an incredibly well rounded and fluent piece of theatre which provides catharsis whist becoming a celebration of goodness.

The show is set in the small town of Gander in ,Newfoundland Canada, which homes just over 11,000 people. On September 11th 2001, 38 planes were diverted to Gander airport, with 7,000 passengers and crew plus several pets and a pair of chimpanzees who were headed for a zoo. The people of Gander came together to provide shelter, food and friendship to the 'plane people'; and all who were there have incredible stories, bonds and live changing experiences from their time. They may have left Gander, but Gander never left them.


After interviewing many Plane People and Ganderites, David and Irene condensed these stories into a 100 minute show that features sleek role-swapping, musical theatre numbers and catchy Celtic tunes. Christopher Ashley's direction is crisp and to the point but also leaves room for us to study the story further, and of course allows us to look at ourselves and wonder what we would do in the same situation. This is further helped by Tara Overfield-Wilkinson's relentless and sharp choreography and Howell Binkley's striking and mood-evoking lighting. These aspects married with Beowulf Borritt's well thought out space, keep up momentum and evolve the story as simply but effectively as possible.

The heart of this show is community, and like the stories themselves, it is built around ensemble and teamwork.  The typically Newfoundland scenes such as the 'Screech In', feel like we've stepped into a pub and are really experiencing a group of people enjoying life. In such a group led piece, with smooth character changes, amazing use of simple props/set, it is unfair to name standout performances. The cast as a whole bring these people and stories to life and it's truly moving to witness such a wonderful and transformative piece of theatre. 

 The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band  (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End. 

Concise and well-rounded, Come From Away is a stunning and poignant reminder of human kindness, which will surely leave you standing a little taller and smiling a little more.

Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Matthew Murphy
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Sunday 17 February 2019

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Come From Away is one of the most inspiring and heartwarming musicals to hit the West End in a long time. Telling the story of the planes diverted during 9/11 and what happened to the people on them and those in the place they landed: Gander, Newfoundland. 

One amazing story is that of Nick and Diane Marson who met on a diverted plane and fell unexpectedly in love. Editor, Olivia, got to chat to Nick and Diane about the show alongside their actor counterparts, Robert Hands and Helen Hobson...


Can you sum up Come From Away in 5 words?
Nick Marson: A show about human kindness
Diane Marson: Love and acceptance
Robert Hands (plays Nick): Friendship
Helen Hobson (plays Diane): Human spirit, community


What's it been like seeing yourselves brought to life on stage?
Diane: well it was rather unnerving at first but we're used to it by now. We've seen the show eighty-eight times, in nine cities, in four countries and with four casts, so we're used to it now. But at first it was very unusual to hear your words come back to you.

Nick: When we gave our story to this nice young couple, David and Irene, they were making a musical not a documentary so they could've done anything with our stories, but they kept it very true and I'm very grateful and thankful to them. Our story was in the Washington Post and the reporter said "it has to be true, nobody could've made all of that stuff up!"

Helen: I think that was a clincher for one of our producers, John Brandt. When he was first invited to come and see the show, to find out if he wanted to be part of it, he watched the show and wondered about the love story, he wasn't sure because it seemed too amazing. But, Randy one of the other producers said "come with me, there's a couple you need to meet" and introduced him to Nick and Diane... and John was in!

Diane: At the time it was just our life that was unfolding; it wasn't something we had any designs on producing or writing about, we were just living it.

Nick: Neither one of us got on the airplane that day expecting a romantic occurrence



What's it like to bring real people's stories to life onstage?
Helen: It was good because our producer released us from the notion that we would have to do a carbon copy and do an impersonation of these two. He said you do what's in the script and what we put out and yes, you have to learn a Texan accent but that's really about it, so the pressure was off in that way. We were lucky enough to FaceTime them [Nick and Diane] early on in rehearsals which was great and we've improvised and used their real selves in the show.

Robert: They're so natural together so we try and bring that and make it as real as possible without trying to impersonate them as such.



The show is five days condensed into one hundred minutes, are there any stories from those days that are special to you and didn't make it into the show?
Nick: There are many other things that happened. There's the classic one where we went for a walk with another couple, and you see that in the show, but it was actually a man and his wife, the wife was a doctor and she had to turn back because she had sandals on and it was a gravel road. We carried on, and this was a checkmark in my mind because we went into a convenience store to buy a diet coke and some trail mix and normally I would buy it, cause that's what guys do, and Diane whipped it up and paid for it!

Diane: Well I figured if I did that, he'd have to sit on the park bench with me and spend more  time with me so there was method behind the madness!

Nick: Also, the show gloss' over it but the next year we go back to our lives and for me it was an emotional rollercoaster. I was thinking "was that real?", "is that woman really how I remember her?... I've got to go back and check it out" which I did and then I proposed to her
Diane: On the phone in November
Nick: and I was working in England and wondered how I was going to get to Houston but fortunately the parent company of mine was based in Houston, so the president of the company in England made it possible for me to transfer to Houston. But I was doing two weeks here, two weeks there and it was an emotional roller coaster itself. So I got to Houston properly in May and was a nobody; I didn't exist, I couldn't get a car or a driving licence, or anything until I had a social security number.

Diane: It was a lot of paperwork! We had to come back here in June and July of 2002 to get him a work visa because without that he couldn't get anything in the United States. We couldn't even get married in the United States.

Nick: It's a huge mountain to climb to move countries and basically, I saw this lady, threw my life up in the air and went off to America! It sounds very romantic but it was also stressful and took quite a toll on us. Of course it was worth it though!


How has the show been going so far?
Nick: The first time we saw the show here, there was a line of Delta Airways stewards behind us and they were a mess! When they found out who we were they were even more of a mess! And the lady behind us couldn't stop crying, so I said "come here, I've got to give you a hug!"

Whether they come here excited for the show or not really bothered, people are going to leave happy!

Diane: It's a 9/12 show, what happened on September 11th, everyone remembers that, but this is forward and it's a feel good story.


Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Helen Maybanks and Matthew Murphy
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Friday 15 February 2019

The Cunning Little Vixen/The Two Pigeons, Royal Opera House | Review


The Cunning Little Vixen/The Two Pigeons
Royal Opera House
Reviewed on Thursday 14th February 2019 by Olivia Mitchell 
★★★★

In a charming night of theatre, we see artist-in-residence Liam Scalett's forty minute ballet, The Cunning Little Vixen, for The Royal Ballet School; paired with Frederick Ashton's stylish piece, The Two Pigeons. The two works create a programme that evokes warmth and feels ever so magical.

Scarlett's musicality is evident in The Cunning Little Vixen as he allows Leoš Janáček's score (arranged by Peter Breiner) to guide the piece. Scarlett has also made clever use of projection (designed by Finn Ross and Ash J Woodward) in the form of a children's cartoon which embellishes the story and adds a humourous layer, but doesn't detract from the dancers. Instead it works in conjunction with them. As chickens and feathers fly on screen, they also fly on stage and create a frenetic energy amongst the cast. 

The cast of younger and older dancers join together to give a wonderfully gleeful and heartwarming show. The story is nothing groundbreaking but is a vibrant and a perfect introduction to ballet. 

Madison Bailey as Sharp-Ears The Vixen is delightful and mischievous and alongside Liam Boswell as Goldspur The Fox, the pair create some fabulously playful and enjoyable moments. The entire cast of animals are brought to life not just by their animated and spirited performances but by the bright costumes which bring childhood joy to life on stage as well as providing humour and movement on their own. From bumblebees to ladybirds and a frog, each animal is uniquely and clearly characterised and looks wonderful under Les Bone's lighting. Scarlett really has done a wonderful job on this piece.

In The Two Pigeons, the musicality and purity of Ashton's choreography, leads to the focus being solely on the dance and technique. Whilst Jacques Dupont's fantastic costumes bring life and vibrance to the stage, the core of this production is on the ballet itself. The intensely emotional choreographic style is especially moving in the final moments of the piece and the reunion pas de deux we have all been waiting for, is pulled off with delicacy and sincerity and is certainly worth the wait. 

Yuhui Choe as The Young Girl is pretty much perfect in her debut as she performs with desire and a hint of petulance. Alexander Campbell is suitably 'artistic' in his frustrations between the ballerina and the gypsy. Itziar Mendizabal is seductive and calculating and she fights and flirts in equal measure through her strong and impressive dance. 

Featuring moments which feel almost impressionistic as well as purely classical, The Two Pigeons is an entertaining and heartwarming piece. Act one tells most of the story so act two does drag a little as nothing happens to move the plot along but the energy and height with which the dancers perform, helps to keep the audience invested and enthralled. 

This is a perfect programme for a whimsical but beautifully performed evening out and is a wonderful opportunity for current students to experience the professional world. 

photo credit: Tristram Kenton
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Peter Pan Goes Wrong, Sydney Lyric Theatre | Review


Peter Pan Goes Wrong
Sydney Lyric Theatre 
Reviewed on Wednesday 13th February 2019 by Amy Mitchell 
★★★★

Peter Pan Goes Wrong is a theatrical disaster panto crammed with slapstick calamities and magic misadventures. The production is framed around the JM Barrie classic and follows the formula that delighted past audiences with The Play That Goes Wrong, from the same creators Mischief Worldwide Theatre Company. 

We’re introduced to a fictional and farcical troupe of amateur dramatists come outright nincompoops and their hapless attempt at putting on a play of Peter Pan. The scene is set on a revolving stage encompassing the Darling’s nursery, Neverland, the lagoon and a pirate ship. From the opening scene pandemonium explodes with absurd tomfoolery and monstrous malfunctions - lines are fluffed up, there are trips and falls galore, bunk-beds collapse, infidelities are exposed, stage-hands and props go rogue, Captain Hook has a minor emotional breakdown, Peter is concussed and Tinkerbell almost snuffs it. 

A wildly energetic ensemble cast with brilliant comic timing have the audience chortling at the relentless abundance of frantic visual comedy, corny gags and quick change disasters. Where it’s light on musical numbers (although one will have you toe tapping home) it’s brimming with exuberant physical wit. 


The cast are multi-task magicians, with stand-out performances from Tammy Weller jumping hysterically between housekeeper Liza, Mary Darling, Tiger-Lily and Tinkerbell and Jordan Prosser flitting between 4 year old Michael Darling (complete with baby pink pyjamas), desperate but loveable Max and unwitting underdog hero, the crocodile. Francine Cain triumphs with an over-acted shimmy-athon as Sandra and Wendy Darling and Connor Crawford’s patriarchal parodies as the director, Daddy Darling and Captain Hook are wonderful. 

With only a smattering of surprises, the audience could anticipate the choreographed mayhem before it happened, and while the repetition stifled a few extra laughs, you’d be hard pressed not to maintain a delighted grin throughout at the playful and precise absurdity of it all. 

Peter Pan Goes Wrong runs at the Sydney Lyric Theatre until 3rd March 2019

photo credit: David Watson



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Tuesday 12 February 2019

Rocky Horror Show (UK Tour), New Wimbledon Theatre | Review


Rocky Horror Show (UK Tour) 

New Wimbledon Theatre 
Reviewed on Monday 11th February 2019 by Olivia Mitchell 
★★★★

A Transylvanian delight, Rocky Horror will have you laughing in delight and dancing in your seat from the moment it begins in all its sparkly, transsexual glory. 

Newly engaged couple Janet and Brad find them selves heading to an old castle when their car breaks down in the middle of a storm. There they meet Transylvania Transvestite Frank N Furter and his amazing and adoring entourage.

Rocky Horror brings a whole range of people to the theatre and everyone is welcome. Between those in full costumes and those in their normal everyday clothes, one thing is common: everyone is excited for a high energy night out. A whole range of ages and types of people clearly love this show and the smiles on everyones faces as they leave the theatre is a reminder of just how wonderful theatre can be, especially in trying times.


The show opens with a bang as the band bring the score to life (led by George Carter) and Laura Harrison as the cinema usher belts the opening number, Science Fiction/Double Feature, to rapturous applause. Laura is also fantastic as Magenta as she slinkily makes her way round the stage throughout and leads the Time Warp with high energy and oomph. Fellow slaves, Miracle Chance (Columbia) and Kristian Lavercombe (Riff Raff) also provide stellar, well characterised performances.

As Frank N Furter, Stephen Webb absolutely commands the stage. He struts around like he owns the theatre and everyone on it as as he embodies sass and sex as well as providing killer vocals.

As naïve lovebirds, Joanne Clifton (Janet) and Ben Adams (Brad) are well cast as they deliver engaging and suitably wide-eyed performances. The pair work very well with each other and bring this wacky story to life with fun and energy.


Making his theatrical debut, Dom Joly as the narrator is wonderful as he steers us through the highly chaotic tale with charisma and natural charm. Responding to the audience and adding in 'local humour' makes the piece just that bit more entertaining.

Nick Richings' lighting brings vibrance to every part of the stage and he does an outstanding job of being over the top without being unnecessary. Sue Blane's costumes are suitably glittery  and indulgent, whilst, Nathan M Wright's choreography delivers punch after punch to accompany the high octane score.

Christopher Luscombe has directed a highly fun production with just enough space for audience interaction and all the ups and downs we expect from Rocky Horror. Whether you've seen the show before, or are a new viewer, there's no reason for you to dislike this wildly entertaining musical.

Rocky Horror runs at the New Wimbledon Theatre until 16th February before continuing its tour



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