Wednesday 6 March 2019
Six, Arts Theatre | Review
Six
Arts Theatre
Reviewed on Tuesday 5th March 2019 by Olivia Mitchell
★★★★★(★)
Yesterday, the 2019 Olivier Awards nominations were announced and Six are up for five. For a show which started as a university project, its pretty amazing and inspiring that Six is reaching such levels of stardom, and rightly so. Since debuting with the Cambridge University Musical Theatre Society, showcasing at the Edinburgh Fringe, having a stint at the Arts Theatre, touring and now returning for a pretty open ended run at the Arts, Six has gone up and up, reaching stratospheric levels of brilliance and dazzle. Creators and besties, Toby Marlow and Lucy Moss have somehow managed to capture every type of audience member with their inventive and exciting pop re-telling of Henry VIII's wives. It seems impossible that this show can get better but on my fifth visit, I can confirm: it can!
The concept is that each of Henry VIII's wives sing a song about the hardships of their time with him in the hope of having the most dramatic life story, and therefore becoming the Queen of Queens and leader of the girl group. The setup is the perfect instrument to provide showcase moments for each performer and allow each story to be told with enough depth to keep it interesting and entertaining. This is really an ensemble piece of theatre as each Queen has the opportunity for a solo, as well as backing up the others, so it's only right that all six have been nominated as team for Best Supporting Actress in a Musical. Even the structure of the show, without the songs themselves, upholds the notion of women supporting women.
The Arts Theatre is transformed to a pop concert, Tudor Court with harpsichord remixes of modern songs greeting us as we take our seats. Tim Deiling's pre show lights act like a crown framing the stage and set the tone for the epic lighting that is to come. Of course the music and performances are outstanding but they are taken up several notches by Tim's well thought out and supremely effective lighting. Gabriella Slade's costumes are also spectacular. The clever use of stiff and sparkly fabrics mirror the message of femininity alongside power and are just another tick to add for this show. The sharp wit of the ladies, is matched by Carrie-Anne Ingrouille's choreography which is modern, pop inspired and oh so sharp. If the Arts Theatre paid it's bills in sass, this choreography alone would do the job.
The Arts Theatre is transformed to a pop concert, Tudor Court with harpsichord remixes of modern songs greeting us as we take our seats. Tim Deiling's pre show lights act like a crown framing the stage and set the tone for the epic lighting that is to come. Of course the music and performances are outstanding but they are taken up several notches by Tim's well thought out and supremely effective lighting. Gabriella Slade's costumes are also spectacular. The clever use of stiff and sparkly fabrics mirror the message of femininity alongside power and are just another tick to add for this show. The sharp wit of the ladies, is matched by Carrie-Anne Ingrouille's choreography which is modern, pop inspired and oh so sharp. If the Arts Theatre paid it's bills in sass, this choreography alone would do the job.
Whilst Six does follow real life people, not all the facts are historically correct and everything needs to be taken with a pinch of salt and a peep into a history textbook. However, Marlow and Moss have done an outstanding job of scattering facts here and there and allowing their own writing style, alongside influences from famous pop performers to develop the stories. The composers provide catchy tune after catchy tune as each of the queens tell their stories in their distinctly them style.
The two queens who got off the lightest (aka they were not killed and had pretty great lives post-Henry) bring fiery, energetic performances. Jarneia Richard-Noel as Catherine of Aragon is the definition of sass as she tells Henry there's No Way he can throw her out like a pheasant carcass (not a direct quote but it sounds like a Tudor insult, right?) Anna of Cleves (Alexia McIntosh) shows her success as she regales us with snippets of her life in her resplendent, Richmond Palace. Both ladies perform their upbeat songs with enough energy to power the entire West End and give their absolute all night after night.
Otherwise, Natalie May Paris gives a completely heartfelt performance as "the only one he truly loved", Jane Seymour who died young in childbirth. Her hilariously awkward one liners bring a like-ability to her character, as does her note perfect, chill-inducing rendition of Heart of Stone.
Natalie's performance beautifully and painfully highlights the exploitation of women by the men in power. Whilst she proclaims her love for Henry, she also realises that Henry only loved her because she was able to provide him with an heir. Although all the women are treated badly by men, it's Aimie Atkinson as Katherine Howard who gives the most strikingly painful display. All You Wanna Do is a slow building piece which portrays the dark way in which Katherine was essentially groomed her entire life. The way Aimie manages to show a complete character arc in this song, is truly skilful.
Millie O'Connell is utterly dazzling as the super cheeky Anne Boleyn who is equally used by men but employs her wit and sex appeal to fight back. Although this led to her head off demise, it allows for a fantastically well characterised performance which is worthy of every ounce of applause it receives.
This is an undoubtedly feminist show that inspires women to support each other and reminds us all that we're stronger together. Maiya Quansah-Breed's number towards the end I Don't Need You Love is a pinnacle of the show as it is not only performed perfectly, but wraps up the show and its message so well. The queens combined are an absolute force to be reckoned with and upon leaving the theatre, my friend exclaimed "I've never wanted to be a sassy woman more... I've never felt so empowered!" and that is absolutely true.
Whilst many deep and pretty dark themes course through the roots of this show, writers Marlow and Moss and co-director (with Moss) Jamie Armitage have done a superb job of never making anything too heavy or overwhelming. They maintain a balance which thrills and moves the audience.
Otherwise, Natalie May Paris gives a completely heartfelt performance as "the only one he truly loved", Jane Seymour who died young in childbirth. Her hilariously awkward one liners bring a like-ability to her character, as does her note perfect, chill-inducing rendition of Heart of Stone.
Natalie's performance beautifully and painfully highlights the exploitation of women by the men in power. Whilst she proclaims her love for Henry, she also realises that Henry only loved her because she was able to provide him with an heir. Although all the women are treated badly by men, it's Aimie Atkinson as Katherine Howard who gives the most strikingly painful display. All You Wanna Do is a slow building piece which portrays the dark way in which Katherine was essentially groomed her entire life. The way Aimie manages to show a complete character arc in this song, is truly skilful.
Millie O'Connell is utterly dazzling as the super cheeky Anne Boleyn who is equally used by men but employs her wit and sex appeal to fight back. Although this led to her head off demise, it allows for a fantastically well characterised performance which is worthy of every ounce of applause it receives.
This is an undoubtedly feminist show that inspires women to support each other and reminds us all that we're stronger together. Maiya Quansah-Breed's number towards the end I Don't Need You Love is a pinnacle of the show as it is not only performed perfectly, but wraps up the show and its message so well. The queens combined are an absolute force to be reckoned with and upon leaving the theatre, my friend exclaimed "I've never wanted to be a sassy woman more... I've never felt so empowered!" and that is absolutely true.
Whilst many deep and pretty dark themes course through the roots of this show, writers Marlow and Moss and co-director (with Moss) Jamie Armitage have done a superb job of never making anything too heavy or overwhelming. They maintain a balance which thrills and moves the audience.
With various international productions and tours already in the works, there's no doubt that Six will continue to receive acclaim and a posse of adoring fans around the world. This is the history lesson you'll love and want to return to over and over again. Perfectly executed (!) and superbly created, Six is the smash hit you need to see... and see again.
Read my original Six review here
photo credit: Idil Sukan
Read my original Six review here
photo credit: Idil Sukan
Tuesday 5 March 2019
Rocky Horror Show (UK Tour), New Victoria Theatre | Review
Rocky Horror Show (UK Tour)
New Victoria Theatre
Reviewed on Monday 4th March 2019 by Louise Jordan
★★★★★
Over 30 million people have watched the Rocky Horror Picture Show live. I was one of them, thirty years ago. Would this version capture the energy, naughtiness and sheer exuberance of my previous experience, or Richard O’Brien’s cult film? The answer is abso-jolly-lutely. What a treat!
I could explain the plot in detail, but frankly it doesn’t really matter. In a nutshell Brad (Ben Adams) and Janet (Joanne Clifton), American squeaky clean and newly engaged college students, break down one night and seek shelter. They stumble across Dr Frank-N-Furter’s (Stephen Webb) castle, where he is unveiling his newest creation, Rocky (Callum Evans). A certain amount of, ahem, intimacy occurs all round (the warnings of adult themes are justified – don’t take your granny unless she’s especially broad minded). Enter stage left Dr Everett Scott (Ross Chisari) looking for his son Eddie and tada, we discover that Frank is an alien transvestite from the planet Transsexual. Are you any wiser? Thought not. But you don’t go to the Rocky Horror Picture Show for the plot. You go for the experience and the singalong joy of it – the entire audience is on their feet for ‘Sweet Transvestite’. The show is clearly held in enormous affection by its devoted audience and Dom Joly as narrator interacts brilliantly with the barrage of comments that punctuate his every appearance on stage.
The acting, singing and dancing are flawless, and the staging slick in this ensemble production of all round strong performances. The chemistry and timing between actors ensures the pace never dips from start to finish.
If you live in or near Woking, you’ve got a week to catch this show and leave behind the pressures of real life for a night. And if – man, woman or non-binary – you want to dust down your bustier and fishnets for the night, who am I to judge?
Rocky Horror runs at the New Victoria Theatre until 9th March before continuing its tour
photo credit: David Freeman
Sunday 3 March 2019
Disney's Broadway Hits, Royal Albert Hall | Review
Disney's Broadway Hits (Concert)
Royal Albert Hall
Reviewed on Saturday 2nd March 2019 by Olivia Mitchell
★★★★★
There's no denying that we all love a bit of magic in our lives and the Royal Albert Hall's latest Disney offering provided the perfect sprinkle of fairy dust on a grey Saturday afternoon. Helmed by the BBC Concert Orchestra, led by Keith Lockhart, alongside West End stars, Ava Brennan, Shaun Escoffery, Willemijn Verkaik and Anton Zetterholm, the audience were treated to an outstandingly well performed showcase of some of the most well loved Disney songs with some hidden gems added in.
With songs from musicals such as Beauty and the Beast, Mary Poppins, The Little Mermaid and Newsies, to name just a few, there was certainly something for everyone. The four performers brought versatility and vocal prowess to each song with standouts including A Change in Me, Shadowland, Elaborate Lives and Let it Go.
With years of Disney content to use, the team have done a wonderful job of creating a programme which provides some surprises as well a the songs we'd expect. Music from King David we welcomed with open arms and gave us a glimpse of what Disney delights could be bought out of the vaults for future revivals. We also go a glimpse into the upcoming West End productions of Mary Poppins and Frozen which are sure to delight audiences when they open.
Thanks to outstanding lighting design and the elaborate setting of the Royal Albert Hall, this concert provided a dose of brilliance that captivated the audience from start to finish. You couldn't ask for a sweeter theatrical event and I can only hope we get more Disney magic in the future.
Friday 1 March 2019
Rock of Ages (UK Tour), New Wimbledon Theatre | Review
Rock of Ages (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 28th February 2019 by Olivia Mitchell
★★★
Lets start by saying that this is not a musical masterpiece by any means, but it is a super self-aware, high intensity, fun and crazily well performed show, that'll definitely have your toes tapping to some of the most well-loved rock classics.
The story, which is highly basic, follows small town girl, Sherrie and city boy Drew, who meet on the sunset strip whilst trying to achieve their Hollywood dreams. When German developers sweep into town, they threaten to ruin the rock n roll fairytales of everyone and the gang have to fight (and sing) for the the strip.
Rock of Ages absolutely doesn't take itself seriously, and instead revels in the cliches and nostalgia of the 80s with power ballads, rockers, shoulder pads and skimpy costumes. The minimal storyline is made up for with epic performances and a whole lot of fun. You can expect cheesy backdrops and props, tongue in cheek choreography, a rocking score and sexy rock chicks peppering the stage.
The flimsy script is brought to life by animated and intense performances from the cast. As Sherrie, Jodie Steele belts out power ballads with vocal skill and ease, whilst her love interest Drew, is played incredibly well by Luke Walsh who has an outstanding voice. Zoe Birkett delivers completely stellar vocals in her small role as Justice and Kevin Kennedy brings vibrance and humour to Dennis who could easily command the stage as a bigger role. Kevin Clifton brings a surprisingly well rounded performance as the embodiment of sex and drugs and rock n roll, Stacee Jaxx.
Also keeping up the humour and energy is Rhiannon Chesterman as Regina who's voice is criminally underused but she does a great job with the script she's given. As German duo, Vas Constanti and Andrew Carthy are caricature's to the extreme but completely know how to work to the audience.
The ensemble of skimpily clad men and women add moments of interest away from the main action and make the simplistic stage feel full and vibrant. It's Lucas Rush as Lonny who really steals the show with his charismatic performance and natural audience banter. He breaks the fourth wall with ease and seems to constantly be thinking of ways to entertain, and these pay off!
Nick Winston's direction and choreography is pretty strong throughout, although at time it feels like too much is happening at once, and what little story there is, becomes even more shadowed by other movement or action spread across the stage. At the same time, that does kind of sum up the show which is essentially a wacky showcase of some hit songs that have you not sure where to look or what to think.
Rock of Ages is thick with cliches, crudeness and semi-nudity but it's certainly fun. If you want a moving, dramatic narrative and a PG show, this is absolutely not for you. But, if you want great performances and a pretty electric atmosphere and some raucous, rocking fun, then pop along and have a fun night!
Rock of Ages runs at the New Wimbledon Theatre until March 2nd before continuing it's UK Tour.
photo credit: Richard Davenport
Tuesday 26 February 2019
Abigail's Party (UK Tour), New Victoria Theatre | Review
Abigail's Party (UK Tour)
New Victoria Theatre
Reviewed on Monday 25th February 2019 by Melanie Mitchell
★★★★
I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.
As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies.
We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog.
Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee.
As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos.
The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s.
In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance.
The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour.
As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown décor, the party food and the music. Not a single item of detail was missing from that room.
Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago.
This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.
Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour
photo credit: Manuel Harlan
Sunday 24 February 2019
Charlie and the Chocolate Factory, Captiol Theatre, Sydney | Review
Charlie and the Chocolate Factory
Capitol Theatre, Sydney
Reviewed on Thursday 21st February 2019 by Amy Mitchell
★★★
Roald Dahl’s enchanting book is brought to life in this reinvention of a part magic, part menacing classic. The story stays true to the original with some modern twists sprinkled through. Eccentric and reclusive chocolatier, Willy Wonka opens the doors of his chocolate factory to five lucky golden ticket winners. Paul Slade Smith plays Wonka as the wacky, charismatic Candyman peppered with the trappings of a psycho who revels in the demise of spoilt kids.
The first four golden ticket winners are exaggerated caricatures representing vulgar vices of modern society like social media, self-medication, self-obsession and lazy parenting. Augustus Gloop and his mother are a hysterically funny, sausage loving duo from Bavaria. Veruca Salt is reinvented as a Russian Ballerina who pirouettes and shrieks her way through to a deliciously wicked and frankly nutty end! Mike Teavee has a modern spin as a vacuous hacker with a social media compulsion and med dependant mum, and Violet Beauregarde is reimagined as a bubble gum popping, Instagram queen from Cali with an impossibly suave dad to boot.
The fifth lucky winner is chocolate obsessed, wise beyond his years Charlie Bucket. The Bucket family with Charlie’s grafter of a mother Mrs Bucket, and four-in-a-bed grandparents including kooky, kind hearted Grandpa Joe are all Australian in this adaptation. The script has been tweaked with a smattering of Aussie references which delighted the local audience. Mrs Bucket adds a soft touch to this sugar rush of a show, with a beautifully moving performance of If Your Father Was Here.
The staging, visual and special effects are for the most part fantastical combining illustrious projections and clever slide-on scenery – disappointing was the chocolate fountain, fashioned from a plain brown silk sheet it leaves a lot to be desired. The songs are a fun blend of classics (like Candyman, Pure Imagination and I’ve got a Golden Ticket) and reinvented pop and hip hop tunes which were catchy enough, however the lyrics were often swallowed by the performance.
The Oompa Loompas are a weird and raving triumph with the blend of puppetry and performers - this surprise was a show stopper!
Charlie and the Chocolate Factory is a magical and enchanting moral tale of kindness prevailing, wrapped up in an eccentric, sugar coated world of imagination. This show exaggerates the dark (Veruca’s squirrel centric demise got a few gasps from parents in the audience) and amped up the light with exuberant performances from a flawless sugar sweet cast.
Charlie and the Chocolate Factory runs at the Capitol Theatre until
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
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
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
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
Interview by Editor, Olivia Mitchell
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
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
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!
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
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.
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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