Saturday 6 April 2019
Warner Bros Studio Tour: Gringotts Wizarding Bank Review
Harry Potter may have first hit shelves over twenty years ago but the love is still real and fans are able to keep the magic alive through Warner Bros. Studio Tour which features the actual sets and props from the film franchise and transports you to Hogwarts.
This week I was invited to a special event to celebrate the opening of the new Gringotts Wizarding Bank (officially opens today!) addition to the tour and it was really wonderful. My only previous visit was in 2012 and since then, the expansion has been exceptional. You now get the chance to explore the Forbidden Forest, Privet Drive, Platform 9¾ and so much more, and whilst you know you're on a set, the presentation is wonderful and every inch is photo worthy (watch our vlog of the tour here and see my instagram posts here.)
Whether you're a Potter Super Fan or just like a bit of magic in your life, you're sure to find treat upon treat in this tour. Not only do you see the sets and probs, but you get a behind the scenes look at how everything came to be. There's an entire section dedicated to the creation of the goblin prosthetics as well as a close up look at the intricate designs for every aspect of the Wizarding World. It's truly amazing to see the detail that went into making this such a successful franchise.
Gringotts itself is luxurious and elaborate. Epic chandeliers dangle overhead stern looking goblins who man the desks. Wizarding cheque books and quills are scattered around just waiting for a witch or wizard to make a deposit.
After seeing Gringotts in all its glory, you get to see it destroyed... and the dragon that destroyed it (menacing indeed)! The Lestrange Vault is also open to the public and is a magpie's dream, full of glittering coins and glistening jewels.
Throughout the tour the Harry Potter score is playing and will really make you feel as though you're going to see Ron round any corner or accidentally find yourself at a game of Quidditch. The atmosphere is mystical enough to make you really believe in magic.
If the tour is not enough of a feast for your eyes, there's also the new and improved gift shop at the end which is an experience of its own. Perfectly curated, it feels like an adventure in itself. Whilst it is quite pricey, there's a selection of amazing items to feast your eyes on.
Gringotts and the entire Studio Tour is a must see for all wizards, witches and muggles. Leave yourself a lot of time to explore this magical world and allow yourself to revel in the wonder of Harry Potter.
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 4 April 2019
Going Through, Bush Theatre | Review
Going Through
Bush Theatre
Reviewed on Wednesday 3rd April 2019 by Olivia Mitchell
★★★★
The UK premiere of Estelle Savasta's play (translated by Kirsten Hazel Smith), Going Through is a story about the journey's child migrants take, and the people they leave and meet along the way. The play combines English, British Sign Language and Creative Captioning to create a visceral production for both deaf and hearing audiences.
Going Through is not only a fantastic theatrical piece because of the realities it is bringing to the forefront of our minds; but because the story-telling itself is so superbly done. You almost forget these are not in the moment, real life actions being carried out in front of you. Simplistic and well defined, this two person show is enough to warm and break your heart at once.
Nadia Nadarajah and Charmaine Wombwell give utterly enchanting performances that are engaging and rarely give up. The use of sign language cleverly highlights how language can both involve and isolate. It's also extremely moving to see how Nour (Wombwell) must dress up as a boy to make the journey from her troubled homeland to the UK. This act of masculinity where she comes face to face with the male traffickers on her tough journey, is in fact, what characterises her journey into womanhood.
Whilst it certainly glosses over the real hardships of both Nour and Youmna's journeys, this play is a delicate study of human emotion and relationships. Both performers do particularly well at showing their internal emotions through slight movements. As Youmna, Nadarajah is expressive and magical. Providing warmth and puppetry, she is a heart-warming character who celebrates love. Wombwell creates a wonderful emotional arc as Nour as she envelops us in her story. The pair perfectly interact with one another in this story which thrives on communication.
A touching and compelling 75 minute piece of theatre, there's not much you can fault with Going Through. The journey and thoughtfulness of this production is truly something special and it deserves to be appreciated and acclaimed.
Going Through runs at the Bush Theatre until 27th April 2019
photo credit: Ali Wright
Wednesday 3 April 2019
Abigail's Party (UK Tour), Orchard Theatre | Review
Abigail's Party (UK Tour)
Orchard Theatre
Reviewed on Monday 1st April 2019 by Holly Bridges
★★★★★
I am a huge fan of Mike Leigh’s classic play Abigail’s Party, therefore it is difficult to imagine any current touring production doing it justice. However, upon entering the Orchard Theatre auditorium, and being transported back to the Seventies via an impressive set, complete with brown décor and cheese plants, any apprehensions regarding Sarah Esdaile’s version quickly subside.
As our hostess with the ‘mostess’, Beverly Moss sashays into the room to the sounds of Donna Summer, complete with long, printed maxi dress and a drink in hand, it is clear she is out to impress. This role was famously played by the inimitable Alison Steadman in the original, and whilst these are gold heels which are impossible to fill, Jodie Prenger is excellent as Beverly.
We watch as Beverly’s stressed husband, Laurence (played by Daniel Casey) deals with yet another business matter on the telephone whilst she looks on irritably; just one of many fractious moments which go on to scatter the evening. It’s as her guests arrive that Prenger really comes into her own, with Beverly flitting between the sofa, cocktail cabinet and nibbles, all the while her shoulders arched and ready to schmooze.
Vicky Binns plays Angela, the slightly naïve and very eager to please nurse, who is new to the area and neighbour of Beverly and Laurence. She is joined by reluctant husband Tony, who sits sullenly in a chair as ‘Ange’ chatters on. Binns nails the role, with the audience darting between feelings of slight annoyance at her inane conversation, to those of pity as Tony belittles her.
Thrown into the mix of this farcical soiree is the fifth character, Sue. A middle-aged, intelligent divorcee, and now single mother, we are led to believe that Sue has been invited over by Beverly in order to ‘save’ her from her fifteen-year-old daughter’s (Abigail) party in a neighbouring property. Rose Keegan plays the part of Sue extremely well, all soft tones and worrying nods, this is a woman who is clearly out of her depth in this environment.
There is no doubt that Beverly is awful, yet she is also completely enthralling as we see her try to flirt up a storm with ‘Tone’ and attempt to haul herself up the class ladder as she makes constant comparisons between herself and her guests, whilst also force feeding them cheese and pineapple!
It is the fraught and somewhat uncomfortable moments between each of the warring couples which occasionally give the play a slightly unhappier tinge, as the sometimes-awkward laughter from the audience suggests. Beverly’s withering put-downs of Laurence, however, cannot help but draw genuine chuckles. Casey’s performance as her long-suffering partner is excellent, but let’s face it, who could ever win when up against the force of nature that is Beverly?
Abigail's Party does not disappoint, and whilst nothing could ever match up to such a classic piece of work as the original, this production is full of laughs, perfect details and moments that will leave you squirming in your seat (in a good way!) Little top-up, anyone?
Club Tropicana (UK Tour), New Victoria Theatre | Review
Club Tropicana
New Victoria Theatre
Reviewed on Monday 1st April 2019 by Glenys Balchin
★★★
Apprehension was in the air when I entered Woking New Victoria theatre, I knew that I would know the songs but I was not sure it would take me back to those fun fuelled Disco electric days of the 80’s... well it did sort of!
I'm not quite sure why the musical is called Club Tropicana, as apart from the name and a mention of “free cocktails”, there was not a sniff of the fabulous George and Andrew songs of the incredible WHAM. However, I am a lady of a certain age and remember those days whilst a millennium baby would not, so, does that matter?
The musical has been said to parallel hit TV show Love Island, which it does not! In the 80’s it was all about the music and dancing, not about drinking, talking about relationships and texting, (which would have proved difficult with a mobile brick!)
The story line is simplistic. Girl jilts her beaux on their wedding day, and they each go on a friend holiday to Spain to get over what has happened. They all stay at “The Club Tropicana Hotel”. Hotel Proprietors are waiting for an hotel inspection in order to a win hotelier prize but are sabotaged by a rival hotel owner. During the course of the story line, Boy and Girl participate in a Blind Date competition where they choose each other and realise they may have made a mistake...
The cast do an admirable job of taking me almost back to the electric 80s but it is not quite the 80’s as I remember, but again does that really matter?
I think that the script dictated the songs that were chosen, that’s why there is no Wham, Duran Duran, New Order, Tears for Fear, Human league, Whitney Houston, Madonna etc... because their songs did not tie into the story line. However, the musical depicts so many other things from the 80’s, the costumes for one: Ra Ra skirts, leggings, shorts, dungarees, “statement tee shirts” are a plenty on stage! The hair is big and huge mobile phones make a few appearances.
Club Tropicana is a feel-good night of entertainment, delivered by a vibrant, fun, high-energy cast who sing and dance as if their lives depend on it. I was not keen on some of the jokes which are not particularly PC nor the insulting references which border on sexist and homophobic, but I suppose that sums up the 80’s in a way.
Once Joe McElderry comes onto the stage the show comes along and takes the cast and audience into a flurry of singalong & dance routines– if only I could have got on stage for 'Oops Upside your Head'. Joe has to be applauded for an energetic exuberant performance and for not waning once. He really leads the show and uplifts the rest of the cast.
The same can be said, for the formidable and extremely talented Kate Robbins playing Consuela, who magically plays the part. Her comic timing and characterisation are hilarious and her great voice brings a real belly laugh and applause from the audience. Emily Tierney must be complimented for delivering a strong comic performance with a great voice, as the double-crossing hotelier Christine. The voices of Cellen Chugg Jones and Karina Hind the young couple, singing to 'I Could Be So Good For You' are a highlight. There must be mention of Tara Verloop, Rebecca Mendoza and Kane Verrall who all performwonderfully; with Kane working especially well with McElderry as his love interest.
Club Tropicana will bring a big smile to your face, give you the feel-good-factor and make you feel young once again. Its not an award worthy musical but is certainly good fun and like a summer pantomime for adults.
photo credit: Darren Bell
Friday 29 March 2019
Hair (UK Tour), New Wimbledon Theatre | Review
Hair (UK Tour)
London Palladium
Reviewed on Thursday 28th March 2019 by Olivia Mitchell
★★★½
Having first premiered in 1967, Hair doesn't have much of a story but focusses on hippies, LGBTQ+ rights, Black Live Matter, women's equality, the anti-war movement, freedom and so much more. Despite being a piece of it's era, these are issues and themes which resonate with a contemporary audience. The book loosely follows a group of hippies in New York City as they navigate life and their political views during the Vietnam War. More of a think piece and political statement, than a story, Hair successfully shows insights into real life struggles and celebrates living.
This revival which began at the Hope Mill and continued to become a semi-immersive experience at The Vaults, is now a vast production. This transfer in venue size means the show has lost some of it's authenticity and spark but retains its exciting, enthusiastic performances and energy. Natalie Green is the absolute stand out of the cast as she provides killer vocals; both belting her face off and providing glorious soprano moments. Natalie also showcases her supremely versatile acting with a number of accents and personas which are all faultless and she gives an entirely wonderful and memorable performance.
Kelly Sweeney also gives a fantastic performance in her solo moments as Crissy. After Unexpected Joy its great to see Kelly continuing on what's sure to be an outstanding career. Superb vocal moments are delivered by Alison Arnopp and Marcus Collins. As Woof Bradley Judge is well developed and entertaining to watch.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
The hippie commune and various hallucinations are brought to life marvellously by Ben M Rogers' lighting which is vibrant, contrasting and superbly done. William Whelton's choreography is loose and well done, with the tribe effectively becoming one at times. The theatre is bright and hallucinatory thanks to Maeve Black's set and costumes. Streamers adorn the stage in an in-your-face manner that is dynamic and impressive.
Whilst it does drag a little, Hair is an easy watch that thrills the eyes and ears and remains relevant to this day. Outstanding performers make the most of a limited book and play to the theatre almost as if they're in an intimate space. Despite not being as revolutionary as it was fifty years ago, Hair is still an exciting piece of theatre and the rousing chorus of 'Let The Sunshine In' is enough to leave you feeling free and uplifted.
Hair runs at the New Wimbledon Theatre until March 30th before continuing its tour.
photo credit: Johan Persson
Wednesday 27 March 2019
Calendar Girls (UK Tour), New Victoria Theatre | Review
Calendar Girls (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 26th March 2019 by Melanie Mitchell
★★★★★
Calendar Girls the Musical is based on the true story of a close-knit Yorkshire village. In 1998, Ladies of the local Women's Institute, rally to help one of their members when her beloved husband suddenly dies. They decide to raise money in his memory for the Leukaemia Research Fund by posing naked in a Pirelli style calendar and selling copies.
The story was subsequently made into a film in 2003 and then a stage play in 2008, both written by Tim Firth. Tim spent 5 years in collaboration with Gary Barlow to produce this brilliant musical. The story has been changed quite a lot from the original, but the basic premise remains the same. The musical looks at the whole gamut of human relationships and emotions with fantastic humour, pathos and poignancy, accompanied by an excellent musical score.
The characters are perfectly cast with amazingly strong performances by all. Anna-Jane Casey who plays Annie and Rebecca Storm as Chris are outstanding, both having superb voices. Fern Britten is fabulous as Marie the leader of the WI, desperate to stick to the old traditional values whilst being a terrible snob and social climber. Denise Welch is perfect as Celia, the brash, brassy and blousy ex air hostess trying to button up to fit in with the community. The show contains some of the funniest laugh out loud one liners I have ever heard, many delivered with perfect comedic timing by Karen Dunbar as Cora. Sara Crowe is hilarious as the ever helpful, slightly tragic Ruth. The younger actors, Isabel Caswell, Tyler Dobbs and Danny Howker add another dimension, which brings freshness and fun to the production.
Robert Jones' set and costume design are both fairly simple but completely in keeping with the themes and characters. In the first scene you are totally transported to the Yorkshire dales and subsequently to the village hall and green.
This is a heart-warming, totally British feel-good show, uplifting (in more ways than one), and something that almost everybody can relate to in some way or another.
For a really positive feel good evening at the theatre, suitable for all ages, I urge everyone to go and see this wonderful production.
Calendar Girls runs at the New Victoria Theatre until 29th march 2019
Romeo and Juliet, Royal Opera House | Review
Romeo and Juliet
Royal Opera House
Reviewed on Tuesday 26th March 2019 by Olivia Mitchell
★★★★
Romeo and Juliet is arguably Shakespeare's most well known play and a regular feature in the Royal Opera House programming, having been performed by The Royal Ballet more than 400 times since its Covent Garden premiere in 1965. This season beautifully revives Kenneth MacMillan's dramatic monument in a smooth and moving way, with a number of Company debuts making it feel fresh even after all these years.
In the title roles, Matthew Ball and Lauren Cuthbertson are a match made in heaven as they bounce off of one another, in their sweetly romantic choreography which showcases young love (and obsession) especially well. The tension as they build to their first kiss is palpable. Romeo lifts his Juliet onto pointe as they kiss and creates a very calm and heartwarming moment before the fast paced drama of the next two acts. Ball and Cuthbertson are masters of their craft and give performances which completely justify their successes.
Act One drags a little but the pageantry from the offset is marvellous. The sword fights are choreographed memorably and sharply and stand out against Nicholas Georgiadis' set as they fill the vast stage. The contrast between the intimate pas de duex and large scale ensemble numbers does well to bring variety and allows moments of extreme action as opposed to storytelling alone. A particular stand out is certainly Marcelino Sambe who leads the mandolin dance perfectly and creates a buzz as the audience are drawn in by his fantastic technique and performance skills. Itziar Mendizabal also shines as she brings brief moments of humour and light to the three harlots who appear throughout.
The melodrama is prevalent, with Mercutio's death (Valentino Zucchetti) and Lady Capulet's break down providing emotionally impactful moments. Mime is used perfectly by the pair as well as by Cuthbertson who acts beautifully throughout.
Brief moments where dancers fell out of time are noticeable but do little to detract from the story and flow. Whilst MacMillan's choreography does everything it should, there are times when it feels too much is being done in too little time, and there isn't a second to really appreciate the intricacies of the basics. The musicality of movements feels undervalued in comparison with storytelling.
MacMillan's telling really puts Juliet at the heart of the story which brings a fragility and power that makes it so special. A wonderfully danced and highly luxurious production, Romeo and Juliet is sure to delight audiences.
Romeo and Juliet runs at the Royal Opera House until 11th June 2019 and will also be screened at cinemas on the 11th.
photo credit: Helen Maybanks
Friday 22 March 2019
Vision of You: Live with Rob Fowler and Sharon Sexton, Key Theatre | Review
Vision of You: Live
Key Theatre, Peterborough
Reviewed on Tuesday 19th March 2019 by Olivia Mitchell
★★★★
Since the closing of Bat Out of Hell, fans of the show have been able to keep their love and involvement alive through Rob Fowler and Sharon Sexton's album Vision of You which charts the backstory of their characters Falco and Sloane. Accompanying the album, the pair have been on a mini tour around the country where they welcomed fans into the Falco Family and provided some absolutely outstanding vocals while they did it.
The final stop on the tour (for now) took Vision of You back to where Rob first performed, Peterborough where a home crowd joined with those from out of town to create a wonderful atmosphere and a real celebration of the music and the performers. A mixture of a concert and a musical, this version of Vision of You used the basic skeleton of the previous ones and added to it to create a complete extravaganza of a show. Once again, Erin Ong (who travelled from America to be part of the final show!) provided her lovely artwork which was projected above the characters to create an almost comic book feeling and embellish the story that was being told.
Rob and Sharon performed most of the songs from their album, as well as some extras, with the heart, vocals and chemistry that they are so loved for and took the audience on a journey through the eyes of their characters very well. What made this show extra special, was the involvement of Raven and Strat aka the crazy talented Georgia Carling and Simon Gordon, who performed solos, duets and group numbers to perfection. Also joining the gang were the young KYT performers who gave spirited performances and brought The Lost to life. Accompanied by Steve Corley and his distinguished band, each number was a powerhouse moment and a true celebration of the superbly talented performers on stage.
Opening with 'Falling Slowly' and closing with 'The Show Must Go On' really sums up how versatile all the performers on stage are; from the hugely upbeat numbers to the more intimate and delicate numbers, there was never a moment which fell flat or felt under emoted. Both Rob and Sharon's voices are raw and expressive but manage to maintain complete control throughout. Especially impressive were Sharon's heartfelt renditions of 'Delight' and 'The Man with the Child in his Eyes' which brought a stillness to the room that was hauntingly beautiful. Rob gave a comedic performance of 'A Miracle Would Happen' as well as his signature rock tones in the epic 'What You Own' where he was also joined by Simon Gordon.
Simon's voice is beyond beautiful and he showcased it effortlessly with each number he was a part of. His performance of 'Bat Out of Hell' illustrated exactly why he was cast in the role of Strat and gave us a chance to hear and see him shine without the lighting and effects that were prevalent in Bat Out of Hell. If this evening was anything to go by, I'm convinced Simon could probably make a shopping list sound exquisite. Aside from Simon's performance, this semi stripped back rendition of Bat also highlighted just what a brilliant song it is.
Georgia Carling's voice complemented Simon's fantastically in their duets, 'For Crying Out Loud' and 'High Enough', as well as shining in her solo and group moments. 'Taking Chances' is a belter of a song and Georgia tackled it with ease as she gave a vocally faultless and completely first-rate performance. After gaining many fans from her performances as Raven and Valkyrie in Bat Out of Hell, there's no doubt that Georgia will continue wowing with her superb talents.
Vision of You was a night of extremely well done storytelling and singing. Seeing how much Bat Out of Hell means to Sharon and Rob is really moving and I'm sure this isn't the last we'll hear of Falco and Sloane. The stellar performances, well done lighting, outstanding band, skillful projections and great atmosphere made this a fabulous night and a perfect farewell-for-now to Vision of You.
photo credit: Bat Loaf
Tuesday 19 March 2019
Dirty Dancing (UK Tour), New Victoria Theatre | Review
Dirty Dancing (UK Tour)
New Victoria Theatre
Reviewed on Monday 18th March 2019 by Kay Adams
★★★★★
Dirty Dancing is not just a show about a love affair against the odds, or an early 60s period piece. Its continued popularity over the past 31 years is just as much due to tackling issues of class, family, loyalty, and right and wrong head on. It’s a coming-of-age story par excellence, acknowledged in Johnny’s introduction of Baby to everyone at Kellerman’s on the last night of the season.
So, if you are in the minority of people who haven’t actually seen the iconic film all those years ago – It’s the summer of 1963 and 17 year old Frances ‘Baby’ Houseman is about to learn some major lessons in life as well as a thing or two about dancing. On holiday in New York’s Catskill Mountains with her older sister and parents she shows little interest in the resort activities and instead discovers her own entertainment when she stumbles across an all-night dance party at the staff quarters. Mesmerised by the raunchy dance moves (and there are those aplenty in this stage production too), Baby can’t wait to be part of the scene, especially when she catches sight of Johnny Castle the resort dance instructor. Her life is about to change forever as she is thrown in at the deep end as Johnny’s leading lady both on-stage and off; as two fiercely independent young spirits from different worlds come together in what will be the most challenging and triumphant summer of their lives.
Whether you know the story or not, this wonderful production, written by Eleanor Bergstein and directed by Federico Bellone, will captivate you from start to finish. Many favourite original masters feature within this stage sensation which blends the movie soundtrack seamlessly with this live performance.
The quality of the dancing is phenomenal, with enigmatic dance numbers and sensual moments throughout. The scenery and special effects, especially the campfire and water scenes, were beautifully crafted. The audience were used at one point as part of ‘Kellerman’s’ entertainment as the scenes were seamlessly changed.
This production gets a 5 star review from me – a night to remember – and remember “Nobody puts Baby in the corner”
Dirty Dancing runs at the New Victoria Theatre 23rd March 2019
Sunday 17 March 2019
Passion vs Obsession in the Theatre Community
As someone who feels things very strongly, I often find myself fixated on certain topics or hobbies, in the way that when I enjoy something, I will focus my attention on it as a means to make myself more knowledgable about it/better at it. In any creative industry, emotions are heightened already and in theatre especially, it's almost natural that trends occur and passions become prevalent. However, the line between being passionate and obsessive can sometimes become wavy or unclear and there can be an almost scary intensity with which people feel.
Let me start by saying that I think being passionate is fantastic. Having something you can enjoy, relate to and immerse yourself in is truly joyous and caring so much about something can really fill your life. The issue however, is when this passion becomes too much and begins controlling your life, rather than enriching it.
As someone who attends the theatre an average of three times a week, there are many times where I become completely enclosed in the theatre bubble and almost forget that there's a world outside the stagey community. In terms of my life at this time, it isn't a problem as such because the majority of my friends are in the same circles and I have a pretty well-rounded life with and without theatre. When I was younger this was a different story though...
I have always been a theatre fanatic, from when I saw my first musical (Beauty and the Beast at the New Victoria Theatre) I was hooked and haven't looked back since. Like many theatre people, I went through a Wicked phase... like, really went through it. I would listen to it 24/7, create artwork, research the performers, perform it, get my friends to perform it, basically I was obsessed. Whilst I don't regret this phase in my life at all because I was super young and it was something I enjoyed, I do see it in a different way. I was living my best life, but at that time, I was not surrounded by theatre loving people which meant whilst I was in the theatre bubble, I was alone. This is where one problem with crossing from passion to obsession comes into play. By focussing 95% of your attention on something your peers can't relate to, you do face the trial of isolating yourself. There may be an online community alongside you, but in the real, non-virtual world, it's just you.
However, as I said, during my Wicked (and subsequent Les Mis) phases, I was young and this outlook certainly comes with age. The issue with obsession is when it continues into adult life. Barely a day goes by when a West End performer doesn't have to call someone out for overstepping boundaries. A video recently circulated showing a girl publicly hating on a performer and explaining how she has no qualms about verbally abusing those she doesn't like; whilst a number of high profile West End people regularly have to reign people in on their instagrams and twitters for overstepping. So when does passion reach a dangerous level?
Obviously it doesn't take a brain scientist to answer this. People overstep when they try and integrate themselves into the lives of the performers they admire. Be it trying to become their friend, burdening them with their problems or just contacting them constantly. Boundaries have always been an issue in the film and television industry but with the ever developing rise of social media, way West End actors are reaching higher profiles, and the way it's so easy to access a theatre performer compared to a screen actor, means it's a problem which seems to be rapidly seeping into the theatre community and is actually doing a lot of damage.
There's also the aspect of fans often being drawn to, or purposely attaching themselves to unknowns/swings/understudies and 'lesser' cast members (not that anyone is less worthy or talented but you get the gist). It's almost as if people feel they'll be more likely to form a bond with someone who not everyone is trying to chat to. The idea of someone being less well known so therefore easier to, for lack of a better word, target, just feels wrong. Absolutely support the entire cast, crew and team but don't use someone just to validate yourself and feel closer to a show than you are in reality.
Most performers are nice people and they're not going to out you for these things because it would be an awkward conversation to have, but just because you have a nice stage door experience, or because you get friendly at the theatre with them, remember that it's all within the theatre bubble.
Now I completely understand putting energy into theatre because it is, after all an escape and I'm definitely guilty of investing my emotional wellbeing into a show, however, not in terms bringing the actors on stage into that. As human beings, the performers of course do care about the people they talk to and I'm sure take a genuine interest in what they're being told, but at the end of the day, someone at stage door who is not actually a friend, is never going to care as much about you as you care about them so it's not fair to expect them to shoulder your issues.
I know this is all pretty much common sense, and I'm not trying to be preachy about boundaries, but for the few people who may read this and recognise some of the obsessive actions in their own lives, perhaps this can act as a gentle reminder that theatre itself is all an act, and the people who put it on, have very real, very personal lives outside of what you see on stage/social media. Of course be supportive and engaging, and be passionate, but keep in mind that there's a world outside theatre. Your life is there to be filled with as many things to make you happy as possible, but so are the people's who you admire and they pick what they fill it with, so don't use all your energy trying to make yourself an integral part of it off stage. Live your life, love shows and support actors, just keep it chill sometimes, and if you really have a lot to say, keep it to your whatsapp chats.
I hope this doesn't come across as overly negative because I really do admire people who love theatre and I so relate, but continual drama clearly means some people are unable to isolate the real from the stage so I wanted to throw my two pence in! Stay stagey!
I have always been a theatre fanatic, from when I saw my first musical (Beauty and the Beast at the New Victoria Theatre) I was hooked and haven't looked back since. Like many theatre people, I went through a Wicked phase... like, really went through it. I would listen to it 24/7, create artwork, research the performers, perform it, get my friends to perform it, basically I was obsessed. Whilst I don't regret this phase in my life at all because I was super young and it was something I enjoyed, I do see it in a different way. I was living my best life, but at that time, I was not surrounded by theatre loving people which meant whilst I was in the theatre bubble, I was alone. This is where one problem with crossing from passion to obsession comes into play. By focussing 95% of your attention on something your peers can't relate to, you do face the trial of isolating yourself. There may be an online community alongside you, but in the real, non-virtual world, it's just you.
 |
| the peak Wicked days |
However, as I said, during my Wicked (and subsequent Les Mis) phases, I was young and this outlook certainly comes with age. The issue with obsession is when it continues into adult life. Barely a day goes by when a West End performer doesn't have to call someone out for overstepping boundaries. A video recently circulated showing a girl publicly hating on a performer and explaining how she has no qualms about verbally abusing those she doesn't like; whilst a number of high profile West End people regularly have to reign people in on their instagrams and twitters for overstepping. So when does passion reach a dangerous level?
Obviously it doesn't take a brain scientist to answer this. People overstep when they try and integrate themselves into the lives of the performers they admire. Be it trying to become their friend, burdening them with their problems or just contacting them constantly. Boundaries have always been an issue in the film and television industry but with the ever developing rise of social media, way West End actors are reaching higher profiles, and the way it's so easy to access a theatre performer compared to a screen actor, means it's a problem which seems to be rapidly seeping into the theatre community and is actually doing a lot of damage.
There's also the aspect of fans often being drawn to, or purposely attaching themselves to unknowns/swings/understudies and 'lesser' cast members (not that anyone is less worthy or talented but you get the gist). It's almost as if people feel they'll be more likely to form a bond with someone who not everyone is trying to chat to. The idea of someone being less well known so therefore easier to, for lack of a better word, target, just feels wrong. Absolutely support the entire cast, crew and team but don't use someone just to validate yourself and feel closer to a show than you are in reality.
Most performers are nice people and they're not going to out you for these things because it would be an awkward conversation to have, but just because you have a nice stage door experience, or because you get friendly at the theatre with them, remember that it's all within the theatre bubble.
Now I completely understand putting energy into theatre because it is, after all an escape and I'm definitely guilty of investing my emotional wellbeing into a show, however, not in terms bringing the actors on stage into that. As human beings, the performers of course do care about the people they talk to and I'm sure take a genuine interest in what they're being told, but at the end of the day, someone at stage door who is not actually a friend, is never going to care as much about you as you care about them so it's not fair to expect them to shoulder your issues.
I know this is all pretty much common sense, and I'm not trying to be preachy about boundaries, but for the few people who may read this and recognise some of the obsessive actions in their own lives, perhaps this can act as a gentle reminder that theatre itself is all an act, and the people who put it on, have very real, very personal lives outside of what you see on stage/social media. Of course be supportive and engaging, and be passionate, but keep in mind that there's a world outside theatre. Your life is there to be filled with as many things to make you happy as possible, but so are the people's who you admire and they pick what they fill it with, so don't use all your energy trying to make yourself an integral part of it off stage. Live your life, love shows and support actors, just keep it chill sometimes, and if you really have a lot to say, keep it to your whatsapp chats.
I hope this doesn't come across as overly negative because I really do admire people who love theatre and I so relate, but continual drama clearly means some people are unable to isolate the real from the stage so I wanted to throw my two pence in! Stay stagey!
Thursday 14 March 2019
Madagascar the Musical (UK Tour), New Victoria Theatre | Review
Madagascar the Musical (UK Tour)
New Victoria Theatre
New Victoria Theatre
Reviewed on Tuesday 12th March 2019 by Glenys Balchin
★★★½
Madagascar the Musical was a perfect family night out, full of fun for the young audience as they tapped, cheered and danced their way through the story, against the backdrop of a damp and drizzly night outside the New Victoria Theatre. It has to be said, that many of the adults accompanying their young charges were enjoying the performance of the energetic cast just as much; with the cast bringing alive the animal inhabitants of New York Zoo and the story of their escape into the wilds of Madagascar.
Having seen other Dreamwork productions: The Lion King and Shrek on both film & stage, I was not sure what to expect of Madagascar and unfortunately for me this did not reach the same pinnacle as the others. This was due to lack lustre look of some the main character costumes as well as having pre-recorded music rather than a live band.
The puppetry was well executed and the presence of a human controlling them soon disappeared and captured the spirit of your imagination. A stand out for me was Melman the Giraffe, whose characterisation by Jamie -Lee Morgan was thoroughly enjoyable and he delivered an excellent performance.
Although, the show was packed full of songs, none of them were very memorable. However, the dancing and abundance of energy displayed by all the cast members did not go unnoticed and I enjoyed the choreography, especially the exuberant 'Move It', but on the same note it was a little bit repetitive.
The plot itself is a little thin on the ground but the uncomplicated storyline makes it easy for small children to follow and remain enthralled by plenty of packed action fun and dazzle. Act two was more animated than the first, mainly thanks to the irrepressible, vigorously imaginative artistic style of Jo Parsons playing King Julien.
A little older than many of the children at the theatre, my companion's mane attraction for seeing the show was Matt Terry, so she was a little disappointed he was not playing Alex the Lion at this performance. However, I asked her verdict about the musical and she told me that whilst she had preferred The Lion King, she thought her younger sister (9) would love Madagascar. At the mature age of 14, she enjoyed it but was too cool to get up dance in the aisles with the other children and would certainly not have been happy if I had!
Her conclusion was that it is a song filled production, that features a set that is inventive and all flows well. She loved how the characters were portrayed, in particular the Lion and the Hippo, and she thought that the voice of Marty was the same as the Zebra in the movie.
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.
Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!
photo credit: Scott Rylander
Wednesday 13 March 2019
West End Live Lounge: Woman, The Other Palace | Review
West End Live Lounge (Concert)
The Other Palace
Reviewed on Friday 20th October 2017 by Olivia Mitchell
★★★½
This is the second Woman themed West End Live Lounge, but this time, the team have graduated from The Other Palace Studio, to the main space as they become bigger and better. Featuring songs from some of the most influential women in music and raising money for Samaritans, West End Live Lounge is really about the heart and soul of everyone involved.
Host for the evening was Samuel J Holmes who wittily engaged the audience and provided innuendo after innuendo and a number of anecdotes about his new home in Southend. The atmosphere remained lighthearted throughout but we were all reminded of the crucial reason for the concert. As always, the proceeds from West End Live Lounge go to charity, this time we were raising funds for Samaritans who do crucial work helping those in dark mental places. The Samaritans answer a call for help every six seconds which is truly incredible and its imperative that we help where we can. Especially in an industry where mental health is often battered, it feels very special and close to everyone's hearts that we can support the charity in this way.
Whilst the evening did flow very well, it would have been nice to hear each performer introduce themselves and their songs a little as at times they felt a little removed from the audience. Perhaps this was due to nerves but I felt that some ice breaking could have helped.
To raise funds and of course provide entertainment, founder of West End Live Lounge, Shaun McCourt pulled together some of the best West End performers to sing their hearts (and larynx's) out. Highlights were aplenty so I'll just name a few... First up, Jennifer Tierney's performance of All By Myself which was note perfect and superbly performed. With her hauntingly beautiful rendition of With Woman in the Moon, Brady Isaacs Pearce brought calm to the venue, whilst Shekinah McFarlance showed off her extreme vocal prowess with Lose To Win.
Blowing the roof off at the end of act two, Emma Lindars put her own spin on the Jessie J classic, Mama Knows Best and wowed the entire audience a second time with Stone Cold by Demi Lovato. Live Lounge regulars Divalution provided their signature riffs, belt and sass with All I Ask and Power, and Matthew Harvey put a new spin on Britney Spear's, Circus, complete with multi-coloured lighting.
Other stand outs included Kayleigh McKnight's rendition of Chandelier, Louise Dearman's take on the Celine classic, Taking Chances. And, after an understated start, Simon Gordon's performance of Shallow was utterly breathtaking and completely memorable. The 10 piece band led my MD Sam Coates did an outstanding job of backing up the performers as well as having their own chances to shine. The full band bring a real warmth to these concerts and its fantastic to, not only hear them playing brilliantly, but also see them looking like they're having a great time.
West End Live Lounge continues to provide a highly entertaining Sunday out, full of treats a surprises. There is always guaranteed to be something for everyone and you should definitely pop along, not only to hear fabulous singing, but also to support highly deserving charities.
photo credit: Nick Brittain (Brittain Photography)
9 to 5 The Musical, Savoy Theatre | Review
9 to 5 The Musical
Savoy Theatre
Reviewed on Tuesday 12th March 2019 by Olivia Mitchell
★★★★
Its almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. Musical adaptation by film creator, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and feel very relevant during the Trump Era and #MeToo movement.
Despite what you may think, this is not a jukebox musical and apart from the world hit 9 to 5, many of the songs are forgettable although being pleasing to listen to at the time. The arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland are pretty and Lisa Stevens' buoyant choreography keeps the momentum of the show going but the music itself is not the highlight.
However, Jeff Calhoun's West End production features a fantastic cast who perform Dolly Parton's score with vigour and drive. Natalie McQueen completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and a vocal powerhouse, Natalie brings life to the role and provides a memorable moment with Backwards Barbie. Amber Davies is charming as the naive Judy Bernly who finds herself throughout the show. Whilst her acting is somewhat lacking at times, Amber retains her charisma and gives a lovely performance of Get Out and Stay Out.
Caroline Sheen brings a light to the show as the strong and capable, Violet Newstead. Together the three ladies are a real force as they take drastic measures to stop their sexist boss, Franklin Hart Jnr. (played comedically by Brian Conley) from blackmailing them. The real show stealer is Bonnie Langford as Hart's devoted assistant who is completely wonderful is her unrequited love for her CEO. Her high-kicking, leg-splitting performance of Heart to Hart is impressive beyond belief and utterly hilarious.
This is a crowd pleasing production that, with a second act of only 45 minutes, flies by with a flash of hair, power-suits and feminism. There's no denying that the principles are dated and it's more of a period piece than a modern inspirational tale to live by, but it does provide a laugh. Whilst being set in the 80s, the various nods to 2019 allow it to feel more relatable. 9 to 5 is a feel-good show, helmed by powerful performers who allow you to ignore the shortcomings and enjoy it for what it is: a load of female led fun.
photo credit: Craig Sugden
Tuesday 12 March 2019
Benidorm Live (UK Tour), New Wimbledon Theatre | Review
Benidorm Live (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 11th March 2019 by Olivia Mitchell
★★★★
Camp, crude and cheesy, Benidorm Live has brought the popular TV programme to life in a fantastic way. Derren Litten's stage adaptation completely captures the feel-good essence of the programme and has the audience laughing out loud throughout.
Almost taking the form of an episode from the TV, Benidorm Live follows the staff and holidaymakers at the tattered and tacky beyond belief, Solana Resort in Benidorm. Famous faces from the series Liam (Adam Gillen), Mateo (Jake Canuso), Joyce (Sherrie Hewson), Kenneth (Tony Maudsley), Jacqueline (Janine Duvitski) and Sam (Shelley Longworth), fight to reveal and impress the undercover hotel inspectors who could lead to the shut down of the resort. The story is basic but extremely well put across; what the narrative lacks, is made up for with performance and wit.
Mark Walters' cleverly designed set, brings the hotel to life with cheer and brightness, featuring a pool side, Neptune's Bar, the hotel reception and the Blow'N'Go salon. The transitions from scene to scene are well done, especially when mini dance interludes draw the audience away from the set changes completely. By the end of the show, you almost forget you're not watching the TV, or even that you're not sitting on a Benidorm beach yourself.
Whilst the hugely enjoyable design of the show is great, it's the utterly hilarious cast who really bring it to life. Sherrie Hewson prances about barking orders to no avail. As the sleazy but adored Mateo, Jake Canuso is outstanding and he tries (and fails) to seduce the hotel's guests. Particularly impressive is the link to Canuso's past, where he shows off some of his sharp, supported dance. Janine Duvitski gives one of the wittiest, most innuendo rife performances ever. Her play on words and general larger than life persona, makes her a definite audience favourite, gaining laugh after laugh. Adam Gillen's Liam is endearing and wonderful, as is his partner in crime, Kenneth, played as camply as possible by Tony Maudsley. Asa Elliot as himself, provides some great vocals. As the middle-class holidaymakers who find themselves at the Solana when their dream hotel is overbooked, Tricia Adele-Turner and Bradley Clarkson give buoyant performances as Sophie and Ben.
Derren Litten's stage debut should be applauded as he creates a rowdy night out that is easy to follow but still highly entertaining. A saucy, seaside postcard of a show, Benidorm Live is sure to delight fans of the series and newbies alike as they take a carefree, innuendo-filled trip to sunny Spain.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
