Friday 26 April 2019

Club Tropicana (UK Tour), New Wimbledon Theatre | Review


Club Tropicana (UK Tour)
New Wimbledon Theatre 
Reviewed on Thursday 25th April 2019 by Olivia Mitchell 
★★★★

A whirlwind of big hair, 80s hits, innuendos and humour, Nick Winston's Club Tropicana isn't a musical masterpiece but it is a whole lot of fun and a harmless piece of entertainment. 

The storyline is minimal but follows Lorraine who jilts her fiancé at the alter and goes on a friend holiday to drink and dance away her blues. Her fiancé also goes on a friend holiday... to the same Spanish hotel....

Said hotel is in the running to be awarded a prestigious award so they're doing their best to impress the hotel inspector. Featuring a host of humourous characters and larger than life performances, the gaps in the book are made up for with verve and energy.


Diego Pitarch's set doesn't have much depth to it, but does its job exactly and brings the colour of the show to life well. Making clever use of the space, as well as using the more basic elements for comedic effect, Pitarch has done a great job. Equally, his costumes are very 80s and effective. 

The cast are the life of this show, performing the 20 well-known 80s bops wonderfully. As entertainment manager Joe McElderry shines. A great voice, fab comic timing and well done audience interaction, McElderry makes a stellar addition to the cast. Neil McDermott is entertaining, if a little underused as Robert, but his performances alongside the hilarious Emily Tierney as double-crossing hotelier Christine, and lovestruck Amelle Barrabah as Serena are great. The extremely well characterised Consuela, is a sure stand out thanks to Kate Robbins' completely hilarious portrayal, which provides laugh out loud moments every time she's on stage.

As leading man and lady Cellen Chugg Jones and Karina Hind are marvellous. Their strong vocals are well showcased and the pair work well together. 


Mention must also go to Rebecca Mendoza, Tara Verloop and Kane Verrall who give fabulous performances. The entire cast are superbly invested throughout and with Nick Winston's choreography and Charles Ingles' musical direction, do a stellar job of keeping the energy alive throughout.

Club Tropicana has the feel-good factor and is sure to bring a bounce to your step. For a self-aware, super cheesy but well done production, take a trip to Hotel Tropicana and laugh the night away.

Club Tropicana runs at the New Wimbledon Theatre until 27th April before continuing its tour.

photo credit: Darren Bell

Thursday 25 April 2019

Ain't Misbehavin', Southwark Playhouse | Review


Ain't Misbehavin'
Southwark Playhouse
Reviewed on Wednesday 24th April 2019 by Olivia Mitchell 
★★★★

Tyrone Huntley makes his directorial debut with this vivacious production that hasn't been seen in London for almost 25 years. With Oti Mabuse's choreography, the show is a whirlwind of energy which excites and entertains throughout.

Originally conceived by Richard Maltby Jr the show is billed as The Fats Waller Musical. It's more of a cabaret revue than a musical but, thanks to Huntley's direction, the performers have their own characteristics which thread throughout the show and create a fantastic cohesion. Songwriter and pianist, Fats Waller had a hugely successful career which combined jazz, slapstick comedy and gin. However, this show isn't about the man himself, but the music he created.

The powerhouse cast bring spades of energy and vocal prowess with every number. Renée Lamb is sassy and animated, Carly Mercedes Dyer is sweetly comedic, Landi Oshinowo brings spades of soul, Wayne Robinson is smooth and sharp and Adrian Hansel is sleek throughout. Alongside the strong five-piece band, the team give contagious performances.

The set and costume design by takis is glitzy and exuberant, with sparkles and swing embodied on every inch. The Southwark Playhouse is transformed to have an almost speakeasy feel as we are whisked away to a world of jazz and gin.

The 100 minute show is a sexy and sassy celebration of Fats Waller's music, with choreography and vocals to impress everyone. The cast do an outstanding job of selling all of the thirty musical numbers and providing both emotional and hugely comedic moments.

Ain't Misbehavin' runs at the Southwark Playhouse until June 1st 2019

photo credit: Pamela Raith

Wednesday 24 April 2019

The House on Cold Hill (UK Tour), New Victoria Theatre | Review


The House on Cold Hill (UK Tour) 
New Victoria Theatre 
Reviewed on Tuesday 23rd April 2019 by Natalie Parsons  
★★★

Ollie Harcourt and his family have bought the house of their dreams in the country, but it is not as idyllic as it sounds!! 

This old mansion has a chequered history which explains why it has been empty for forty years. It is not long before the Harcourt family begin to realise that they are not the only residents of the house. 

The House on Cold Hill has the chill of the usual ghost story, such as Woman in Black but with a modern twist. It’s set in the present day in a house packed with modern technology – laptops, WIFI and leading lady Alexa. The modern influence makes the show feel more relatable, however, at times the suspense and thrill becomes overshadowed by the comical intervention of the script. 

Credit must go to the cast for portraying a modern professional family with Joe McFadden as Ollie, the former advertising man who's now setting up his own web design company; Rita Simons as his wife Caro, the practical and factual Solicitor and daughter Jade played by Persephone Swales-Dawson as the petulant teenager. 


Joe McFadden delivers a solid transition from joyful Ollie as his bubble is burst. From being exuberant about the move and the opportunities the house provides he is sent into disbelief as he accepts that there may be something sinister going on and the realisation that his family may be in terrible danger. 

Rita Simons, his wife Caro, is the more practical of the two when things go wrong and more willing to believe what she’s experienced. There is good chemistry between the cast and they all support each other well, to deliver a solid delivery of the plot. At times the suspense is broken by a change of direction to light heartedness so you aren’t sure if it is a thriller or light comedy. 

I think fans of Peter James may be slightly disappointed with the adaptation of the book to stage and may find that the transition to stage has lost a certain amount of the thriller element. But The House on Cold Hill does create some spooky moments, with some good stage effects. 

The play is performed well by the cast with special mention of Persephone Swales Dawson performance. The use of Alexa in this modern thriller was ingenious!

The staging, lighting, costumes and scenery were excellent. I enjoyed the play but can’t say I loved it.

photo credit: Helen Maybanks

Wednesday 17 April 2019

Rock of Ages (UK Tour), Bristol Hippodrome | Review


Rock of Ages (UK Tour)
Bristol Hippodrome
Reviewed on Tuesday 16th April 2019 by Isobelle Desbrow
★★★

Rock of Ages is a jukebox music which lacks any storyline but makes up for it through the use of humour and performance. Featuring such songs such as ‘We Built this City’, ‘I Wanna Know What Love Is’ and ‘Don’t Stop Believing’, the music is really stand out. Without these well know songs, and the musicianship of the actors the show wouldn’t have been worth watching.

Jodie Steele leads the cast wonderfully as Sherrie, her voice perfectly in sync with the rock genre. Steele's command of the stage is fantastic, with highlights being when she ran over Lonny’s foot with a toy tractor and her vocals in song like ‘Don’t Stop Believing’ and ‘High Enough’ along side Drew played by Luke Walsh. Both performers provide outstanding vocals which you can't fail to be impressed by. However, they are unfortunately plagued by a one dimensional love story. 

Lucas Rush plays the charismatic Lonny, who also also narrates the show. His shenanigans with the audience often breaking the forth wall, really keep the audience involved. His enthusiasm and characterisation, are well needed in this dry at times show. Overall his acting and singing utterly brings the house down in tears of laughter and he also keeps the pace of the show going. 


Regina played by Rhiannon Chesterman is a hilarious and spectacular singer, who often left me jaw dropped while singing such numbers like ‘We're Not Gonna Take It’ and ‘Hit Me With Your Best Shot’. Dennis is played by the rocking Kevin Kennedy who’s rockstar voice matches the music well. Zoe Birkett plays the sultry Justice who owns the Venus Gentlemen’s club, and is a mother like character for Sherrie during the second half. Her soulful singing is a well cast addition to the show.

While this musical lacks a notable storyline, the interaction with the audience and jokes make it worthwhile and the performances all round are fantastic.

Rock of Ages runs at the Bristol Hippodrome until 20th April before continuing its tour.

photo credit: Richard Davenport

Matthew Bourne's Swan Lake (UK Tour), New Wimbledon Theatre | Review


Matthew Bourne's Swan Lake (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 16th April 2019 by Olivia Mitchell 
★★★★

Matthew Bourne's Swan Lake premiered in 1995 and has since received critical and audience acclaim. Bourne's Swan Lake which replaces the female swans with an ensemble of skilled, menacing men, is one of the most groundbreaking ballet retellings and remains fresh and innovative today.

In typically Bourne fashion, the storyline is dark but with many injections of humour and fine attention to detail (the adorable Corgi which crosses the stage is just one example). The set is extravagant and luxurious enough to make you forget you're watching a touring production. Equally, Lez Brotherston has done an outstanding job with the delicately designed costumes which conjure up the atmosphere of each scene and setting wonderfully. Particularly impressive are the glamorous ballroom scenes where everything sparkles and shines; and the sinister hospital scene where masks bring a nightmarish world to life against stark white.

The entirety of this ballet is fantastically nuanced, with every emotion interpreted perfectly. The balance between dance, comedy and drama is exquisite and there are often so many brilliant things happening at once that you don't know where to look. This production is truly a feast for the eyes.

Tchaikovsky's score also provides a feast for the ears. The Swan Lake Orchestra's lush, virtuosic recording shines and soars exactly as one would wish. The recognisable music, accompanied by masculine dance has the audience transfixed from open to close. 


Max Westwell as The Swan is outstandingly multi-faceted. At times he is menacing as he rears up, but equally calm and regal as he defensively bows down. The contrast is amazing to watch as is the way the Price (Dominic North) complements him. The pair are both strong and delicate as they create a thrilling union on stage.

Nicole Kabera is suitably regal as the queen, with Freya Field a complete contrast, constantly stepping on toes and causing laughs as the Girlfriend. Both ladies are highlights of the production.

Swan Lake is a sumptuous production full of glorious moments which you'd be hard pressed not to revel in. A powerful, intricately choreographed and danced show, this is a must see for ballet regulars and newbies alike. 

Swan Lake runs at the New Wimbledon Theatre until April 20th, before continuing its tour.

photo credit: Johan Persson

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.

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

Follow Sharon and Rob for updates on future performances during their #FindingTheFalcos journey

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