Wednesday 8 May 2019

Amour, Charing Cross Theatre | Review


Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell 
★★★

Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor. 

One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...

This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled. 


It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.

Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.

The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.


This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat. 

photo credit: Scott Rylander

Tuesday 7 May 2019

Man of La Mancha, London Coliseum | Review


Man of la Mancha
London Coliseum 
Reviewed on Friday 20th October 2017 by Olivia Mitchell 
★★

Man of La Mancha is considered a 'rare' revival and from this production it's pretty clear why. The story is highly dated and it's evidently a very hard piece to stage. Whilst the cast do as much as they can with what they've been given, the production feels un-engaging and insufficiently developed.

The structure of 'a show within a show' does little other than make the piece feel static. No context is given for the prison setting and the transition from the damp cell to the dreamlike play is jarring at times. The switches feel bulky and instead of moving on what little story there is, add an unnecessary layer which isn't resolved in any way.

The thin plot follows author Cervantes (Kelsey Grammer) who has been thrown into the prison. In an attempt to save his manuscript of Don Quixote and his worldly possessions, he acts out the novel and allows the other captives to take part. Grammer is good in his roles most of the time but feels unsteady, especially during the fight scenes, and doesn't bring the show's hit song 'The Impossible Dream' to life with much bravado. In general the cast are strong but there are moments of weakness, mostly due to the book itself.


Nicholas Lyndhurst plays both the sinister Governor and boozy innkeeper and is highly entertaining. The story may be strange but Lyndhurst amuses and brings his unsophisticated characters to life. 

Soprano Danielle de Niese plays Aldonza, the local prostitute who Quixote sees as his princess and damsel in distress, Dulcinea. De Niese is vocally strong and brings an entertaining feistiness to the stage, but her incredibly dated role which features a brutal rape scene, again feels discordant. There seems to be a lack of balance between comedy and drama, with whimsical moments suddenly being taken over by shocking social commentaries, that do little to resonate with a modern audience.

There are brief sparkles of greatness in this production: David Seadon-Young stands out among the ensemble, Peter Polycarpou is engaging and whimsical and the gypsy dance is well choreographed. However overall Man of La Mancha feels like a show which cannot be made relevant for a contemporary audience. The bizzare characters are too far removed from anything the audience can sympathise with which makes the whole production feel empty.

If Fotini Dimou's beautifully detailed costumes and David White's superbly virtuosic orchestra are enough for you to fork out the the ticket money then by all means go to this show, but don't expect much more.

For more information and tickets, visit https://www.londonboxoffice.co.uk

photo credit: Manuel Harlan

Saturday 4 May 2019

Disney's Aladdin, Prince Edward Theatre | Review


Aladdin
Prince Edward Theatre 
Reviewed on Wednesday 21st May 2019 by Olivia Mitchell 
★★★★

There's always room for a little injection of Disney magic and Aladdin which is booking at the Prince Edward Theatre until July 27th 2019, is just that. It's not a life-altering, thought-provoking piece of theatre but it's a whole lot of fun, mountains of sparkle and enough magic to enthral children and adults alike. 

If you're unaware of the story, Aladdin follows a street urchin who is hustling his way through life. That is, until he meets the Princess of Agrabah and his life becomes a little more wild. As the prophesied 'Diamond in the Rough', Aladdin gets his hands on a lamp which contains a magical Genie, who will grant him three wishes. Aladdin ventures to find love and escape the dark characters who are on his tail in this mystical story.

Aladdin (played by Matthew Croke) is lovable and charming in all the ways you could desire. With a beautiful voice and fantastic stage presence he leads the show perfectly. Croke's rendition of 'Proud of Your Boy' is truly moving and a wonderful moment of calm among an all-singing, all-dancing musical. His Jasmine is played by Courtney Reed who is dazzling and brings a feminist, sassy quality to the character that transfers fantastically on stage. Reed's vocal performances are equally as enchanting and when the pair join for the iconic duet 'A Whole New World' they not only do the film version justice, but put their own mystical spin on it.

The rest of the cast are highly talented, as shown by the various dance numbers which are performed with enthusiasm and precision. Similarly to the film, it's the Genie (played by Trevor Dion Nicholas) who utterly steals the show. With incredible comedic flair and dramatic prowess, Nicholas earns rapturous applause in every scene. Act One closer 'Friend Like Me' is a glistening gem in this production.

A spin of colour, created by Bob Crowley's sets and Gregg Barnes' costumes, Aladdin is a feast for the eyes as well as the ears. The sides of the stage do feel a little underused as they are completely bare, but the black box effect strangely makes the stage look like a television which works for this show.

There are times when the show does feel a bit pantomime-esque, but there's no denying that it caters to the vast audience of tourists, theatre newbies, children, theatre regulars and adults very well. Aladdin pleasantly surprises and impresses. 

The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.

Aladdin is currently booking at the Prince Edward Theatre until July 27th

For more information and tickets, visit: www.londonboxoffice.co.uk

Wednesday 1 May 2019

Madagascar the Musical (UK Tour), New Theatre Oxford | Review


Madagascar the Musical
New Theatre Oxford
Reviewed on Tuesday 30th April 2019 by Emma Gradwell
★★★★

Spotlights spiral around the auditorium, a crate flies open and a monkey threatens to throw poop at us if we use our mobile phones – the tone is immediately set for Madagascar the Musical

Set designer, Tom Rogers does a magnificent job. The stage is surrounded by packing crates that may contain some surprises, and moving pieces that instantly transform the set into a zoo, Grand Central Station and the jungles of Madagascar. The human ‘animals’ are visually engaging, with clever costumes from Robert Alsopp that help to give them an uncanny resemblance to their animated counterparts. 

Matt Terry is a nimble and energetic Alex the lion, who along with Antoine Murray Straughan as Marty the zebra, relentlessly bound about the stage with fun-filled choreography provided by Fabian Aloise. Terry’s vocals are great and he is engaging and likeable. Timmika Ramsay shines as the sassy Hippo, Gloria and her vocals stand out among the leads. 


Jo Parsons shuffles onto the stage after the interval as the ridiculous King Julien, a lemur with a crazy, indeterminate accent. This is when the production really comes alive. Aside from the leads, all of the creatures are represented by puppets and are voiced by a talented team. The penguins waddle out and are hilarious and endearing. Led by Shane McDaid as Skipper they deliver some cherished lines from the film: “Smile and wave boys, smile and wave”. The team switch seamlessly between characters, their voices providing much visual joy to the proceedings. Jessica Niles as Mort the tiny lemur is unbearably cute. 

While the musical numbers are not going to set the world alight, Madagascar the Musical makes up for it with charm and spectacle. There is enough to entertain the adults (rectal thermometers and a couple of drug-fuelled dream sequences), but it remains at heart a children’s show. It’s a ninety minute escape from technology and provides the innocence needed for an uncomplicated and fun evening. The faces of the young audience as they flossed and sang along with King Julien were an absolute joy, and that surely has to be a job well done.

Madagascar runs at the New Theatre Oxford until May 4th before continuing its tour

photo credit: Scott Rylander

Tuesday 30 April 2019

Emilia, Vaudeville Theatre | Review


Emilia
Vaudeville Theatre
Reviewed on Monday 29th April 2019 by Olivia Mitchell 
★★★★

A transfer from the Globe, Morgan Lloyd Malcolm's play about the 17th century poet Emilia Bassano Lanier is already receiving highly positive acclaim as it rouses audiences to their feet night after night. The emotive feminist speeches and fantastically comedic setup of the whole show, make it entertaining, informative and transformative.

It's incredibly encouraging to hear unashamedly feminist words be spoken and performed by such a diverse, encompassing, all-female cast. Despite Emilia being a huge part of feminist history as one of the first published female poets, she has been brushed under the carpet for years. Lloyd Malcolm has made an excellent choice to shine a light by using Emilia's rhetoric to discuss the centuries-long oppression of women. The issues, though different in today's context, are still painfully relevant and Lloyd Malcolm's clever twist on language mixes the past and present wonderfully. Nicole Charles' playful direction also helps make the show buoyant and engaging.

Charles has three actresses (unified by their blue dresses) take on the role of Emilia at different stages of her life. Little is factually known about her life so poetic license is taken as she travels through her introduction to court, motherhood and time as a teacher.  The mental growth of Emilia is physically shown as she changes person after life altering moments. 


Saffron Coomber, Adelle Leonce and Clare Perkins are exceptional in their roles, thriving both in their individual moments and even more so when they support one another. Emilia is supposedly the 'dark lady' in Shakespeare's famous sonnet, an idea which Lloyd Malcolm has really zoomed in on. The love affair between Emilia and Shakespeare fizzles as Emilia struggles with not being offered the same as him, her male counterpart. Charity Wakefield expertly takes on the role of the famous writer who is witty but insecure and self-absorbed as he exploits Emilia for her words.

The dense plot flows well, and efficiently highlights a number of struggles faced by women. Whilst entertaining, the 'south of the river' women Emilia teaches, do lack some dimension but help the story flow. Equally, the occasional parallels to modern immigration are a little lacking but provide food for thought in their brief moments. 

The heart of Emilia and the heart of this piece is anger. In a unsubtle but completely justified way, Perkins closes the show with a magnificently stirring speech which calls for female empowerment. This is a modern musical that shows just how strong women are. The inclusivity of Emilia must also be applauded in terms of it's cast and audience. From a baby friendly performance to last nights captioned show, this is a musical for now in so many ways. If you need motivation, go see this show.

Emilia runs at the Vaudeville Theatre until 1st June

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