Friday 5 July 2019
The Secret Diary of Adrian Mole Aged 13 and 3/4 – The Musical, Ambassadors Theatre | Review
The Secret Diary of Adrian Mole Aged 13 and 3/4
Ambassadors Theatre
Reviewed on Wednesday 3rd July 2019 by Olivia Mitchell
★★★★
This joyous musical is based on the first book of Sue Townsend's well-loved series of the same name. Featuring music and lyrics by Pippa Cleary and book and lyrics by Jake Brunger, it's a marvellous gem of a show, that is truthful, optimistic and a whole lot of fun.
As the school holidays begin, this is the ideal family show, with humour for both adults and children, as well as universal issues that are delivered in a fresh, colourful way. The small Ambassadors theatre is a perfect fit, as it feels intimate and intricate at once. The audience are transported to the Mole's family home and whisked up in the trials of being 13 and 3/4.
Luke Sheppard has managed to capture a true warmth with this production. From start to finish there is a perfect balance between truthful characters and caricatures of real life people, and the heart never waivers. The cast do an exceptional job of encapsulating what it means to grow up. Rufus Kampa leads the show with a fantastic combination of awkwardness and charisma. Kampa instantly draws the audience in and gives a performance very truthful of a young teen. In contrast, new girl at school and love interest Pandora (Rebecca Nardin), is confident and over the top in all the best ways. Nardin provides stellar vocals, bright eyes and a very well characterised performance.
The whole cast are very impressive, with Jeremiah Davan Waysome giving a charming performance as Adrian's best friend Nigel. Amy Ellen Richardson is tender and witty as Adrian's mum, Pauline and John Hopkins is hytrical as Mr Scruton and Mr Lucas.
With Rebecca Howell's choreography which fills the stage, Tom Rodger's slickly designed set which features beds coming out of cupboards, the on the ball cast and highly catchy songs, this is a Brilliantly British show.
The Secret Diary of Adrian Mole Aged 13 and 3/4 is an expressive and animated production, full of heart and energy. The superb cast deliver humourous one liners and more emotional moments with grace and truth, and bring the vivacious score to life well. It's definitely a must-see for families this summer and is sure to delight throughout its run.
photo credit: Pamela Raith
Tuesday 2 July 2019
Dirty Dancing (UK Tour), Bristol Hippodrome | Review
Dirty Dancing (UK Tour)
London Palladium
Reviewed on Monday 1st July 2019 by Emma Gradwell
★★★
It is the summer of 1963. Frances "Baby" Houseman is on holiday with her parents and sister at Kellerman's, a holiday resort in the mountains owned by a family friend. The mundane entertainment leaves Baby disinterested and she is quickly distracted by the underground evening activities enjoyed by the staff. Baby's desire to help leads her to having a crash course in Latin Dancing to cover the tracks for her new friends and to learn some life lessons as she grows from a naive girl into a confident and sensual woman.
Katie Eccles is sweet as Baby and her scenes with Michael O'Reilly as Johnny range from comedic to sultry. As a couple the chemistry builds slowly as the characters become better acquainted. There are times that movement and dialogue seem forced and exaggerated for effect in a way that is unnecessary.
The dancing, choreographed by Gillian Bruce is expertly performed. Dirty Dancing is certainly a dance led production and Simone Covele as Penny gives a stand out performance. The energy hits its highs during the group performances, which is when the show is at its best, peaking with the finale - and that lift!
There are times when the acting seems not as effortless as the movement, but this is not a complicated story and the show is driven by the dance. Lizzie Otley puts her own spin as Lisa Houseman during the Hula number and provides an unforced comic moment that stands out.
Dirty Dancing - The Classic Story on Stage is a faithful retelling of the much loved film. Costumes designed by Jennifer Irwin are near enough identical to their on screen counterparts and Federico Bellone's production is almost word for word as it is on screen. This makes for a nostalgic revisiting to a familiar story for many who grew up in the 80's and hold a special place in their hearts for Baby and Johnny. Roberto Comotti's rotating set design is vast and ambitious. Combined with Valerie Tiberi's lighting design which expertly uses projection to bring to life Johnny and Baby's lake lift.
This is not traditional musical theatre and it is not marketed as such. Very few of the main characters sing and most vocal performances are sung alongside the story with a live band on stage with them, which is a nice touch. Much of the score is pre-recorded classics from the era and I would have preferred live performances.
Dirty Dancing is an enduringly popular brand and the latest touring offering should keep fans satisfied.
photo credit: Alastair Muir
Saturday 29 June 2019
On Your Feet!, London Coliseum | Review
On Your Feet
London Coliseum
Reviewed on Thursday 27th July 2019 by Olivia Mitchell
★★★★
The long summer nights are here and it's the perfect time for a fun, high energy musical that will have you tapping your toes and feeling good. Thankfully On Your Feet! is here to provide just that. Despite a flimsy plot, there's fun to be had, lights to dazzle and latin sounds to ensure you leave the theatre smiling.
Taking us from her childhood in Cuba, through her recording career and her near fatal accident, On Your Feet! is a real celebration of Gloria Estefan's career and determination, and is a real reminder to always stand up for what we believe in. The cast are as enthusiastic and sharp as you would hope, and provide some highly exciting moments, especially when dancing Sergio Trujillo's fiery choreography. Particularly impressive is the sandal tap dance which really wows and creates a rousing wall of sound that is fantastic to see and hear.
The main downfall of the musical is certainly Alexander Dinelaris' book which lacks much depth or emotional drama. Many of the more intense emotional scenes are quickly brushed over and it's not until act two that we really become absorbed in the story. Of course this is real life and it's the music of Gloria Estefan that we are celebrating, but there are several moments where the pacing feels too slow and too little happens. However, the scenes where Gloria and her mother are at odds with one another and when there is conflict between the Estefans and their record producer, are great at highlighting Gloria and Emilio's grit and the limited book is all performed well.
The direction by Jerry Mitchell does feel basic at times and sometimes highlights the flaws in the book, but he rightly places the wonderful music of Gloria and Miami Sound Machine at the heart of the musical. The high energy songs, including the Conga and On Your Feet make the audience feel uplifted and energised. It's hard not to feel swept up by the glorious Latin rhythms that make you want to grab a cocktail and swirl around.
Leading lady Christie Prades is confident and engaging in her performance. She delivers a performance which never waivers in energy or commitment; and vocals which wow and engage. Prades' chemistry with George Ioannides as Emilio Estefan is wonderfully nuanced and believable. George also provides strong vocals, which falter at times but mostly maintain the suave Latin feel. Karen Mann as Conseulo is delightfully entertaining as she pushes Gloria to achieve her dreams in any way she can, even if that includes bribing a club owner with Empanadas! Meanwhile, Madalena Alberto is sharp (and a vocal powerhouse) as she portrays Gloria's mother who begrudges her daughter, but of course, loves her regardless. Ensemble standouts include Dawnita Smith and Francesca Lara Gordon who catch the eye as they perform each moment with power and perfection. Little Gloria Emily Perra is also fantastic, with a magnetic stage presence and beautiful vocals.
The onstage band bring every song to life with an enthusiasm which radiates off the stage. Emilio Soso's floaty, colourful costumes just add to the party feel of the piece, as does Kenneth Posner's bold, bright lighting. Both aspects are equally strong when they dim themselves to fit the more emotive, atmospheric moments.
Overall On Your Feet! is an entertaining delight of a show. The book is hugely lacking but for fans of Gloria Estefan it's a perfect portrayal of her life and music. Transport yourself to the Miami sun and take a journey through the lives of Gloria and Emilio.
On Your Feet! is booking at the London Coliseum until August 31st
photo credit: Johan Persson
Thursday 27 June 2019
Bare: A Pop Opera, The Vaults | Review
Bare: A Pop Opera
The Vaults
Reviewed on Wednesday 26th June 2019 by Olivia Mitchell
★★★
Bare is a pop-rock chronicle of ill-fated gay love at a Roman Catholic boarding school. It focusses on issues including bullying, depression, homophobia and stigmatisation. The score is often touching and intricate and the young cast mostly do a fantastic job of performing it earnestly.
Having premiered off-Broadway and receiving various productions around the world, the show has gained a considerable cult following so this London production has been highly anticipated. Showing at Waterloo's Vaults, the theatrical experience is somewhat immersive as the action comes at you from all angles. Whilst most of the time this is effective, at moments the novelty of peering through heads to see what's going on does wear off, and the large, long stage feels underused.
Personally the pacing of this show is what lets it down. Act one is all about the set up and then everything major happens in act two. For this reason there are times, especially in the first half, where you feel uninvested. However, there are moments which stand out, namely Georgie Lovatt who is making her professional debut in the show, before she graduates. Her touching and humourous portrayal of Nadia is marvellous to see and she provides outstanding vocals to match.
Lizzie Emery gives a well rounded performance as Ivy and beautifully highlights the internal struggles many people face growing up. Her well nuanced performance is furthered by her fantastic solo, All Grown Up in act 2 which is a goosebump-inducing vocal powerhouse moment. Tom Hier is wonderfully motivated as Matt and gives a magnetic performance whenever he is on stage.
As the lead couple, Daniel Mack Shand (Peter) and Darragh Crowley (Jason) have a simmering relationship. Whilst facing the struggles of being oppressed for their sexuality and struggling to come out to those around them, it's clear they are trying to use their love to keep them grounded. Whilst there are moments of clear affection between them, most of the time they feel a little disconnected. The audience never really see a pure moment of love between them all because there's always something going on with them. Whilst of course this is partly the point, it does mean we root for the pair less. However, Darragh Crowley's performance is excellent both vocally and acting wise.
Andrew Ellis' lighting is effective, mostly so in the second act. The angelic murals on the wall are lit up at crucial times and the contrasts between cool and warm are well done.
Overall this is a musical of two halves. The performances are strong and the music itself is extremely clever and mostly engaging, but at the same time there are moments that drag. For fans of Bare this is a must to tick off your list, but I suspect it will be a bit of a marmite show.
photo credit: Tom Grace
On Your Feet!, London Coliseum | Review
On Your Feet
London Coliseum
Reviewed on Wednesday 26th July 2019 by Lucy Jardine
★★★★
Last night at the Coliseum, on a glorious evening, On You Feet, brought some Cuba/Miami sound and spectacle to London.
Mostly, it was a triumph. Christie Prades was a delight as Gloria. It was a treat to hear the authentic American and Latino accents without them being massacred. Her voice, whilst not quite on Gloria's epic scale, carried us along with her. Madalena Alberto was probably the star of the show though - such a strong voice and utterly convincing as the mother who had been forced to give up her dreams and therefore resented her daughter wanting to follow hers. And Karen Mann as Consuela, Gloria's grandmother, although some of her dialogue and mannerisms were a little cliched, brought many a chuckle to the audience.
The ensemble treated us to some fast-paced, foot-tapping, booty-shimmying sets and at the end, yes, we were all on our feet, clapping and dancing along with the excellent band that transported us to the hot steamy nights of Miami. Sergio Trujillo's choreography was solid; the staging, through the use of large moving cloth panels and the projection of images, from clubs in Miami to original photos of the terrible traffic accident that Gloria was in, was well crafted.
The one significant disappointment was George Ioannides in the role of Emilio Estefan. Again, his accent was authentic and his acting good but, unfortunately, his voice could not carry the songs and a couple of the duets with Christie were, frankly, a little uncomfortable. This didn't seem to matter to the audience though. After a rousing encore, we all left with our hearts a little lighter and our smiles a little brighter. Not a bad thing in today's world.
Tickets for On Your Feet are available at LondonBoxOffice.co.uk
photo credit: Johan Persson
Wednesday 26 June 2019
Little Miss Sunshine (UK Tour), New Victoria Theatre | Review
Little Miss Sunshine (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 25th June 2019 by Christine Jacobs
★★★★
A feel good road trip with an unconventional, dysfunctional family.
The Hoover family set out at the last minute to travel from Albuquerque New Mexico to California to get Olive brilliantly played by Lily Mae Denman, to the Little Miss Sunshine pageant. The pageant she so desperately wants to enter, encouraged tremendously by Grandpa.
This flawed family consists of: downhearted mother Sheryl (Lucy O’Byrne), dad, upbeat Richard (Gabriel Vick); brother Dwayne (Sev Keoshgerian) who can’t wait to become a pilot to get away from the family; gay Uncle Frank (Paul Keating) and wonderfully irreverent Grandpa played outstandingly by Mark Monaghan, they all take the trip to California in a yellow VW camper van.
Determined to overcome all obstacles including:
1. No clutch on the van, meaning they all have to get out and push after each stoppage.
2. Frank meeting up with his former lover (over whom he tried to commit suicide), and his new partner played brilliantly camp by Ian Carlyle
3. Maxing out their credit cards, causing strain on Sheryl and Richard’s relationship.
4. AND Shock, horror, despite Grandpa-dying they still continue to the beauty pageant to fulfil Olive’s dream which Grandpa so encouraged, NO MATTER WHAT.
The lighting is atmospheric, the lovely yellow hues make the VW van come to life and the wonderful addition of the Sat Nav route in the back of the stage and the Sat Nav directional voice giving directions are very realistic.
The hospital scene where Grandpa dies, one would assume to be tragically sad, but in this fantastically well-paced production it becomes humorous due to the determination of upbeat dad Richard. The ever present passion and desire to take Olive to her pageant is prevalent and a moving force for the characters and the show itself.
At the pageant, Buddy the host, yet again played magnificently by Ian Carlyle, and Miss California (Imelda Warren-Green) both work wonderfully together and really turn the audience against their conniving personalities.
Tonight, the audience loved this show. Although (spoiler) Olive doesn't win her contest, if it was up to the audience reaction, she would have come first every night. The ending of this musical is especially sweet, and I can't help but wholly recommend this show to bring a smile to your face.
Little Miss Sunshine runs at the New Victoria Theatre until June 29th before continuing its tour.
Photo credit: Richard H Smith
West End Live 2019 I A Photo Round Up
There's no denying that West End Live is one of the most stagey and fun weekends in a theatre fans diary. The finest of the West End musicals come together to perform live and for free in Trafalgar Square as hoards of fans belt back their favourite songs.
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
We can't wait for next years West End Live! Let us know your favourite moments from the weekend in the comments.
photo credit: Olivia Mitchell
Thursday 20 June 2019
The Light in the Piazza, Royal Festival Hall | Review
The Light in the Piazza
Royal Festival Hall, Southbank Centre
Reviewed on Wednesday 19th June 2019 by Olivia Mitchell
★★★★★
The Light in the Piazza is a contemporary musical which invokes all the feelings of the golden age and is a sumptuous treat for the eyes and ears. The marvellously swooping score by Adam Guettel whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
As Clara, Dove Cameron is a marvel. A perfect combination of charm, innocence, an unruly heart and a headstrong mind, she lights up the stage every second she's on it (which is most of the show). Equally, the more intensely dramatic moments of the musical are performed with a candor and aggression which strikes and moves the audience. Cameron is a true star with vocals to match her captivating performance.
Rob Houchen has a way of surprising audiences with each role he takes on. This time it's the Italian leading man, Fabrizio, who is swoon-worthy, humourous and charismatic. As always Rob's acting performance is strong, with the comedic moments especially landing well; but it's Houchen's vocal performance which solidifies him as the dream casting choice for this role. The swooping vocals seem to pour out of thin air as Rob captures every moment with ease and control. Alongside Cameron, the pair create a chemistry which fizzles around the Festival Hall and creates a fuzzy feeling from start to end.
Taking the role of the protective mother, Renée Fleming soars. Her deep operatic voice fills the festival hall but still manages to capture the intimate vulnerability she feels throughout. Mention must go to Mick Potter who has designed the sound of this show excellently. With the mix of operatic and musical theatre performers, there is always a risk of one overpowering the other, especially with opera performers usually being unmiced but this is not the case at all and the two styles meld and compliment each other fantastically.
Celinde Schoenmaker oozes sass as she struts across the stage in a smooth two piece and provides some of the musicals conflict during her marvellously performed The Joy You Feel. Liam Tamne is light relief as her husband Guiseppe Naccarelli. Alex Jennings also gives a memorably suave performance as patriarch Signor Naccarelli.
Brigette Reiffenstuel's 'frocks' are completely divine and indulgent, with floating fabrics and tailored Italian suits covering the stage. Backed by Robert Jones' simplistic but intuitive set, Dove Cameron seems almost doll like as she twirls around Italy in her magnificent pastel coloured clothing.
Sure, the story is lacking, but this is a show about love and you can't help but feel overcome by warmth as you watch it all play out. There are many a predictable moment, but thanks to Daniel Evans' direction, they're all carried out so well that they feel fresh and unexpected, regardless.
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
Tuesday 18 June 2019
Waitress, Adelphi Theatre | Review
Waitress
Adelphi Theatre
Reviewed on Monday 17th June 2019 by Olivia Mitchell
★★★★
Sara Bareilles' cherry sweet musical follows Jenna as she bakes her feelings into pies. In an abusive relationship and expecting a child she is not excited about, we follow Jenna as she journeys through life and has some unexpected experiences.
Three new cast members have joined the diner to form the second West End cast. They are Lucie Jones as Jenna, Ashley Roberts as Dawn and Blake Harrison as Ogie. Despite lacking vocal strength, breath control and diction at times, Ashley Roberts grew into the role of Dawn throughout the performance and as her limited run continues, she will surely relax more and bring the quirky character to life in a genuine, witty and entertaining way. Currently she feels somewhat as if she's overacting and is often flat or reaching for the notes in both her solo and group numbers and certainly lacks the finesse expected in the West End, but hopefully this will be rectified and she will prove a good star cast choice. Her partner, played by fellow newcomer Blake Harrison is supremely funny one hundred percent of the time. Again his vocals are ever so slightly lacking, but as the nerves fade, so will the faults. Harrison is a hugely entertaining performer and a pleasant surprise in this sweet show.
As leading lady Jenna, Lucie Jones is second to none. Her impeccable interpretation of the character is charming, sincere, humourous and heartbreaking at once. Each small facial expression and movement is filled with a thousand words; and alongside Lucie's phenomenal, clear-as-glass voice, the performance is mesmerising. The vulnerability of Jenna is brought to life in a nuanced but completely effective way by Jones, with her rendition of She Used To Be Mine not only breaking hearts, but bringing the audience to their feet mid show.
Michael Hamway (swing) embodies the erratic but charming Dr Pomatter admirably, as well as bringing some stellar vocals to the stage. You Matter To Me was performed with heartbreaking sincerity by Jones and Hamway. Marisha Wallace continues to bring sass, sass and more sass to the stage, as well as powerhouse vocals, lively one-liners and delicate moments with Jenna. Take it From an Old Man is a welcome moment of calm and simplicity performed by diner regular, Old Joe, played by Shaun Prendergast.
The villain of the show, and highly flawed character Earl is played with menace by Peter Hannah. Whilst the moments of physical anger are jarring, it's the brief moments of emotional blackmail which really strike the audience. Hannah manages to capture both tormenting sides of Earl, in a spectacularly well-constructed and controlled way. The character is vile but Peter must be applauded for performing him so well and truthfully.
Nurse Norma is a highly amusing character who pops up throughout the show to deliver brilliant one-liners. Brought to life by Kelly Agbowu she is an especially memorable character and manages to gain numerous laughs in the stage time she has. Charlotte Riby also puts a smaller character in the forefront of our minds with her honest performance as Jenna's mum who faced many similar struggles as well as teaching her daughter all she knows about baking. Jones and Riby have a chemistry which is visible even from their brief moments together and it's lovely to see.
Scott Pask's set and Lorin Latarro's choreography are particularly effective with the sets and ensemble often moving as one to create a fluidity throughout. Equally as impressive is the way the stage transforms to mirror the moods of leading lady Jenna. The home shared by Jenna and her abusive husband is surrounded by darkness and is much smaller than each of the other settings so physically emphasises how trapped Jenna feels, and is. When she begins to rediscover her spark, the space expands in a moment of relief and theatrical wonder.
Whilst a lot of the morals and motivations in this musical are morally ambiguous and there is a lack of resolution, there's no denying that it's a sweet treat filled with musical delights and sugary performances. Sara Bareilles' score is a delightful listen and the mostly strong cast do a wonderful job of bringing it to life and showing that there is always light and support at the end of the tunnel.
Waitress is currently booking at the Adelphi Theatre until December 7th 2018, tickets can be booked at www.londonboxoffice.co.uk
photo credit: Johan Persson
Sunday 16 June 2019
Ben Platt: Sing To Me Instead, Eventim Apollo | Review
Ben Platt: Sing To Me Instead
Eventim Apollo
Reviewed on Saturday 15th June 2019 by Olivia Mitchell
★★★★★
In his premiere London concert, Ben Platt performed his Sing To Me Instead tour to thunderous applause, and proved that sublime vocal skill and authentic connection are the perfect combination for a magical night.
Opening the evening was James TW. A British singer-songwriter, James instantly got the audience on his side through his earnest songs and impressive vocals which set the tone for the intimate evening ahead. His stripped down version of Hey Ya! was particularly entertaining, especially as the audience sang back in a wonderful moment of synchronicity. Personally the most moving song was When You Love Someone which was performed with absolute candor, and highlighted why James is succeeding in his career so far.
After a brief interval, headliner Ben Platt took to the stage to almighty applause as he sung out his first instantly recognisable phrase. From the opening moment we were transferred to a vibrant jam session which was energetic and magnetic throughout. The opening song Bad Habit paved the way for the signature vibrato, laid back vibe and insanely well performed concert we were about to experience. With a set list almost exclusively featuring songs from Ben's debut album, this was a wonderful chance to see and hear Ben outside the restraints of playing a character. Whilst yet to perform in a West End musical, it was clear from the many people sporting Dear Evan Hansen merchandise, that a lot of his fans are from his theatre work. What was wonderful about this concert, is that despite not featuring any musical theatre numbers, it felt just as emotive and transformative as sitting through a plot filled musical and will entertain both stageys and non-stageys alike. If the album is not enough to assure you of Platt's vocal prowess, seeing him live will absolutely seal the deal.
Ben animatedly chatted between songs as he found ways to open himself up and connect to the audience. Short anecdotes about each piece added a depth which seemed to resonate with everyone there. In a night of perfectly performed songs it's hard to label standouts, but Honest Man and Share Your Address were particular favourites as they radiated energy thanks to Ben and his outstanding band and backup singers. Throughout the concert Platt used his smooth riffs and a soaring range to share the various life lessons he's learned and seemed to truly be loving every minute of it.
Aside from Ben's own music, he also put his spin on some other artists. Brandi Carlile's The Joke was goosebump inducing, whilst Stevie Wonder's Overjoyed transported us to a bopping bar and the melody of Elton Jonh's Take Me To The Pilot was emphasised and enthusiastically performed.
The intimate feel of the Sing To Me Instead album was perfectly reflected in the stage layout which was dotted with cushions and family photos. Every beat of each song was matched faultlessly through the lighting design of the tour. Superbly theatrical, warm and awe-inspiring, it was truly the most well lit concert I've ever experienced and made the night not only aurally pleasing, but visually stunning.
Ben closed the night with Older and Run Away; two beautifully controlled pieces which solidified him as performer in his own right, outside of playing a character. As audience members, we were welcomed into Ben's world and he did not shy away from letting us in on his triumphs and flaws. This connection was truly magical and I have absolutely no doubt that Ben will continue to beguile and inspire audiences around the world.
photo credit: Olivia Mitchell
Wednesday 12 June 2019
Afterglow, Southwark Playhouse | Review
Afterglow
Southwark Playhouse
Reviewed on Tuesday 11th June 2019 by Shaun Dicks
★★★★
“There are no fairy tales about polyamory.”
Afterglow is ‘The little play that could’. After its impressive off Broadway run of 14 months and 467 performances, it has made its way across the pond to the Southwark Playhouse, a theatre synonymous with fantastic shows.
In this story we follow three men, the married couple of Josh and Alex, played by Sean Hart and Danny Mahoney, and the complication to Josh and Alex’s marriage, Darius who is played by Jesse Fox. The story follows these three men as the ins and outs and potential complications of polyamory play out. It explores the ideas of commitment, love and the malleability of relationships.
The script written by S. Asher Gelman is a good one, the dialogue is clean, interesting and has brilliant jokes but also has some very honest and real lines in there. The monologues of Darius are just fantastic, and Jesse Fox does well with them; delivering some hard truths excellently. Danny Mahoney as Alex does a good job being the anchor of the show, giving his co-stars a chance to be a bit freer on stage.
The star of the show though is Sean Hart as Josh. Josh is a well fleshed out character, that has obviously been thought through and is fully realised. Hart’s character work makes his co-stars characters look a little non-descript at points.
The direction from Tom O’Brien is ok, the one thing that hampers this show is the scene transitions, they are just so long, it sucks the energy out of the show. The transitions are so long, you could go out, get a drink and get back before the next scene starts.
David Howe's lighting is great, doing well to elevate the piece higher by being creative in his design. The set design by Libby Todd is fine, but their design is half the problem with the very long scene transitions.
Afterglow isn’t your typical fairy tale but in this pride season, it does give a fair, true and honest representation of polyamory and the gay community as a whole; giving life to a story that needs to be told. It’s a show that does have flaws but that’s almost part of its charm.
It’s a highly recommended piece of viewing for all. Gay, Straight, Bisexual, Asexual, Pansexual. Cisgendered, Non-Binary, Transgender, Gender Queer. It is ultimately a show about people and how the heart wants what the heart wants.
photo credit: Darren Bell
Tuesday 11 June 2019
Annie (UK Tour), New Victoria Theatre | Review
Annie (UK Tour)
New Victoria Theatre
Reviewed on Monday 10th June 2019 by Olivia Mitchell
★★★
Annie is an absolute cult classic show, from it's various film incarnations and tours around the world, there's something wonderful about the story of a young orphan who overcomes adversity and finds the love she's always desired.
Nikolai Foster's current UK touring production of the show features a wonderful set, some thrilling choreography and a whole lot of foot stamping energy from both the children and the adults. Colin Richmond's set is reminiscent of Matilda, with fragments (in this case puzzle pieces) framing the stage and creating a backdrop which leaves a lot to the imagination but also seems to flow and transition. Richmond's costumes are perfect for the setting but also manage to put a refreshing spin on the styes which have become synonymous with the show such as Annie's red coat and Lily St Regis' flowing dress.
Nick Winston once again provides the goods with his sharp choreography that incorporates a number of dance styles and never waivers. Particularly impressive are the tap numbers and rousing NYC sequences. The cast are precise and clean as they bring Winston's vision to life in an entertaining and stylistic way.
The young cast do a great job of bringing the various personalities of the orphans to life, with stand outs at this performance including Chancé Quaye, Aliya Bashir and Francesca Robinson. Leading the way as Annie herself, Freya Yates gives a good, assured performance and is sure to grow and develop into a wonderful musical theatre performer.
Among the adult cast it's Carolyn Maitland who stands out as the caring Grace, who takes Annie under her wing and becomes the perfect mother figure. Maitland's voice is superb and she really does radiate warmth. Richard Meek is entertaining as the bad boy schmoozer Rooster, who cons his way through life but remains annoyingly charming. Alongside the talented Jenny Gayner as Lily, the pair give fiery performances, especially in the kick-line inducing Easy Street. Craig Revel Horwood is a clear audience favourite and does give a rounded performance. Whilst there are moments which lack in energy, others fizzle and excite. Overall there are times when the audience could have benefitted from Horwood having stronger diction within his strong New York accent but he does, mostly, do the iconic role justice.
Although the sun might not be coming out in Surrey tomorrow, there's no doubt that this show will bring light and joy to many children. The beaming faces and exclamations of "I want to see it again" prove how magical theatre can be; and whilst this show is not everyone's cup of tea, it certainly has the heart to inspire.
Vicki Manser on Bringing Herstory to Life in Six the Musical | Interview
Toby Marlow and Lucy Moss' musical Six is taking the West End, and the world by storm. Telling the stories of the six wives of Henry VIII through the form of an epic, high energy, hugely entertaining pop concert, it is a hit with fans of all ages. This is in part due to the fantastic writing but also thanks to the sublime cast who bring the queens to life every night.
Vicki Manser joined the show in January as an amazing alternate who gets a chance to don the crown of each queen and strut her stuff at the Arts Theatre. Vicki told us about the show, who she'd like to play her in her own pop concert musical and what she'd say to Henry VIII if she got the chance...
Can you describe the show in Six words?
Seventy-Five minutes of pure genius!
You recently finished starring in Bat Out of Hell which is a rock musical, how does that compare vocally to performing in a pop musical?
In terms of vocal technique Rock and Pop sit quite closely together and share a lot of the same placements so in some ways very similar actually! But I definitely get to use more speech quality and character driven singing in Six for example in Boleyn’s song and Cleves’ song and I just love that the whole show is a gig/concert type vibe. I get to pretend to be a pop star for an hour and 15 minutes and that is SO FUN! Your vocals are also much more exposed in Six with there only being Six of you onstage as opposed to 20 plus so there is no where to hide…. Not that I tried to in Bat… I couldn’t even if I wanted to with that pink mullet haha!
If you could go back to Henry VIII’s time which queens life would you like to live?
NONE OF THEM!!!! Haha! As much as I love learning about the Tudor history and telling the Queens stories; I don’t fancy having to live any of their lives! But I guess if I absolutely HAD to, then being given your own palace in Richmond wouldn’t be too shabby. So Cleves it is!
Which wife do you think had the worse life?
Well, none of them had it fantastic, but Howard has gotta be up there with the worst. Her story of abuse started so young before Henry was even on the scene! She had to be married to him when she was just 16 and he was 49 and THEN she was beheaded…. I know, I know!
If you could say anything to Henry VIII what would you say?
‘Off with his head!’ HA PAYBACK!… no, I'm kidding… two wrongs don’t make a right guys…!
If your life was going to be made into a pop musical, who would you want to play you?
I think my little sister, Kimberley Manser, is the perfect candidate for this! She knows me inside out and backwards so would play me and all my quirks down to a T! She's great at impressions and she always answers my phone to my boyfriend and he thinks it's me EVERY time! She’s also the most SENSATIONAL pop singer (not even being biased lol) so she’d make me sound really good!
You’re Artistic Director of Sharpe Academy, tell us a bit about that
I am indeed!!! So Sharpe Academy is a Musical Theatre school that's been running all across North West London for 11 years and this year we are opening a brand new college offering a 3 year Diploma in Professional Musical Theatre which I am so excited for! I trained with Sharpe before my professional training and then went on to be their company choreographer and now I'm Artistic Director for the college! I have always loved choreographing and teaching and I can't wait to share my knowledge with aspiring performers and help them to reach their goals! So if you have finished your GCSE's OR A levels and are looking for a vocational course and professional training to get you industry ready, come and check us out!
We have a FANTASTIC team of people with tonnes of experience to offer in dance, singing, acting and acrobatics and are very fortunate to have our INCREDIBLE patrons supporting us; Carrie Hope Fletcher, Matt Lucas and Giovanni Spanó. We also hold a Guinness World Record for the fastest theatrical production so that's pretty cool! Come join the Fam!
What’s your top piece of advice for aspiring performers?
The industry is HARD... there is no point in sugar coating it ... but if you're determined, you work hard, believe in yourself and NEVER give up .. then one day you will get there ... no matter how long it takes!
Six is currently running at the Arts Theatre and will be embarking on a UK Tour from October 2019
Interview by Olivia Mitchell
photo credit: Danny Kaan
Wednesday 5 June 2019
The Firebird / A Month in the Country / Symphony in C, Royal Opera House | Review
The Firebird / A Month in the Country / Symphony in C
Royal Opera House
Reviewed onTuesday 4th June 2019 by Olivia Mitchell
★★★★
The Royal Ballet are wrapping their summer season up with a trio of delightful works by three of the greatest choreographers. Together they form a night entertainment that is full of surprise, and more importantly variety. The versatility of ballet is showcased, as are the spectacular dancers who fizzle with precision and energy at once.
The proceedings open with The Firebird which is strange but feisty. Combining Russian folklore with Stravinsky's score and classical ballet, the result is a crackling piece of theatre which is exciting and superbly easy on the eyes. The Firebird herself, Yasmine Naghdi really does flame across the stage as she vanquishes the sorcerer and creates moments of magic. Naghdi is nail bitingly sharp in every step and her technical precision screams out. Alongside her musicality, gentleness and stage presence, her interpretation is powerful and inviting.
Christina Arestis is beautiful and graceful as the Tsarevna; and alongside Edward Watson's persistent Tsarevich the pair make a lasting statement. Gary Avis is suitably gnarled as Kostcheï and brings both humour and menace to the theatrical character.
The Royal Ballet staple, A Month in the Country is the stand out of the trio, proving what a masterful choreographer Frederick Ashton was. Marianela Nuñez is divinely light as precise as Natalia who truly is The Nutcracker's Clara, all grown up. Her delightful performance and flirtations throughout the piece are marvellous to watch and the grace she moves with is truly mesmerising.
Matthew Ball is handsome and powerful as Beliaev the tutor who has the ladies of the house fawning after his. The pax de deux's Ball dances with both Francesca Hayward and Romany Pajdak are impeccably strong and emotive.
Chopin's sumptuous melodies also add to the enthralling nature of this piece and one can't help but find themselves wrapped up in the sweetness and warmth of it all.
The final treat of the series is Balanchine's Symphony in C which rattles along to close the programme on a high. Anthony Dowell's simplistic backdrop perfectly highlights the magic of ballet, with the dazzling white tutus creating a striking and magnificent contrast to the blue screen behind them. Each dance, both solo and in the corps de ballet gave stellar performances. Special mention must go to Fumi Kaneko who stepped in at the last minute to give an enchanting performance.
Together, these works create a triple bill that is a swoon worthy, explosion of exuberant dance.
photo credit: Tristram Kenton
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