Thursday 19 September 2019
Big The Musical, Dominion Theatre | Review
Big The Musical
Dominion Theatre
Reviewed on Wednesday 18th September 2019 by Olivia Mitchell
★★
Lets start by saying that I am not in the group of people who have seen this film, so had nothing to compare it to when I took my seat at the Dominion Theatre. The Tom Hanks movie came out in 1988 and was followed by David Shire and Richard Maltby Jr's musical in 1996, which received five Tony nominations but was a pretty large flop. Twenty three years later it has hit the West End for a limited run that promises to big Big in every sense of the word.
The story follows Josh Baskin, a twelve year old boy who makes a wish on a Zoltar machine to be a grown up. The next morning he wakes up an adult who scares his mother, makes his way to New York City and lands himself a pretty swanky job at a toy company. Its here that he meets Susan, a fellow colleague who he begins a romantic relationship with. Completely normal when he's really a child, right?
The story is questionable to say the least, but it certainly had potential to be elevated by catchy songs and choreography, unfortunately this does not happen. The music is mostly unmemorable and often drags in a clumpy, unoriginal way. Similarly, the choreography is restrained and the large cast are rarely used. The sets and projections are effective to an extent but feel uninspired and lack the wow factor.
Jay McGuiness brings wonder to Josh and is entertainingly gawkish. His vocals are mostly strong and his chemistry with Kimberly Walsh is pretty believable (though its hard to believe a relationship rooted in such a weird idea). Walsh as Susan brings a solid performance but often feels as though she's merely going through the motions. Jobe Hart as Josh's best friend Billy is the stand out cast member as he gives a firecracker performance which entertains and excites. Wendi Peters is also wonderful and would certainly elevate the production if she had more stage time.
It's very hard to overlook how white this production is; set in New York, a hub for various cultures to intertwine, it's shocking that the entire adult cast features not a single person of colour. Whilst the ensemble do work hard, there's no denying that this is not the sort of casting audiences want to see in 2019.
At the end of the day, this will always be a strange story to stage because it is plain weird; but with a little magic and excitement, it could provide some memorable theatrical moments. Unfortunately this production fails to do so and is more basic than big. Various sexist comments, questionable actions and mediocre songs leave you feeling bored and creeped out.
photo credit: Alistair Muir
Friday 13 September 2019
Fame The Musical, Peacock Theatre | Review
Fame the Musical
Peacock Theatre
Reviewed on Thursday 12th September 2019 by Olivia Mitchell
★★★★
Back in the West End after 12 years, Fame makes a triumphant return with Nick Winston's production. This 30th Anniversary edition has been touring since 2018 but is having a prolonged five-week stop at the Peacock Theatre. Featuring the classic songs such as There She Goes, Fame and Bring on Tomorrow, those who grew up with the musical will be taken back to their youths. However, whilst many original aspects are still part of the show, the stage version is less leg warmers and dancing on cars, and more grit, hard work and struggle.
Despite being set in the 80s, most aspects feel fresh, relevant and grounded in truth. Nick Winston's choreography helps the entire production fizzle and buzz like a well oiled New York subway, and the young cast perform each second with conviction and power.
As Iris, Jorgie Porter gives a great showcase of her sleek dance skills and has a great chemistry with love interest Tyrone (Jamal Crawford) who gives an equally strong dance performance and gains rapturous applause after his uber-octane performance of Dancing on the Sidewalk. In the storyline with his teacher Miss Sherman (Mica Paris) Crawford gives a truthful performance as he struggles to read but doesn't want to appear stupid or weak. The battle of wills between the pair is exciting to watch and really comes to a head with Mica Paris' vocally impeccable rendition of These Are My Children.
As the quirky actress Serena, Molly McGuire is warm and instantly likeable. Her relationship with Nick (Keith Jack), a tv actor, wanting to break into the more serious world of acting, is sweet and the pair compliment each other well. With Jacques Levy and Steve Margoshes' music and lyrics, there are some lovely moments, especially Lets Play a Love Scene.
The ensemble are tight from start to finish, performing the sharp choreography extremely well and providing moments of interest away from the main action throughout. Serina Matthews and Tom Mussell particularly catch the eye throughout. This cast is also comprised of various quadruple-threats. The host of amazing actor-musos who are present on stage throughout, really transport us to a performing arts school, and help keep up the frenzied energy of working on your craft. Louisa Beadel is feisty as Lambchops and gives a brief but beautiful vocal performance in the closing number; Alexander Zane is light relief and a wonderful energy on stage. Simon Anthony is outstanding in his instrumental, vocal, acting and dance skills. Giving a very heartfelt and highly energetic performance, he is a stand out performer and works wonderfully with his love interest, Carmen.
As Carmen, it's Stephanie Rojas who is really the crown jewel of this production. Opening with a fiery, sassy performance, her decline and struggle is incredibly moving to watch. Rojas' sublime vocals, gritty acting and sharp movement really should put her Name in Lights across the West End. In a show which sometimes lacks character development, Rojas makes Carmen a truly 3D character and gives the performance all audience members will remember.
Prema Mehta's subtle but atmospheric lighting does a fantastic jobs of quite literally highlighting the crucial moments and moods of the piece. Perhaps most striking is the contrast between Carmen's opening number and closing number. In There She Goes/Fame there is a vibrancy which bathes the stage, whilst In LA is stark and simplistic. Morgan Large's set of yearbook photos, lockers and desks keeps the school vibes alive and allows most of the focus to be on the performers.
For a no gimmick show about the tenacity needed to succeed, Fame is a wonderful way to spend an evening and will certainly leave you dancing along the road (or wishing you had the skill to dance along the road)!
Fame runs at the Peacock Theatre until 19th October 2019 before continuing its tour.
photo credit: Alessia Chinazzo
Wednesday 11 September 2019
The Play That Goes Wrong, The Duchess Theatre | Review
The Play That Goes Wrong
The Duchess Theatre
Reviewed on Tuesday 10th September 2019 by Olivia Mitchell
★★★
The Play That Goes Wrong and all of Mischief Theatre's productions have gained somewhat of a cult following thanks to their un-stuffy, melodramatic and outrageously slapstick set ups, which thrill regular theatre goers and less frequent attenders alike. The show throws buckets of energy out as it takes on the form of a whodunnit and is authentically British.
The story follows an amateur dramatic group, the Cornley Polytechnic Drama Society, as they attempt to wow audiences with their version of the 1920s murder mystery The Murder at Haversham Manor. Well what follows is a production that is less wow and more woe. The sets collapse, the plot goes wrong and literal anarchy ensues. Thankfully for us, this is all done with hilarious humour as the cast embody the motto that the show must go on.
Everything about this production is choreographed chaos, as every trick and accident is pulled off with such a natural flow that it feels improvised, but in reality is precisely organised. Daring tricks are carried out as actors fall from the ceiling, jump out of windows and play their own version of twister as they try to keep the set and props in place.
At times the production does teeter on the edge of being too slapstick but most of the time it beautifully draws back to remain funny. This really is a show down to personal taste and for some it'll will certainly be too over the top and not enough thespian but for a completely carefree night of theatre, there's no reason to miss it.
Thanks to the wonderfully strong cast, this production rattles along with efficiency and intensity. Often breaking the fourth wall and including the audience in the action, this really becomes a raucous piece of communal theatre. With pantomime antics and tricks which will keep you on your toes, The Play That Goes Wrong is a belly-laugh inducing piece of theatre which will continue to entertain and surprise during it's fifth year in London.
Thursday 5 September 2019
Falsettos, The Other Palace | Review
Falsettos
The Other Palace
Reviewed on Thursday 5th September 2019 by Olivia Mitchell
★★★★
Despite feeling a little too long and being shrouded in recent drama, the current production of Falsettos at The Other Palace makes it clear why this musical was nominated for five Tony Awards in 2017.
The musical in its current form is based on three one-act musicals which have been fused together by James Finn and William Lapine. It began in 1979 with In Trousers, followed by March of the Falsettos in 1981, and Falsettoland in 1990. In 1992 these were combined to create the show which played on Broadway for over a year and is currently making its UK premiere.
Falsettos begins with the hilarious 'Four Jews in a Room Bitching' where we are introduced, as the name suggests, to four Jews and "one half-jew". Throughout the show we learn about a family as they crumble and put themselves back together. Family patriarch Marvin (Daniel Boys) is falling in love with a charming man, Whizzer (Oliver Savile) and is ready to leave his wife Trina (Laura Pitt-Pulford) and son Jason (Albert Atack). Meanwhile Trina gets closer to her therapist, (Joel Montague).
PJ McEvoy's set of blocks which are moved around to form the various locations, are highly effective and just simplistic enough to provide interest without taking away from the emotional songs. Bright, evocative lighting by Nic Farman is equally entertaining.
Although this show does feel a tad too long, with a lot of songs crammed in and not a whole lot of story, there's no denying that it's fabulously staged and features an absolutely stellar cast. Laura Pitt-Pulford brings the audience to rapturous applause with her stellar rendition of 'I'm Breaking Down'. In fact, this is a cast made up of crystal clear singers with perhaps some of the best placement on the West End. Natasha Barnes and Gemma Knight-Jones brings lightness and power both vocally and physically as the "lesbians next door", and Oliver Savile also provides many stand out vocal moments. The entire team act through song fantastically and truly bring out the best of the work, whilst, Chris Whybrow's sound design highlights the strong vocal techniques which course through the cast.
The show is pretty much sung through, with a variety of rhythms, colours and musical feels. There's humour and heartbreak and a warm sense of conversation throughout. Intricate but not in-your-face Falsettos is a must-see reminder of human love; and a great example of how moving music can be.
photo credit: The Standout Company
Tuesday 3 September 2019
The Feeling, The Other Palace | Review
The Feeling
The Other Palace
Reviewed on Monday 2nd September 2019
With an influx of Broadway transfers and film/book to movie adaptations dominating the London theatre scene, it's always wonderful to see new British theatre developing. The Feeling by Kyra Jessica Willis is a good example of this, as it brings social troubles to light in a headstrong way that feels authentically British.
The Feeling follows a tight knit group of friends who congregate in their local cafe to chat, moan and laugh. Various issues begin to plague the group as they struggle through life's ups and downs and we see how easy it is to fall apart. The small cast features cafe owner Mel (Halie Darling) who is a little unsure of herself as she begins a relationship with geeky and incredibly caring Jamie (George C Francis). Kyra Jessica Willis plays the snide Jessie who has an innuendo to offer at every moment; with PJ Tomlinson playing her ex and moral supporter Kasey. Chloe Hazel brings the psychologically controlling Edie to life and Chris Barton is Holt, the new man in Jessie's life. Completing the cast are Pippa Lea as Lexie and Sean Erwood as Archie who have a good chemistry with one another and provide some touching moments.
Director George C Francis does a good job of utilising the small stage of The Other Palace but at times there seems to be either too much or too little going on in terms of action. The cast are clearly developing their characters as they exchange knowing glances which extend beyond the text, but these sometimes detract from crucial moments on stage. This is especially evident when conversations continue as the cast exit the stage and space. Whilst, at times this brings an effective realism to the characters, at others it takes away from the main action and would perhaps be more efficient if mimed.
The text lends itself to being a straight play but this show takes on a jukebox format, with several pop songs dotted throughout to further the drama and emotions. Often these work but the show could work equally well as a sleek play, perhaps with musical interludes to fill scene changes as opposed to full songs. Despite this, the song choices are catchy and there are a number of strong performances, especially from Pippa Lea and Chloe Hazel. From Kelly Clarkson to Kate Nash, there's a variety of music that does provide entertainment and varies the tone throughout. The lighting changes from the spoken scenes to the sung scenes are somewhat abrupt in their contrast but do a good job of differentiating the emotions from being internal to external.
As Willis' first foray into theatrical writing, this is a production which shows promise and a positive willingness to create new work which sheds light on intense subjects. For the most part the dialogue is realistic, the characters are well defined and the subject matter is delicately handled. There are several tweaks which can made in terms of rounding out the story and bringing further truth to the text, and the show definitely needs to be streamlined to make it a real competitor in the theatre scene, but as a work in progress The Feeling definitely has potential. Monsteers Artistry continues to rattle forward with innovative ways to break down barriers in the theatre industry and provide opportunities for a range of people, something which can only be applauded.
The Feeling plays at The Other Palace on 7th September at 3pm and 8pm
Wednesday 28 August 2019
Amelie (UK Tour), New Victoria Theatre | Review
Amélie
New Victoria Theatre
Reviewed on Tuesday 27th August 2019 by Olivia Mitchell
★★★★
This UK production of Amélie has the added pressures of comparing not only the classic, cult film, but also to the original Broadway run. However, this production has been vastly reworked from the version which premiered in the US and has brought back much of the typically French charm and nuance. The sweet tour (which is also heading to The Other Palace) is full of delight and provides a carefree way to spend an evening.
Young Amélie Poulain, initially portrayed by an adorable puppet, lives a sheltered life. Her mother and father, a neurotic and germaphobe respectively, mistake her heart full of love for one full of sickness, so they keep her inside, sheltered from any human interaction. When she leaves home, Amélie continues to live a quiet life on the outside but lives a loud one in her colourful mind. Inspired by the death of Princess Diana, Amélie tries to improve the lives of those around her through mysterious acts of kindness. However, when love comes her way she realises that she must risk her contentment and isolation if she's to reveal what's in her heart.
Craig Lucas' book is wacky and completely fantastical and allows us to see the world in a childlike way. This show is very different to much of the UK theatre scene right now and it's lovely to see a story where almost all of the characters are motivated by kindness. Daniel Messé's gloriously French, folk score transports us to a world where positivity reigns, gnomes dance and cognac flows like water.
This flow is continued through Madeleine Girling's set which features two pianos, a photo booth and a metro station. The set morphs from one setting to another, often looking very similar but feeling completely different and evoking just the right atmosphere for each scene. Elliot Griggs' sepia, film lighting creates warmth and intimacy and feels completely natural. It should also be noted that Tom Marshall's sound design is excellent. The perfect amount of reverb makes the cast sound as though they are really wandering the streets of Paris as each line rings out clearly and cleanly.
Audrey Brisson is a complete marvel as the title character. With a sublime voice and a perfectly characterised performance, Brisson is enigmatic and beguiling from start to finish. Danny Mac is suitably aloof but charismatic as Nino and brings swooping vocals which fill the theatre with warmth. This is very much an ensemble piece, with them playing the various characters who impact Amélie's life, as well as bohemian musicians. The tight movement still manages to feel free as the cast whirl and flow around the stage in a very French and dreamy way. Mention must go to Caolan McCarthy as Elton John who gives a hilarious and vocally outstanding performance. Kate Robson-Stuart and Faoileann Cunningham also stand out in their fanciful performances.
This quirky musical tells a heart-warming tale that's cinematic, intimate and bold all at once. For a wonderful, whimsical, wacky night, take yourself to Amélie Poulain's and see life through her marvellous eyes.
photo credit: Pamela Raith
Thursday 22 August 2019
West Side Story, Sydney Opera House | Review
West Side Story
Sydney Opera House
Reviewed on Tuesday 20th August 2019 by Jamie & Emily
★★★★★
West Side Story- an explosion of colour and culture clashes and immerses all your senses as one of the most iconic musicals takes over the iconic Sydney Opera House. This heart wrenching tale of lovers from two sides is a rollercoaster journey, taking its audience through every emotion.
Director Joey McKneely has created an enthralling show. A set (Paul Gallis) you would think impossible with three moveable tiers, takes you around New York and you are truly immersed and transported.The choreography (Joey McKneely) is on point as it whisks and whirls around the stage; complimented by the fabulous costumes, and fantastically virtuosic playing from the Opera Australia Orchestra, a winning combination is created. Plus, what more could you ask for when listening to Bernstein's glorious score, than the brilliant acoustics of the Sydney Opera House?!
Maria and Tony take you on an emotional journey as the Romeo and Juliet story is transported to New York. The suspense of the rumble between the Jets and the Sharks keeps you on the edge of your seat with the first act leaving the audience in a state of shock, yet wanting more. The scene is set for the darker second act.
Tony (Daniel Assetta) is a particular stand out, his powerful tenor voice blows the audience away with each, perfectly controlled note and emotion portrayed. Just when you think the performance can’t get any better the duets between Tony and Maria (Sophie Salvesani) and the harmony they achieve blows you away. Their talent is like no other as the complement each other and soar together faultlessly.
All round, this production of West Side Story is full of multi talented individuals singing and moving around the stage with ease and power in this enthralling stage production.
The uniformly strong cast give impeccable and energetic performances with vibrant dancing, fantastic vocals and a dramatic plot. You'll leave the Opera House singing every song, and certainly won't forget this theatrical experience. What a great alternative to the usual evening of Netflix!
West Side Story runs at the Sydney Opera House until 6th October 2019
photo credit: Jeff Busby
Thursday 15 August 2019
Once on This Island, Southwark Playhouse | Review
Once On This Island
Stockwell Playhouse
Reviewed on Wednesday 14th August 2019 by Olivia Mitchell
★★★★
The British Theatre Academy's production of the Caribbean-inspired Little Mermaid adaptation, Once On This Island is an enchanting show with dynamic, heart-wrenching performances, energy in spades and a glorious uptempo score. Through beautiful harmonies and high-intensity choreography, the young cast bring sunlight to rainy London and infuse a gust of tropical warmth into the magical story and score by Lynn Ahrens and Stephen Flaherty.
Once On This Island tells the legend of Ti Moune, a young orphaned peasant girl raised by Tonton and Euralie, who falls in love with a boy from a wealthy family on the other side of the island, Daniel. Guided by four Gods, Ti Moune rescues Daniel from a life threatening car crash and nurtures him back to health. However, though they may be divided by only a few miles, they are worlds apart and after promises made to the Gods, Ti Moune must see whether love can conquer all, including death.
At the heart of it, Once On This Island is a much needed delivery of the message of the need for inclusion for people from all walks of life. In a world doused in prejudice, where literal walls are being built and we are continually bombarded with stories of segregation, it's crucial that we speak loudly and take a stand to highlight the necessity for equality. The diverse BTA cast do an outstanding job of this and deliver the heart-warming but emotionally raw tale with grace and cohesiveness you would expect to see from older, full-time West End performers.
The BTA team have done an outstanding job of bringing the Tony Award Winning show to life in the pretty intimate space of the Southwark Playhouse. An ever versatile venue, it's fantastic to see it transformed to house a traverse stage where the performers integrate themselves into the audience, and interact as though they are locals wandering the streets. Lee Proud and Harrison Clark's dynamic choreography fills the space and works with the Calypso sounds and rhythms to create an upbeat party feel, as well as highlighting the more deeply emotive parts of the story. Thanks to the ensemble, there isn't a moment that feels under-energised and it's both enthralling and authentic to watch.
In the role of Ti Moune, eighteen year old Chrissie Bhima is otherworldly. Maintaining a poise and depth of someone much older, whilst imbuing the character with an innocence that draws the audience to her; she is a certain star in our midst. Bhima's killer vocals earn rapturous applause after her first solo and set the tone for the nuanced but electric performance she continues to give throughout.
Aviva Tulley as Erzulie is clearly born to perform and she brings the ethereal Goddess of Love to life with a vocal and physical warmth that calms the room. On the other hand, Jonathan Chen is the embodiment of energy as he brings Asaka to life. As the other gods, Kyle Birch (Agwe) and Martin Cush (Papa Ge) embody their elements well.
Sam Tutty is charismatic and sincere as Daniel, who shows genuine heartbreak as the pair struggle through their relationship, whilst, Marie-Anna Caufour oozes affection alongside divine vocals as Ti Moune's adopted mother Euralie. Special notice must go to Elliot Gooch who plays Armand among a variety of ensemble characters and stands out throughout thanks to his energy, facial expressions and witty interactions with both the cast and the audience. At the core, this is really a piece about community so it's a winning factor that the ensemble are so strong. The tight knit group work incredibly hard throughout and are consistently strong. Mention goes to Ella Biddlecombe and Grace Venus who draw the eye throughout.
Despite a few technical issues at the start with sound, the cast's energised portrayal of this provoking, mystical piece keeps the audience in the palms of their hands, and Simon Wells' simplistic but detailed set transports us to an island where magic really happens. The sweet story directed with a winning touch by Lee Proud, alongside vast vocal talent and and an authenticity that courses through, is a must see show this summer.
photo credit: Eliza Wilmot
Wednesday 14 August 2019
Refresh (Concert), Spiegeltent | Review
Refresh (Concert)
Spiegeltent
Reviewed on Tuesday 13th July 2019 by Olivia Mitchell
★★★★
Refresh is a fantastically exciting cabaret series created by Ryan Carter. The idea is that a cast of talented, fresh west end performers, bring a set list to life that features re-worked versions of many well know musical songs.The concerts are designed to celebrate musical theatre and entertain fans of the genre, but also to provide a gateway experience for those less knowledgable or invested in it. After a selection of concerts, Refresh is taking a short residency at the Underbelly festival to captivate audiences in the intimate Spiegeltent setting.
The set features an eclectic and wholly enjoyable series of songs. From the beautifully haunting Kiss The Air by Scott Alan, to the Hamilton classic You'll Be Back, there's certainly something for everyone. The joy of Refresh is that even if a song is not your favourite originally, the inventive re-imaginings will have you seeing and hearing it in a new way. Highlights of Jo Noel-Hartley and Ryan Carter's arranging, include It Won't Be Long Now, My Favourite Things and the thrilling Rewind mash-up of the history of musical theatre.
The cast is made up of vocal powerhouses: Sam Carlyle, Kayla Carter, Linnéa Didrick, Ben Farrall, Adam Gillian, Abbi Hodgson, Charlotte Miranda Smith, Baker Mukasa and William Lloyd. Each performer brings something beautiful to the stage and even more magic is created when the team come together for their group pieces. The rapport between the cast is highly entertaining and it's clear that everyone's hearts are really into making Refresh as sleek and absorbing as it is. Stand out performances include the quartet rendition of Kiss The Air, Abbi Hodgson's There Once Was a Man, and the rousing opening Do You Hear The People Sing? The musicality and versatility of each performer is evident and it's fantastic to hear vocalists in a raw but professional and high quality performance.
Mention must go to the brilliant lighting design which continually adds to the varying moods of the songs, as well as providing visual treats on its own, and making the experience more visceral. Ryan Carter's design of the graphics and videos which accompany must equally be applauded as they are lively, vibrant and entertaining, and also embody the ethos of Refresh as a whole.
For a night of musical theatre that is different to what you'd expect, pay a visit to see the Refresh gang. Not only are the performers fantastic, but the whole philosophy of the group is something which should be applauded and championed. It should also be noted that following Papa Can You Hear Me? my mum whispered "Babs would be proud" which is high praise indeed and a definite reason to experience these outstanding revitalised performances.
Monday 12 August 2019
Squad Goals, The Other Palace | Review
Squad Goals
The Other Palace
Reviewed on Saturday 10th August 2019 by Olivia Mitchell
★★★★
Squad Goals written by Michelle Payne follows Lexi who wants to have the best summer ever playing football with her friends (and foes) before results day comes and they all have to take steps towards their futures.
What's great about this piece is that each person has a characteristic or emotion the audience can relate to; so whilst football may not be your bag, there are other aspects which will draw you in and entertain. From Mel the theatre fanatic to Missy the wannabe lawyer and Ellie-Mae the social media influencer, there's a whole array of characters, each of whom are well identified and enjoyable to watch.
This is the third play to be performed by students of the Caspa Arts: Acting for New Writing part time course and it's terrific to see a showcase of performers in training, and new British theatre. The 10 strong cast work incredibly well as a team and it's clear that they are loving working and developing together.
Whilst the ensemble work is wonderful, there are a number of stand out performances. Firstly Mia Kelly as the hopeful drama student Mel. Mia is fantastically natural on stage and has great comedic timing, her performance is witty and well thought out. As leader of the squad Lexi, Hannah Khalique-Brown gives an ardent and charismatic performance as she races forward to fight inequality between women's and men's football and break barriers between social groups in her local area. As a character, Lexi is very truthful as she steps up to the plate without being over the top or unbelievable, something Khalique-Brown emphasises well.
The influencers who are forever taking selfies and posting #ad posts are everywhere you look these days and Sophia de Souza brings the squad's resident 'It Girl' Ellie-Mae Hague to life with a marvellous balance of humour and kindness. Whilst Ellie-Mae is extra in every sense of the word, she is also a team player and the bond she has with the other girls is put across very well by de Souza, as is the compassion she shows as she influences the union of the groups. Lauren Cooper also shines as the dippy Sharky who is charming throughout and naturally gets the audience on her side.
Elsewhere, Emily Clark gives a strong performance as Amanda and has a great chemistry with Verona Smith as Missy who delivers some great one-liners and bounces off the other girls well. Morag Davies is suitably feisty as Scrappy-Doo and Stephanie Stevens gives a well nuanced portrayal of Misha who is consistently fighting for equality but also longs for a group of friends to share her triumphs with. Antonio Ayuso provides comedic moments as he tries to prove himself to be a "man's man", Clara Mainardi is greatly mysterious as Assassina and as a whole the cast are very strong.
The use of movement is very effective in this piece, with the opening scene giving Spring Awakening vibes as the women approach the issues they face not only in football but in life. Throughout there are entertaining passages where the cast transition from one place to another or highlight specific feelings through sharp movement. This does well to both further the story and keep the intensity high from start to finish.
In a time when the world seems pretty dark, it's lovely to see such an uplifting piece of theatre that highlights the importance of passion, hard work and friendship. Of course this is the beginning stages for Squad Goals and there's certainly room to pad out the story and establish the characters a bit more but overall, this is a really enjoyable hour, with a company of fantastic promise. Hopefully the show gets the further development it deserves and we don't see the end of this female story.
Monday 29 July 2019
Games for Lovers, The Vaults | Review
Games for Lovers
The Vaults
Reviewed on Friday 26th July 2019 by Olivia Mitchell
★★★★
Making its world premiere at The Vaults underneath Waterloo station, Games For Lovers examines the fast-paced, complicated, often embarrassing and downright tough topic of love and how it fits into a modern world.
The play, written by Ryan Craig follows four individuals looking for love, a connection or just someone to spend the night with. The incredibly talented actors are energetic and dynamic throughout, with many memorable moments, however, at times the dialogue does feel a little claggy. The interludes of playful, almost game-like scenes are entertaining but seem somewhat like games that would be played in the rehearsal room. That's not to say they aren't enjoyable to watch, but they have minimal effect on the storyline and therefore feel detrimental to the pacing of the play.
The small cast are really outstanding though. Calum Callaghan is believable and relatable as Logan as he struggles with his emotions and the pressures to have a relationship. Tessie Orange-Turner is completely in charge of the stage in the entirety of her scenes. A masterful actor, her subtle mannerisms, facial expressions and gestures convey a boat load of subtext behind each line of dialogue. She has fantastic chemistry with the other three; the role-play scene with Callaghan is particularly entertaining.
Evanna Lynch is beautifully warm as Martha, consistently bringing an aura of sincerity whilst also providing spades of humour. Billy Postlethwaite is utterly fantastic as the charismatic, often non-pc but always humourous Darren, who is imbued with both energy and vulnerability.
Simon Scullion's vibrant and playful set with Ben and Max Ringham's sound and Matt Haskins' lighting, all add to the dynamic of the show and make it feel like a mix of game show and Netflix rom-com. Overall it feels very of the moment and perfectly fitting for millennials today.
Whilst there is definitely some room to make all four characters fully rounded and cohesive, this is a fantastic debut for Games for Lovers. The cast are clearly tight knit and thanks to Anthony Banks' strong direction, everyone provides a comfortable, enjoyable and fun performance.
Games for Lovers isn't going to leave you questioning your life choices but it will leave you beaming from an utterly hilarious and fantastically enjoyable two hours.
Games For Lovers plays at The Vaults until August 25th
photo credit: Geraint Lewis
Wednesday 24 July 2019
The View Upstairs, Soho Theatre | Review
The View Upstairs
Soho Theatre
Reviewed on Tuesday 23rd July by Olivia Mitchell
★★★★
Whilst victories in the LGBTQ+ community are rising, and social attitudes and actions are, for the most part, much more positive, there's still much to fight for, as Max Vernon's musical highlights.
In its European premiere at the Soho Theatre, The View Upstairs cleverly creates a conversation between the past and present by visiting the UpStairs Lounge, a New Orleans gay bar which was the subject of an arson attack in 1973 which killed 32 people. The tragic story is one which has often been wiped out from history and was even minimised by news outlets at the time, so it's an honour to see it brought to life so thoughtfully.
The story follows Wes, the 2019 "influencer" and fashion designer who is buying the dilapidated bar in the modern day. His estate agent leaves, and in a somewhat mystical, drug-filled flurry of curtains, he is transported back to the bar as it was on the day of the fire. Who we are then introduced to are the various people, decked out in bell bottoms, who find solace and friendship in the safe space the UpStairs provides. Wes' eyes are gradually opened to he struggles of being gay in the 70s and he questions how he leads his life in the modern day.
Wes is a smartphone-addicted go-getter who often veers into a caricature of a Gen Y person, but is still intensely entertaining and relatable. As a whole the book features a lot of stereotypes which are not always believable enough, but there are hilarious one-liners throughout, as well as many thought-provoking moments.
What the script lacks is made up for in spades by the utterly phenomenal cast. Tyrone Huntley is effervescent in his performance and provides vocals which need to be heard; Huntley also manages to create a fantastic balance between impudence and vulnerability, which really makes the audience root for him. The chemistry between the entire cast is second to none, with Wes and Patrick (Andy Mientus) providing especially well thought out interactions. Mientus draws the eye thanks to his incredibly subtle but highly calculated movements which make him seem as though he isn't acting at all.
The uniformly thrilling cast bring vocals that will cause involuntary whoops and goosebumps in equal measure. Among a team of stars, Carly Mercedes Dyer and Cedric Neal stand out because of their powerhouse voices which ring out with sincerity as well as power. Victoria Hamilton-Barritt is magnetic as the caring, religious mother Inez; whilst Garry Lee provides vocals and sass and her drag queen son Freddy. John Partridge and Declan Bennett are well rounded and striking in their performances and Joseph Prouse and Derek Hagen give memorable, if brief performances. This is a fantastic ensemble piece which has momentum and catchy tunes, but more importantly, heart.
Fabian Aloise and Ruthie Stevens's choreography is slick and feels part of the characters own movements. Lee Newby's set is basic but evocative as is Nic Farman's lighting which expertly matches the moods of the show, although at times felt just a bit too dark.
Jonathan O'Boyle has directed a moving production which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight.
photo credit: Darren Bell
Monday 22 July 2019
20 Questions with On Your Feet's Christie Prades
Taking on the iconic role of Gloria Estefan, is the energetic, enthralling and all round wonderful Christie Prades. Editor Olivia sat down with her to ask Christie 20 Questions about her life, career and of course On Your Feet. We found out her favourite food, advice for aspiring performers, her spirit animal, what game show she'd like to compete against the Estefan's on, plus a whole lot more!
Featuring the hit songs of Gloria Estefan and Miami Sound Machine, On Your Feet is currently playing at the London Coliseum until August 31st, with tickets available from the official website: www.onyourfeetmusical.co.uk
If you're unable to get to London, the show is also going on a tour of the UK (dates and venues available here).
Watch our full chat with Christie and some sneak peeks at the backstage area of the London Coliseum below or here.
Tuesday 9 July 2019
Jesus Christ Superstar, Barbican Theatre | Review
Jesus Christ Superstar
Barbican Theatre
Reviewed on Thursday 4th July 2019 by Olivia Mitchell
★★★★
Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.
Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.
What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.
Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.
Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.
This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.
photo credit: Johan Persson
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