Thursday 5 December 2019

Billionaire Boy (UK Tour), New Theatre Oxford | Review


Billionaire Boy (UK Tour)
New Theatre Oxford
Reviewed on Wednesday 4th December 2019 by Emma Gradwell
★★★★

David Walliams' children’s books translate perfectly from page to stage, with Billionaire Boy being the Birmingham Stage Company’s third adaptation. The stories are naughty, gross and capture British school life to a tee.

Billionaire Boy tells us the tale of Joe Spud. The heir to the Bum Fresh fortune. He has crocodiles, a racing car and a two million pound cheque, but what he doesn’t have is something that money cannot buy.

Matthew Gordon as Joe, confidently leads a fantastic cast through this pleasing story that packs a kind message. The actors move seamlessly between characters who are all fully realised and charming. Highlights of the evening were Aosaf Afzal as the fabulous Raj, a recurring character in Walliams' books. He is the shop keeper that we all knew growing up, with hilarious sayings and antics. Also, Emma Matthews as Ms. Trafe gives a wonderful comedic performance, from her deep fried blue tac to her hip replacement that looks suspiciously like a boob job.

Jaqueline Taylor’s clever set design is made almost entirely out of toilet rolls. The different pieces open and move to reveal all sorts of scenes hidden away. Watch out for the helicopter reveal - it is impressive and an audience favourite!

Music by Jack Poore is simple and catchy. We were singing the Bum Fresh song all the way home on the train!

The Birmingham Theatre Company have taken a children’s story and made it into a sophisticated production. The audience reaction is testament to a good job done.

photo credit: Mark Douet

Thursday 28 November 2019

Rigoletto, New Victoria Theatre (Glyndebourne Tour 2019) | Review


Rigoletto
New Victoria Theatre
Reviewed on Wednesday 27th November 2019 by Olivia Mitchell 
★★★★

Surprisingly this is the first time Rigoletto has been part of Glyndebourne's rep but Christiane Lutz's radical rewrite definitely proves a welcome addition. Verdi's dramatic revenge tragedy based on Victor Hugo's play is full of emotion and provides great opportunities for stand out performances.

Rigoletto, the hunchbacked jester, seeks revenge on his employer, the Duke of Mantua for generally being a bit of a jerk, but mainly for kidnapping and seducing his daughter, whom he has protected and kept hidden for most of her life. There are disguises, storms and in the end it's Rigoletto who loses the most. 

In Lutz's production, the plot has been transferred from 16th-century Mantua to 1930s Hollywood, where a hunchback-less Rigoletto has become Charlie Chaplin and his vicious employer the Duke, is a movie director. In this version the opening scene features courtier Monterone's daughter committing suicide seemingly due to the way the Duke (encouraged by Rigoletto) took advantage of her and then tossed her aside. She leaves behind a baby daughter Gilda whom Rigoletto adopts, but not before both he and the Duke are cursed by the distraught courtier. What follows in a 17 year gap and an incestuous relationship (neither the Duke or Gilda ever find out they are in fact father and daughter), envisaged by neither Hugo or Verdi. 


Overall the changes are mostly effective but the plots feels much more complicated than necessary and it's hard to follow the various relationships, with the end of act one leaving many audience members scratching their heads. The whole added dynamic of Gilda and the Duke proves less compelling and more confusing. That's not to say this production doesn't work and the modernised setting is very effective, but some of the changes feel too dramatic to have not been resolved by the end of the opera.

However, the singers are top notch and this is an opera worth visiting purely for the drama and intensity of the score. At this performance, Nikoloz Lagvilava was unwell so the role of Rigoletto was sung by Michael Druiett and walked on stage by Jofre Carabén van der Meer. Duiett gave an outstanding vocal performance which resonated beautifully and conveyed every emotion exceptionally. Having the role acted separately was actually extremely effective, with Jofre almost taking on the role of a silent movie star against the film set background from Christian Tabakoff. This added a new element to the opera and in a way, let Gilda shine throughout. 

As Gilda, Vuvu Mpofu achieves great success in her vulnerable performance and her top register soars elegantly. Matteo Lippi's resilient Duke is surprisingly charismatic despite his flawed personality and is entertaining throughout.

Despite being somewhat hard to follow, this is a strong production with great theatrical elements, that are entertaining and superbly performed.

Tuesday 26 November 2019

White Christmas the Musical, Dominion Theatre | Review


White Christmas the Musical
Dominion Theatre
Reviewed on Monday 25th November 2019 by Olivia Mitchell 
★★★★

Seen last Christmas at the Leicester Curve Theatre, Nikolai Foster's exceptionally staged and completely charismatic production of White Christmas has taken it's place in the West End for a Christmas of festivities and theatrical joy.

Based on the 1954 film starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen, the musical follows the stories of two former World War II American soldiers who became a famous musical duo. The pair use their fame to join forces with Judy and Betty to save a holiday inn from financial ruin and spread cheer all around.

The embodiment of glamour from start to finish, this musical whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme. The audience are enthralled thanks to the intimate feeling which is somehow created in the vast cavern of the Dominion Theatre. 

The story is nothing special and there's really very little of it but there's a level of characterisation which runs deep throughout and makes the audience really care about the action and people on stage and brings a contemporary feel to an otherwise un-relatable musical. For example, Martha, Judy and Betty sing 'Falling Out of Love Can Be Fun' which highlights their desire to not being completely reliant on men. In another vein, the vulnerability of Bob (Danny Mac) is shown thoughtfully and delicately. Whilst at first he appears distant and uncaring, it soon becomes clear that he is struggling to rejoin civilian life. These human characteristics are realistically brought to stage with great effect. 


The cast of all round triple threats provide enough energetic festive cheer to power all the Christmas lights in London. Clare Halse is a theatrical treasure as she draws the eye every moment she's on stage and is the epitome of Hollywood glamour. Her performance is faultless as she glides around and radiates excellence. Halse also gives a dazzling tap performance of 'I Love a Piano' alongside Dan Burton and the ensemble. Burton as Phil is equal measures charm and sleaze as well as giving top top top notch vocals and choreographic quality. Danny Mac once again gives a faultless performance and has a great love/hate chemistry with Danielle Hope as Betty. Their blossoming romance is lovely to watch just another level of sweetness in this candy-cane-sugary musical.

Michael Brandon is commanding but vulnerable as General Henry Waverly, whilst, Brenda Edwards is a compelling force of comedic nature as Martha and provides a real show stopping moment with 'Let Me Sing and I'm Happy'. The ensemble are unanimously joyous and captivating throughout, with Aimée Hodnett and Kayleigh Thadani giving stand out performances as the ditzy, amorous Rhoda and Rita.

This is a visually exquisite musical which is the embodiment of production value. Diego Pitarch's sumptuous costumes not only look beautiful on their own, but float and flow divinely as part of Stephen Mear's choreography which is elegance and style wrapped up with a bow. The post-war era is brought to life glitteringly, as is the music of Irving Berlin which soars and fills the Dominion.

It's not about the story and of course there are faults as with many classic films but this is an utterly lavish production which will fill even the Grinch's heart with Christmas cheer. 

photo credit: Johan Persson

Thursday 21 November 2019

&Juliet, Shaftesbury Theatre | Review


&Juliet
Shaftesbury Theatre 
Reviewed on Wednesday 20th November 2019
★★★

What if Juliet didn't die? And what if the story of reclaiming her life was told through the music of Max Martin, aka the writer and producer of some of the most iconic pop music of the last two decades. Well that's &Juliet, a wild, sparkling, energetic piece of musical theatre which has burst onto the scene at the Shaftesbury Theatre.

When the cast come in with 'Larger Than Life' and 'I Want It That Way', there's certainly a moment of unsettled bafflement, but soon the numbers become part of the story and you forget Shakespeare wasn't really bopping along to 90s pop songs whilst writing his iconic tragedies. That being said, there are times where the songs feel added in for the sake of being added and don't flow particularly well but most of the time it doesn't matter because they are performed with a vigour that engages. 

David West Read's book is smartly self-aware and knows exactly when to hold back and acknowledge the pop-culture craziness that's occurring. The meta-theatrical plot works well, with us first meeting William Shakespeare and Anne Hathaway as they bicker about the ending of Will's latest play, Romeo and Juliet.  Anne persuades her husband to let her do a rewrite and from here we are taken to Verona where Juliet begins her journey of self discovery and goes on an adventure to Paris with her besties. Full of puns, panto lines and pageantry, the show does teeter on the edge of being too childish at times but David's book and Max's songs marry up well with Luke Sheppard's direction to create a musical which doesn't take itself or its content too seriously. 

As the leading lady Miriam-Teak Lee brings sass in spades. Her vocals are mostly strong and she really does embody the confidence that this reimagined Juliet is full of; but whether due to the lack of character writing or limited acting in the pop-concert atmosphere, Juliet is just a bit distant. I personally didn't warm to her as a character and whilst I appreciate all this modern lady stands for, there is a distinct lack of sincerity in how she's written. However, this is not so true when Juliet and her best friend May are together. It's in these brief moments that compassion flies and we see a more realistic character in front of us. Arun Blair-Mangat is sweet and enticing as May, who discovers love and friendship. 


Oliver Tompsett is the boy-band Shakespeare of dreams, who hilariously bigs himself up and brings an instant charm to the stage. As his steely, compassionate and fizzy wife, Cassidy Janson gives a fantastic performance. Her stage presence is magnetic and I found myself wanting a spin-off purely focussed on (the only) Anne Hathaway. Jordan Luke Gage is suitably self-absorbed from the moment of his bombastic entrance and gives a great vocal performance as Romeo.

The ensemble of players are top notch, adding interest and motion throughout. Jocasta Almgill gives a stand out performance and Lady Capulet, with Dillon Scott-Lewis, Grace Mouat and Antoine Murray-Straughan really shining from the ensemble.

The whole show is exemplary of production value and there's no denying that the energy on stage could power all the theatres on Shaftesbury Avenue. Bill Sherman's lighting is concert goals; Soutra Gilmour's set is a dreamland and Andrzej Goulding's projections bring each scene to life creatively and effectively. The female empowerment, LGBT representation and romantic moments are all enjoyable and important to be seen on stage, but a significant lack of character development means you feel little empathy for the characters and at the end just don't really care. 

This is definitely a show which will be enjoyed after a prosecco or two and it doesn't try to be anything else than a fun night out. If you want theatrical integrity and a moving storyline then this isn't for you, but if you want an explicitly queer, feminist musical that's funny, entertaining and scored by songs that you grew up listening then go see it. If music be the food of love, &Juliet provides a feast that will satisfy anyone looking for a bit of fun.

Wednesday 13 November 2019

Mary Poppins, Prince Edward Theatre | Review


Mary Poppins
Prince Edward Theatre
Reviewed on Tuesday 5th November 2019 by Olivia Mitchell
★★★

Since she landed umbrella in hand, the mystical nanny Mary Poppins has been a much loved character. From the hit Disney film to a number of revivals and performances around the world, there's something universally adored about the feel-good story of the Banks family, so it's no surprise that the musical is once again gracing the West End. It's a musical full of sparkle, magic and wow factors but at times feels as though it's on just for the sake of being on.

In this musical, co-created by Cameron Mackintosh, with additional songs by Stiles and Drewe and a book by Julian Fellowes, the moral aspect of the story is strongly highlighted, as are the darker sides of the original book. The story of Mr Banks' redemption and the importance of making the correct moral choices for those around you remains ever relevant but much of the secondary plot feels somewhat dated and not relevant for a modern audience. Of course this isn't the making of a show, and with something like Mary Poppins it's mostly about the nostalgia and feel-good-factor but for a show that runs almost three hours long, some tweaks to make it more engaging wouldn't have gone amiss. 

However, this is a show about compassion and the cast do a joyous job of bringing the story to life with energy, wonder and colour. Thanks in part to Bob Crowley's sets and costumes which are structured, colourful and all around excellence. The house which opens like the pages of a pop-up book is magnificent each time it's seen; and the plain park which becomes a psychedelic garden of amusement is completely brilliant. Sparkly costumes and beautifully tailored coats adorn the stage and evoke the joy from both the book and film well.


Stiles and Drewe's songs are much darker and sharper than those we've grown up with, with 'Playing the Game' bringing toys to life as the stuff nightmares are made of. Elsewhere scenes are taken from book to stage effectively and interestingly. Overall the musical is a whole lot of sugar with a little bit of spice thrown in for good measure... just how Mary Poppins would like it I assume!

Richard Eyre has directed a show for adults and children which brims with surprise but at times lacks sufficient pace. However, the choreography by Matthew Bourne and Stephen Mear is sophisticated, sharp, witty and utterly first-rate. 'Step in Time' is a complete highlight as the stage comes to life with sweepers and leading man Charlie Stemp literally walks on the ceiling. 

Stemp's entire performance is a masterclass in stage presence. His continually fresh characterisation completely draws the audience in as he moves and speaks with a natural grace and charms everyone who witnesses him. Additionally his rapport with Strallen's Mary is genuine and engaging. Zizi Strallen makes the famous nanny her own as she floats around the stage with a whimsical but grounded air and takes on the leading role excellently. Elsewhere Amy Griffiths is touching and vocally excellent as Mrs Banks and the entire ensemble give top notch performances.

Yes, this show is lacking at times but much of the time it's a feast for the eyes and ears and is sure to be enjoyed by many so why not take a trip to see magical Mary float in on her brolly right in front of your eyes.

Mary Poppins is currently booking at the Prince Edward Theatre until 31st May 2020, tickets are available at www.londonboxoffice.co.uk

photo credit: Johan Persson

Saturday 9 November 2019

Reputation, The Other Palace | Review


Reputation
The Other Palace
Reviewed on Friday 8th November 2019 by Olivia Mitchell
★★

It's the 1930s and the males in Hollywood are King. The world is glamourous, 'talking pictures' are all the rage and a good story can get you far. Alick and Suzanne Glass' musical is narrated by Freddy Larceny, a huge Hollywood producer who steals a young up-and-coming writer's work and has to fight for the reputation he's so carefully sculpted. 

At this time, women are expected to be domestic creatures who stay in their lane and are there to support men with all they require; however, our heroine Michelle Grant confronts this and aims to write a novel and be her own boss. Maddy Banks plays Michelle with a burning energy and a sweet level of self-confidence. Her voice is strong, well-controlled and perfectly fitting for the musical style of the show, but the lack of variation in the score means we don't hear the full extent of Banks' vocals. 

Alick Glass' music is entertaining at times and is certainly evocative of the 30s, New York and Paris, but overall the musical feels overstuffed with underdeveloped pieces. Abrupt stops and repetitive melodies often hinder the flow of the show and instead of adding anything to the story, just reiterate something already mentioned. The best musical moments happen when the girls join together in ensemble harmony but these are equally overused and begin to lack oomph quickly.

Tamsyn Salter's choreography is delightful and again very fitting for the time period. Salter has worked wonderfully with the limited space of The Other Palace Studio and will surely look even better when the show develops to bigger venues. 

As the sleazy but kind of likeable crook, Jeremy Secomb is superb as Freddy Larceny. He is confident, slick and highly accomplished in his performance, giving a super strong vocal performance and is seeming well rounded despite actual character development. The lawyer who takes on Larceny, Archie Bright is played well by Ed Wade who is charmingly awkward and gives a stand out performance in act two when his vocals really shine.

Overall this is a production which certainly has potential but definitely needs to be edited and streamlined. It's great to see a show which focusses on a female narrative and rewriting history but it's hard to sympathise fully with our leading lady when many of her decisions remain motivated by a man. The love story is sweet but overshadows the female empowerment aspect which had the potential to be crucial and really make this show stand out. The cast do a great job and there are glimmers of magic but there absolutely needs to be more.

photo credit: photo donato

Saturday 2 November 2019

Ghost Quartet, Boulevard Theatre | Review


Ghost Quartet
Boulevard Theatre 
Reviewed on Friday 1st November 2019 by Olivia Mitchell 
★★★★

The opening of a new theatre in central London is cause for celebration, especially when it's as wonderfully sophisticated and welcoming as the Boulevard. SODA architects have created a millennial dream with a pink-walled restaurant with delicious looking food and cocktails and a completely chilled atmosphere. Whilst, Charcoalblue have made a theatre space which is versatile, extremely comfortable and just great. The programme of late night concerts, cabarets and podcasts is an exciting one indeed and this space is sure to become a hub for new theatrical experiences. The Sketch of the theatre world, the Boulevard is certainly worth a visit!

As the inaugural show, Dave Malloy's Ghost Quartet paves the way to stray from convention. The show is pretty much a song-cycle of interlinked ghost stories, sung track by track by an amazing group of performers. The four musicians play a whole range of instruments and introduce each track as they perform it. There's also a regular breaking of the fourth wall and the audience feel part of the story throughout. The line between real life person and character becomes blurred as the performers are addressed by both their actual names and show names. They also comment on the strangeness of the story throughout in a very meta manner which works exceptionally in the space. 

We are introduced to a number of characters and stories which are eerie as opposed to scary and really don't make a tonne of sense, but that totally doesn't matter. The amazing performances and variety of musical styles make this a piece which wraps you round it's finger without having, or needing a proper plot. The circular seating adds to the feeling of being gathered round a campfire listening to stories the whole experience feels communal in a magical way.

The piece feels marvellously balanced between being off the cuff and rough around the edges but also highly sophisticated. Bill Buckhurst's direction has allowed the performers to be themselves as they interact with the audience but still maintain an aura of otherworldliness. Simon Kenny's set of piled suitcases, books and various household items allow for visual interest and frame the performers wonderfully. Emma Chapman's lighting is refined and effective. 

The cast are an exceptionally talented bunch with some of the most stunning vocal tones gracing London stages right now. Carly Bawden, Maimuna Memon, Zubin Varla and Niccolò Curradi give completely enchanting performances and share a graceful rapport with each other  and the audience. The way the performers exit the stage is completely magical and leaves you feeling warm and content, perhaps not how you'd expect to feel after a show with Ghost in the title. The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes. 

Ghost Quartet runs at the Boulevard Theatre until January 4th 2019

photo credit: Marc Brenner

Shook, Southwark Playhouse | Review


Shook
Southwark Playhouse
Reviewed on Friday 1st November 2019 by Shaun Dicks
★★★★★

Now in it’s tenth year, the Papatango writing prize is back. Last year’s winner, The Funeral Director, was a rousing success and ended up going on a national tour. After a record 1,406 entries for this year’s prize, the winner is Shook by Samuel Bailey. One of the prizes, a month’s run at the famous Southwark Playhouse.

We found ourselves in prison to follow the stories of Jonjo (Josef Davies), Cain (Josh Finan) and Riyad (Ivan Oyik), three inmates who all have young children and are taking a childcare class run by Grace (Andrea Hall). Throughout we stay in the classroom where we learn all about the three men, find out why they’re in there, see who they are as people and watch them train to be fathers. But as Cain points out, ‘You can’t teach anyone to be a parent.’

There are many things that make this show great. One of them is the humour. The jokes within this script from Bailey are a laugh riot. ‘What does MBE mean? Massive bellend.’ and ‘Have you grown up in a cupboard?’ are particular highlights delivered by the outrageously loud mouthed but hilarious Cain.


But what makes the humour so brilliant is the sucker punches that are handed out by Bailey later. They are brutally honest and cutting, like when they are talking about their children and Cain proclaims that ‘They’ll be in here too soon.’ and when Jonjo finally opens up about his dad leaving his family and Cain replies ‘Fair enough, your old man fucked off. That’s normal.’.

However, all get to shine in their different ways. Riyad is intelligent and full of confidence and he is looking to get his Maths GCSE. His confidence is on full display when he says, ‘I’m going to make Equilateral Triangles my bitch.’ Jonjo is new to the prison and is a very shy man. He takes his time to open up to the others and as he does, you warm up to him. As soon as you do, he hits you with the sucker punch of how he got to where he is. And Grace is a wonderful anchor for the entire show, giving the other characters someone to bounce off throughout.

What really stands out in this show is the cohesion between the performers. There is an outstanding rapport between all four actors. The bounce back of dialogue between all is seamless and brilliant. A testament to director George Turvey, who clearly worked his performers hard to get that level of cohesion.

Papatango and the Southwark Playhouse have met and superseded all expectations. The whole package is simply superb, from the writing to the performances. This. Play. Is. Phenomenal. It affects you and that is the sign of excellent theatre. Shook will take you and you will not return the same.

Shook runs at the Southwark Playhouse until 23rd November 2019

photo credit: The Other Richard

High Fidelity, Turbine Theatre | Review


High Fidelity
Turbine Theatre
Reviewed on Thursday 31st October 2019 by Olivia Mitchell 
★★★★

Nick Hornby's High Fidelity, a book about love and music set in a run-down North London record shop has crossed mediums being made into both a film and a musical, with a TV series on the way in 2020. The location for the film and the shows opening on Broadway was America but in this UK premiere, it's been transported back to its roots and is firmly rooted in London. As the Turbine Theatre's second production, its wonderful to see a musical which brings to life some of the excellence of this city.

High Fidelity tells the story of Rob who owns a record shop which is barely surviving, and his on-again, off-again relationship with Laura, a lawyer who he loves but struggles to maintain a mature, long lasting relationship with. In the shop are also Barry and Dick, two misfits who started as part-timers and ended up sticking around and creating lives amongst the records. The lonely characters are portrayed wonderfully and despite being somewhat heartbreaking to watch, it's lovely to be reminded that there's a place for everyone.

The whole story is told from Rob's perspective as he addresses the audience and tells them what's going on both in his physical world and in his head. Rob chronicles many of his life's moments into 'Top Five' lists which are not only entertaining but an insight into how his brain works. On stage for pretty much the entirety of the show, Oliver Ormson is charming as Rob. Despite playing a character who it's often hard to empathise with, Ormson brings a warmth and sincerity which makes the audience side with him even when his decisions are rash or morally dubious. Ormson's voice is strong and he maintains an energy which fizzles throughout and really powers the show. Opposite him, Shanay Holmes is exquisite as Laura who is continually conflicted by her feelings for Rob. Holmes' voice is absolutely exceptional and she manages to shine in both the bold, booming moments and the simple, toned down times.


The entirety of the cast give excellent performances. Joshua Dever is vocally excellent and earnest until the very end; Eleanor Kane is outstanding as Marie. Her voice fills the Turbine Theatre as she envelops the audience with her delightful Brandi Carlile-esque tones and gives a performance to remember. Robert Tripolino gives a show stealing performance as the wacky Ian, a spiritualist who is all about the good vibes and natural healing. Tripolino is hilarious in pretty much every moment of his stage time and a real stand out. Mention must go to Rosie Fletcher who shines out from start to finish and gives vocals for not just days, but months.

Tom Jackson Greaves directs with a brilliant ease and fluency so the entire production feels relatable. Perhaps not in terms of the story itself but through the truthful self-reflection and humour of it all. Whilst there's not an overwhelming amount of choreography, what's there is phenomenal. The small stage is used to it's full capabilities as the cast often move around as if inside Rob's brain. Particularly wonderful is the balloon choreography which is ingenious and incredibly sleek. David Shields' set is simplistic and effective. Record sleeves scatter the theatre and the stage is transformed by small changes which work perfectly to signal the varying locations. 

The plot is by no means the best thing in the world and some of the songs feel too much like fillers but the performances and the Great British Bake Off meets Bat Out of Hell vibes of the whole thing make High Fidelity a throughly enjoyable night out. The Turbine Theatre team are showing us bit by bit what they're made of and we can only wait to see what will come next in this new London hub.

High Fidelity runs at the Turbine Theatre until 7th December 2019

photo credit: Mark Senior

Thursday 31 October 2019

Billionaire Boy (UK Tour), Richmond Theatre | Review


Billionaire Boy (UK Tour)
Richmond Theatre
Reviewed on Wednesday 30th October 2019 by Olivia Mitchell 
★★★★

David Walliams' quirky children's shows (adapted from his best selling books) are quickly becoming regular features in the UK theatre scene and Billionaire Boy certainly shows why. His excellently gleeful stories, filled with important messages are brought to life wonderfully on stage and provide a laugh-out-loud night for adults and kids a like.

Billionaire Boy is about the life of Joe Spud and his dad Len- a man who's made unfathomable amounts of money from inventing a special kind of double sided loo-roll: Bumfresh! Joe transfers to his local comp school and learns about the importance of friendship, money and loyalty.

The cast, made up of many recent graduates, are fantastic at bringing a variety of characters to life with spades of energy and childish delight. Matthew Gordon as Joe is thrilling to watch as he highlights Joe's moral struggles and gives a lovely performance throughout. As his best friend Bob, Davy Bell is earnest and instantly likeable. The pair have a wonderful on stage chemistry and really bounce off one another to create realistic school-time dramas that we can all relate to.... (well other than the part where one of them's a billionaire!)

Amongst the rest of the cast, Jason Furnival brings a realism to the story, especially towards the end; Emma Matthews gives it everything as Mrs Trafe and is certainly a highlight and Aosaf Afzal garners some of the biggest laughs of the night with his witty one liners and great comedic timing. The show is dotted with some very catchy songs by Jak Poore which keep the whole thing buoyant and are extremely well performed. Mared Lewis and Rosie Coles give vocal performances which really shine and Coles brings Sapphire to life excellently... I think we have a future Mrs Wormwood in our midst!

Jacqueline Trousdale's set is extremely well put together, with simple pieces weaving together to create something eye catching throughout. Bumfresh Towers is created by huge piles of loo roll which are twisted and changed to create the school, Raj's shop and other locations. There's also the helicopter scene which had children ahhing and ohhing- a real wow moment. Despite being a production aimed at children, nothing feels cheap or amateurish and Billionaire Boy really seems as if it'll stand the test of time and continue to entertain. 

There are a few jokes which run dry a little fast, and it would be nice to see the bad guys get their just desserts but this is a wonderful production which is sure to bring joy to young audiences.

Billionaire Boy runs at Richmond Theatre until November 2nd before continuing its tour

photo credit: Mark Douet

Wednesday 30 October 2019

9 to 5 The Musical (UK Tour), Wales Millennium Centre | Review



9 to 5 (UK Tour)
Wales Millennium Centre
Reviewed on Tuesday 29th October 2019 by Elisha Harris
★★★★★


9 to 5 The Musical is a sensational representation of what women had to endure when it was believed to be a ‘man's world’. Something which still plagues the modern day but is fortunately diminishing.


There’s nothing like escaping from your 9 to 5 reality to witness a world-class musical, and this production is most definitely that! This show is so unpredictable from start to finish. and everything is perfection. 

Amber Davies is impeccable, her comedic timing and powerhouse voice make for a perfect Judy. Amber presents the the purest transition from a reserved, meek housewife to a fearless, self assured business woman who will not take no for an answer.

The other two leading ladies, Caroline Sheen, who's temporarily moved from the West End production to the UK tour, and Georgina Castle blow the roof off the Millennium Centre. Between Caroline’s quick wit and gorgeous voice, and Georgina’s mesmerising vocal range, they compliment each other perfectly. I could listen to them sing all day long! 

The standout performance of the evening is Sean Needham who plays the ballsy, know it all boss, Franklin Hart Jr. He portrays the dishonest, antagonistic boss excellently. Sean really brings the role to life, he is witty, insanely entertaining and his facial expressions are priceless. For a character you’re meant to hate, it's hard not to belly laugh at every line he says- a real comical genius!

Overall this production is not one to miss, the ensemble are brilliant, the sound design is excellent, you can hear every voice individually when needed yet the harmonies were perfect. If you want to spend 2 hours in side-splitting, ball crunching laughter, 9 to 5 is the show for you! 


9 to 5 The Musical plays at the Wales Millennium Centre until 2nd November before continuing its tour







Tuesday 29 October 2019

The Girl on the Train (UK Tour), New Victoria Theatre | Review


The Girl on the Train (UK Tour)
New Victoria Theatre
Reviewed on Monday 28th October 2019 by Melanie Mitchell 
★★★★

Having never read the book nor seen the film apart from the first 20 minutes, I was unsure what to expect from the stage version of Paula Hawkins' 2015 bestseller The Girl on the Train. I knew that it was a psychological thriller involving a girl, a lot of train journeys and a murder but that was all!

I was unsure how the train element of the story would be transferred on to a fairly small theatre stage, but thanks to the extremely clever set design by Anthony Banks accompanied by the atmospheric lighting from Jack Knowles and sound by Ben & Max Ringham, this was very successfully  and effectively achieved.

The story focusses on Rachel Watson after the breakdown of her childless marriage. Her life begins to unravel and she sinks deeper and deeper into the bottom of a bottle. Whilst on her daily commute she starts to watch a couple on their balcony, living close to where she used to live. Convinced that they have the perfect life that she no longer has, she becomes fixated and obsessed by them. But  as we all know, things aren’t always as perfect as they seem...

Samantha Womack plays the alcoholic Rachel superbly, conveying her feelings of inadequacy, confusion, loneliness and envy, interspersed with moments of laugh out loud one liners, that don’t take away from the drama at all. 

All members of the production are very well cast, especially Adam Jackson Smith who portrays Rachel's caring ex and now perfect husband to Anna, played by Lowenna Melrose who also gives a strong performance.

As the story goes on it becomes increasingly apparent that people are often not living the lives that are seen and admired by outsiders or people looking in. Things are very different behind closed doors and when one of the characters disappears these facades begin to fall away, culminating in an unexpected twist, which I didn’t see coming. Altogether this is a very clever adaptation and production of the book, which takes you on a journey of human emotions and is well worth seeing.

The Girl on the Train runs at the New Victoria Theatre until 2nd November before continuing its tour.

photo credit: Manuel Harlan

Soho Cinders, Charing Cross Theatre | Review


Soho Cinders
Charing Cross Theatre
Reviewed on Monday 28th October by Olivia Mitchell
★★★

It's in the colourful carnival of Old Compton Street that we meet Robbie, our Cinderella in this re-telling of the classic tale. He's a young man trying to find his place in the bustling city as he works in a laundrette once owned by his mother, and struggles with his step-sisters who are trying to take what little he has. Things get even more stressful when Robbie begins seeing mayoral candidate James Prince and having a questionable relationship with a sleazy Lord. He ends up at the heart of a media scandal and faces losing everything... But this is a fairy tale so you can guess how it ends!

Anthony Drewe and Elliot Davis' book has some witty moments and certainly turns the classic tale on its head, as well as featuring more heartfelt moments. The LGBT representation for the most part is strong and the team have done well to modernise the show. However, there are aspects which seem to have been glossed over. The characters discuss knowing a man is straight because he's wearing a wedding ring which just screams dated, as does the implication that these modern online relationships take place over Skype. They're little details for sure, but do detract from a piece that really has the potential to feel relevant and of the time. Similarly, the variety of musical genres and the story itself is certainly representative of Soho but it would be nice to see some of that diversity reflected in the cast.

As Robbie, Luke Bayer is the standout. His charming personality and smooth vocals make him a protagonist the audience roots for and he really is the heart of the story and all it stands for. Bayer's performance of They Don't Make Glass Slippers is especially enrapturing. As Velcro, his best friend and partner in crime, Millie O'Connell gives a strong performance. Despite being underused in act one, O'Connell really comes into her own in the second half and provides some of the most touching and realistic moments. Her quick wit and sarcastic nature are entertaining to watch and the playful banter and easy chemistry between the pair can surely remind us of our own friendships. Two friends supporting each other is wonderful to see and really grounds the often over-the top-piece.

George Stiles music and Anthony Drewe's lyrics are a combination of upbeat laugh-a-minute numbers, forgettable babbles and fairy tale sweet duets. The Stepsisters' duet Fifteen Minutes is especially energetic and well performed. Natalie Harman and Michaela Stern do a great job of bringing the characters to life and only occasionally teeter on the edge of overacting. O'Connell's duet with Tori Hargreaves is another touching moment and a real highlight of the second act.

Thematically, this seems to be a piece which will remain ever relevant but it needs an extra touch of magic to keep audiences coming back. The political and sexual harassment aspects permeate the musical but it's the importance of love and friendship which reigns strong at the end. Soho Cinders isn't life-changing but it allows us to experience tongue-in-cheek, energetic performances which will entertain for the duration of the show.

photo credit: Pamela Raith

Tuesday 22 October 2019

On Your Feet! (UK Tour), Wales Millennium Centre | Review


On Your Feet!
Wales Millennium Centre
Reviewed on Monday 21st October 2019 by Elisha Harris
★★★★★

On Your Feet! tells the story of the legendary Gloria Estefan's beautifully tragic life; how she and her husband Emilio Estefan combined dance with a Latin soul sound and took over the music scene. 

When I get the opportunity to experience a show I don’t know much about I make sure to go into it completely blind. I went in having not known much about the story, didn’t know many of the songs and didn’t even see if I recognised any of the cast to add to the experience. Fantastically, this production was mesmerising from start to finish. The incredible cast grasped the audience’s attention instantly and continued to wow until the very last moment. 

Philippa Stefani shook the auditorium with her power house voice playing Gloria Estefan. Her transition from a shy, closeted song writer to a captivating and compelling lead lady was deeply authentic. Having seen Stefani in previous productions I had high standards, but she went above and beyond what I was expecting. Philippa was born to play this part, hands down. 

George Ioannides played a perfect portrayal of Emilio Estefan. The chemistry between both Gloria and Emilio was so believable, such a power couple which was brought to life by two brilliant actors. 

Special mention to Madalena Alberto and Laura Friedrich Tejero. These lovely ladies played Gloria Fajardo and Consuelo. Both voices were mesmerising, Laura in particular truly blew me away as her comical timing was on point. 

The energy from the entire cast was captivating. Every single person looked like they were having a brilliant time- I just wanted to join them on stage! 

Overall it was a brilliant performance, one I wish was here for much longer than a week! I truly recommend seeing this show before it leaves. 

On You Feet! runs at the Wales Millennium Centre until October 26th before continuing its tour