Thursday 27 February 2020

The Prince of Egypt, Dominion Theatre | Review


The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★

In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.

The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land. 

Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.


It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.

It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.

However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.

As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.


Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.

It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.

For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.

The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020

photo credit: Tristram Kenton

Tuesday 25 February 2020

On Your Feet! (UK Tour), New Wimbledon Theatre | Review


On Your Feet (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 24th February 2020 by Olivia Mitchell 
★★★★

Currently embarking on a UK tour after a summer stint at the London Coliseum, On Your Feet! is a celebration of Gloria Estefan continually thriving in the face of adversity. The musical has a flawed book, but there's heart in spades, glorious music and a real life story of endurance that is enough to warm your heart.

Transporting us from Gloria's childhood in Cuba, to her recording career and near fatal accident, it's truly inspiring to see how she rebuilt herself after physical trauma as well as always remaining true to what she believes in, even under the pressures of the music industry. The fairly small cast do an excellent job of filling every inch of the stage and perform with the energy and enthusiasm you could expect to see on the streets of Cuba. Consistently full out and precise in their movements, the cast are very impressive in their performance of Sergio Trujillo's intense choreography. 

It's the pacing of this musical that is the biggest downfall. Of course it's based on real life events, but Alexander Dinelaris' book often lacks development and therefore depth. The main focus is on the lighthearted moments, meaning the more intense scenes are sometimes glossed over quickly. Act two packs much more of a punch in terms of emotional impact, with Gloria's scenes with her mother proving particularly moving. Again, this is a musical which reminds up to stick up for our values and beliefs. This idea is woven throughout but is especially effective in the scenes where the Estefans are at odds with their record producer (played excellently and humourously by Robert Oliver).



As the Miami diva herself, Philippa Stefani excels, bringing Gloria to life with a truthful performance. She engages the audience and never falters in energy or performance. Stefani's transition from shy teenager to commanding performer is masterful to watch and really showcases her as an actress. More so than anyone, Stefani uses the limited book hugely to her advantage and performs as though she really is on a huge, sell-out headline tour.

Stefani's chemistry with George Ioannides as Emilio Estefan is believable and romantic. Since seeing the show at the Coliseum, it seems George has really grown into the role as he gives a suave, vocally assured performance. Vocal powerhouse and legend of the stage, Madalena Alberto gives an exceptionally strong performance as she simmers ready to bubble over in anger or despair at any time. Vocally she is fantastic and her interactions which every character, especially her daughter, are truly enjoyable to watch. 

The set design by David Rockwell is effective as it allows the action to transition from Cuba, to the USA and from kitchen to tourbus in a very simplistic but effective way. Quite a lot is left up to the imagination which, alongside having the band visible on stage, allows the true focus to be on the music. Like the ensemble, the band are full of an energy which fills the theatre and transmits amongst the audience. Kenneth Posner's bold lighting and Emilio Soso's bright costumes bring a carnival feel to the whole production which engages and entertains.

There are flaws to this musical for sure, but it's an uplifting piece of theatre which brings a little bit of Cuban sunshine to the streets of Wimbledon. For fans of Gloria Estefan this is a must-see, and for everyone else, it's a chance to tap your feet and imagine you're basking in the Miami sun. For a celebration of music, life and heritage, get On Your Feet and conga your way to see this tour.

On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour

Monday 24 February 2020

Zorro, Cadogan Hall | Review


Zorro
Cadogan Hall
Reviewed on Sunday 23rd February 2020 by Olivia Mitchell
★★★★

Fiery, Latin, wacky, soulful and brilliant, Zorro made a triumphant return to London last night, 12 years after its West End premiere. The story of Diego De La Vega who becomes the illusive Fox aka Zorro, to save his town from the tyrannical reign of his childhood friend Ramon, is the classic good vs evil that can't help but invest you with its sincerity and heart of gold. Add to this a score by the Gipsy Kings and a fantastic cast and you've got a great night on your hands.

The plot is wafer thin but in this concert setting, we really had the chance to go beyond that to focus on the fantastic Spanish music and the wonderful characterisation from the whole cast. Even in a full setting, I would imagine that the self-awareness of this show, means you can pretty much overlook the plot faults and just enjoy it for what it is- a heap of fun! There are many 'deep' moments peppered throughout the production, but they're equally balanced with camp humour and wit which lighten the tone and allow us to go on a pretty much carefree journey.

Ricardo Afonso was incredibly convincing and powerful as Zorro/Diego, giving a completely marvellous vocal performance and enrapturing the audience of Cadogan Hall. Delightfully tongue in cheek, with a great balance of sincerity, swagger and playfulness, there's not much more you could ask for from the debonair hero. In great contrast, Robert Tripolino was truly evil as the rapacious ruler Ramon and completely commanded the stage in every moment. Zubin Varla and Jo Parsons, gave solid performances and it's just a shame we didn't get the chance to see and hear more from them.


The love interest Luisa was performed with tenderness by Emma Williams, who revived her West End role and showcased her vocal dexterity, namely in her touching rendition of The Man Behind the Mask.

Also reviving her (Olivier Award Winning) role, was Lesli Margherita who deservedly garnered much applause as the vivacious, smouldering gypsy Inez. Lesli's rendition of Bamboleo will be a memorable moment for everyone at Cadogan Hall and we can only hope she'll be back on London soil soon!

Under the baton of Freddie Tapner, the LMTO orchestra brought vibrant energy to the Hall, with exceptional guitar and percussion woven throughout the entire score. The foot stomping music was fully realised thanks to Paul Smith's sound design which was wonderfully balanced and showcased every single performer and musician brilliantly.

Entertaining and enthusiastic, Zorro was a perfect way to spend a Sunday. Hopefully the rapturous reception is enough to bring this musical back to London very soon. Viva el Zorro!

photo credit: Darren Bell

The Pirate Queen, London Coliseum | Review


The Pirate Queen (Concert)
London Coliseum
Reviewed on Sunday 23rd February 2020 by Hope Priddle
★★★★

The Pirate Queen sailed into the London Coliseum for a one off charity concert in aid of Leukaemia UK. Set in 16th Century Ireland, Boublil and Schönberg's musical tells the real life story of fearless mariner Grace O’Malley as she embarks upon a heroic struggle to defend her homeland from English rule. A tale of politics and passion, The Pirate Queen is an inspiring story of one woman’s efforts to determine her own destiny in a world run by men.

Rachel Tucker shines in the titular role. Tucker is feisty and fearless, perfectly capturing O’Malley’s youthful optimism in the opening scenes of Act 1. Her voice soars across the auditorium as she performs Woman. Likewise, Tucker beautifully explores O’Malley’s tender side as a mother, daughter and lover. The intimate duets she shares with Jai McDowall as sweetheart Tiernan and Father Dubhdara, played powerfully by Earl Carpenter, are highly moving.

Hannah Waddingham had a hard task playing Queen Elizabeth I, an imperious foil to Tucker’s spirited O’Malley. However, she undoubtedly excelled in this role. Waddingham was poised and dignified, commanding every scene with her impressive operatic prowess.

Daniel Boys provided excellent comedic relief as the unfoundedly arrogant and hapless Lord Bingham, one of two antagonists alongside Grace’s husband and eventual betrayer Donal, played by the terrific Matt Pagan.

It is however, Jai McDowall as Tiernan who steals the show with his rendition of I’ll Be There. He is endearing and charismatic as O’Malley’s sweetheart who proves his unconditional love for his Pirate Queen on more than one occasion.


The ensemble and choir are vocally assured and provide some beautiful harmonies. They are best showcased in a rousing rendition of Sail to the Stars which brings the first act to a swelling crescendo.

Special plaudits must also go to choreographer Jack Ludwig, who’s sharp and spritely Irish dance numbers inject the piece with joyful energy.

Technical elements work together to elevate this semi-staged production, despite a few niggles with mics early on. Lighting and visuals by Ben Rogers are simple yet effective. Painterly illustrations depicting the Irish Coast and English Royal Court provide a pleasing backdrop, while the use of coloured lighting seamlessly signals a shift between land and sea. A single purple spotlight shone upon Elizabeth and Grace as they converse in Act 2 was an especially nice touch; this royal hue indicated a meeting of two equals, both noble in character if not in title.

Fran Levin’s costumes are timely and sympathetic, yet mostly modest. Hannah Waddingham is an exception here; she looks suitably regal in Elizabeth’s embellished gown towering over O Malley’s boyish and diminutive frame.

Though the performances are indeed outstanding, the score so often borrows melodies from Les Misérables and Miss Saigon that it becomes somewhat predictable. Boys’ll be Boys is a fun but ultimately trifling homage to Master of the House. In short, unashamedly familiar tunes followed by unfamiliar lyrics resulted in an effect which was at times jarring.

While audiences may find this musical too repetitive to work as a fully realised production, The Pirate Queen provided an evening of outstanding vocal talent and swashbuckling storytelling.

photo credit: Earl Carpenter

Friday 21 February 2020

Laura Baldwin on The Importance of Female Led Musicals | Beautiful: The Carole King Musical | Interview

A jukebox musical with a book by Douglas McGrath, Beautiful: The Carole King Musical tells the story of the life and career of Carole King, using the songs she wrote as well as others by people she knew or were influential in her life. 

Taking on the role of one of these, is Laura Baldwin who plays Cynthia Weil, King's best friend and writing rival. Having previously starred in Waitress, Laura is no stranger to female led stories, she sat down to tell us why these stories are so important and what people can expect from this musical...


Give us the lowdown on Beautiful, what can we expect?
Well you can expect a story of what went on behind the music surrounding the life of Carole King, told by an AMAZING cast. You’ll hear incredibly nostalgic songs and hopefully you’ll leave feeling elated, inspired and a little bit warm inside.


Whats your favourite song from Beautiful and why?
God that is SO hard! The Locomotion is definitely up there but it has to be Walking in The Rain. It’s just such a stunning song and it feels so lovely to sing.


You’re playing Cynthia Weil, what do you draw from in your own life and what research do you do to play a real person?
So Cynthia Weil is the first character I’ve played that I don’t feel anything alike. I couldn’t find any similarities for a while so that was a new challenge for me. It did however feel really refreshing to become someone completely different and, play parts of her that don’t come naturally to me. Now we’re well into the run I do see myself in her, like I love making people laugh, so does she! We’re both very ambitious and love our work. It was great to finally identify with her in some way. 

I researched lots about Cynthia! I watched so many interviews and we talked extensively with Ed Goggin our director, all about the characters lives and motives throughout the show. I wanted to make sure I do her justice!! Hopefully I’m doing enough!


You previously starred in Waitress, another musical about female empowerment, what do you think makes these musicals so important and special?
Because we need women to be seen as the hero’s that they are and have always been! Waitress was a human story and Beautiful is a real life story, both with an underdog message. The characters find strength from within and that is always incredibly special to watch. Sara Bareilles is a power house as is Carole King. Their stories and music should be heard simply because of the talent behind them. I am honoured to be a small part of their work and portray the characters that are so dear to them, and inspiring to women and to everyone.


If a musical was going to be made about your life, who would you like to play you?
Oh Amy Adam’s or Kristen Wig just because I love them!!


What’s your best piece of advice for aspiring performers?
Keep the gorgeous people around you who lift you up! ALWAYS treat yourself after an audition. You will constantly struggle to balance everything and things will get hard but that’s okay. There will be highs and lows but the lows make it worth it. Stay humble, find ways to reconnect with yourself, book the holiday and know that your career doesn’t define you. I also feel like being yourself is HUGE and the moment I started accepting my weird crazy self, everything started to fall into place :) stay strong! x


Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22nd February before continuing its tour

Interview by Editor, Olivia Mitchell

photo credit: Helen Maybanks

Wednesday 19 February 2020

Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review


Beautiful: The Carole King Musical (UK Tour)
New Victoria Theatre 
Reviewed on Tuesday 18th February 2020 by Olivia Mitchell 
★★★★

Beautiful opens with music icon, Carole King sitting alone on stage at a piano, singing to a sold out audience at Carnegie Hall. In an instant the piano moves out of view and we are taken to a Brooklyn apartment where a 16 year old Carole, with songs sing sell and dreams to dream, arrives on stage.

It's from here that we follow King through the trials and tribulations of her life from the vivacious teen, to young mother, wife, divorcee and eventually solo Grammy Award winner. From the outset Daisy Wood-Davis is engaging and endearing; giving a performance as Carole which certainly blooms throughout the musical and ends on a high. Her unique Brooklyn accent is strong, and whilst her performance is not always completely convincing, Wood-Davis does a solid job at bringing the legend to life. 

What's impressive about this musical is how cleverly the scenes transition from the song-writing to the actual performances. The famous artists appear to perform the songs as the final lyrics and chords are written and highlight just how fast the music world moves. At times, some of the ensemble are a little lacklustre in their performances, but it's still nice to get a chance to hear the music of The Shirelles and The Drifters. 


Aside from the music, the show mainly focusses on the relationship between Carole and her husband/lyricist Gerry Goffin. Played by Adam Gillan, Gerry is equal parts endearing, fragile and gushy. His vocals are strong and the chemistry between the pair, especially in the young love phase at the start, is very enjoyable to watch. We also see writing rivals/best friends Cynthia Weil (Laura Baldwin) and Barry Mann (Cameron Sharp) who want to succeed in all aspects of their lives. The pair give great vocal performances and bounce off one another well.

Many aspects come together to make this such a wholesome and enjoyable musical, including the excellent set design by Derek McLane which seamlessly transforms the stage and provides a welcoming backdrop for every moment. Alejo Vietti's costumes are also highly detailed and it's great to see how fashions changed as well as the music. Also, giving standout performances are Susie Fenwick as Carole's witty New York mother; Jordan Fox who shines in his vocal moments and Carly Cook who draws the eye throughout and gives an excellently polished performance all round.

A sentimental musical which captures all generations and celebrates the talent and drive of Carole King, and showcases the music industry Beautiful is certainly worth the watch. 

Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22 February and then continues its tour

photo credit: Helen Maybanks

Thursday 13 February 2020

Lesli Margherita on Bringing Zorro Back to London for One Night Only | Interview

The musical version of Zorro premiered in the West End in 2008. With a score by the Gipsy Kings, it tells the good versus evil tale of the legendary hero Zorro. In it's first London performance since closing, the musical will be performed as a staged concert at Cadogan Hall this month.

Lesli Margherita, who starred in the original workshops and West End production, will be reprising her Olivier Award winning role as Inez at this concert. Lesli sat down with Rewrite This Story to discuss bringing the show back to London, her advice for performers and the lowdown on her other musical, Emojiland...


You are the Queen of self branding, do you have any advice for performers wanting to create their own space in the industry?
I didn’t try to brand, and I think that's probably the most important thing. This all came out my family calling me queen and being a kid writing ‘Lesli Rules’ on everything. So, the best thing for branding is just being yourself. I think I’m authentically myself and I share the good parts and the bad parts of me, and I think that’s maybe what people or kids have kind of gravitated to. Yeah, so the best thing is to just be yourself, people can tell fake branding from a mile away. This totally happened by accident!


You’ve returned to a few musicals with Mrs Wormwood and now Inez, what’s that like? Do you set out to change parts or just go with the process and see what happens?
I think naturally it’s gonna change, because I’ve changed. It’s inherent that it will change, especially with something like Zorro because I spent so many years on it before the West End, and then I changed it during the West End and then even after that I did a few versions of it. Even just listening to the recording now I’m like “why did I do that?!” so that’s gonna change. And with Matilda there were little things that I’d always wanted to change and I think it’s great to leave something alone for a little while and see what happens.


Do you think because this is a concert version, you’ll have more space to alter things and play around a bit?
Totally yeah. I would love to do a full version to see how it would be different but I think with this the focus is really on the music which is exciting!


You’ve got such an amazing cast to perform it as well!
I know! I’m so excited! I’m really excited to perform with Emma [Williams] again, it’s going to be so nice

The cast of Zorro in concert at Cadogan Hall 

Since you’ve found out you’ll be doing the show again, is there a particular song you’re excited to sing once more?
Every time I get to do Bamboleo I’m happy- it’s my favourite. I never get tired of it, even when the actual Gipsy Kings version comes on on my ipod I never skip it cause it’s just so good. 


Well hopefully we’ll get an updated recording soon, after this maybe it’s time for West End and Olivier number two!?
Oh I mean I would love that. I’d really really love it to come back- hopefully soon!


Can you sum up the show in five words?
Romantic, adventuresome, electric, uplifting and swashbuckling!


Aside from Zorro, you’re working on Emojiland, tell us a little about the show
It sounds crazy! It sounds like it’s gonna be a dumb show but it’s not! It’s about a bunch of emojis living in a phone and what  happens after an update is implemented and a bunch of different emojis come in. It’s really about not looking at things for face value and seeing what’s behind the face, and seeing that just because that’s how someone looks, it might not be how they’re feeling. It also gets a little political, it’s about not wanting change, not wanting different types of people or emojis going into their land; it’s really got so much heart. 

I did it first at a festival two years ago here in New York, kind of as a bare bones version and when I found out they were doing it off-Broadway as a full production I couldn’t wait to be a part of it, I love it so much.

It’ll be nice when people can hear the recording that comes out in a couple of weeks, because the songs are amazing and it really is so touching and funny, but also meaningful which people aren’t expecting cause it’s called Emojiland!

Lesli Margherita in "Emojiland." (Photo: Jeremy Daniel)

Yeah, I mean when I first heard about it I was a bit on the fence but everyone says it’s amazing!
Exactly! That’s kind of what we’re counting on. We’re counting on getting people in there and then them changing their minds because that’s what always happens. People come and say it really wasn’t what they expected and they really enjoyed it!


So you’re obviously a very busy lady with all your shows and travelling, do you have any advice for looking after your voice when it’s under pressure?
Really it’s the same stuff that everybody tells you. It’s the steaming and the rest and all the things you can never do. I never have time to rest, I never have time to steam but they’re the things you’re supposed to do and I really think that they’re important. Also, overall general care of yourself at all times, so that even when you don’t have time, your body is in good condition. It’s just a constant sort of upkeep.

I also think that the foundations and training are so important. I rely on my training so much when my voice is tired. Especially when I was dong Matilda because that role is so difficult vocally and while you’re dancing and screaming, so I really relied on my training and on the vocal team there at Matilda to keep me in shape and healthy.

I think it’s a lot of common sense, don’t go out drinking late at night and try and get some rest!


Mrs Wormwood is a very shrieky role, it must’ve been hard!
Well we worked on it so it was really a mix, it sounded screechy but it was just a mix. My mix has never been stronger than when I was in Matilda! It was really interesting trying to find that place and it never hurt once. It’s really difficult to explain to somebody though, there are all these high schoolers and stuff doing it and losing their voices and I just say “don’t scream!”


I saw your panel at BroadwayCon a few years ago and you mentioned wanting to return to the role of Inez which is happening now, so I just wondered if you have any other dream roles you’d like to put out into the universe?
I’ve been really lucky with the shows I‘ve gotten to do around the country here, but every time I’ve played Adelaide in Guys and Dolls I’ve loved it so it would be great to be able to play her again.

I’d also love to do Evita, and I really want American audiences to get to see Zorro so I hope that’ll happen someday soon!


A huge, thank you to Lesli for taking the time to chat with us. Zorro plays at Cadogan Hall on 23 February for one night only!

Interview by Olivia Mitchell

Tuesday 11 February 2020

Five Reasons To See Once the Musical

A beautiful, heartfelt story of an unlikely friendship between a Dublin busker and a Czech musician,  we present five reasons why you should see Once on it's current UK tour...


The Pre-Show
Before the show even begins, Once offers a unique experience and welcoming atmosphere as the audience enter the theatre. The fantastic cast made up of actor-musos (more on that later) are performing a number of joyous Irish songs as if in a local Dublin pub. I particularly enjoy The Auld Triangle which Susannah van den Berg leads wonderfully. Also worth mentioning is the seamless transition from the lively pre-show tunes, to the haunting opener Leave, which settles the audience and paves the way for the journey of Once.


It's Surprisingly Funny
When I first saw this show, I didn't expect to laugh as much as I did. From the start there is a warm humour that feels (mostly) natural and realistic. Little giggles between the cast as they bounce off one another are enjoyable to watch, as are the jokes between Guy and Girl. From their first interaction, the pair (Daniel Healy and Emma Lucia) have an engaging relationship full of banter, sarcasm and honesty that's endearing to watch and brings light to the sometimes deep emotional moments.


Emma Lucia's Accent
Yes, this is an unconventional reason to see a show, but I was so impressed by Emma Lucia's excellent accent that I had to mention it! The combination of Czech with twangs of Dublin mixed in is so excellent. Emma is a magnetic performer, who we instantly warm to. The character of Girl is so optimistic that you can't help but root for her, and Emma brings this gleeful optimism to life fantastically.

The Power of Ensemble
Once is one of the most wonderfully ensemble fuelled pieces I've ever seen. Often the cast move like one entity, all invested in each others stories. These group transitions bring a motion to moments which could otherwise run the risk of falling flat. The reprise of Gold is a truly exceptional moment in musical theatre, as the entire cast come together as if using one breath to sing.


The Musicality
Of course you can't talk about Once without mentioning the music and those that perform it. The folk/rock score is what put the original film firmly on the map, with Falling Slowly becoming a staple on any musical theatre playlist. Not only is Once a love story in terms of romance, but it's also a love letter to music, with every song carefully thought out and performed. It's amazing to hear the folky, Irish, guitar led music, and it's even more impressive to watch it performed live by a cast of actor-musicians. Every cast member is an incredibly talented musician and it's sensational how they are able to tell a story and really engage the audience through music.



Once is currently playing at the New Victoria Theatre until 15 February and then continues its tour

Monday 10 February 2020

Twisted, Trafalgar Studios | Review


Twisted (Concert)
Trafalgar Studios
Reviewed on Sunday 9th February 2020 by Olivia Mitchell 
★★★★

There weren't many reasons to leave the house on Sunday, as Storm Ciara battered the UK, but a dose of musical theatre and Disney were certainly two. The latest in Monsteers' concert series, Twisted provided a chance for performers to sing the Disney songs they've always wanted to, as well as those which they wouldn't typically be cast in. This led to an afternoon of uplifting numbers, belting galore and a great escape from mother nature.

Thirteen performers took to the stage to treat us to a selection of (mostly) contemporary songs, ranging from Poor Unfortunate Souls to Hellfire. Each performance brought something special to the stage and offered a chance for stripped back performances celebrating musicality, Disney, Pixar and general theatricality.

Everyone on stage gave top notch performances, with a mixture of upbeat, chilled and full-out stagey numbers. Emily Mae Walker's rendition of Let It Go, Charlotte Anne Steen's Zero To Hero (complete with super fast mic reflexes) and Cameron Burt's Go The Distance were particular standouts among a group of wonderful performers. Gender swapped numbers proved exceedingly entertaining, with Maiya Quansah-Breed's I'll Make a Man Out of You and Grace Mouat's Proud of Your Boy earning huge applause and showing the audience the songs in a different light.

Completing the male line-up were Aran McRae, Lewis Asquith and Christopher Cameron who all gave brilliantly entertaining performances. On the ladies side, it was Lauren Soley's exceptional performance of Tangled's Mother Knows Best that really impressed, as did Jessica Cervi (who stepped in last minute) giving a luminous rendition of Beauty and the Beast. Also stepping up to the plate just the day before was Esme Laudat who's version of Speechless, closed act one in the best way possible. Josie Kemp and Chloe Hazel also gave strong performances with Hazel's Poor Unfortunate Souls a real highlight.

Although the bare, minimalist approach was effective, perhaps future concerts could include some props just to make the fairly large space feel a little more welcoming and less of a 'stand up, sing and go' affair. I did find that occasionally the speakers were a little loud and the lighting somewhat abrupt, and whilst these issues did not detract from the performances, they are things which could be tweaked to step the next concert up a level. 

Twisted was a great way to spend a Sunday and I'd certainly recommend booking future Monsteers concerts.  Great songs, a fab theme and an outstanding band led by the incomparable Steve Corley made for a thoroughly entertaining afternoon.

Emma Lucia talks life on tour in Once The Musical | Interview

Beginning life as a low budget feature film, Once, the story of a Dublin street busker and a Czech musician who bond over their love of music, has enthralled audiences since it was released. Audiences are now getting the chance to see it live on a UK tour.

Emma Lucia plays Girl, in this simplistically beautiful production. We chatted to her about her role, life as an actor-muso, her tour essentials and much more...



Give us the lowdown on Once, what can audiences expect? 
Once is such a tricky show to explain because it’s really unique, but it’s essentially a play about an Irish guy and a Czech girl who meet in Dublin and form a really special friendship based on their love for music. The show is packed with Irish/folk music and each song is played by the 16 actors on stage - there are about 30 instruments in total so the sound is really something! Anyone watching the show for the first time can expect to laugh (a lot), cry (a bit) and leave feeling really uplifted.


You play Girl, what’s she like as a character? Are you alike in any ways?
Girl is SUCH a fun character to play. She’s ridiculously optimistic, hilariously blunt and incredibly kind which is quite inspiring because they’re all qualities that I love in a person. I think I’m quite a positive person (or at least I try to be… I sometimes struggle on Mondays…) so I guess we have that in common!


The cast is made up of amazing actor-muso’s, what’s it like being surrounded by music all the time both on and offstage?
Oh it’s amazing - these guys are sooo talented! It’s so inspiring to share a stage with such incredible musicians and they’re all so lovely which makes it even better. Everyone’s constantly practising or working on new material for the pre-show jam - there is literally no peace and quiet but I love it!


If your life was going to be made into a folk musical, who would you want to play you?
I love this question. Mmm probably Jessie Buckley because she has the most beautiful voice and she seems like an equally beautiful person! And she has fabulous hair. I’m aiming high here.


This is an ensemble led piece, with every cast member invested in every moment. What was the rehearsal process like to create such a tight-knit group?
We actually gelled really quickly in rehearsals. A lot of people had worked together before so most people already knew each other, and I remember sitting on our lunch break on day one and thinking that we’re going to have a lot of fun on this tour. I also think it helps that it’s such an ensemble-led piece because it means there’s a constant feeling of it being a team effort - no one actor is more important than another and that keeps us all really grounded and connected.


What's your favourite moment in the show?
It has to be When Your Mind’s Made Up in Act 2. It’s my favourite song in the whole show and it’s so fun to play! I really struggle to describe why I love it so much but there’s a point where the lyrics stop and the whole cast just hold their notes, and I remember hearing that moment for the first time when I watched the show in the West End and understanding exactly what they were all feeling - even though they weren’t actually saying any words. It’s bizarre how music can make you feel connected in a way that words sometimes can’t.


What are your tour essentials?
Hmmm… I have a sleep mask which is an absolute life-saver - it means I can nap just about anywhere! I also like to have lots of pictures/positive quotes to put up in my dressing room and an unlimited supply of rescue remedy for when I feel particularly nervous. Oh and berocca. Lots of berocca.


Other than the beautiful music, what do you think makes Once such a special and enduring piece of theatre? 
I think it’s because it’s such a simple and realistic story - the characters (aptly named Guy and Girl) could literally be anyone. Falling in love is wonderful but it doesn’t always work out the way you want it to - life sometimes gets in the way and I think a lot of people can relate to this. Once isn’t hugely romanticised and I think that’s what people love about it. 


What’s your top piece of advice for aspiring performers? 
Without a doubt: have confidence in yourself. There’s so much criticism and rejection in this industry - it’s all part of the job, so you have to make sure that you believe in yourself otherwise you’ll never be able to enjoy it! Even if you have to fake it for a while, it’s so important that you compliment and congratulate yourself for achieving the tiniest of goals or even just for being brave enough to have a go! I think most actors go through phases of having imposter syndrome, where they don’t think they’re “good enough”, and I really struggle to take my own advice sometimes… but it really is the most powerful thing - if you believe in yourself, nine times out of ten so will everybody else.


Once next plays at the New Victoria Theatre and then continues it's UK tour

Interview by Editor, Olivia Mitchell

Friday 7 February 2020

Poet in da Corner, Royal Court | Review


Poet in da Corner
Royal Court
Reviewed on Thursday 6th February 2020 by Olivia Mitchell 
★★★★

Modern storytelling is ever-changing but the blueprint often stays the same, with Shakespeare, Ibsen and Chekhov usually being the playwrights we are told to use as inspiration. In Poet in da Corner, Debris Stevenson challenges this and chooses to use Dizzee Rascal's debut album as the framework for her personal coming-of-age tale. Debris makes the importance of music clear from the get go: "Grime changed my life, more than my two first class degrees, it gave me permission". From here, we go on a loud, fast, energetic and spirited journey through Stevenson's life from a dyslexic teen trapped in a mormon household, to an independent, strong and self-aware woman.

This is an incredibly multi-layered show which is so much more than just a celebration of grime. Instead it's an impactful look at upbringing, freedom, self-expression and privilege. Stevenson freely studies and exerts herself, whilst, also investigating theatrical expression as a genre and form. There's breaking of the fourth wall, interesting use of props, thought-provoking lighting and exceptional movement. The energy is at peak levels throughout and the gig like atmosphere in the Royal Court is something to behold. Reminiscent at times of Arinzé Kene's Misty, this is the way theatre should be evolving to attract new audiences and tell stories in unique ways.

As well as writing the show, Stevenson's performance is exceptional; her passion for grime is instantly infectious and becomes universal almost as if her story is ours. I suppose in ways it is, as the universality of music is what makes it so special, but it's still masterful how Stevenson is able to unify a room of individuals so expertly, through her mile a mile performance.

Alongside Stevenson are Jammz (co-writer of the show), Stacy Abalogun and Kirubel Belay. The quad give amazingly agile performances both in vocal and physical terms. It's amazing to witness such fast action which flits between humour and intensity so seamlessly. If you want a celebration of grime and a true example of self-expression, this is the show for you.

The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.

Poet in da Corner runs at the Royal Court until 22 February and then tours the UK

Thursday 6 February 2020

Hannah Waddingham on Bringing a Queen to Life in The Pirate Queen | Interview


Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland. To protect her people and save her one true love, O’Malley must confront the one woman more powerful than her— her fierce rival, Queen Elizabeth I of England.

From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.

Playing Queen Elizabeth I in this one night only extravaganza is Hannah Waddingham, who told us what we can expect from the musical, what other historical figure she'd like to play and what her favourite moment of the musical is...



Tell us about The Pirate Queen, what can we expect?
Audiences can definitely expect an absolutely glorious wall of sound to hit them from the get go. Just sitting in on rehearsals the last few days I can’t quite believe what the ensemble have already achieved, quite irritatingly quickly really! It’s the most beautiful, expansive, atmospheric  piece and I can’t wait for us to unleash it on the London Coliseum. 


You're playing Queen Elizabeth, what's it like brining a royal to life?
What’s struck me most about trying to mould myself into Queen Elizabeth I is the sense of responsibility and how information received by her from her court must be firstly processed as Queen, not as a woman. 


What's your current favourite moment of the show?
My current favourite moment of the show is when she and Grace (Rachel Tucker) are in their own heads ruminating about the “other woman” in the duet She Who Has All. 

It’s that beautiful construct of the audience seeing and hearing their insecurities in life and about the other person before they see it in each other in the flesh. 


If you could star in a musical about any other historical figure, who would you choose?
If I were to take on the role of any other historical figure it would have to be a biblical one! Nothing touches Judas Iscariot for me. Both vocally and emotionally there could be no more satisfying a role for me than that. 


Why should people come and see The Pirate Queen?
People should come and see The Pirate Queen because it deserves to be heard in the beautiful, epic setting of The London Coliseum. They are such fitting bed fellows. 


The score is Alain Boublil and Claude-Michel Schönberg at their atmospheric best, and what greater cause could there be than for the Leukaemia Uk charity. The evening will be a great privilege for everyone to be part of, both on stage and off. 


The Pirate Queen plays at the London Coliseum on 23 February, 7pm

photo credit: Danny Kaan