Posts with the label reviews
Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts

Friday 1 March 2024

Standing at the Sky's Edge at the Gillian Lynne Theatre REVIEW: A Perfect Tale of Hope and Connection


Standing at the Sky's Edge 
Gillian Lynne Theatre 

Standing at the Sky's Edge is a captivating journey that swept me off my feet and left me utterly spellbound. From the moment the lights dimmed and the first notes filled the air, I was transported into a world where every emotion felt raw and real.

The story, set across three generations, unfolds with such grace and authenticity, drawing the audience into the lives of the characters living in Sheffield's iconic Park Hill estate. Through their joys and struggles, their dreams and disappointments, I found myself rooting for each one of them as if they were old friends.

Whilst this is technically a jukebox musical, it doesn't feel clunky as is so often the case. Richard Hawley's compositions, with Tom Deering's orchestrations are a beautiful fusion of rock, folk, and soul, each melody weaving its way into the narrative to really capture the essence of the musical. The lyrics are so poetic and heartfelt, they brought tears to my eyes and chills down my spine. This is a masterfully crafted musical that is so different to other West End offerings, in all the best ways.

Set wise, Ben Stones has done a glorious job, bringing the industrial feeling of Park Hill to life, but also capturing the warmth which filled it. Mark Henderson's fantastic lighting design also contributes to this realistic feeling, with even the first scene literally brining the sunrise to life. From the bustling streets of Sheffield to the towering heights of Park Hill, every detail is so meticulously crafted that I felt like I was actually there, witnessing the story unfold before my eyes. In my opinion this is a show which needs multiple visits because there's just so much to see, every nook of the stage is filled with action and there are so many stories going on that you could watch ten times and still spot something new!

But what truly struck me was the way this musical resonated with me on a personal level. Despite never having set foot in Sheffield, I felt a deep connection to the characters and their journey. Their struggles felt familiar, their triumphs felt like my own and whilst I didn't directly relate, the emotions portrayed are so genuine and truthful, you can't help but be moved by the tales of hurt and hope.

These intense feelings are a testament to the vast ensemble cast who are outstanding in every way. Elizabeth Ayodele as Joy brings subtle but effective character growth that melds to her surroundings, whilst Samuel Jordan is every level of charming as Jimmy, both also give brilliant vocal performances, a common theme throughout the cast. Opening the show, Jonathon Bentley sets the tone for the piece and showcases his beautiful voice which equally shines during his other solo moments. Perhaps the character with the biggest arc is Harry, portrayed with such nuance and integrity by Joel Harper-Jackson. Mesmerising is a word which gets thrown around a lot but Joel's performance is utterly the embodiment of it, as he brings to life a character that feels so multi-dimensional and showcases his innate acting ability. As his loving housewife partner who slowly finds her voice, Rachael Wooding is a powerhouse, with another slow burn performance that peaks in the second act and has sniffles filling the auditorium. Laura Pitt-Pulford gives one of my favourite vocal performances of the show with 'Naked in Pitsmoor' and again, brings to life her character Poppy perfectly. Lauryn Redding is her ideal counterpart, serving some wonderful vocals, especially during the title song and also bringing some lightness amongst the heavy themes of the show. The entirety of the cast bring this world to life and they're all stars. Mention must also go to the booming bassist who growls and grounds the Act two opening number 'Standing at the Sky's Edge'.

In the end, Standing at the Sky's Edge isn't just about the music or the set design – it's about the human experience. It's about love, loss, and the resilience of the human spirit. It's a reminder that no matter where we come from, we're all connected by our shared humanity.

Standing at the Sky's Edge touched me in a way that few musicals ever have. It's a testament to the power of storytelling and the magic of theatre. If you have the chance to see it, don't hesitate – it's an experience you won't soon forget, and the act one opening is one of the best theatrical moments possible to see on stage right now.

★★★★★ 
Reviewed on Thursday 29th February 2024 by Olivia
Photo Credit: Brinkhoff-Moegenburg

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Standing at the Sky's Edge at the Gillian Lynne Theatre REVIEW: A Perfect Tale of Hope and Connection

Friday 1 March 2024

Friday 23 February 2024

Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances


Just For One Day: The Live Aid Musical
The Old Vic

Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.

With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.

The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.

Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.

Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.

Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichéd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.

Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.

Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.

Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.

★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan

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Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances

Friday 23 February 2024

Thursday 22 February 2024

Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell


Hadestown
Lyric Theatre

There are musicals that touch your soul and for me that’s Hadestown. I first saw the show in 2018, where I went in completely blind and came out gob smacked and awed. Tonight after the official West End opening night, I feel equally awed as well as inspired, moved, astounded, heartbroken and overjoyed. There really aren’t adjectives to describe how heartfelt and special this show is. Not only is it a piece of fantastic quality theatre but it’s also a poem, a concert, a celebration of life and humanity, an ode to music and above all, a love story.

Hadestown tells the tale of young Orpheus and Eurydice as their tales intertwine. It's a musical retelling of the ancient Greek myth of the duo and follows the journey of Orpheus as he descends into the underworld, determined to rescue his beloved Eurydice from the clutches of the charismatic but menacing Hades. Despite the various iterations and productions this musical has gone through, one constant is how scarily relevant the themes it explores feel in our modern world. Hades, ruler of the underworld and the mines, ostensibly grants "freedom" through employment while simultaneously confining his subjects behind a barrier. Why We Build The Wall is certainly one of the most pertinent songs of the production, its relevance hits all too close to home in the current world.

The musical borders the line between acting as "the world we live in, and the one we dream about", in thanks part to Rachel Hauck's set. Scaled down slightly from the National Theatre production, it still evokes Depression-era vibes and cleverly frames the story. Bradley King's lighting literally highlights some of the most astounding moments of the show, especially during Hades' peak moments, as well as casting shadows to create an almost cinematic feel; overall it's just an incredibly cohesive show that has a vibe and aesthetic that matches it so well.

This undefined world is perhaps best showcased by Anaïs Mitchell's incredible score which combines so many styles a creates such special storytelling. The intricate lyrics allow layers upon layers of emotions to form as Anaïs weaves a musical tapestry that is charming and delightful at times, but gritty and painful at others. Mitchell has truly crafted a musical masterpiece that transcends time and genre and creates a theatrical experience like no other.

Director Rachel Chavkin has meticulously pored over each performer, set element, musician, and lighting effect to craft a production that leaves us suspended between despair and hope. This version of the show also feels perfectly tweaked for the West End, with the use of the performer’s natural accents making the whole thing feel very real and grounded, an inspired change! David Neumann's precise choreography fits seamlessly with the revolving stage, continually moving between frenetic energy and poignant stillness that works so well. This is a piece which is so reliant on balance, the balance between good and bad, love and hate, light and dark, loud and quiet, beauty and pain, among others, and the entire cast and creative team have perfectly understood and managed this balance to form a musical that leaves you not quite sure what emotion you're experiencing, but 100% sure you experienced something special.

At it's core this is a story about people, and the people who lead it are wonderful. As the headstrong Eurydice, Grace Hodgett Young is everything you could ask for in a leading lady, her calm is as strong as her passion and she fills every moment with charisma. There’s often mention of “stage presence” but it’s rare you see the phrase as outwardly displayed as with Grace who commands even the smallest of moments. Of course she’s also vocally dreamy, showcasing all layers of her voice and perfectly bringing the vocal grit that’s so necessary for the role. Her easy swagger and playfulness is a perfect balance to Orepheus' more nervous persona. Taking on the role of this heartstrong counterpart, Donal Finn is delightfully whimsical and charming. Donal's Orpheus truly comes into his own during act two when his passion for his partner and also his music are on full display and his voice becomes a beacon of hope cutting through the darkness of despair. It's utterly heartbreaking when we reach the expected conclusion, a testament to the emotion the cast pour out to get us to that point.

As the enigmatic Hermes, Melanie La Barrie is all parts wonderful, her presence commanding the stage with every word and gesture and bringing humour and gravitas in equal measure. Her performance weaves together the threads of myth and legend with an all knowing wisdom that seems to transcend time, she truly gives everything on stage and is a marvel to behold.

Hadestown is more than a musical—it's an experience, a testament to the enduring power of art to touch the very depths of our souls. It's a rare gem that shines brightly in the landscape of contemporary theatre, a reminder that sometimes, even in the darkest of times, there is still beauty to be found.

In the hallowed halls of the Lyric Theatre, you can bear witness to something truly extraordinary. Hadestown is a triumph in every sense of the word and it needs to be seen.

★★★★★
Reviewed on Wednesday 21st February 2024 by Olivia Mitchell
Photo Credit: Marc Brenner

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Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell

Thursday 22 February 2024

Saturday 17 February 2024

The Addams Family Concert at the London Palladium REVIEW | A Kooky Show with a Killer Cast


The Addams Family in Concert
London Palladium 

Since premiering in the UK in 2017, The Addams Family has been somewhat of a regular feature on our theatre scene with a number of tours that garnered great reviews and a fanbase who couldn't help but be charmed by the kooky family. This week, the London Palladium housed the latest iteration with three concert versions of the show that told the wacky, romantic tale so many have grown to adore.

Witnessing their daughter Wednesday fall in love with a "normal" boy, the Addams family finds themselves grappling with the challenge of acceptance. In an effort to bridge the gap, Wednesday takes it upon herself to arrange a dinner party, inviting both families to come together. What unfolds is a delightful blend of hidden secrets, eccentricity, and a whirlwind of kooky chaos, showcasing the unique charm and humour of the Addams family universe.

As is the case with many "concert" versions, this was really an almost fully staged production, complete with costumes, sets,  choreography and more. These sort of shows are always a real testament to the hard work of the entire team both onstage and backstage, to put together such sleek, well-rounded performances, with extremely limited rehearsal time.

This was a wonderfully sleek production, framed by Ben Cracknell's fantastically striking lighting and Diego Pitarch's suitably outlandish set and colour matched costumes. Taking most of the elements from the touring production, the whole concert embodied the vibes of the unconventional Addams family, highlighting the important parts of the storyline and making the whole thing feel much more elevated than a traditional concert. Having not had a permanent home, the show has had to create a design that fits within the confines of moving around the country every week so I do think if it were to find a permanent home in the West End, it could really lean into the lavish grandeur of the Addams Family, and perhaps bring Central Park to life a bit more, to really step things up and give it the wow factor.

In terms of casting this was a star studded affair. Ramin Karimloo took on the role of Gomez Addams, the suave protective father who just wants to do right by his family; giving a performance that was nothing short of wonderful. With hilarious line delivery and of course those smooth, powerful vocals we all know and love, Ramin showcased a hilarious side that I'd love to see more of. We must also mention the collective audience gasp when he took his blazer off, if you know, you know! As his partner in crime, Michelle Visage made Morticia Addams her own. Whilst her performance wasn't always the most exciting, with the dialogue being a little one note (even for Morticia), her look and the way she carried herself was perfect for the role. Just Around the Corner was a really brilliant theatrical moment and I think given time, Michelle could really develop and refine her Morticia. 

As the love struck teens, Wednesday and Lucas, Chumisa Dornford-May and Ryan Kopel were wonderfully paired. Having only recently graduated Chumisa already has an impressive resume and it's certainly set to expand, given her absolutely out of this world vocals. She not only hit every note perfectly but her tone and diction were noticeably brilliant and everything sounded so healthy, I can't wait to see her succeed and shine! The role of Lucas isn't particularly developed but Ryan did a wonderful job of bringing him to life and created some lovely moments. Another stand out was Kara Lane who astounded as mother Alice Beineke, giving vocals that pretty much blew the roof off of the London Palladium. Sam Buttery was charming as Uncle Fester, Nicholas McLean a great addition as Pugsley and Dickon Gough a wonderful dose of comedy. The rest of the ensemble brought the other characters and ancestors to life really well and helped form the world of Addams.

Book wise I do think this is a show with flaws and the pacing isn't always perfect but it has heart, charm and a number of earworms that make it a really easy watch that you go back to again and again. 

It's not the most sophisticated piece of theatre but, The Addams Family in Concert was a ghoulishly delightful experience. With outstanding performances, this concert truly captured the essence of the Addams Family legacy. Whether you were a die-hard fan or new to the Addams universe, this concert provided a spooky, kooky night of fun and paved the way for the show to continue enrapturing audiences.

★★★
Reviewed on Tuesday 13th February by Olivia
Photo Credit: Pamela Raith

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The Addams Family Concert at the London Palladium REVIEW | A Kooky Show with a Killer Cast

Saturday 17 February 2024

Thursday 1 February 2024

Bronco Billy the Musical at the Charing Cross Theatre REVIEW | A Delightful Musical Romp


Bronco Billy the Musical
Charing Cross Theatre

Bronco Billy the musical, is a rollicking ride through the Wild West, that brings a unique blend of sincerity and high camp to the Charing Cross Theatre. It's a show so full of heart, you can't help but be charmed by it, as it provides a theatrical escape that is genuinely marvellous.

As the title suggests, the musical tells the tale of Bronco Billy, a performing Cowboy as he leads his troupe around America, aiming to make enough money to keep them afloat. Along the way he meets Antoinette, an heiress who's on the run from her money grabbing stepmother and a host of other characters wishing for her demise. It's as random and wacky as it sounds but truly it's a tale of heart, friendship and dreaming, all wrapped up to create a rootin' tootin' good show that thrives through it's melodramatic highs.

The cast are full of absolute joys. Star on rise, Emily Benjamin shines as the chocolate heiress on the run, Antoinette, injecting the role with gumption, charm and vulnerability, plus sweltering vocals to match. Her delightful partnership with Tarrin Callender as Bronco Billy, provides some of the show's standout moments. Callendar's effortless charisma and soaring baritone vocals fill the Charing Cross Theatre, making it evident why the troupe is so drawn to him, and showcasing a performance that is beautifully vulnerable and volatile.

The leading duo are complemented by a supporting cast of well-defined characters, each with small arcs and interests that really bring them to life. Between them, the group also showcase a variety of killer circus tricks, from juggling, to supremely impressive rope-wielding and magical wild-west wizardry. A big part of the show is the aspect of found family and the entire cast do a really fantastic job of portraying this loving unit, and together bring some sweet, sincere moments to an otherwise wild show.

Heaps of praise must go to Victoria Hamilton-Barritt portraying the gold digger, murderess stepmother, Constance, as she delivers a performance that is nothing short of perfection. Her comedic timing rivals the best in the business, and her astounding physicality, faultless facial expressions, and hilarious vocal inflections create a dynasty-esque portrayal that keeps the audience in stitches. Barritt's magnetic stage presence draws in the crowd, and she expertly milks every moment for maximum laughs and somehow still leaves us yeehawing for more.

Amy Jane Cook's set design and Sarah Mercade's costumes are commendable, wonderfully capturing the essence of the Wild West with authenticity and providing some surprising moments whilst utilising all of the limited space available. Alexzandra Sarmiento's choreography is undeniably fun and while there's potential for more in a larger space, it fits the Wild West vibe exceptionally well and is two-step away from perfection, though I'd trade my hat for an encore tap dance number.

The upbeat score by Chip Rosenbloom, John Torres and Michelle Brourman is continually engaging, with a number of quirky ear-worms and vocal gems. It may not be a musical masterpiece, but it's intelligent and inventive enough to fit perfectly with the style of the show and deliver exactly what it needs to.

Bronco Billy is a delightful musical extravaganza that successfully balances sincere moments with high camp theatrics. It isn't groundbreaking, but with charismatic leads, touching found family dynamics, and a hugely fun Wild West atmosphere, it is a silly stampede of a show that guarantees you'll leave with a prairie sized grin and joy to share. Who knew that what London theatre needed was a disco cowboy musical?!

★★★★

Reviewed on Wednesday 30th January 2024 by Olivia
Photo Credit: The Other Richard

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Bronco Billy the Musical at the Charing Cross Theatre REVIEW | A Delightful Musical Romp

Thursday 1 February 2024

Thursday 18 January 2024

Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony


Rehab the Musical
Wyndham's Theatre

Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.

The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.

Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.

However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.

The undeniable chemistry between Maiya Quansah-Breed (Lucy Blakeand Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.

Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.

Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.

A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments. 

While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.

★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior


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Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony

Thursday 18 January 2024

Sunday 17 December 2023

Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW


Stranger Things: The First Shadow
Phoenix Theatre 

As someone who ventured into the realm of Stranger Things: The First Shadow without much prior experience with the series, aside from watching a few episodes and a recap, I was pleasantly surprised and thoroughly captivated by this spectacular supernatural spectacle. The Duffer Brothers, with Jack Thorne and Kate Trefry have crafted a story that effortlessly drew me into the mysterious world of Hawkins, Indiana, even as a newcomer to the Stranger Things universe.

From the very first applause inducing scenes, I found myself immersed in the gripping narrative that skilfully combines elements of suspense, nostalgia, and the supernatural. The show's ability to seamlessly introduce me to its characters and the intricacies of their relationships made it easy to connect with the story, and I was quickly invested in the fates of these intriguing personalities.

The prequel introduces both beloved characters and fresh faces, each receiving substantial development and individuality. The performances are exceptional, characterised by universally nuanced and emotionally charged portrayals. Louis McCartney, in his striking West End debut as Henry Creel, delivers a chilling performance that combines twisted actions with an alarming charm. McCartney's masterful physicality, full of spasms and contortions, adds an extra layer of intensity to the role- I can only imagine how much physio he'll need during the run! Isabella Pappas embodies Joyce with fierce brilliance, seamlessly incorporating Winona Ryder's iconic traits while infusing the character with her own spin. Pappas creates a captivating, headstrong persona that garners unwavering support. Alongside her, Oscar Lloyd portrays James Hopper Jr. with suave charisma, delivering witty one-liners and exuding an aura that captivates throughout.

The brilliance of this show lies in the meticulous attention and craftsmanship dedicated to shaping the intricate backstories of every character. Each member is endowed with distinct intentions and personality traits, allowing for intrigue at every turn. There isn't a single weak link to be discovered, but special recognition is deserved for the performances of Christopher Buckley as the endearing Bob Newby and Michael Jibson, who delivers haunting moments as the tormented Victor Creel. Max Harwood as Alan Munson, injects copious amounts of humour, energy, and vitality into the narrative, fashioning a persona that practically begs for its own enthralling spin-off storyline; whilst Patrick Vaill brings eerie menace to the stage as Dr Brenner.

In the hands of Stephen Daldry and Justin Martin, the play unfolds like a blooming flower, or more aptly, the opening mouth of a demogorgon. It moves seamlessly between the whirlwind of action and the rich tapestry of each thoughtfully crafted scene. High-school hallways and bathrooms, the mundane backdrop of everyday life, transform into breathtaking alternate worlds in the blink of an eye, all thanks to the nimble touch of Miriam Buether's set design. Jon Clark's lighting is like a choreographed dance, shifting between mysterious shadows and warm sunlight, mirroring the transformative journey of the characters.

The story takes a deep dive into the shadows, embracing a genuinely dark undertone with jumps and eerie sounds reminiscent of horror films, all expertly blended into the production by Paul Arditti's exceptional sound design. Yet, within the darkness, there's a contrasting brightness—a nostalgic, retro Americana that permeates the air. Sprinkled with snippets of song, it adds layers of emotion and complexity to this multidimensional theatrical experience, making it a journey that feels both supernatural and believable.

Stranger Things: The First Shadow is a testament to the storytelling prowess of its creators. As someone unfamiliar with the series, I can confidently say that this instalment stands alone as a brilliant and engaging piece of theatre. It has ignited my curiosity about the series as a whole, and I am now eager to explore the it to uncover the mysteries that follow this captivating chapter. Whether you're a seasoned fan or a newcomer like myself, this show is a spectacle that you must see. Full of drama, amazing performances and genuine sincerity, it's a Creel-y Creel-y great piece of theatre.

★★★★★
Reviewed on Friday 15th December 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan

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Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW

Sunday 17 December 2023

Tuesday 28 November 2023

Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out


Pretty Woman (Tour) 
New Victoria Theatre 

A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off! 

Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…

The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for. 

Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together. 

Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly.  The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence. 

With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.

The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire! 

Overall, the lightheartedness of the story and the fantastic talent onstage makes for a  perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking! 

★★★★★ 
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan

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Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out

Tuesday 28 November 2023

Thursday 23 November 2023

The Drifter's Girl on Tour at the New Victoria Theatre Review: Enchanting Performances


The Drifter's Girl (Tour)
New Victoria Theatre

Currently on tour after a West End stint, The Drifters Girl offers audiences a glimpse at an intriguing journey, accompanied by top tapping hits and universally great performances. Showered with acclaim at the 2022 Olivier Awards, the show follows the dramatic narrative of Faye Treadwell, the incredible force behind shaping The Drifters.

While grappling with some visually lacklustre sets, the production compensates with performances that pack a punch and a memorable soundtrack featuring timeless tunes like ‘Saturday Night At The Movies,’ ‘Save The Last Dance For Me,’ and ‘Stand By Me.’

Despite the occasional visual challenge posed by the set design, The Drifters Girl invites audiences to dive headfirst into the heart of the action with an immediate and dynamic narrative approach. This spirited start, while invigorating, might require a bit of time for the audience to acquaint themselves with the characters and their relationships. If you’re not familiar with the story you may be a little dazed, but thanks to the fast pace, you don’t really have time to think about it!

From the energetic get go, the performances are the true stars of the show. Under the compelling portrayal of Faye Treadwell by Carly Mercedes-Dyer, the cast deliver stellar performances that highlight the ambition, determination, and drive which drives the story. The group's seamless transitions, brought to life by Ashford Campbell, Daniel Haswell, Miles Anthony Daley, and Tarik Frimpong, showcase their artistry in navigating the dynamic changes within The Drifters. Vocally, each performer has some stand out moments however don’t often get the chance to really come into their own. Carly Mercedes Dyer perfectly performs the peak moments of the show, with vocals that simmer and then soar.

The musical's charm lies in its unforgettable songs, which act as both a soulful soundtrack and sturdy pillars supporting the narrative. The emotional depth conveyed through these musical moments significantly contributes to the overall impact, and has you rooting for the story. However, it does feel like something is missing, with the short acts skimming over a lot of drama and never quite packing a punch.

Whilst it’s not a life altering night at the theatre, The Drifters Girl has performances that feel authentic, a soundtrack that strikes a chord, and a narrative that unveils the essence of a key figure in music history. Despite the initial visual challenges and a swift plunge into the storyline, the production eventually finds its rhythm, offering an enjoyable experience for fans of The Drifters and musical theatre enthusiasts alike.

★★★
Reviewed on Wednesday 22nd November 2023 by Olivia
Photo Credit:

{AD PR Invite- tickets gifted in exchange for honest review}

The Drifter's Girl on Tour at the New Victoria Theatre Review: Enchanting Performances

Thursday 23 November 2023