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Review: Joseph and the Amazing Technicolor Dreamcoat- A Joyous Revival that Shines Bright on Tour
Thursday, 5 June 2025
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Like so many theatre lovers, Joseph holds a special place in my heart. I must have worn out the DVD as a child, rewatching the dazzling colours, catchy tunes, and sheer joy of it all. To this day, I take great pride in knowing every single colour of that famous coat by heart, and one day, I’m convinced it will finally come in handy in a pub quiz.
Seeing the touring production felt like reconnecting with an old friend, and this version couldn’t feel more right for now. There are brief flashes of modern self-awareness that could veer into cringe- a wink here, a gag there- but they never overstay their welcome. It’s one of the rare revivals that manages to feel modernised without being try-hard or losing its sense of self. At its core, Joseph is still what it’s always been: a musical powered by joy, timeless melodies, and that signature blend of heart and humour.
The music, as ever, is the star. From 'Any Dream Will Do' to 'Go, Go, Go Joseph,' the songs are as infectious as I remembered. But what makes this version truly sing is how the whole thing feels so light on its feet. There’s a freshness to the production, a sense of play and invention that keeps it moving briskly and brightly.
Adam Felipe brings a charming sincerity to Joseph, with vocals that land with clarity and ease. He finds both the innocence and confidence in the role, and it’s easy to see why audiences root for him from the start. Joe McElderry’s Pharaoh is a crowd-pleasing standout, leaning into the Elvis pastiche with charisma and a wink that’s impossible not to enjoy. And in the role of the Narrator, Christina Bianco is the glue that holds the whole show together- commanding, warm, commical, and vocally impressive throughout.
Beyond the leads, it was an unexpected delight to watch the ensemble. There’s such care in their performances- it felt like many of them had created full little back stories for their characters. I caught moments between brothers, glances, physical comedy, even subtle through-lines. Honestly, I’d go back just to keep an eye on different people and see what else I might spot.
This show is a proven success, and this production shows exactly why. The audience- young kids, nostalgic adults, and everyone in between- were beaming throughout, myself included. It’s hard not to be swept up by it. This show is a real reminder that it’s a gift to sit in a theatre and just have a great time.
It’s not a reinvention of the wheel, but it doesn’t need to be. Joseph is a show that understands what it is, and this production delivers it with style, heart, and a technicolour sparkle that never fades.
★★★★
Reviewed on Wednesday 4th June 2025 by Olivia
Photo Credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
The Frogs at Southwark Playhouse: A Quirky, Clever Revival That Leaps at Points | Review
Wednesday, 28 May 2025
The Frogs
Southwark Playhouse
Currently playing at Southwark Playhouse, The Frogs is a spirited and unusual revival of Stephen Sondheim’s rarely-staged musical. It’s a show that wears its eccentricity proudly, and while it doesn’t quite stick the landing, there’s plenty to enjoy- especially in a first act that’s consistently hilarious, sharply performed, and full of unexpected delights.
Loosely based on Aristophanes’ classical Greek comedy, the musical follows Dionysos, the god of theatre, as he travels to the Underworld in search of a great playwright to bring back to Earth and save civilisation. He’s accompanied by his long-suffering servant Xanthias, and along the way they encounter an oddball cast of characters, including a musclebound Herakles, a chorus of glittering jazz-handed frogs, and ultimately, the ghosts of George Bernard Shaw and William Shakespeare, who must battle it out in a literary showdown.
What really shines in this production is the tone of the first half- it’s fast, funny, and refreshingly self-aware. Packed with clever gags, well-placed improvisation, and tongue-in-cheek musical theatre references (including a few knowing nods to Sondheim himself), the show frequently feels like it’s teetering on the edge of chaos, but in the best way. That sense of spontaneity works in its favour, helped along by a cast that clearly knows how to land a joke.
Dan Buckley is a charming Dionysos, blending comic cluelessness with likable energy. Kevin McHale is wonderful as Xanthias, with razor-sharp timing and a strong sense of physical comedy. Joaquin Pedro Valdes makes a memorable entrance as Herakles, playing up the bravado with just the right amount of exaggeration and all three have outstanding vocals to accompany their portrayals. The ensemble bring great versatility and enthusiasm to the staging, keeping the energy high even when the material veers into the absurd.
The design choices support the humour well. The spangly frog costumes are ridiculous in the best possible way, think glitter, jazz hands, and pure musical theatre camp; and moments like Ariadne’s “thread” being reimagined as a literal train trailing behind her costume add a cheeky visual wit to the direction. There’s an inventiveness to the staging that feels right at home in Southwark Playhouse’s flexible space, and the live band, under the direction of Yshani Perpinpanayagam, gives Sondheim’s challenging score the bounce and clarity it needs.
The second act, however, loses some of that initial spark. Once the plot shifts toward a philosophical debate between Shaw and Shakespeare, the momentum slows and the tone becomes more earnest. The satire is still there, but it feels a little more laboured and doesn’t quite recapture the breezy chaos of the first half. It’s a tricky balance, intellectually interesting, yes, but a shift that might leave some audience members wishing for more frogs and fewer speeches.
That said, this is a lively, cleverly staged production that knows exactly what it is. It leans into its own weirdness and largely pulls it off, thanks in no small part to a cast that’s clearly having fun. If you're in the mood for something quirky, referential, and genuinely funny (especially in its early scenes) The Frogs is worth a look. It may not be Sondheim’s most polished show, but in the right hands, like those at Southwark Playhouse, it makes for a surprisingly joyful evening.
★★★
Reviewed on Tuesday 27th May by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: The Frogs Southwark Playhouse review, Kevin McHale The Frogs, Sondheim The Frogs London, Dan Buckley theatre, Joaquin Pedro Valdes Southwark, Off-West End musicals 2025, Southwark Playhouse Sondheim, musical theatre reviews London, quirky musicals 2025, Greek mythology musical.
Review: Shucked at Regent’s Park Open Air Theatre- A Theatrical Kernel of Joy
Thursday, 22 May 2025
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Wednesday, 7 May 2025
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Ghost the Musical UK Tour: Great Cast, Ghostly Magic, But Time for a Refresh? | REVIEW
Tuesday, 15 April 2025
Ghost the Musical (Tour)
New Victoria Theatre
Based on the beloved 1990 film starring Patrick Swayze and Demi Moore, Ghost the Musical first premiered in Manchester in 2011 before transferring to the West End and Broadway. With a book by Bruce Joel Rubin (who also penned the original screenplay) and a pop-infused score by Dave Stewart and Glen Ballard, the musical brings romance, loss, and the supernatural to the stage. The current UK tour proves there's still plenty of love for this story and though a few creaky moments show its age, the emotional core and a jaw-dropping central performance keep it engaging and enjoyable.
This touring production is anchored by a genuinely great cast, with standout performances across the board. At the heart of it all is the phenomenal Rebekah Lowings, whose portrayal of Molly is nothing short of spellbinding. Her vocals are among the best I’ve ever heard. Rich, emotional and technically flawless, she brings such raw depth to the role that you can’t help but root for her from her very first note. Honestly, I want to see her in everything from now on.
Josh St. Clair also provides some great vocal moments and makes for a compelling Sam, navigating the tricky emotional beats of his spectral role with sensitivity. As Carl, James Mateo-Salt is a real standout, bringing a great intensity to the role and some top level vocals to match, while Jacqui Dubois as Oda Mae delivers excellent comic timing and vibrant charisma, perfectly lifting the mood just when it’s needed. The show benefits from this balance of emotional sadness and humour, which helps it maintain a fairly fast pace and keeps the audience emotionally invested throughout.
That said, Ghost the Musical does show its age in places. Some moments feel a little on the cringe-worthy side, especially in the dialogue and transitions, and it’s easy to imagine how a subtle modern refresh-whether through design or direction- could polish off the rougher edges. The choreography also feels a little mismatched with the tone of the piece; while the dance breaks are energetic, they often feel more suited to a pop concert than a supernatural love story.
Despite that, the show offers some strong technical elements. The special effects (particularly those ghostly illusions) are slick and satisfying, and the lighting does a lot to establish mood and movement. While the sound mix could use some fine-tuning (a few ensemble lyrics got lost in the score), the overall production values are solid for a touring show.
Ultimately, this Ghost might not be reinventing the wheel, but it’s still an entertaining and emotionally satisfying night at the theatre. With a cast this talented, and a leading lady who deserves every starring role coming her way, it’s easy to overlook some of the creakier bits. Whether you’re a die-hard fan of the film or simply in the mood for a musical that blends romance, comedy, and a touch of the otherworldly, this tour is worth catching.
★★★
Reviewed on Tuesday 15th April by Olivia
Photo Credit: Alastair Muir
{AD PR Invite- tickets gifted in exchange for honest review}
Summer in the City by Alex Aster: A Romance for the Delulu Girlies | Book Review
Tuesday, 25 March 2025
Summer in the City by Alex Aster
Published: March 2025 by Bloomsbury
I finished this book with tears in my eyes and love in my heart and immediately had to talk to people about it. I feel like it was written just for me!
Alex Aster's debut romance novel, Summer in the City, is a delightful blend of swoon-worthy romance, engaging character development, and a vibrant portrayal of New York City that will captivate readers from start to finish.
The story follows Elle, a 27-year-old screenwriter grappling with a severe case of writer's block as she faces a looming deadline for a big-budget movie set in New York City. In search of inspiration, Elle returns to the city she once vowed to avoid, only to discover that her new neighbour is none other than Parker Warren- a charismatic tech billionaire and her unforgettable stairwell fling from two years prior. As their paths intertwine, they strike a mutually beneficial arrangement: Parker needs a fake girlfriend to navigate his company's acquisition, while Elle seeks authentic New York experiences to enrich her screenplay. What begins as a convenient partnership soon evolves into something far more profound.
Aster excels in crafting multidimensional characters that resonate deeply. Elle is portrayed as a relatable and self-aware protagonist, whose internal monologues often provide moments of genuine humour. Her journey through personal challenges and emotional growth is both authentic and compelling. Parker, on the other hand, embodies the quintessential swoon-worthy billionaire- charming, considerate, and profoundly devoted. Their dynamic is enriched by witty banter and palpable chemistry, making their evolving relationship both believable and engaging.
An aspect I adored is how the city's depiction is so vivid and immersive that it transcends mere setting, becoming a character in its own right. Readers are treated to a love letter to NYC, exploring iconic landmarks and hidden gems alike. From leisurely strolls through Central Park to the bustling energy of local coffee shops, the narrative captures the essence of summer in the city, evoking a sense of nostalgia and wanderlust. I read this just before my own trip to the Big Apple so it couldn't have been more perfect!
Summer in the City cleverly uses beloved romance tropes such as fake dating, forced proximity, and the billionaire-next-door fantasy, without making them too cheesy. The elements are woven seamlessly into the narrative, and are at times acknowledged as tropes, fueling delightful escapism and catering to readers who revel in indulgent fantasies. This really is a book for the delulu girlies like me. The progression from lovers to enemies to lovers adds depth and complexity to Elle and Parker's relationship, keeping readers eagerly turning pages.
As Aster's inaugural foray into the romance genre, this novel is nothing short of impressive. Her transition from fantasy to contemporary romance is executed with finesse, showcasing her versatility as a writer. The narrative's humour, emotional depth, and romantic tension are testaments to her storytelling prowess. This was my first experience with Aster's work, and it has left me eager to explore more of her writing.
Summer in the City is a must-read for romance enthusiasts seeking a heartfelt and entertaining escape. With its engaging plot, well-developed characters, and enchanting portrayal of New York City, it stands out as a memorable addition to the genre that's wonderfully reminiscent of 90's/2000's rom-coms. Alex Aster has truly nailed her debut romance novel, delivering a story that is both captivating and delightfully indulgent.
★★★★★
Reviewed by Olivia
{AD PR product- book gifted for honest review}
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