Posts with the label London Theatre
Showing posts with label London Theatre. Show all posts
Showing posts with label London Theatre. Show all posts
Thursday 19 September 2019
Big The Musical, Dominion Theatre | Review
Big The Musical
Dominion Theatre
Reviewed on Wednesday 18th September 2019 by Olivia Mitchell
★★
Lets start by saying that I am not in the group of people who have seen this film, so had nothing to compare it to when I took my seat at the Dominion Theatre. The Tom Hanks movie came out in 1988 and was followed by David Shire and Richard Maltby Jr's musical in 1996, which received five Tony nominations but was a pretty large flop. Twenty three years later it has hit the West End for a limited run that promises to big Big in every sense of the word.
The story follows Josh Baskin, a twelve year old boy who makes a wish on a Zoltar machine to be a grown up. The next morning he wakes up an adult who scares his mother, makes his way to New York City and lands himself a pretty swanky job at a toy company. Its here that he meets Susan, a fellow colleague who he begins a romantic relationship with. Completely normal when he's really a child, right?
The story is questionable to say the least, but it certainly had potential to be elevated by catchy songs and choreography, unfortunately this does not happen. The music is mostly unmemorable and often drags in a clumpy, unoriginal way. Similarly, the choreography is restrained and the large cast are rarely used. The sets and projections are effective to an extent but feel uninspired and lack the wow factor.
Jay McGuiness brings wonder to Josh and is entertainingly gawkish. His vocals are mostly strong and his chemistry with Kimberly Walsh is pretty believable (though its hard to believe a relationship rooted in such a weird idea). Walsh as Susan brings a solid performance but often feels as though she's merely going through the motions. Jobe Hart as Josh's best friend Billy is the stand out cast member as he gives a firecracker performance which entertains and excites. Wendi Peters is also wonderful and would certainly elevate the production if she had more stage time.
It's very hard to overlook how white this production is; set in New York, a hub for various cultures to intertwine, it's shocking that the entire adult cast features not a single person of colour. Whilst the ensemble do work hard, there's no denying that this is not the sort of casting audiences want to see in 2019.
At the end of the day, this will always be a strange story to stage because it is plain weird; but with a little magic and excitement, it could provide some memorable theatrical moments. Unfortunately this production fails to do so and is more basic than big. Various sexist comments, questionable actions and mediocre songs leave you feeling bored and creeped out.
photo credit: Alistair Muir
Friday 13 September 2019
Fame The Musical, Peacock Theatre | Review
Fame the Musical
Peacock Theatre
Reviewed on Thursday 12th September 2019 by Olivia Mitchell
★★★★
Back in the West End after 12 years, Fame makes a triumphant return with Nick Winston's production. This 30th Anniversary edition has been touring since 2018 but is having a prolonged five-week stop at the Peacock Theatre. Featuring the classic songs such as There She Goes, Fame and Bring on Tomorrow, those who grew up with the musical will be taken back to their youths. However, whilst many original aspects are still part of the show, the stage version is less leg warmers and dancing on cars, and more grit, hard work and struggle.
Despite being set in the 80s, most aspects feel fresh, relevant and grounded in truth. Nick Winston's choreography helps the entire production fizzle and buzz like a well oiled New York subway, and the young cast perform each second with conviction and power.
As Iris, Jorgie Porter gives a great showcase of her sleek dance skills and has a great chemistry with love interest Tyrone (Jamal Crawford) who gives an equally strong dance performance and gains rapturous applause after his uber-octane performance of Dancing on the Sidewalk. In the storyline with his teacher Miss Sherman (Mica Paris) Crawford gives a truthful performance as he struggles to read but doesn't want to appear stupid or weak. The battle of wills between the pair is exciting to watch and really comes to a head with Mica Paris' vocally impeccable rendition of These Are My Children.
As the quirky actress Serena, Molly McGuire is warm and instantly likeable. Her relationship with Nick (Keith Jack), a tv actor, wanting to break into the more serious world of acting, is sweet and the pair compliment each other well. With Jacques Levy and Steve Margoshes' music and lyrics, there are some lovely moments, especially Lets Play a Love Scene.
The ensemble are tight from start to finish, performing the sharp choreography extremely well and providing moments of interest away from the main action throughout. Serina Matthews and Tom Mussell particularly catch the eye throughout. This cast is also comprised of various quadruple-threats. The host of amazing actor-musos who are present on stage throughout, really transport us to a performing arts school, and help keep up the frenzied energy of working on your craft. Louisa Beadel is feisty as Lambchops and gives a brief but beautiful vocal performance in the closing number; Alexander Zane is light relief and a wonderful energy on stage. Simon Anthony is outstanding in his instrumental, vocal, acting and dance skills. Giving a very heartfelt and highly energetic performance, he is a stand out performer and works wonderfully with his love interest, Carmen.
As Carmen, it's Stephanie Rojas who is really the crown jewel of this production. Opening with a fiery, sassy performance, her decline and struggle is incredibly moving to watch. Rojas' sublime vocals, gritty acting and sharp movement really should put her Name in Lights across the West End. In a show which sometimes lacks character development, Rojas makes Carmen a truly 3D character and gives the performance all audience members will remember.
Prema Mehta's subtle but atmospheric lighting does a fantastic jobs of quite literally highlighting the crucial moments and moods of the piece. Perhaps most striking is the contrast between Carmen's opening number and closing number. In There She Goes/Fame there is a vibrancy which bathes the stage, whilst In LA is stark and simplistic. Morgan Large's set of yearbook photos, lockers and desks keeps the school vibes alive and allows most of the focus to be on the performers.
For a no gimmick show about the tenacity needed to succeed, Fame is a wonderful way to spend an evening and will certainly leave you dancing along the road (or wishing you had the skill to dance along the road)!
Fame runs at the Peacock Theatre until 19th October 2019 before continuing its tour.
photo credit: Alessia Chinazzo
Wednesday 11 September 2019
The Play That Goes Wrong, The Duchess Theatre | Review
The Play That Goes Wrong
The Duchess Theatre
Reviewed on Tuesday 10th September 2019 by Olivia Mitchell
★★★
The Play That Goes Wrong and all of Mischief Theatre's productions have gained somewhat of a cult following thanks to their un-stuffy, melodramatic and outrageously slapstick set ups, which thrill regular theatre goers and less frequent attenders alike. The show throws buckets of energy out as it takes on the form of a whodunnit and is authentically British.
The story follows an amateur dramatic group, the Cornley Polytechnic Drama Society, as they attempt to wow audiences with their version of the 1920s murder mystery The Murder at Haversham Manor. Well what follows is a production that is less wow and more woe. The sets collapse, the plot goes wrong and literal anarchy ensues. Thankfully for us, this is all done with hilarious humour as the cast embody the motto that the show must go on.
Everything about this production is choreographed chaos, as every trick and accident is pulled off with such a natural flow that it feels improvised, but in reality is precisely organised. Daring tricks are carried out as actors fall from the ceiling, jump out of windows and play their own version of twister as they try to keep the set and props in place.
At times the production does teeter on the edge of being too slapstick but most of the time it beautifully draws back to remain funny. This really is a show down to personal taste and for some it'll will certainly be too over the top and not enough thespian but for a completely carefree night of theatre, there's no reason to miss it.
Thanks to the wonderfully strong cast, this production rattles along with efficiency and intensity. Often breaking the fourth wall and including the audience in the action, this really becomes a raucous piece of communal theatre. With pantomime antics and tricks which will keep you on your toes, The Play That Goes Wrong is a belly-laugh inducing piece of theatre which will continue to entertain and surprise during it's fifth year in London.
Monday 12 August 2019
Squad Goals, The Other Palace | Review
Squad Goals
The Other Palace
Reviewed on Saturday 10th August 2019 by Olivia Mitchell
★★★★
Squad Goals written by Michelle Payne follows Lexi who wants to have the best summer ever playing football with her friends (and foes) before results day comes and they all have to take steps towards their futures.
What's great about this piece is that each person has a characteristic or emotion the audience can relate to; so whilst football may not be your bag, there are other aspects which will draw you in and entertain. From Mel the theatre fanatic to Missy the wannabe lawyer and Ellie-Mae the social media influencer, there's a whole array of characters, each of whom are well identified and enjoyable to watch.
This is the third play to be performed by students of the Caspa Arts: Acting for New Writing part time course and it's terrific to see a showcase of performers in training, and new British theatre. The 10 strong cast work incredibly well as a team and it's clear that they are loving working and developing together.
Whilst the ensemble work is wonderful, there are a number of stand out performances. Firstly Mia Kelly as the hopeful drama student Mel. Mia is fantastically natural on stage and has great comedic timing, her performance is witty and well thought out. As leader of the squad Lexi, Hannah Khalique-Brown gives an ardent and charismatic performance as she races forward to fight inequality between women's and men's football and break barriers between social groups in her local area. As a character, Lexi is very truthful as she steps up to the plate without being over the top or unbelievable, something Khalique-Brown emphasises well.
The influencers who are forever taking selfies and posting #ad posts are everywhere you look these days and Sophia de Souza brings the squad's resident 'It Girl' Ellie-Mae Hague to life with a marvellous balance of humour and kindness. Whilst Ellie-Mae is extra in every sense of the word, she is also a team player and the bond she has with the other girls is put across very well by de Souza, as is the compassion she shows as she influences the union of the groups. Lauren Cooper also shines as the dippy Sharky who is charming throughout and naturally gets the audience on her side.
Elsewhere, Emily Clark gives a strong performance as Amanda and has a great chemistry with Verona Smith as Missy who delivers some great one-liners and bounces off the other girls well. Morag Davies is suitably feisty as Scrappy-Doo and Stephanie Stevens gives a well nuanced portrayal of Misha who is consistently fighting for equality but also longs for a group of friends to share her triumphs with. Antonio Ayuso provides comedic moments as he tries to prove himself to be a "man's man", Clara Mainardi is greatly mysterious as Assassina and as a whole the cast are very strong.
The use of movement is very effective in this piece, with the opening scene giving Spring Awakening vibes as the women approach the issues they face not only in football but in life. Throughout there are entertaining passages where the cast transition from one place to another or highlight specific feelings through sharp movement. This does well to both further the story and keep the intensity high from start to finish.
In a time when the world seems pretty dark, it's lovely to see such an uplifting piece of theatre that highlights the importance of passion, hard work and friendship. Of course this is the beginning stages for Squad Goals and there's certainly room to pad out the story and establish the characters a bit more but overall, this is a really enjoyable hour, with a company of fantastic promise. Hopefully the show gets the further development it deserves and we don't see the end of this female story.
Monday 22 July 2019
20 Questions with On Your Feet's Christie Prades
Taking on the iconic role of Gloria Estefan, is the energetic, enthralling and all round wonderful Christie Prades. Editor Olivia sat down with her to ask Christie 20 Questions about her life, career and of course On Your Feet. We found out her favourite food, advice for aspiring performers, her spirit animal, what game show she'd like to compete against the Estefan's on, plus a whole lot more!
Featuring the hit songs of Gloria Estefan and Miami Sound Machine, On Your Feet is currently playing at the London Coliseum until August 31st, with tickets available from the official website: www.onyourfeetmusical.co.uk
If you're unable to get to London, the show is also going on a tour of the UK (dates and venues available here).
Watch our full chat with Christie and some sneak peeks at the backstage area of the London Coliseum below or here.
Thursday 27 June 2019
Bare: A Pop Opera, The Vaults | Review
Bare: A Pop Opera
The Vaults
Reviewed on Wednesday 26th June 2019 by Olivia Mitchell
★★★
Bare is a pop-rock chronicle of ill-fated gay love at a Roman Catholic boarding school. It focusses on issues including bullying, depression, homophobia and stigmatisation. The score is often touching and intricate and the young cast mostly do a fantastic job of performing it earnestly.
Having premiered off-Broadway and receiving various productions around the world, the show has gained a considerable cult following so this London production has been highly anticipated. Showing at Waterloo's Vaults, the theatrical experience is somewhat immersive as the action comes at you from all angles. Whilst most of the time this is effective, at moments the novelty of peering through heads to see what's going on does wear off, and the large, long stage feels underused.
Personally the pacing of this show is what lets it down. Act one is all about the set up and then everything major happens in act two. For this reason there are times, especially in the first half, where you feel uninvested. However, there are moments which stand out, namely Georgie Lovatt who is making her professional debut in the show, before she graduates. Her touching and humourous portrayal of Nadia is marvellous to see and she provides outstanding vocals to match.
Lizzie Emery gives a well rounded performance as Ivy and beautifully highlights the internal struggles many people face growing up. Her well nuanced performance is furthered by her fantastic solo, All Grown Up in act 2 which is a goosebump-inducing vocal powerhouse moment. Tom Hier is wonderfully motivated as Matt and gives a magnetic performance whenever he is on stage.
As the lead couple, Daniel Mack Shand (Peter) and Darragh Crowley (Jason) have a simmering relationship. Whilst facing the struggles of being oppressed for their sexuality and struggling to come out to those around them, it's clear they are trying to use their love to keep them grounded. Whilst there are moments of clear affection between them, most of the time they feel a little disconnected. The audience never really see a pure moment of love between them all because there's always something going on with them. Whilst of course this is partly the point, it does mean we root for the pair less. However, Darragh Crowley's performance is excellent both vocally and acting wise.
Andrew Ellis' lighting is effective, mostly so in the second act. The angelic murals on the wall are lit up at crucial times and the contrasts between cool and warm are well done.
Overall this is a musical of two halves. The performances are strong and the music itself is extremely clever and mostly engaging, but at the same time there are moments that drag. For fans of Bare this is a must to tick off your list, but I suspect it will be a bit of a marmite show.
photo credit: Tom Grace
Wednesday 26 June 2019
West End Live 2019 I A Photo Round Up
There's no denying that West End Live is one of the most stagey and fun weekends in a theatre fans diary. The finest of the West End musicals come together to perform live and for free in Trafalgar Square as hoards of fans belt back their favourite songs.
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
We can't wait for next years West End Live! Let us know your favourite moments from the weekend in the comments.
photo credit: Olivia Mitchell
Thursday 20 June 2019
The Light in the Piazza, Royal Festival Hall | Review
The Light in the Piazza
Royal Festival Hall, Southbank Centre
Reviewed on Wednesday 19th June 2019 by Olivia Mitchell
★★★★★
The Light in the Piazza is a contemporary musical which invokes all the feelings of the golden age and is a sumptuous treat for the eyes and ears. The marvellously swooping score by Adam Guettel whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
As Clara, Dove Cameron is a marvel. A perfect combination of charm, innocence, an unruly heart and a headstrong mind, she lights up the stage every second she's on it (which is most of the show). Equally, the more intensely dramatic moments of the musical are performed with a candor and aggression which strikes and moves the audience. Cameron is a true star with vocals to match her captivating performance.
Rob Houchen has a way of surprising audiences with each role he takes on. This time it's the Italian leading man, Fabrizio, who is swoon-worthy, humourous and charismatic. As always Rob's acting performance is strong, with the comedic moments especially landing well; but it's Houchen's vocal performance which solidifies him as the dream casting choice for this role. The swooping vocals seem to pour out of thin air as Rob captures every moment with ease and control. Alongside Cameron, the pair create a chemistry which fizzles around the Festival Hall and creates a fuzzy feeling from start to end.
Taking the role of the protective mother, Renée Fleming soars. Her deep operatic voice fills the festival hall but still manages to capture the intimate vulnerability she feels throughout. Mention must go to Mick Potter who has designed the sound of this show excellently. With the mix of operatic and musical theatre performers, there is always a risk of one overpowering the other, especially with opera performers usually being unmiced but this is not the case at all and the two styles meld and compliment each other fantastically.
Celinde Schoenmaker oozes sass as she struts across the stage in a smooth two piece and provides some of the musicals conflict during her marvellously performed The Joy You Feel. Liam Tamne is light relief as her husband Guiseppe Naccarelli. Alex Jennings also gives a memorably suave performance as patriarch Signor Naccarelli.
Brigette Reiffenstuel's 'frocks' are completely divine and indulgent, with floating fabrics and tailored Italian suits covering the stage. Backed by Robert Jones' simplistic but intuitive set, Dove Cameron seems almost doll like as she twirls around Italy in her magnificent pastel coloured clothing.
Sure, the story is lacking, but this is a show about love and you can't help but feel overcome by warmth as you watch it all play out. There are many a predictable moment, but thanks to Daniel Evans' direction, they're all carried out so well that they feel fresh and unexpected, regardless.
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
Wednesday 12 June 2019
Afterglow, Southwark Playhouse | Review
Afterglow
Southwark Playhouse
Reviewed on Tuesday 11th June 2019 by Shaun Dicks
★★★★
“There are no fairy tales about polyamory.”
Afterglow is ‘The little play that could’. After its impressive off Broadway run of 14 months and 467 performances, it has made its way across the pond to the Southwark Playhouse, a theatre synonymous with fantastic shows.
In this story we follow three men, the married couple of Josh and Alex, played by Sean Hart and Danny Mahoney, and the complication to Josh and Alex’s marriage, Darius who is played by Jesse Fox. The story follows these three men as the ins and outs and potential complications of polyamory play out. It explores the ideas of commitment, love and the malleability of relationships.
The script written by S. Asher Gelman is a good one, the dialogue is clean, interesting and has brilliant jokes but also has some very honest and real lines in there. The monologues of Darius are just fantastic, and Jesse Fox does well with them; delivering some hard truths excellently. Danny Mahoney as Alex does a good job being the anchor of the show, giving his co-stars a chance to be a bit freer on stage.
The star of the show though is Sean Hart as Josh. Josh is a well fleshed out character, that has obviously been thought through and is fully realised. Hart’s character work makes his co-stars characters look a little non-descript at points.
The direction from Tom O’Brien is ok, the one thing that hampers this show is the scene transitions, they are just so long, it sucks the energy out of the show. The transitions are so long, you could go out, get a drink and get back before the next scene starts.
David Howe's lighting is great, doing well to elevate the piece higher by being creative in his design. The set design by Libby Todd is fine, but their design is half the problem with the very long scene transitions.
Afterglow isn’t your typical fairy tale but in this pride season, it does give a fair, true and honest representation of polyamory and the gay community as a whole; giving life to a story that needs to be told. It’s a show that does have flaws but that’s almost part of its charm.
It’s a highly recommended piece of viewing for all. Gay, Straight, Bisexual, Asexual, Pansexual. Cisgendered, Non-Binary, Transgender, Gender Queer. It is ultimately a show about people and how the heart wants what the heart wants.
photo credit: Darren Bell
Thursday 22 March 2018
Misty, Bush Theatre | Review
Misty
Bush Theatre
Reviewed on Wednesday 21st March 2018 by Shaun Dicks
★★★★★
Arinzé Kene is a star on the rise. Playwright and Actor, he has endless noteworthy credits. Tonight’s viewing is Misty, written by and starring Kene. Misty is a show of two stories; the first being a story of a young man, travelling on the night bus in London, who makes a bad decision before unravelling. We follow him as events unfold. The second story is led not by a character but Kene the person. It follows his process of creating this show and all the negativity and hardship that he faced while doing it.
Firstly, Kene as a writer is outstanding. The script is fantastically interwoven with its dual narrative; the structuring and execution is positively breath-taking. This script is a masterpiece and a masterclass in how to create an effective, powerful and colourful script. Kene has found the right balance of intense, thought provoking and politically/racially charged material and mixing it with great wit and humour. There is an elegance in the script that is rare, the imagery is so vivid and clear- it is beautiful.
Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone.
It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues.
Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone.
It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues.
I have been watching theatre for eleven years, appreciating for the last five. This show is in my top three, of greatest shows I have ever seen. It is excellence and I cannot be happier or feel more privileged to have experienced it.
It is theatrical perfection. Go see it, tell everyone about it. Tweet it, Facebook it, Instagram it, Tumblr it, Snapchat it. Make sure that this masterpiece is seen and heard. Give it the visibility that it deserves. Kene is a genius, plain and simple.
Misty runs at the Bush Theatre until April 21st.
Read Shaun's other reviews here.
photo credit: Helen Murray
Misty runs at the Bush Theatre until April 21st.
Read Shaun's other reviews here.
photo credit: Helen Murray
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