Posts with the label London Theatre
Showing posts with label London Theatre. Show all posts
Showing posts with label London Theatre. Show all posts
Tuesday 6 February 2024
Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet
The Jamie Lloyd Company today announces its new West End production of Shakespeare’s Romeo & Juliet, starring Tom Holland as Romeo, and directed by Jamie Lloyd. Romeo & Juliet runs at the Duke of York’s Theatre, Saturday 11 May – Saturday 3 August 2024.
Further casting to be announced. Tickets go on sale to those signed up for priority booking and ATG+ members on Tuesday 13 February at 8am; general booking opens on Tuesday 13 February at 12pm.
Sign up for priority booking here: www.romeoandjulietLDN.com
The Jamie Lloyd Company also continues its commitment to accessibility, offering 10,000 tickets priced at £25 and under, with 5,000 of these exclusively for under 30s, key workers and those receiving government benefits. Further information to be announced.
Jamie Lloyd said today:
“Tom Holland is one of the greatest, most exciting young actors in the world. It is an honour to welcome him back to the West End.”
Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham; Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael 'Mikey J’ Asante; Casting Director: Stuart Burt CDG; Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate
Violent delights have violent ends.
Violent delights have violent ends.
Photo Credit: Isaac Anthony / AUGUST
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
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 3 November 2023
The Time Traveller's Wife at the Apollo Theatre Review: Time-Bending Spectacle with a Few Melodic Sparks
The Time Traveller's Wife
Apollo Theatre
Step into the Time Warp with The Time Traveller's Wife, a production that brings Audrey Niffenegger's cherished novel to life on stage. The story revolves around the unconventional love story of Clare and Henry, complicated by his uncontrollable time-traveling abilities. While the show boasts remarkable technical feats, it occasionally stumbles when it comes to character development and narrative cohesion.
One of the standout features of the show is the exceptional use of projections and special effects to depict Henry's time-traveling journeys. The combination of Chris Fisher's illusions and Andrzej Goulding's video design and animation, along with Richard Brooker's sound design, creates a mesmerising experience that truly captures the essence of the novel. Lucy Carter and Rory Beaton's lighting design further enhances the visual impact, making the time-travel sequences truly outstanding.
Anna Fleischle's stage design, characterised by large partitions, may be relatively simplistic, but it proves effective in transforming the stage to the various places and time periods covered in the story. The quick transitions between different settings are seamless and help maintain the audience's engagement.
However, the primary drawback of the musical lies in its plot. The inherent nature of sudden time travel results in a narrative that often feels clunky and choppy, making it challenging to develop a strong connection with the characters. The central relationship between Henry and Clare, which should be the emotional core of the story, lacks depth due to their limited time together as a couple. Instead, most of their interactions consist of Henry visiting Clare throughout her childhood, which raises complex questions, and their adult lives seem marked by unhappiness. This lack of a strong emotional connection between the leads diminishes the impact of their quest to have their love transcend time.
On the flip side, Charisse and Gomez, portrayed by Tim Mahendran and Hiba Elchikhe, serve as the comic relief characters and offer a more compelling relationship with a clearer backstory. Their presence is easier to root for, and the chemistry between Mahendran and Elchikhe is a highlight of the show. The dinner party scene, in particular, stands out as one of the most enjoyable and energetic moments, filled with humour and lively performances.
Individually, the cast members deserve praise. David Hunter, who plays Henry, delivers a convincing portrayal of a man grappling with his unique abilities and provides killer vocals to go with it. Joanna Woodward's Clare exudes warmth and vulnerability, making her character endearing. Tim Mahendran and Hiba Elchikhe, as Charisse and Gomez, steal the show with their fun and charismatic on-stage presence, and their strong vocal performances only add to their appeal.
The costumes by Illona Karas and wigs by Susanna Peretz are a visual delight, successfully covering various time periods with outlandish and wonderful designs. The backstage dressers deserve applause for their efficient execution of numerous quick changes, which contribute to the show's smooth flow.
Joss Stone and Dave Stewart's music adds a unique dimension to the production, featuring a diverse mix of musical styles that range from country-inspired tunes to more conventional pop songs. The entire cast delivers these songs with outstanding performances, showcasing their musical talents. However, the musical score, while competently composed and executed, lacks truly memorable tunes. Most of the songs are lyrically predictable, serving the primary purpose of advancing the storyline. That said, there are moments in the second act that shine, such as "Journeyman," performed by Henry, and "A Woman's Intuition," a trio featuring Henry, Charisse, and Gomez. These standout moments provide a fresh and memorable musical experience within the production and leave a lasting impression. While the music may not be the show's strongest suit, it still contributes to the overall atmosphere and storytelling.
In spite of its narrative challenges and somewhat forgettable music, The Time Traveller's Wife succeeds in creating an engaging theatrical experience, thanks to its outstanding technical aspects, charismatic performances, and a handful of standout musical moments, making it a worthwhile and visually stunning night out at the theatre.
★★★
Reviewed on Thursday 3rd November 2023 by Olivia
Photo Credit: Johann Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 20 October 2023
Dear England at the Prince Edward Theatre review: An Ode to the Nation
Dear England
Prince Edward Theatre
It could be argued that James Graham is the master of creating works which capture the intricate fabric of contemporary Britain, and his most recent opening, Dear England does just that, emerging as a heartfelt, thought-provoking piece. This engaging production eloquently delves into British identity, the echoes of history, dreams for the future, and the nation's relationship to football.
Dear England artfully blends past and present, transporting audiences through time in a seamless and captivating manner. This storytelling technique offers a unique lens through which we can view the profound influence of history on our present. The play focusses on Gareth Southgate's journey as manager of the England football team, linking in his own personal history, as well as the histories of his team and England as a whole. It's a very cleverly done show which feels completely relevant, modern and necessary.
The characters, portrayed by a talented ensemble cast, come alive with vibrant, authentic performances. These characters represent a rich tapestry of contemporary Britain, showcasing immigrants, soldiers, activists, and politicians. Joseph Fiennes outstandingly leads the show as Gareth and helps to cultivate the entire cast's emotional depth, forging a genuine connection between the characters and the audience.
Es Devlin's set design is typically National Theatre and incredibly well done, seamlessly transporting us from one time to another. The use of multimedia elements, including videos, adds depth and texture to the storytelling. With each shift in the backdrop, the mood and ambiance evolve, underscoring the diversity and complexity of the themes explored.
Graham's writing is sharp and insightful, with sprinkles of humour throughout to balance the gravity of the themes. Dear England explores national identity, migration, patriotism, and the ever-relevant question of what it truly means to be British. The dialogue is simultaneously poetic and genuine, prompting the audience to reflect on their own connection to the nation.
It's fair to mention that the play occasionally teeters on the edge of trying a bit too hard, with the odd scene not being as impactful as you'd hope. Nevertheless, this is a small price to pay for a production that aims to encapsulate the very essence of a nation and overall Dear England is a touching and timely exploration of the British identity. It masterfully navigates the waters of history, politics, and human experience, leaving audiences with a deeper understanding of what defines their nation.
This production is a testament to the incredible power of theatre to mirror, challenge, and celebrate our shared story. With its compelling storytelling, exceptional cast, and innovative design, Dear England is a need-to-see performance, that hopefully will engage and resonate with both regular and not so regular theatregoers.
★★★★
Reviewed on Thursday 19th October 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 19 October 2023
Hamnet at the Garrick Theatre review: Emotional, engaging and enchanting
Hamnet
Garrick Theatre
★★★★
Presented by the Royal Shakespeare Company, and based on Maggie O'Farrell's book of the same name, Hamnet is a truly remarkable production that's captivating, moving and ever so slightly whimsical.
The show's unique take on Shakespeare's life and the emotional journey it explores is nothing short of brilliant. The creative team, with adaptation by Lolita Chakrabarti and direction by Erica Whyman, manage to delve into the personal life of one of history's greatest playwrights, offering a fresh and emotionally charged perspective. The seamless blending of historical accuracy and artistic interpretation is commendable, making Hamnet a compelling experience for theatre enthusiasts and Shakespeare aficionados alike.
The performances are simply outstanding. The cast's commitment to their roles and the intensity of their portrayals completely transport you from pouring Charing Cross road to the world of Hamnet and his family. The emotional depth brought to the characters is both touching and thought-provoking. Madeleine Mantock gives an astoundingly moving performance as Agnes, showing amazing development and growth that has the audience really rooting for her and therefore feeling her pain to the nth degree in the second act. Tom Varey is witty but complex as William whilst Alex Jarrett really comes into her own and provides some of the most understated but emotionally impactful moments of the show. Universally the chemistry and energy among the actors is palpable, with the whole team creating an atmosphere of authenticity that draws the audience in, you couldn't ask for a stronger team of performers.
The set design (Tom Piper) and production values are top-notch. The stage design, lighting (Prema Mehta), and soundscapes (Oguz Kaplangi) add a layer of immersion that transports us to the Elizabethan era. The careful attention to detail in recreating this period is truly impressive, and contributes significantly to the overall atmosphere of the play.
The show is mostly paced well but there are a few moments which pull slightly. While the slower tempo is fitting for the introspective nature of the play, there are moments where a bit more dynamism would've helped. Nevertheless, this is a minor quibble in an otherwise exceptional production.
Hamnet is a theatrical triumph, offering a profound and emotional exploration of the Shakespearean legacy. With powerful performances, and a thought-provoking narrative, it is a must-see!
Reviewed on Wednesday 18th October 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 4 October 2023
Sondheim's Old Friends at the Gielgud Theatre Review: A Magical Piece of Theatre History
Sondheim's Old Friends
Gielgud Theatre
★★★★★
Musical theatre is what it is today, in no small part thanks to the brilliance of Stephen Sondheim, and this musical revue gloriously celebrates that whilst also providing an amazing memorial of Stephen and his melodic legacy. Devised by Cameron Mackintosh, the show like opening a musical time capsule which whisks you back to a bygone era, and a theatrical peak; showcasing a selection of the well known and lesser known Sondheim pieces.
Every aspect of the show is like a trip down memory lane, capturing the essence of a glamorous past. Jill Parker's costumes are simplistic enough for the setting whilst really elevating the story telling necessary to truly do Sondheim's work justice. Particularly impressive are the wolf ensemble and Mrs Lovett's get up which both have a refreshing modern feel. Set wise, Matt Kinley's design cleverly uses the Les Miserables moving pieces to create visual interest and bring some real wow moments to the stage. The entire Sweeney Todd section is impeccable. Thanks to Matthew Bourne's staging and direction, you find yourself lost in the magic, engulfed in the nostalgic beauty of a time that lives on through this production.
The show features the creme de la creme of the musical theatre world, with Broadway royalty Lea Salonga and Bernadette Peters taking the helm, and proving why they are so beloved- it feels like an out of body experience seeing such wonders. The whole cast give standout performances and there are truly too many to name but mention must go to Bradley Jaden's Wolf, Joanna Riding's 'Not Getting Married Today' and Jeremy Secomb's Sweeney Todd. Christine Allado and Bonnie Langford, are also wonderful and the cast really doesn't have a weak link. Universally their voices, movements and energy are enchanting- conjuring a musical spell that leaves you mesmerised. Each song feels like a little piece of history, beautifully presented and cherished. Stephen Mear's choreography adds to this magical experience, bringing a further touch of grace and finesse to proceedings.
Conducted by Alfonso Casado Trigo the orchestra are humungous aspect of the success of this show. Faultlessly performing every note, their music lingers long after the final bow.
Sondheim's Old Friends at the Gielgud Theatre is a magical trip through musical history. It's a celebration of Sondheim's genius and the enchantment of the stage. If you're seeking a dose of wonder and a reminder of the magic that live performances bring, don't miss this truly magical experience.
Reviewed on Thursday 28th September 2023 by Olivia Mitchell
Photo Credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 20 September 2023
Police Cops: The Musical at the Southwark Playhouse Review: A Hilarious Riot of a Show
Southwark Playhouse (Borough)
★★★★
Who'd have thought a comedy musical about the US police force could be so entertaining? Well, Police Cops: The Musical proves it's possible. Fresh from wowing crowds at the Edinburgh Fringe, this lively spoof of 80s American action films has now hit London.
Created by Zachary Hunt, Nathan Parkinson, and Tom Roe, this musical takes you on a wild ride through all the clichés of action movies. It follows Jimmy Johnson, a regular teenager turned aspiring 'best damn police cop ever' after a tragic loss. He sets off on a mission to take down the big bad criminals, teaming up with a retired rogue cop, jetting off to Mexico and reconnecting with his high school crush. And all of this is delivered with a relentless dose of stupendously silly comedy.
In this latest iteration of Police Cops, the original team have penned some brilliantly witty lyrics, set to a catchy score by Ben Adams of Eugenius, drawing on musical theatre tropes and classic 80s hits. Andrew Exeter's set and lighting work is magical once again, contributing to a high-energy, high-budget production.
Police Cops: The Musical is outrageously ridiculous yet impressively slick, excellently performed, and keeps you engaged throughout. The humour is silly and over the top, and the cast and crew showcase their real skill in blending comic satire with musical theatre and improv, hitting every comedic and musical beat perfectly. Through the recurring gags, hilarious stage craft and show-stopping numbers it's clear this team understands their genres and have created something uniquely entertaining by merging them. Plus, the writing is really self-aware, touching on outrageous ideas but never crossing the line.
Melinda Orengo, Natassia Bustamente and at this performance Mychele Lebrun as well, all deliver standout performances. All three seamlessly blend polished musical theatre with offbeat character comedy. Zachary Hunt, Nathan Parkinson, and Tom Roe, the masterminds behind this show, also star in it, showcasing their versatility. Hunt, as the leading man, pours endless energy and enthusiasm into his role, while Roe's sharp comic timing and Parkinson's unhinged characters add to the laughter.
One of the most delightful aspects of Police Cops is how evident it is that the entire team is having a blast. You can often catch cast members trying to stifle their laughter, and the musical director, Gabriel Chernick, exudes such joy, especially during a hilarious improv section involving sweets!
In Ameri-conclusion, Police Cops: The Musical is an unexpected treasure, blending zany satire with polished, professional musical theatre. It's hard not to have a grin plastered on your face throughout the performance—it's an absolute blast!
Reviewed on Tuesday 19th September by Olivia Mitchell
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 15 September 2023
The Little Big Things at Soho Place Review: Shines as a Celebration of Disability
The Little Big Things
Soho Place
★★★★
The Little Big Things at Soho Place presents an emotional journey that triumphs in depicting the resilience of the human spirit. Based on the story of Henry Fraser as told in his 2017 memoir of the same name, the musical tracks his journey from a budding rugby player, to being paralysed from the neck down after a freak diving accident on holiday in Portugal. This production is a testament to the power of adaptation and determination, and instead of being a somewhat patronising portrayal of becoming an inspiration after a life trauma, it showcases the transition from the person Henry was pre-accident to who he became post-accident. It also looks at how Henry's family deal with the changes and features the work of the NHS as well as a small romantic subplot. Each aspect makes this a truly uplifting and charmingly British musical, which feels like it's actively trying to shy away from the typical style of storytelling that often surrounds the stories of disabled people.
Nick Butcher (music) and Tom Ling (music and lyrics) clearly have a talent for writing high energy songs and ballads that tug at your heartstrings. The music is primarily upbeat and big however, while deeply engaging during the performance, the songs don't engrave themselves into memory once the curtains fall. The performances are undoubtedly and unanimously captivating, enriching the scenes and evoking a range of emotions. However, a few standout, memorable tunes would have elevated the overall experience and resonated long after leaving the theatre.
The integration of projections and lighting (Howard Hudson) in The Little Big Things is nothing short of remarkable. The creative use of light and visuals immerses the audience into the heart of the story, enhancing the emotional impact of the narrative. The play of light and shadows amplifies the depth of the characters' struggles and triumphs, leaving a lasting visual impression.
Director Luke Sheppard fearlessly pushes the limits of accessible theatre, infusing innovation, vitality, and charisma into an already poignant narrative. The staging is in constant motion, driven by Mark Smith's lively choreography, which ingeniously integrates moments of BSL (British Sign Language) and embodies the joy and celebration which is infused throughout the show.
Despite the undeniable power of the narrative, there are moments when the production grapples with sudden transitions and dialogues that could benefit from a smoother flow. The pacing occasionally feels a bit clunky, disrupting the overall rhythm. However, this doesn't detract significantly from the musical's poignant message of resilience and adaptation.
The cast's performances are stellar, embodying the characters with authenticity and dedication. Their portrayals breathe life into the story, allowing the audience to connect deeply with the struggles and triumphs of the characters. The musical shines as a celebration of disability, showcasing the strength and adaptability required to navigate a new life.
The Little Big Things is a moving musical that speaks to the resilience of the human spirit. The impeccable use of projections and lighting, along with a talented cast, creates a poignant theatrical experience. Despite minor pacing and memorability concerns, the musical stands as a heartfelt celebration of perseverance and a glowing portrayal of adapting to life's challenges. The little faults don't take away from the big things that make this show as glowing and special as it is and I wholeheartedly recommend it to anyone seeking a meaningful and uplifting night at the theatre, just make sure you take some tissues with you!
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 22 August 2023
Death Note the Musical in Concert at the London Palladium Review: An Ambitious and Engaging Evening
a testament to the creative team's dedication to translating the essence of Death Note to the stage"
Death Note the Musical (Concert)
London Palladium
★★★★
In its first ever English language performance Death Note the Musical in Concert provides an engaging experience, that beautifully combines a concert style show with the allure of a full-fledged production, including captivating staging, meticulously designed costumes, and expertly executed choreography. Drawing inspiration from the iconic Death Note franchise, which originated as a manga series written by Tsugumi Ohba and illustrated by Takeshi Obata, this musical adaptation pays homage to the rich history and context of the source material.
The exceptional cast, which include remarkable talents such as Frances Mayli McCann as Misa Amane, Dean John Wilson as L, Aimie Atkinson as Rem and Adam Pascal as Ryuk, deliver performances that breathe life into the characters. Their portrayal of the characters showcasing both their impressive vocal prowess and their deep understanding of the emotional complexities within the story which questions morality, justice and power.
While the storyline can be a bit challenging to follow, particularly for those not acquainted with the original Manga, the production's sleek execution manages to pack in a lot without feeling overwhelming. The adaptation skilfully navigates the intricate plot points, a testament to the creative team's dedication to translating the essence of Death Note to the stage.
The translation of various elements from the manga to the stage is nothing short of impressive in this truly ambitious concert debut. The show's director, Nick Winston, and the rest of the creative team, including choreographer Alexzandra Sarmiento and costume designer Will Skeet, deserve commendation for their remarkable work in seamlessly integrating these elements into the live performance. The audience's palpable elation is a testament to the success of this collaborative creative endeavour.
The pre and post-show buzz, along with the audience's enthusiastic reactions, clearly indicate that Death Note the Musical has found its niche. Wonderfully, it manages to attract those who might not typically be drawn to musicals, thanks to its connection to the established Death Note franchise and the efforts of the cast and creatives. This broad appeal speaks volumes about the production's ability to engage and captivate diverse audiences.
Admittedly, the sound balance did exhibit some issues on opening night, which can be expected with such an ambitious score. While it occasionally detracted from the overall experience, it's understandable for a complex production. Once the sound balance is finely tuned, there's no doubt that this show will achieve the impactful resonance it aims for.
Death Note the Musical in Concert at the London Palladium showcases the successful fusion of storytelling, outstanding performances, and production design. By highlighting the talents of the cast, and thanks to the creative vision, the musical celebrates the legacy of the Death Note franchise while crafting a unique and captivating theatrical experience. The show's potential to become an unforgettable sensation is evident, and with further refinements, it's poised to leave a lasting mark on the world of musical theatre and is a must see for fans of the source manga.
Reviewed on Monday 21st August 2023 by Olivia Mitchell
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
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