Posts with the label fringe
Showing posts with label fringe. Show all posts
Showing posts with label fringe. Show all posts
Friday 8 December 2017
Sinners Club, Soho Theatre | Review
Sinners Club
Soho Theatre
Reviewed on Thursday 7th December 2017 by Shaun Dicks
★★★★
The Soho Theatre invites you to the Sinners Club. We find ourselves in the Upstairs space of this buzzing theatre in the heart of London’s West End. As we walk in we are welcomed by a room set in the round, decorated as an old school recording studio; many an old-fashioned rug, musical instruments and microphones, soundproofing on the wall as well as a few photographs. Scattered around the studio space are members of the band playing light Jazz music to set the mood.
The concept of the album is simple, its based on the story of the last woman to be hanged in the UK. The original songs written and performed by Lucy Rivers and the band The Bad Mothers- tailored around the story of Ruth Ellis- are an eclectic mix of genres that seem to pulsate through Rivers as they affect her own character narrative as well as the albums. As Rivers enters to start the show, she is this fierce woman in black, taking control of the room. Rivers throughout the show is energetic and intriguing as she goes through the narrative of the concept album.
However, one of her flaws was her reliance on the audience and audience interaction. The reliance on an audience is a double-edged sword dependant on the audience itself, it can be a struggle for an audience to lose inhibitions and join in. Rivers needs to pick her moments and judge the moments when she does or doesn’t interact. Another thing that needs altering within the show is the amount of dead air in-between songs. As a performer myself I appreciate the device of silence but when its long periods, it becomes a period of time for the audience to wander.
Despite these flaws of the show, the music really made it- in a world of music made by computers in the mainstream and the jazz hands of the West End - this was a refreshing use of alternative types of music. The whole band was slick, and looked like they were having fun throughout the show. Rivers’ voice soared throughout, despite her over use of falsetto. What truly impressed this writer though was the musicianship packed within the show. The sheer volume of different instruments used was brilliant and to a very high quality. I personally appreciate musicians and musicianship, having worked with a few myself, so to have a live band and for it perform so well, it really brought a smile to my face.
If you’re looking for something a little different, take up your invitation for the Sinners Club, because despite its flaws, there are many a good aspect of this show to enjoy. This show is the palate cleanser that the West End is craving. Try something different and enjoy a night of music that you will not forget in a hurry.
Sinners Club runs at the Soho Theatre until December 30th
photo credit: Kieran Cudlip
Tuesday 5 December 2017
Parliament Square, Bush Theatre | Review
Parliament Square
Bush Theatre
Reviewed on Monday 4th December 2017 by Shaun Dicks
★★★★★
“We get a little happiness and then we die."
The Bush Theatre, a highly respected and popular Off-West End theatre in buzzing Shephard’s Bush, is currently home to a show that’s origins take it back North to the Royal Exchange Theatre in Manchester. The Bush Theatre itself as a building looks very new and stylish; when you walk into the main performance space that theme continues. The stage is set in the round, dressed very simply but elegantly with household items. As you walk in there is serious, almost ominous music playing, setting the tone for the rest of the show.
It’s a common theme for shows from the Royal Exchange to be outstanding and Parliament Square is no different. From beginning to end this show is strong, slick and packs a powerful punch. The show sizzles as it moves from scene to scene. Cleverly using lighting, staging and sound for the piece to reach all nooks of the space and keeping every audience member gripped as the show builds towards it’s climax. The use of micro or flash scenes aides the narrative as it means that we're not bogged down with any filler scenes, this script is a triumph for James Fritz, a true masterclass on how to write an impactful script in an age where not all new work is as tight as this.
However, it is not just the script that is outstanding here, the cast are a group of individuals brimming with talent and confidence. The supporting cast was a highlight- so fluid in their use of the staging and the way they bring James Fritz’s piece to life. They are unapologetic in what they're presenting, and they make this show tragically beautiful. It's a frank and realistic representation of the world today, a true protest piece.
Joanne Howarth (Mum) and Kelly Hotten (Physio/Colleague/Ticket Woman/Friend) are particularly outstanding as the comic relief aspect of a show that is covered and littered in seriousness and real-life truths. What is interesting is Damola Adelaja (Tommy) and his pitching of the character. In a world riddled with hyper masculine characters, Tommy is presented as this sensitive and caring man- a refreshing take on the modern-day male.
As we fall into Panto Land season I find some people forget that London is still brimming with brilliant theatre. Parliament Square is part of that. This protest drama is a pivotal piece of theatre that needs to be seen by all, and needs to be taken to the West End. The show is powerful, influential and relevant. It is a show not to be missed and you have until the 6th January to catch it before its gone. In this day and age, we all need something to believe in. This show emphasises this more than ever. A masterpiece.
photo credit: Richard Davenport
Saturday 16 September 2017
Gate, Cockpit Theatre | Review
Gate
Cockpit Theatre
Reviewed on Friday 15th September 2017 by Alex Saddiqi
★★★★
Written and produced by Artemis Fitzalan Howard and presented by Deadpan Theatre, Gate is based around an average Thursday morning at ‘The Gate’ in Wapping and, like every first-born child in the generations before her, Eve (portrayed by Emma Dennis-Edwards) is guarding it carefully. It’s going to be a busy day- there are four new appointments booked in. The trouble is none of the clients knew they were coming… because to reach the gates you have to be dead.
The piece is set in the round which immediately I was really intrigued by. It made the piece more immersive and I was interested on how they were going to use the space and questioned “will it be as open to each side of the audience than I initially thought it would be?”. To answer this question, I would say that the actors used the space very well and opened up to the audience as much as physically possible in the space. Dependant on where you sit in the round, some moments and visuals can be lost during certain scenes but it does open up again eventually once more.
There was stunning detail to set which really added to the production; from the waiting room tables to the cluttered computer desk, down to the Facebook pages that were made up purposely for the show. The use of levels was very clever and gave us a break from looking straight ahead of us and also added to the immersive feel.
The vocals of the ensemble who were mainly situated above really resonated throughout the entire theatre and added to the vibe of the piece- the sound was stronger and more precise. Vocals and harmonies were distinctive, precise and beautiful but sometimes got lost when some overpowered others, this, however, can be easily resolved. Overall the entire company had amazing musical timing and it was a pleasure to hear them.
The piece is very humorous and Eve, a character who stood out to me is very comical throughout. She held great power and status throughout the scenes especially in the opening; showed one of the strongest character developments throughout and was my personal favourite. However, as previously mentioned, the round space meant I was blocked from seeing her face and expressions at times but she tried her best to include the people in the back in a natural way that is still true to the scene.
Each actor crafted strong characters and kept the pace and commitment up throughout. There is a great contrast of characters and each actor bounced off each other very well which made the situation feel more real. Each is relatable in the fact that everyone in the audience would know someone like one of five of the characters and they all had their own defiant traits, quirks and personalities that were made clear to the audience exceptionally. The whole cast had excellent comedy timing and it really showed through the audiences reaction. The audience reaction/response seemed very positive and they all seemed to love the piece as well.
I found that the overall storyline was easy to follow and the piece is such a brilliant concept. It's a nice fresh take on an afterlife/religious styled piece. The backstory of the characters was well presented. We learnt more about them as the story developed and it didn’t feel like an overload of information. The build up in some scenes felt a little rushed in but the tension and objective of the scenes were held well. There were a few prop and costume mishaps but the actors all carried on and played used them to add to the comedic effect.
I would definitely recommend to see this play and I would even go as far as saying that it’s one of the top ones I’ve see this year. The company are outstanding and give a spectacular performance of a brilliant play.
Gate runs at the Cockpit Theatre until September 24th
photo credit: Lidia Crisafulli
Sunday 3 September 2017
In Conversation With... Stacey McClean and Stevi Ritchie | Sword and the Dope | Interview
Sword and the Dope is a musical retelling of the story of King Arthur, written by a dyslexic who can not read or write music but wrote the show as a bet/joke with a friend. It has now gone out for over 150 shows at three different venues prior to this run. Sword and the Dope stars Stacey McClean and Stevi Ritchie who sat down with Rewrite This Story to talk all about the show.
Can you both give a brief overview of your career and what your highlights have been?
Stacey: I was once a member of pop band S Club Juniors. Highlights from my time in the band were probably performing a Wembley and for the Queen at Buckingham Palace. Also getting down to the final 24 and performing for Kylie in Dubai when I went to the judges houses for X Factor.
Stevi: I started performing at the age of 15 at my high school in Grease the musical and played Kenickie. I've always loved performing but got many knock backs. But 2014 I entered the X Factor and since then life has changed.
You’re both musicians, how has the transition to concert performances to musical theatre been?
Stacey: In ways it is very different. Put me on stage with a mic and a band and I can do it with my eyes closed, but theatre is a little more challenging for me. It's a lot more intense, there is a lot of preparation involved and a lot more a stake.
Stevi: For me it's been amazing and I've always loved musical theatre I trained at LSMT. Playing a prince in this show is great and taking me out of my comfort zone but I love it.
Can you explain what The Sword and the Dope is about?
Stacey: Sword and the Dope is a comedy musical with a politics edge. Think Monty Python, Black Adder and politics in a way you have never seen!
Stevi: A sideways telling of King Arthur with a modern day political twist. One review said British humour at it's best with great musical numbers, for me that sums it up well.
What drew you to the production? Are your characters anything like you?
Stacey: I play Sir Lancelot, a Knight who is a huge fan of the Green Party, so nothing like me really as I'm not into politics in the slightest. My character reminds me of Hermione from Harry Potter, slightly irritating, bit of a know it all who no one wants to listen to. The script was what sold it for me initially, I laughed my head off when I first read it.
Stevi: I loved the script and especially the songs they are amazing. The character is similar to me it's cheesy and he loves singing.
The Sword and the Dope is a retelling of the story of King Arthur, if you could retell any story which would you choose?
Stacey: Amy Winehouse, now that would be a fantastic role!
Stevi: I would retell the story of maybe Bruce Lee or Elvis Presley or Freddy Mercury.
Can you sum up the show in five words?
Stacey: Funny, ridiculous, offensive, rude and camp!
Stevi: Witty, camp,cheesy,Funny,eccentric.
Is there a play or musical you’ve seen recently that you loved?
Stacey: I have been to see Our Ladies of Perpetual Succour at the Duke twice now I loved it so much.
Do you have any dream roles?
Stacey: Dream role would probably be Sophie in Mamma Mia, the lead vocal in Thriller and anything Disney!
Stevi: Yes, Thenadier in Les Mis or Kenickie in Grease.
Whats a fun fact people might not know about you?
Stacey: I was one belt away from a Black Belt in Taekwondo when I was 7 but I gave it up because I wanted to sing!
Stevi: Think everyone knows everything about me due to the press and being in the public eye.
What’s your best piece of advice for an aspiring performer?
Stacey: You have to have a thick skin in the industry otherwise you won't survive. The amount of times you get knocked back is not necessarily a reflection of how good you are, and that's something you have to be prepared for. I'm a firm believer that you get out what you put in.
Stevi: Just keep going and be you.
Thank you Stacey and Stevi for this interview. The Sword and The Dope is on at Waterloo East Theatre from Tuesday 5th September until Sunday 1st October.
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Sunday 14 May 2017
Tick, Tick... Boom, Park Theatre | Review
Tick, Tick... Boom
Park Theatre
Park Theatre
Reviewed on Thursday May 11th 2017 by Olivia Mitchell
★★★
With the success of Bruce Guthrie's current production of Rent, one of the defining musicals of the 90s, it's not a surprise this revival of Tick, Tick... Boom! has come about. Originally written as a one man semi-autobiographical musical, Tick, Tick... Boom! portrays the years of struggle Jonathan Larson faced and acts as a bittersweet reminder of the triumphs he never got to see after his untimely and heartbreaking death on the eve of Rents opening off-Broadway.
Bronagh Lagan's production is nostalgic and intimate whilst providing a reflective look at the brooding and anxious story of Jonathan. The staging allows warmth and engagement throughout, with Chris Jenkins as the composer often making direct eye contact with the audience therefore allowing them to really feel part of the story and environment.
For any Rent fan this is a truly brilliant piece of theatre as there are so many parallels with Larson's life and the lives of those in Rent which are explored throughout. Namely where Jon and Michael are dreaming of escaping the life they're living. There are also musical moments which conjure up the same feelings as Rent and it's lovely to hear the roots of Larson's writing and what developed from this show.
Larson's desire was to bring rock music into the world of musical theatre and this piece acts as a clear demonstration of that; providing moments of angsty drama as well as soaring glistening moments. The inner monologue is ever present but combined with moments of humour and sadness, the show has enough depth to keep the audience focussed and committed. Gareth Bretherton's band push the music along well and capture each side of the musical styles extremely well.
Joining Chris to make up the three piece cast are Jordan Shaw as the smooth toned best friend, Michael and Gillian Saker as the loving but conflicted girlfriend, Susan. All three have wonderful voices and fit the roles extremely well, seeming like true friends and giving very realistic performances.
This is a lovely production which works well in the space and is overall very fun and entertaining. It's up close and personal, with some brilliant singing and performances which are worth a watch!
Tick, Tick... Boom! is on at the Park Theatre until 27th May 2017
Photo by: Claire Bilyard
Sunday 5 March 2017
Swifties,Theatre N16 | Review
Swifties
Theatre N16
Reviewed on Wednesday 1st March 2017 by Esther Matthews
Reviewed on Wednesday 1st March 2017 by Esther Matthews
★★★
Swifties…To start, I didn’t hate it. Overall I could see what the script writer and director were trying to do however somewhere in the mix something went slightly wrong.
Swifties, based on the French play The Maids written by Jean Genet, follows the lives of two girls who claim to be Taylor Swifts “Biggest Fans” and how their attempt to murder the superstar doesn’t quite go the way they wanted. Isabella Niloufar and Tanya Cubric were brilliant as the plays main characters. Their portrayal of two slightly mad teens was humorous but terrifying at the same time. They are ones to watch out for in the wider theatre circle.
Theatre N16 is situated above a pub in Balham, it was the perfect setting for a play like this. The theatre itself was very small with only a handful of chairs to sit on making your experience very inclusive and intimate. The set was very minimal with simple lighting which pulled you into the scene. As an audience member sometimes big sets and props can capture your attention but the actors managed to keep you captivated throughout.
I had a problem with the script. There didn’t seem to be any structure to it. The girls did a good job at improvising but overall the script lacked good dialogue and felt slow. The Maids is rarely done in large venues or professional theatre but I think it is a very relevant story with many important themes. In the current social climate this is the kind of work that needs to be noticed. It highlights the trouble that we as a nation have with race, gender and social media/celebrities.
For such a small stage the director did a good job. Luke Davies has had rave reviews from his previous production and if this play transferred to a larger venue I can understand what his vision would be.
I would recommend seeing Swifties, there are good and bad points to make about this production. It certainly leaves you with questions.
Swifts runs at Theatre N16 until March 11th
Wednesday 16 November 2016
Curl Up and Die, Questors Theatre | Review
Curl Up and Die is a fabulous farce which will grip and thrill you.
Curl Up and Die
Questors Theatre
Reviewed on Tuesday 15th November 2016 by Olivia Mitchell
Reviewed on Tuesday 15th November 2016 by Olivia Mitchell
★★★½
Until fairly recently I was quite unaware of all the fringe theatre on offer in and around London but since I've discovered this thriving community I've witnessed some top-notch productions. Curl Up and Die was one of them. Admittedly I don't see that many plays but the ones I have seen have ranged from absolutely fantastic to downright dismal and although I'm not the most seasoned play reviewer I think I know how to spot a good one when I see it! Curl Up and Die is witty, well thought out and clever, all things which in my books, create an admirable play.
Curl Up and Die is set in the antiquated salon Ruth inherited from her aunt along with the ageing clientele who pay a mere £5 per appointment. Struggling to keep the salon open, Ruth's only hope is to win a £50k hair dressing competition run by Fab Hair Magazine.
The plot-line although somewhat simplistic, is intriguing and has a steady pace throughout keeping us invested and giggling throughout. There are a number of humourous moments throughout expressed by each lively cast member, especially the ditzy Bryony (Rose Edwards) who delivers some hilarious one liners! My personal favourite character was Gonky Blatent-Severs played hilariously by the beautiful Abigail Ribbans, she embodied the over the top, rich daddies-girl perfectly and had me laughing throughout.
It was interesting to see such a female led cast and it really epitomises girl power. Each character was very clearly thought out and it was obvious a lot of work has been done during the creative rehearsal process. It was also interesting that nearly all characters were on stage at all times, this created the frantic atmosphere required whilst also keeping the audience on their toes flittering their eyes to see what each character was up to.
Anna Longaretti has done a wonderful job writing and producing this unique play and I really look forward to seeing how it develops and if it will continue to have a long life after its limited run at the Questors Theatre. I certainly enjoyed it and at approximately an hour and a half its a perfect distraction for a short amount of time. If you're around the Ealing area definitely snap up a ticket and enjoy this fabulous production.
Anna Longaretti has done a wonderful job writing and producing this unique play and I really look forward to seeing how it develops and if it will continue to have a long life after its limited run at the Questors Theatre. I certainly enjoyed it and at approximately an hour and a half its a perfect distraction for a short amount of time. If you're around the Ealing area definitely snap up a ticket and enjoy this fabulous production.
Curl Up and Die runs at the Questors Theatre until November 19th, tickets can be purchased at: http://www.questors.org.uk/event.aspx?id=614
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
