Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Monday 10 February 2020
Twisted, Trafalgar Studios | Review
Twisted (Concert)
Trafalgar Studios
Reviewed on Sunday 9th February 2020 by Olivia Mitchell
★★★★
There weren't many reasons to leave the house on Sunday, as Storm Ciara battered the UK, but a dose of musical theatre and Disney were certainly two. The latest in Monsteers' concert series, Twisted provided a chance for performers to sing the Disney songs they've always wanted to, as well as those which they wouldn't typically be cast in. This led to an afternoon of uplifting numbers, belting galore and a great escape from mother nature.
Thirteen performers took to the stage to treat us to a selection of (mostly) contemporary songs, ranging from Poor Unfortunate Souls to Hellfire. Each performance brought something special to the stage and offered a chance for stripped back performances celebrating musicality, Disney, Pixar and general theatricality.
Everyone on stage gave top notch performances, with a mixture of upbeat, chilled and full-out stagey numbers. Emily Mae Walker's rendition of Let It Go, Charlotte Anne Steen's Zero To Hero (complete with super fast mic reflexes) and Cameron Burt's Go The Distance were particular standouts among a group of wonderful performers. Gender swapped numbers proved exceedingly entertaining, with Maiya Quansah-Breed's I'll Make a Man Out of You and Grace Mouat's Proud of Your Boy earning huge applause and showing the audience the songs in a different light.
Completing the male line-up were Aran McRae, Lewis Asquith and Christopher Cameron who all gave brilliantly entertaining performances. On the ladies side, it was Lauren Soley's exceptional performance of Tangled's Mother Knows Best that really impressed, as did Jessica Cervi (who stepped in last minute) giving a luminous rendition of Beauty and the Beast. Also stepping up to the plate just the day before was Esme Laudat who's version of Speechless, closed act one in the best way possible. Josie Kemp and Chloe Hazel also gave strong performances with Hazel's Poor Unfortunate Souls a real highlight.
Although the bare, minimalist approach was effective, perhaps future concerts could include some props just to make the fairly large space feel a little more welcoming and less of a 'stand up, sing and go' affair. I did find that occasionally the speakers were a little loud and the lighting somewhat abrupt, and whilst these issues did not detract from the performances, they are things which could be tweaked to step the next concert up a level.
Twisted was a great way to spend a Sunday and I'd certainly recommend booking future Monsteers concerts. Great songs, a fab theme and an outstanding band led by the incomparable Steve Corley made for a thoroughly entertaining afternoon.
Thursday 23 January 2020
Sex/Crime, Soho Theatre | Review
Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.
Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.
It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.
SEX/CRIME runs at the SOHO Theatre until 1st February 2020
photo credit: Matt Spike
Wednesday 22 January 2020
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Tuesday 21st January 2020 by Olivia Mitchell
★★★★
Flying into its third year in the West End, Everybody's Talking About Jamie retains its giant heart and remains an inspiring, colourful, hilarious and all round joyous musical. Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New has to face those who oppose him and try to pull him down, so he can achieve his dreams and show the people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to retain its spot in theatre lovers hearts for the foreseeable future.
In his West End and indeed, professional debut, Noah Thomas brings every aspect of leading man, Jamie New, to life with an ease that is truthful to the story but feels just polished enough. Opening with the incredibly catchy 'And You Don't Even Know It', Noah immediately shows us who Jamie is as he transforms the stage into a world of colour and begins the journey which will shape his life. From there on in his entire performance is joyous to experience. With charm in spades and glorious vocals, Noah continually exudes life and never falters throughout his time on stage.
As Jamie's mum, Melissa Jacques is beautifully vulnerable, and draws huge amounts of empathy from the audience as she does all she can to be the best mum to her beloved son. Jacques' vocal performance is that of a powerhouse, with 'He's My Boy' providing an emotional high-point that wows the audience. The chemistry between Jamie and his mum is lovely to see, as is the truthful friendship of Jamie and and his best friend, Pritti.
Both misunderstood and outsiders in their own ways, the pair continually find common ground and support one another. It's wonderful to see such a supportive and non-toxic friendship played out on stage. As Pritti, Hiba Elchikhe is delightfully moving and vocally exceptional, especially in the act two ballad, 'It Means Beautiful'. Just as Pritti's bedroom sparkles, Hiba gives a glittering performance and makes a sensational West End debut.
Roy Haylock/Bianca Del Rio as Hugo/Loco Chanelle is highly entertaining. Compared to the rest of the cast, his vocals are not consistently top notch but the energy and commitment he performs with mostly make up for that and it's a real treat to see such a widely recognised drag star on a West End stage.
As the rapping teacher Miss Hedge, Preeya Kalidas is vocally strong. The character herself is a little jarring at times as she flits between being an enforcer of reality and a restricter of freedom. It's sometimes confusing as it's unclear whether she's a villain or just someone trying to help. Perhaps that's the whole point!
Sejal Keshwala is completely ballsy in her performance as Ray and wins over the audience in a matter of moments. Also giving a hugely strong and highly assured performance is Jordan Ricketts as the school bully and Jamie's tormentor Dean Paxton. The entire cast are the embodiment of joy and perfectly evoke the feelings of school life. Katie Prince's choreography excellently brings to life the often frenetic atmosphere of Jamie's life and is fresh and exciting to watch.
This is a musical which inspires us all to own what makes us 'different' and is just a lovely portrayal of family, friendship and acceptance. Contemporary, sassy and so very British, lets keep talking about Jamie!
photo credit: Matt Crockett
Thursday 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
Friday 10 January 2020
Once (UK Tour), Fairfield Halls | Review
Once (UK Tour)
Fairfield Halls
Reviewed on Thursday 9th January 2020 by Olivia Mitchell
★★★★★
Embarking on a UK tour, Once tells the story of Girl meeting Guy. He, is a Dublin busker on the brink of walking away from music after having his heart broken and feeling unheard in a bustling world; whilst, she is a force for change who exudes positivity from the moment their worlds collide. In the space of a few days, their lives become beautifully connected and changed forever. The musical is an evocative piece, which slowly creeps up on you to warm, break and soothe your heart in equal measures. It's a love letter to music and identity that deserves to be seen and heard.
Emma Lucia is a certified star as Girl, as she gives an assured performance, filled with warmth, vulnerability, encouragement and love. Girl is married to an unseen man who walked out on her, and has a daughter who has her heart. Lucia's incredibly truthful performance is outstanding from start to finish, as are her vocals which ring out with a clarity and strength that utterly absorbs the audience. Alongside her, Daniel Healy is perfect as Guy. His angst fuelled performance of Leave opens the show with the grit, intensity and honesty which courses through it until the end. Healy's musical performances are highly impressive as he shows exceptional vocal control.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The audience can't hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate. Of course this a show about music, but what's even more magical is how spectacularly the entire team make the most out of silence. Each pause feels completely natural but intentional at once as an atmosphere like no other is formed. This is a complete delight of a musical that must be experienced. It's not jazz hands and drama, but instead, is melancholic, unashamedly romantic and wholeheartedly wonderful.
Details about the Once Tour can be found here
photo credit: Mark Senior
Details about the Once Tour can be found here
photo credit: Mark Senior
Friday 13 December 2019
Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review
Snow White and the Seven Dwarfs (Panto)
Richmond Theatre
Reviewed on Thursday 12th December 2019 by Nicola Louise
★★★★
It seems like yesterday I was sent to review my first pantomime, but here we are again a year later. This time its Snow White at Richmond Theatre where the stars are big and -evident from the multitude of advertising and glitzy theatrical splendour- so is the budget!
We all know the story of Show White and how she was ordered to die at the hands of her evil stepmother; and this story is no different even if it does start a little unusually. Prince Harry arrives at the palace where Snow White is due to celebrate her 21st birthday, as childhood sweethearts they’re drawn to each other once again after having been apart for so long.
James Darch is great as the charming Prince Harry, with a pantomime hero look about him. Mia Starbuck is as sweet as Snow White can be, with her flowing black hair and porcelain skin she glows with beauty and shines when she sings. Panto’s by nature are a bit cheesy, especially with the panto prince, however, this isn't the case with Richmond’s production. Both Snow and Harry are not your typical panto hero’s, some may say this won’t do but as a lover of panto’s for many years, I felt this gives it an edge above the others.
Jason Sutton as the dame is as funny as ever, along with John Clegg as played Muddles, the son. The pair are a great double act who bounce off each other with chemistry that sparks on stage.
Some may remember Clegg from Britain’s Got Talent where he wow’d audiences with his talent for impressions and it isn’t hard to see why. Clegg's rendition of ‘You’ve Got a Friend in Me’ where he portrays a range of different characters is something I did not expect, and is an excellent moment in the production.
Each year Richmond has a big name to draw people in to it's festive offering, this year its Jo Brand as the evil Queen Lucretia. As funny as she is, her incredibly dry humour often feel misplaced within the tone of this panto. However, Brand's ‘I don’t care’ attitude brings something new to the show and is certainly entertaining. The director and producers have clearly worked around Brand's lack of singing talent and focused more on her wit, a stellar choice on their part.
Like all Pantos, there's a mish mash of popular music, in this case Ed Sheeran amongst others. Some songs seem out of place and a bit cliché, as if the writers are trying to reach out to the teenagers in the crowd, so to say ‘look, we’re hip as well’.
With a talented bunch of actors and great performances from the 7 men who portrayed the Dwarfs, (this year Richmond opted for tall actors rather than go for actual Dwarfs), this show protrudes enough sweetness and glitter than you can shake a stick at.
Fun for all the family and even the little ones get involved at the end.
Snow White and the Seven Dwarfs is running at Richmond Theatre until Sunday 5th January 2020
photo credit: Craig Sugden
Tuesday 26 November 2019
White Christmas the Musical, Dominion Theatre | Review
White Christmas the Musical
Dominion Theatre
Reviewed on Monday 25th November 2019 by Olivia Mitchell
★★★★
Seen last Christmas at the Leicester Curve Theatre, Nikolai Foster's exceptionally staged and completely charismatic production of White Christmas has taken it's place in the West End for a Christmas of festivities and theatrical joy.
Based on the 1954 film starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen, the musical follows the stories of two former World War II American soldiers who became a famous musical duo. The pair use their fame to join forces with Judy and Betty to save a holiday inn from financial ruin and spread cheer all around.
The embodiment of glamour from start to finish, this musical whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme. The audience are enthralled thanks to the intimate feeling which is somehow created in the vast cavern of the Dominion Theatre.
The story is nothing special and there's really very little of it but there's a level of characterisation which runs deep throughout and makes the audience really care about the action and people on stage and brings a contemporary feel to an otherwise un-relatable musical. For example, Martha, Judy and Betty sing 'Falling Out of Love Can Be Fun' which highlights their desire to not being completely reliant on men. In another vein, the vulnerability of Bob (Danny Mac) is shown thoughtfully and delicately. Whilst at first he appears distant and uncaring, it soon becomes clear that he is struggling to rejoin civilian life. These human characteristics are realistically brought to stage with great effect.
The cast of all round triple threats provide enough energetic festive cheer to power all the Christmas lights in London. Clare Halse is a theatrical treasure as she draws the eye every moment she's on stage and is the epitome of Hollywood glamour. Her performance is faultless as she glides around and radiates excellence. Halse also gives a dazzling tap performance of 'I Love a Piano' alongside Dan Burton and the ensemble. Burton as Phil is equal measures charm and sleaze as well as giving top top top notch vocals and choreographic quality. Danny Mac once again gives a faultless performance and has a great love/hate chemistry with Danielle Hope as Betty. Their blossoming romance is lovely to watch just another level of sweetness in this candy-cane-sugary musical.
Michael Brandon is commanding but vulnerable as General Henry Waverly, whilst, Brenda Edwards is a compelling force of comedic nature as Martha and provides a real show stopping moment with 'Let Me Sing and I'm Happy'. The ensemble are unanimously joyous and captivating throughout, with Aimée Hodnett and Kayleigh Thadani giving stand out performances as the ditzy, amorous Rhoda and Rita.
This is a visually exquisite musical which is the embodiment of production value. Diego Pitarch's sumptuous costumes not only look beautiful on their own, but float and flow divinely as part of Stephen Mear's choreography which is elegance and style wrapped up with a bow. The post-war era is brought to life glitteringly, as is the music of Irving Berlin which soars and fills the Dominion.
It's not about the story and of course there are faults as with many classic films but this is an utterly lavish production which will fill even the Grinch's heart with Christmas cheer.
photo credit: Johan Persson
Thursday 21 November 2019
&Juliet, Shaftesbury Theatre | Review
&Juliet
Shaftesbury Theatre
Reviewed on Wednesday 20th November 2019
★★★
What if Juliet didn't die? And what if the story of reclaiming her life was told through the music of Max Martin, aka the writer and producer of some of the most iconic pop music of the last two decades. Well that's &Juliet, a wild, sparkling, energetic piece of musical theatre which has burst onto the scene at the Shaftesbury Theatre.
When the cast come in with 'Larger Than Life' and 'I Want It That Way', there's certainly a moment of unsettled bafflement, but soon the numbers become part of the story and you forget Shakespeare wasn't really bopping along to 90s pop songs whilst writing his iconic tragedies. That being said, there are times where the songs feel added in for the sake of being added and don't flow particularly well but most of the time it doesn't matter because they are performed with a vigour that engages.
David West Read's book is smartly self-aware and knows exactly when to hold back and acknowledge the pop-culture craziness that's occurring. The meta-theatrical plot works well, with us first meeting William Shakespeare and Anne Hathaway as they bicker about the ending of Will's latest play, Romeo and Juliet. Anne persuades her husband to let her do a rewrite and from here we are taken to Verona where Juliet begins her journey of self discovery and goes on an adventure to Paris with her besties. Full of puns, panto lines and pageantry, the show does teeter on the edge of being too childish at times but David's book and Max's songs marry up well with Luke Sheppard's direction to create a musical which doesn't take itself or its content too seriously.
As the leading lady Miriam-Teak Lee brings sass in spades. Her vocals are mostly strong and she really does embody the confidence that this reimagined Juliet is full of; but whether due to the lack of character writing or limited acting in the pop-concert atmosphere, Juliet is just a bit distant. I personally didn't warm to her as a character and whilst I appreciate all this modern lady stands for, there is a distinct lack of sincerity in how she's written. However, this is not so true when Juliet and her best friend May are together. It's in these brief moments that compassion flies and we see a more realistic character in front of us. Arun Blair-Mangat is sweet and enticing as May, who discovers love and friendship.
Oliver Tompsett is the boy-band Shakespeare of dreams, who hilariously bigs himself up and brings an instant charm to the stage. As his steely, compassionate and fizzy wife, Cassidy Janson gives a fantastic performance. Her stage presence is magnetic and I found myself wanting a spin-off purely focussed on (the only) Anne Hathaway. Jordan Luke Gage is suitably self-absorbed from the moment of his bombastic entrance and gives a great vocal performance as Romeo.
The ensemble of players are top notch, adding interest and motion throughout. Jocasta Almgill gives a stand out performance and Lady Capulet, with Dillon Scott-Lewis, Grace Mouat and Antoine Murray-Straughan really shining from the ensemble.
The whole show is exemplary of production value and there's no denying that the energy on stage could power all the theatres on Shaftesbury Avenue. Bill Sherman's lighting is concert goals; Soutra Gilmour's set is a dreamland and Andrzej Goulding's projections bring each scene to life creatively and effectively. The female empowerment, LGBT representation and romantic moments are all enjoyable and important to be seen on stage, but a significant lack of character development means you feel little empathy for the characters and at the end just don't really care.
This is definitely a show which will be enjoyed after a prosecco or two and it doesn't try to be anything else than a fun night out. If you want theatrical integrity and a moving storyline then this isn't for you, but if you want an explicitly queer, feminist musical that's funny, entertaining and scored by songs that you grew up listening then go see it. If music be the food of love, &Juliet provides a feast that will satisfy anyone looking for a bit of fun.
Wednesday 13 November 2019
Mary Poppins, Prince Edward Theatre | Review
Mary Poppins
Prince Edward Theatre
Reviewed on Tuesday 5th November 2019 by Olivia Mitchell
★★★
Since she landed umbrella in hand, the mystical nanny Mary Poppins has been a much loved character. From the hit Disney film to a number of revivals and performances around the world, there's something universally adored about the feel-good story of the Banks family, so it's no surprise that the musical is once again gracing the West End. It's a musical full of sparkle, magic and wow factors but at times feels as though it's on just for the sake of being on.
In this musical, co-created by Cameron Mackintosh, with additional songs by Stiles and Drewe and a book by Julian Fellowes, the moral aspect of the story is strongly highlighted, as are the darker sides of the original book. The story of Mr Banks' redemption and the importance of making the correct moral choices for those around you remains ever relevant but much of the secondary plot feels somewhat dated and not relevant for a modern audience. Of course this isn't the making of a show, and with something like Mary Poppins it's mostly about the nostalgia and feel-good-factor but for a show that runs almost three hours long, some tweaks to make it more engaging wouldn't have gone amiss.
However, this is a show about compassion and the cast do a joyous job of bringing the story to life with energy, wonder and colour. Thanks in part to Bob Crowley's sets and costumes which are structured, colourful and all around excellence. The house which opens like the pages of a pop-up book is magnificent each time it's seen; and the plain park which becomes a psychedelic garden of amusement is completely brilliant. Sparkly costumes and beautifully tailored coats adorn the stage and evoke the joy from both the book and film well.
Stiles and Drewe's songs are much darker and sharper than those we've grown up with, with 'Playing the Game' bringing toys to life as the stuff nightmares are made of. Elsewhere scenes are taken from book to stage effectively and interestingly. Overall the musical is a whole lot of sugar with a little bit of spice thrown in for good measure... just how Mary Poppins would like it I assume!
Richard Eyre has directed a show for adults and children which brims with surprise but at times lacks sufficient pace. However, the choreography by Matthew Bourne and Stephen Mear is sophisticated, sharp, witty and utterly first-rate. 'Step in Time' is a complete highlight as the stage comes to life with sweepers and leading man Charlie Stemp literally walks on the ceiling.
Stemp's entire performance is a masterclass in stage presence. His continually fresh characterisation completely draws the audience in as he moves and speaks with a natural grace and charms everyone who witnesses him. Additionally his rapport with Strallen's Mary is genuine and engaging. Zizi Strallen makes the famous nanny her own as she floats around the stage with a whimsical but grounded air and takes on the leading role excellently. Elsewhere Amy Griffiths is touching and vocally excellent as Mrs Banks and the entire ensemble give top notch performances.
Yes, this show is lacking at times but much of the time it's a feast for the eyes and ears and is sure to be enjoyed by many so why not take a trip to see magical Mary float in on her brolly right in front of your eyes.
Mary Poppins is currently booking at the Prince Edward Theatre until 31st May 2020, tickets are available at www.londonboxoffice.co.uk
photo credit: Johan Persson
Saturday 9 November 2019
Reputation, The Other Palace | Review
Reputation
The Other Palace
Reviewed on Friday 8th November 2019 by Olivia Mitchell
★★
It's the 1930s and the males in Hollywood are King. The world is glamourous, 'talking pictures' are all the rage and a good story can get you far. Alick and Suzanne Glass' musical is narrated by Freddy Larceny, a huge Hollywood producer who steals a young up-and-coming writer's work and has to fight for the reputation he's so carefully sculpted.
At this time, women are expected to be domestic creatures who stay in their lane and are there to support men with all they require; however, our heroine Michelle Grant confronts this and aims to write a novel and be her own boss. Maddy Banks plays Michelle with a burning energy and a sweet level of self-confidence. Her voice is strong, well-controlled and perfectly fitting for the musical style of the show, but the lack of variation in the score means we don't hear the full extent of Banks' vocals.
Alick Glass' music is entertaining at times and is certainly evocative of the 30s, New York and Paris, but overall the musical feels overstuffed with underdeveloped pieces. Abrupt stops and repetitive melodies often hinder the flow of the show and instead of adding anything to the story, just reiterate something already mentioned. The best musical moments happen when the girls join together in ensemble harmony but these are equally overused and begin to lack oomph quickly.
Tamsyn Salter's choreography is delightful and again very fitting for the time period. Salter has worked wonderfully with the limited space of The Other Palace Studio and will surely look even better when the show develops to bigger venues.
As the sleazy but kind of likeable crook, Jeremy Secomb is superb as Freddy Larceny. He is confident, slick and highly accomplished in his performance, giving a super strong vocal performance and is seeming well rounded despite actual character development. The lawyer who takes on Larceny, Archie Bright is played well by Ed Wade who is charmingly awkward and gives a stand out performance in act two when his vocals really shine.
Overall this is a production which certainly has potential but definitely needs to be edited and streamlined. It's great to see a show which focusses on a female narrative and rewriting history but it's hard to sympathise fully with our leading lady when many of her decisions remain motivated by a man. The love story is sweet but overshadows the female empowerment aspect which had the potential to be crucial and really make this show stand out. The cast do a great job and there are glimmers of magic but there absolutely needs to be more.
photo credit: photo donato
Saturday 2 November 2019
Ghost Quartet, Boulevard Theatre | Review
Ghost Quartet
Boulevard Theatre
Reviewed on Friday 1st November 2019 by Olivia Mitchell
★★★★
The opening of a new theatre in central London is cause for celebration, especially when it's as wonderfully sophisticated and welcoming as the Boulevard. SODA architects have created a millennial dream with a pink-walled restaurant with delicious looking food and cocktails and a completely chilled atmosphere. Whilst, Charcoalblue have made a theatre space which is versatile, extremely comfortable and just great. The programme of late night concerts, cabarets and podcasts is an exciting one indeed and this space is sure to become a hub for new theatrical experiences. The Sketch of the theatre world, the Boulevard is certainly worth a visit!
As the inaugural show, Dave Malloy's Ghost Quartet paves the way to stray from convention. The show is pretty much a song-cycle of interlinked ghost stories, sung track by track by an amazing group of performers. The four musicians play a whole range of instruments and introduce each track as they perform it. There's also a regular breaking of the fourth wall and the audience feel part of the story throughout. The line between real life person and character becomes blurred as the performers are addressed by both their actual names and show names. They also comment on the strangeness of the story throughout in a very meta manner which works exceptionally in the space.
We are introduced to a number of characters and stories which are eerie as opposed to scary and really don't make a tonne of sense, but that totally doesn't matter. The amazing performances and variety of musical styles make this a piece which wraps you round it's finger without having, or needing a proper plot. The circular seating adds to the feeling of being gathered round a campfire listening to stories the whole experience feels communal in a magical way.
The piece feels marvellously balanced between being off the cuff and rough around the edges but also highly sophisticated. Bill Buckhurst's direction has allowed the performers to be themselves as they interact with the audience but still maintain an aura of otherworldliness. Simon Kenny's set of piled suitcases, books and various household items allow for visual interest and frame the performers wonderfully. Emma Chapman's lighting is refined and effective.
The cast are an exceptionally talented bunch with some of the most stunning vocal tones gracing London stages right now. Carly Bawden, Maimuna Memon, Zubin Varla and Niccolò Curradi give completely enchanting performances and share a graceful rapport with each other and the audience. The way the performers exit the stage is completely magical and leaves you feeling warm and content, perhaps not how you'd expect to feel after a show with Ghost in the title. The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes.
Ghost Quartet runs at the Boulevard Theatre until January 4th 2019
photo credit: Marc Brenner
High Fidelity, Turbine Theatre | Review
High Fidelity
Turbine Theatre
Reviewed on Thursday 31st October 2019 by Olivia Mitchell
★★★★
Nick Hornby's High Fidelity, a book about love and music set in a run-down North London record shop has crossed mediums being made into both a film and a musical, with a TV series on the way in 2020. The location for the film and the shows opening on Broadway was America but in this UK premiere, it's been transported back to its roots and is firmly rooted in London. As the Turbine Theatre's second production, its wonderful to see a musical which brings to life some of the excellence of this city.
High Fidelity tells the story of Rob who owns a record shop which is barely surviving, and his on-again, off-again relationship with Laura, a lawyer who he loves but struggles to maintain a mature, long lasting relationship with. In the shop are also Barry and Dick, two misfits who started as part-timers and ended up sticking around and creating lives amongst the records. The lonely characters are portrayed wonderfully and despite being somewhat heartbreaking to watch, it's lovely to be reminded that there's a place for everyone.
The whole story is told from Rob's perspective as he addresses the audience and tells them what's going on both in his physical world and in his head. Rob chronicles many of his life's moments into 'Top Five' lists which are not only entertaining but an insight into how his brain works. On stage for pretty much the entirety of the show, Oliver Ormson is charming as Rob. Despite playing a character who it's often hard to empathise with, Ormson brings a warmth and sincerity which makes the audience side with him even when his decisions are rash or morally dubious. Ormson's voice is strong and he maintains an energy which fizzles throughout and really powers the show. Opposite him, Shanay Holmes is exquisite as Laura who is continually conflicted by her feelings for Rob. Holmes' voice is absolutely exceptional and she manages to shine in both the bold, booming moments and the simple, toned down times.
The entirety of the cast give excellent performances. Joshua Dever is vocally excellent and earnest until the very end; Eleanor Kane is outstanding as Marie. Her voice fills the Turbine Theatre as she envelops the audience with her delightful Brandi Carlile-esque tones and gives a performance to remember. Robert Tripolino gives a show stealing performance as the wacky Ian, a spiritualist who is all about the good vibes and natural healing. Tripolino is hilarious in pretty much every moment of his stage time and a real stand out. Mention must go to Rosie Fletcher who shines out from start to finish and gives vocals for not just days, but months.
Tom Jackson Greaves directs with a brilliant ease and fluency so the entire production feels relatable. Perhaps not in terms of the story itself but through the truthful self-reflection and humour of it all. Whilst there's not an overwhelming amount of choreography, what's there is phenomenal. The small stage is used to it's full capabilities as the cast often move around as if inside Rob's brain. Particularly wonderful is the balloon choreography which is ingenious and incredibly sleek. David Shields' set is simplistic and effective. Record sleeves scatter the theatre and the stage is transformed by small changes which work perfectly to signal the varying locations.
The plot is by no means the best thing in the world and some of the songs feel too much like fillers but the performances and the Great British Bake Off meets Bat Out of Hell vibes of the whole thing make High Fidelity a throughly enjoyable night out. The Turbine Theatre team are showing us bit by bit what they're made of and we can only wait to see what will come next in this new London hub.
High Fidelity runs at the Turbine Theatre until 7th December 2019
photo credit: Mark Senior
Monday 21 October 2019
Cinderella, Cadogan Hall | Review
Cinderella
Cadogan Hall
Reviewed on Sunday 20th October 2017 by Olivia Mitchell
★★★★
Yesterday, Cadogan Hall played host for a one-night-only staged concert of the much loved musical, Cinderella. Written in the 50s by Rodgers and Hammerstein for television, the musical has since been adapted for various stage productions but until now, hasn't been seen in London. Thanks to the exceptional London Musical Theatre Orchestra and stellar cast, that changed last night and those in attendance were treated to a sparkling night of magic.
Upon entering the auditorium bathed in purple light, the mystical scene was set and as the cast stepped out we were transported to a kingdom where kindness wins and anything is possible. Directed by Jonathan O'Boyle, this really was a stunning production which hopefully paves the way for future Cinderella-filled magic in the West End.
Thanks to the LMTO under the baton of Freddie Tapner, the sumptuous score was really the star of the night. Evoking fairytale vibes, causing laughter and creating a romantic atmosphere even before the stellar performers joined in, the performance just reminded us how excellently sumptuous Rodgers and Hammerstein's work is.
The semi-staged concert was brought to life by George Reeve's projections which fit the space exceptionally and looked as though they were drawn straight from a long lost storybook. They transported us from setting to setting and breathed life into moments which would be grand spectacles in a fully staged production.
With a group of some of the biggest names in the West End, it was expected that the performers would be top notch and boy they did not disappoint. The stunning cast took us on a romantic journey filled with socially relevant comments and a boat load of whimsy. Mazz Murray was fantastically malicious and biting as the evil stepmother, whilst Dianne Pilkington was her contrast and the crazy but magical and airy fairy godmother. Zoe Rainey gave a sweet performance as Ella's "kind" stepsister Gabrielle, and Jodie Jacobs completely blew everyone away with her killer vocals and fantastically characterised portrayal of Ella's other sister Charlotte.
As our leading lady for the night, Christine Allado gave a beautifully strong performance. With a grace and elegance any Princess would be proud of, Allado was a joy to watch on stage and her pristinely clear vocals filled Cadogan Hall with ease, power and wonder. In the role of the royal suitor Jack Yarrow was perfection. With an absolutely astounding voice, it's clear why he has begun taking the West End by storm.
This production of Cinderella is very much for a modern audience as it showcases the need for kindness alongside social reform. Ella's alertness to injustices outside those she faces in her family home is moving to see and works well alongside the romantic plot that is not all roses and chocolates. The political slant feels highly relevant, as well as allowing for extra comedic moments and I don't doubt this show would have a welcome place in the West End.
photo credit: Darren Bell
Tuesday 8 October 2019
Priscilla Queen of the Desert (UK Tour), New Wimbledon Theatre | Review
Priscilla Queen of the Desert (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th October 2019 by Olivia Mitchell
★★★
You'd be hard pressed to find a touring production this year which features more glitter, sequins and colour than Priscilla Queen of the Desert, which is an explosion of all things camp and a treat of a night out.
Based on the 1994 movie of the same name, Priscilla tells the entertaining story of a trio of drag queens who venture across the Australian outback in a temperamental bus to put on the show of a lifetime. Along the way they meet a variety of people, some accepting, some not, and realise the importance of friendship and staying true to themselves. Despite appearing superficial, the story tackles some important issues including diversity and acceptance.
Miles Western plays Bernadette, the older drag queen who has seen the world change around her and often spends time reminiscing on her glamourous past. Whilst, Joe McFadden and Nick Hayes star as Tick/Mitzi and Adam/Felicia, the younger queens who are still discovering themselves and following in the footsteps of those who came before them. Behind all the lashes and costumes, the trio have a genuine chemistry on stage and give strong performances throughout. Miles is especially engaging and give a very well rounded and entertaining performance.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
Charles Cusick-Smith and Phil R Daniels' set design is pretty basic, but the show is cleverly scaled for tour. The van Pricilla is a multi-piece design which works well as it's transformed various times. It's the glitzy costumes which are really the visual treats in this show as they create a rainbow coloured, feather filled spectacle on stage. Over the top beyond belief but wonderfully well executed, they are of the highest standard.
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
photo credit: Darren Bell
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
Whilst this production could definitely do with a touch more heart and emotional oomph, it's certainly an enjoyable tour and a thrilling example of highly camp, highly glam show with an important message about tolerance.
Priscilla Queen of the Desert runs at the New Wimbledon Theatre until 12th October before continuing its tour
photo credit: Darren Bell
Friday 4 October 2019
Noises Off, Garrick Theatre | Review
Noises Off
Garrick Theatre
Reviewed on Thursday 3rd October 2019 by Olivia Mitchell
★★★★
If you're looking for a few hours of complete laugh out loud escapism, Noises Off is one hundred percent the show for you. It is a play about putting on a fated production; from a dramatic technical dress rehearsal to a dramatic performance mid run and a final disastrous show near the end of the run, it's clear that this show is destined for doom.
What's fantastic about this play, is that the real joke is rooted in the processes of theatre and those that perform it. Entrances, exits, line memorisation and personal issues are just some of the things that go into the mixture to create this crumbling production. Long before The Play That Goes Wrong, Michael Frayn had the idea for this farcical show after watching a performance of his own play The Two of Us from backstage at the Garrick Theatre. It's a production of controlled chaos which is entertaining from the front of house and backstage.
Max Jones' set is a wonderfully realistic and beautifully executed living room and upper landing that is exquisitely turned round for act two. The play begins as tiring director Lloyd (Lloyd Owen) is trying to push his company of actors through a final rehearsal for Nothing On. Making appearances in the stalls, boxes and circle as he tears his hair out, the audience are immediately immersed in the hilarity and action set to ensue. Whilst heightened, the panic and tension hits close to home for anyone who's been part of putting on a show.
The cast are exceptional in their performances as they stand out individually but also thrive as an ensemble. Each with razor sharp comedic timing, their organised chaos is perfectly carried out. Slamming doors, lost contact lenses and dropping trousers, there's something ever entertaining about slapstick comedy when it's carried out so well.
Within the uniformly stellar cast, there are three performances which stand out just a tad. Meera Syal plays Dotty, the poised but forgetful performer who is playing Mrs Clackett, an absent-minded housekeeper who can't seem to keep her sardines. Sarah Hadland is Belinda, the overly nice, girl next door who plays the flirty Flavia Brent. Daniel Rigby as Garry is is excellent and he transforms from doting to hating and gives a tiring but completely enthralling physical performance.
A blissfully laughable production, with a heart of gold reminder about professionalism in the arts, this is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
Thursday 3 October 2019
Manon, Royal Opera House | Review
Manon
Royal Opera House
Reviewed on Wednesday 2nd October 2019 by Olivia Mitchell
★★★★
The Royal Ballet's new season opens with Manon, Kenneth MacMillan's tale of doomed love and sexual exploitation. It's a ballet that puts the greed and debauchery of the 18th-century world at it's forefront whilst highlighting the company's skill at storytelling.
Formed in 1974, Manon remains one of the company's most popular works, with the title role a dream to play for many dancers. The emotional story of the heroine who falls for the young hero whilst being drawn to a life of luxury as a rich man's mistress, is moving and exquisite to see onstage.
Compared to other ballets where the leading female is a fully formed character, in Manon our leading lady is an almost ambiguous presence who floats around the stage engaging in all the action but taking on the forms of varying emotions. Almost embodying the feelings of those around her, she seems to be a passive player in a world dominated by men and money. Massenet's beautifully hypnotic music guides her around the stage and the people surrounding her lead her story.
As the somewhat aloof leading lady, Sarah Lamb is delightful. Despite at times lacking the extremes of passion or sadness, Lamb is consistently fluent and earnest. Lamb's performance as Manon is beautifully danced, highly nuanced in terms of her emotional acting, and overall is pure joy to watch.
The most intoxicating moments are seen when Lamb joins with Vadim Muntagirov as Des Grieux who is resplendent throughout. Equal measures of innocence, vulnerability and passion make every second of his stage time a delight. Together the pair bring light and darkness to the stage in a way which is devastating and stunning all at once. Melting together is moments of pure bliss and bouncing away from one another in playful affection, the two dancers really do seem like a match made in ballet heaven.
As Manon's charismatic, pimping brother Lescaut, Ryoichi Hirano excels. His drunken dance is choreographed madness as he swirls round the stage in an alcohol induced wobble, but retains poise and grace throughout. His comedic timing is second to none as is the underlying current of threat which he imbues into each moment. In the role of his mistress, Itziar Mendizabal is bold and sultry as always. Her emotional performance is striking and she really gives some of the stand out moments of the night.
This is an excellent opening to the season, filled with sharp, clean and fresh dancing which invites the audience to bask in the emotion and drama unfurling in front of them. An ideal first-time-ballet this is a must-see as well as a must-hear thanks to Martin Yates' sumptuous re-orchestrations.
photo credit: Alice Pennefather
Tuesday 1 October 2019
Brooklyn the Musical, Greenwich Theatre | Review
Brooklyn the Musical
Greenwich Theatre
Reviewed on Monday 30th September 2019 by Olivia Mitchell
★★★★
Brooklyn The Musical is a pretty obscure show which opened on Broadway in 2004. It's realtively unknown but features a number of fantastically catchy songs. The musical's European premiere at the Greenwich theatre showcases fantastic talent and reminds us of how magical music can be. Strong direction by Adam Haigh and consistently impressive performances by the cast bring the show to life with vitality and vocal prowess, and make it one to tick off the list.
Set in New York City, a group of street performers perform a "sidewalk fairytale" about a love story and what came of it. We follow a singer from Paris called Brooklyn who is on a quest to find her father and make good of the world she's in. The story itself is minimal and the book is pretty wacky, but the show's spectacular score breathes life into it and shares the characters motivations wonderfully.
The book, music and lyrics are by Mark Schoenfield and Barri McPherson who have adapted the show for various productions including Broadway and a US tour. As a whole, this production really is a grungy, ensemble led, song-fest which features one of the strongest and most vocally tight ensembles in London right now. The sharp harmonies and electric interactions with one another really engage the audience.
It's ideal that Hiba Elchikhe leads the cast as Brooklyn, because she absolutely has one of the best voices ever. The tone, the emotion, the power. Just. So. Good. Her demeanour is charming as she tries to find her father and the audience are instantly able to warm to her beaming personality. It's absolutely worth making a trip to Greenwich just to hear Once Upon a Time sung live by Hiba. Emily Mae gives an equally earth quaking vocal performance as the "aging" Diva, Paradice. Raven is a particular stand out moment, but Emily captures the audience in the palm of her hand throughout. Smooth and mysterious, Andrew Patrick-Walker makes the Street Singer someone to remember as he acts as a musically enchanting, overseer of the show. Sabrina Aloueche and John Addison add further depth to the show and the whole cast work exceptionally well together to evoke the feeling of being in New York and searching for a dream. If the Greenwich Theatre were powered by riffs, it would be shining bright thanks to the cast of Brooklyn and Andrew Johnson's sound design which showcases them.
Justin Williams' set design transforms the Greenwich theatre into "a ravaged street corner in Brooklyn, New York" and presents a visual treat for the audience as Brooklyn's story is told. With ladders that are slid around, fairy lights, falling snow and an ever present guitar case, the set, complemented by Jack Weir's lighting manages to invoke both the fairy tale vibes and the gritty feel of NYC.
A masterful blending of talents allows this production to shine. It's not a masterpiece of theatrical writing but it is a really fun night out and a chance to see a rarely performed show done at a very high standard. Who knows, you might find your miracle too.
photo credit: Pamela Raith
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