Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts

Thursday 13 February 2020

Lesli Margherita on Bringing Zorro Back to London for One Night Only | Interview

The musical version of Zorro premiered in the West End in 2008. With a score by the Gipsy Kings, it tells the good versus evil tale of the legendary hero Zorro. In it's first London performance since closing, the musical will be performed as a staged concert at Cadogan Hall this month.

Lesli Margherita, who starred in the original workshops and West End production, will be reprising her Olivier Award winning role as Inez at this concert. Lesli sat down with Rewrite This Story to discuss bringing the show back to London, her advice for performers and the lowdown on her other musical, Emojiland...


You are the Queen of self branding, do you have any advice for performers wanting to create their own space in the industry?
I didn’t try to brand, and I think that's probably the most important thing. This all came out my family calling me queen and being a kid writing ‘Lesli Rules’ on everything. So, the best thing for branding is just being yourself. I think I’m authentically myself and I share the good parts and the bad parts of me, and I think that’s maybe what people or kids have kind of gravitated to. Yeah, so the best thing is to just be yourself, people can tell fake branding from a mile away. This totally happened by accident!


You’ve returned to a few musicals with Mrs Wormwood and now Inez, what’s that like? Do you set out to change parts or just go with the process and see what happens?
I think naturally it’s gonna change, because I’ve changed. It’s inherent that it will change, especially with something like Zorro because I spent so many years on it before the West End, and then I changed it during the West End and then even after that I did a few versions of it. Even just listening to the recording now I’m like “why did I do that?!” so that’s gonna change. And with Matilda there were little things that I’d always wanted to change and I think it’s great to leave something alone for a little while and see what happens.


Do you think because this is a concert version, you’ll have more space to alter things and play around a bit?
Totally yeah. I would love to do a full version to see how it would be different but I think with this the focus is really on the music which is exciting!


You’ve got such an amazing cast to perform it as well!
I know! I’m so excited! I’m really excited to perform with Emma [Williams] again, it’s going to be so nice

The cast of Zorro in concert at Cadogan Hall 

Since you’ve found out you’ll be doing the show again, is there a particular song you’re excited to sing once more?
Every time I get to do Bamboleo I’m happy- it’s my favourite. I never get tired of it, even when the actual Gipsy Kings version comes on on my ipod I never skip it cause it’s just so good. 


Well hopefully we’ll get an updated recording soon, after this maybe it’s time for West End and Olivier number two!?
Oh I mean I would love that. I’d really really love it to come back- hopefully soon!


Can you sum up the show in five words?
Romantic, adventuresome, electric, uplifting and swashbuckling!


Aside from Zorro, you’re working on Emojiland, tell us a little about the show
It sounds crazy! It sounds like it’s gonna be a dumb show but it’s not! It’s about a bunch of emojis living in a phone and what  happens after an update is implemented and a bunch of different emojis come in. It’s really about not looking at things for face value and seeing what’s behind the face, and seeing that just because that’s how someone looks, it might not be how they’re feeling. It also gets a little political, it’s about not wanting change, not wanting different types of people or emojis going into their land; it’s really got so much heart. 

I did it first at a festival two years ago here in New York, kind of as a bare bones version and when I found out they were doing it off-Broadway as a full production I couldn’t wait to be a part of it, I love it so much.

It’ll be nice when people can hear the recording that comes out in a couple of weeks, because the songs are amazing and it really is so touching and funny, but also meaningful which people aren’t expecting cause it’s called Emojiland!

Lesli Margherita in "Emojiland." (Photo: Jeremy Daniel)

Yeah, I mean when I first heard about it I was a bit on the fence but everyone says it’s amazing!
Exactly! That’s kind of what we’re counting on. We’re counting on getting people in there and then them changing their minds because that’s what always happens. People come and say it really wasn’t what they expected and they really enjoyed it!


So you’re obviously a very busy lady with all your shows and travelling, do you have any advice for looking after your voice when it’s under pressure?
Really it’s the same stuff that everybody tells you. It’s the steaming and the rest and all the things you can never do. I never have time to rest, I never have time to steam but they’re the things you’re supposed to do and I really think that they’re important. Also, overall general care of yourself at all times, so that even when you don’t have time, your body is in good condition. It’s just a constant sort of upkeep.

I also think that the foundations and training are so important. I rely on my training so much when my voice is tired. Especially when I was dong Matilda because that role is so difficult vocally and while you’re dancing and screaming, so I really relied on my training and on the vocal team there at Matilda to keep me in shape and healthy.

I think it’s a lot of common sense, don’t go out drinking late at night and try and get some rest!


Mrs Wormwood is a very shrieky role, it must’ve been hard!
Well we worked on it so it was really a mix, it sounded screechy but it was just a mix. My mix has never been stronger than when I was in Matilda! It was really interesting trying to find that place and it never hurt once. It’s really difficult to explain to somebody though, there are all these high schoolers and stuff doing it and losing their voices and I just say “don’t scream!”


I saw your panel at BroadwayCon a few years ago and you mentioned wanting to return to the role of Inez which is happening now, so I just wondered if you have any other dream roles you’d like to put out into the universe?
I’ve been really lucky with the shows I‘ve gotten to do around the country here, but every time I’ve played Adelaide in Guys and Dolls I’ve loved it so it would be great to be able to play her again.

I’d also love to do Evita, and I really want American audiences to get to see Zorro so I hope that’ll happen someday soon!


A huge, thank you to Lesli for taking the time to chat with us. Zorro plays at Cadogan Hall on 23 February for one night only!

Interview by Olivia Mitchell

Lesli Margherita on Bringing Zorro Back to London for One Night Only | Interview

Thursday 13 February 2020

Tuesday 11 February 2020

Five Reasons To See Once the Musical

A beautiful, heartfelt story of an unlikely friendship between a Dublin busker and a Czech musician,  we present five reasons why you should see Once on it's current UK tour...


The Pre-Show
Before the show even begins, Once offers a unique experience and welcoming atmosphere as the audience enter the theatre. The fantastic cast made up of actor-musos (more on that later) are performing a number of joyous Irish songs as if in a local Dublin pub. I particularly enjoy The Auld Triangle which Susannah van den Berg leads wonderfully. Also worth mentioning is the seamless transition from the lively pre-show tunes, to the haunting opener Leave, which settles the audience and paves the way for the journey of Once.


It's Surprisingly Funny
When I first saw this show, I didn't expect to laugh as much as I did. From the start there is a warm humour that feels (mostly) natural and realistic. Little giggles between the cast as they bounce off one another are enjoyable to watch, as are the jokes between Guy and Girl. From their first interaction, the pair (Daniel Healy and Emma Lucia) have an engaging relationship full of banter, sarcasm and honesty that's endearing to watch and brings light to the sometimes deep emotional moments.


Emma Lucia's Accent
Yes, this is an unconventional reason to see a show, but I was so impressed by Emma Lucia's excellent accent that I had to mention it! The combination of Czech with twangs of Dublin mixed in is so excellent. Emma is a magnetic performer, who we instantly warm to. The character of Girl is so optimistic that you can't help but root for her, and Emma brings this gleeful optimism to life fantastically.

The Power of Ensemble
Once is one of the most wonderfully ensemble fuelled pieces I've ever seen. Often the cast move like one entity, all invested in each others stories. These group transitions bring a motion to moments which could otherwise run the risk of falling flat. The reprise of Gold is a truly exceptional moment in musical theatre, as the entire cast come together as if using one breath to sing.


The Musicality
Of course you can't talk about Once without mentioning the music and those that perform it. The folk/rock score is what put the original film firmly on the map, with Falling Slowly becoming a staple on any musical theatre playlist. Not only is Once a love story in terms of romance, but it's also a love letter to music, with every song carefully thought out and performed. It's amazing to hear the folky, Irish, guitar led music, and it's even more impressive to watch it performed live by a cast of actor-musicians. Every cast member is an incredibly talented musician and it's sensational how they are able to tell a story and really engage the audience through music.



Once is currently playing at the New Victoria Theatre until 15 February and then continues its tour

Five Reasons To See Once the Musical

Tuesday 11 February 2020

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.

Twisted, Trafalgar Studios | Review

Monday 10 February 2020

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.


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

Sex/Crime, Soho Theatre | Review

Thursday 23 January 2020

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


Everybody's Talking About Jamie, Apollo Theatre | Review

Wednesday 22 January 2020

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.

Bronagh Lagan's production has heart in spades and provides a real impact through the thoughtful way its themes are tackled. It's a life-affirming show which will make you want to hug those close to you a little tighter.

photo credit: Pamela Raith

Rags, Park Theatre | Review

Thursday 16 January 2020

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 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

Once (UK Tour), Fairfield Halls | Review

Friday 10 January 2020

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 clichĂ©, 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

Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review

Friday 13 December 2019

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

White Christmas the Musical, Dominion Theatre | Review

Tuesday 26 November 2019

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.

&Juliet, Shaftesbury Theatre | Review

Thursday 21 November 2019

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

Mary Poppins, Prince Edward Theatre | Review

Wednesday 13 November 2019

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

Reputation, The Other Palace | Review

Saturday 9 November 2019

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

Ghost Quartet, Boulevard Theatre | Review

Saturday 2 November 2019

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

High Fidelity, Turbine Theatre | Review