Posts with the label london
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Wednesday 22 July 2020
Grease UK Tour starring Peter Andre to return in 2021
The producers of the first new production in 25 years of Jim Jacobs & Warren Casey’s iconic musical Grease, are delighted that the show will tour the UK and Ireland in 2021. The musical was due to tour in 2020 but had to be postponed due to COVID-19.
Following his success starring in the UK and Ireland tour in 2019, Peter Andre will star in the 2021 tour at certain venues and performances (Plymouth, Cardiff, Bristol, Milton Keynes, Dublin, Liverpool, Bromley, Southampton, Nottingham, Manchester, Dartford, Canterbury and Birmingham). As well as reprising the role of Teen Angel, Andre will also play Vince Fontaine.
The 2021 tour will begin at Theatre Royal Plymouth, running from 22 – 30 January, and will then play Wales Millennium Centre, Cardiff from 1 – 6 February, Bristol Hippodrome from 8 – 13 February, Edinburgh Festival Theatre from 16 – 20 February, Norwich Theatre Royal from 22 – 27 February, Milton Keynes Theatre from 1 – 6 March, Bord Gais Energy Theatre, Dublin from 16 – 27 March, The Alhambra Theatre, Bradford from 29 March – 3 April, Liverpool Empire from 5 – 10 April, Sheffield Lyceum from 12 – 17 April, Churchill Theatre, Bromley from 19 – 24 April, Stoke Regent Theatre from 3 – 8 May, Mayflower Theatre, Southampton from 11 – 15 May, Grand Opera House, Belfast from 18 – 22 May, Theatre Royal Nottingham from 24 – 29 May, Royal & Derngate Northampton from 31 May – 5 June, Palace Theatre Manchester from 7 – 19 June, The Orchard Theatre Dartford from 21 – 26 June, The Marlowe Canterbury from 28 June – 3 July, The Sands Centre, Carlisle from 6-10 July and The Alexandra, Birmingham from 12 – 17 July.
Andre said "I was so thrilled to have been returning to Grease this year as I had the most wonderful time last year working with our incredible cast and creative team. Sadly, this year's tour had to be postponed due to COVID-19 but I'm overjoyed that we can return in 2021. Grease is joyous and will truly allow you to escape to a different time, with show-stopping dance routines and some of the most iconic songs of all time. It's a show about solidarity and it celebrates friendship. As the song goes, We Go Together!"
Grease is directed by Nikolai Foster and choreographed by Arlene Phillips, with designs by Colin Richmond, orchestrations and musical supervision by Sarah Travis, lighting design by Ben Cracknell, sound design by Tom Marshall and 2021 tour casting by Kay Magson CDG, with original tour casting by David Grindrod CDG.
This new production of GREASE is produced by Colin Ingram, InTheatre Productions, Donovan Mannato, Playing Field, Hunter Arnold, Araca and Curve.
photo credit: Manuel Harlan
Monday 20 July 2020
Fanny and Stella musical to run at new open-air theatre in London
A brand new socially distanced open-air production of Fanny And Stella, a musical with Book and Lyrics by Glenn Chandler, the creator of ‘Taggart’, and Music by Charles Miller, is to be staged as the premiere production at The Garden Theatre in the newly refurbished beer garden of The Eagle.
Producer Peter Bull said: “We are taking baby steps as we venture into the brave new world of open-air socially distanced performances. We are only performing three shows a week initially but we aim to increase this after a successful launch.”
This hugely entertaining, relentlessly entertaining romp is based on bizarre events and real characters in Victorian London. Ernest Boulton and Frederick William Park were two young men who, in 1871, were put on trial in London for dressing as women and conspiracy to commit sodomy, a felony at the time. They dressed up as women (and were very good at it) for amateur theatricals, but when the show was over, and sometimes when there wasn’t even any show, as ‘Fanny and Stella’ they would frequent places of entertainment in the West End where men encountered men for sex and male prostitutes plied their trade. Park and Boulton were acquitted - an amazing victory for the time when sexual acts between men carried a sentence of two years - primarily because conspiracy could not be proved. Or perhaps it was because one had a father who was a judge, and the other a mother who swayed the court with her tears.
Upon their acquittal, Park and Boulton - as Fanny and Stella - along with their theatre company, take their story on the road. They hire a venue for “one night only” to tell their amazing true story of their lives, their trial, and their sensational acquittal. But are they in an ungiving age putting themselves on trial a second time?
The show will star Jed Berry as Ernest Boulton/Stella and Kane Verrall as Frederick William Park/Fanny. Further casting to be announced.
It has a first class creative team led by director Steven Dexter, with musical staging by Nick Winston, musical director Aaron Clingham, designer David Shields and casting by Anne Vosser. It is produced by Peter Bull for LAMBCO Productions.
Please note: face masks or coverings must be worn throughout the performance by socially-distanced audience members.
Concept album of new British musical Mascherato released on all streaming platforms
In the heart of 18th century Venice we meet Luca and Elena, and follow as they fall in love
against the backdrop of the thriving carnival. However, the pair are torn apart as Venice
sinks into war against the Ottoman Empire. When the conflict finally ends, and the empire
proves victorious, the two lovers must fight against fate to be reunited.
With music, lyrics, and original story by Michael Elderkin, and book by James Willett, this
sweeping epic is ready to be experienced.
Originally conceived by Elderkin in 2015, and following a successful workshop in 2017, the
show has proven to be hugely popular.
As such, and wanting to reach as wide an audience
as possible, the show has been transformed into a concept album. Recorded with a stellar West End cast (including Rob Houchen, Katy Treharne, Jeremy
Secomb, and Nathaniel Parker), a chorus of twelve, and a 22- piece orchestra in Abbey Road
Studios – this lush and colourful score will take you on a journey through the mystery and
magic that resides within the twisted labyrinth of Venice.
A new British musical, Mascherato is now available on all music streaming services (iTunes, Spotify, Amazon, etc).
Mascherato is a story of hope – of belief in something greater than ourselves and the
importance of having faith that all will be well in the end. A message that the world as whole
really needs right now.
Friday 17 July 2020
Indoor theatre performances allowed to resume from August 1st
It has been announced that from 1st August socially distanced audiences can return for indoor performances in theatres, music halls and other venues. Building on pilot success from a number of venues, including the London Palladium.
Talking at a press conference today, Prime Minister Boris Johnson said: "The timetable I am about to set out is conditional. It is contingent on all of us staying alert and continued success on controlling the virus."
"From 1 August, we will restart live indoor performances to a live audience subject to the success of pilots, and we will pilot larger gatherings, with a view to a wider reopening in the autumn...From October, we intend to bring back audiences in stadia and to allow conferences and other business events to recommence. These changes have to be made in a covid-secure way subject to pilots".
Johnson also announced new powers for local authorities, allowing them to cancel local events if there is a rising rate of transmission in specific areas.
The Prime Minister added: "We hope that by November at the earliest, if we continue to make progress, then it may conceivably be possible to move away from social distancing measures, such as the one metre rule. That is entirely conditional on our ability to keep the virus under control."
Culture Secretary Oliver Dowden echoed these plans on social media, explaining that this is a progression into stage four of the plan for culture.
"From 1 August, we will restart live indoor performances to a live audience subject to the success of pilots, and we will pilot larger gatherings, with a view to a wider reopening in the autumn...From October, we intend to bring back audiences in stadia and to allow conferences and other business events to recommence. These changes have to be made in a covid-secure way subject to pilots".
Johnson also announced new powers for local authorities, allowing them to cancel local events if there is a rising rate of transmission in specific areas.
The Prime Minister added: "We hope that by November at the earliest, if we continue to make progress, then it may conceivably be possible to move away from social distancing measures, such as the one metre rule. That is entirely conditional on our ability to keep the virus under control."
Culture Secretary Oliver Dowden echoed these plans on social media, explaining that this is a progression into stage four of the plan for culture.
Tuesday 14 April 2020
Keep Up Your Craft in Lockdown | Online Theatre Classes
We may be confined to our homes but thankfully the theatre community are coming together to create an abundance of online resources and classes to keep us entertained, fit and ready for our return to the real world... whenever that may be.
I've complied a list of some of these classes and activities which may peak your interest…
Musical Theatre
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
Pros From The Shows, directed by Layton Williams, are giving daily 30 minute workshops with 15 minute Q&As at the end. The workshops are run on a pay-what-you-can basis and have so far featured Marisha Wallace, Lucie Jones, Liam Mower and many more. To book, email info@prosfromtheshows.com (Insta: @prosfromtheshows)
London Singer Studio have free classes at 11am each day, focussing on all aspects of singing and vocal health. (Insta: @londonsingerstudio)
Kreate Academy are providing dance classes, challenges, live q and a’s and so much more. All their classes are free and there’s a whole variety to choose from. (Insta: @kreateacademyofperformingarts)
The Sing Space have a mixture of paid and free regular classes with industry professionals. These include breathing workshops and West End Fit classes. They also have free daily singing warm ups with West End vocal coach, Rachel Lynes, each morning at 10.30. Many of the classes take place on Zoom or Facebook at The Sing Space Singer’s Hub (Insta: @thesingspace)
MT Livestreamers is a group of musical theatre students who are teaching a variety of Instagram live classes, from tap to relaxation, MT and Bollywood. (Insta: @mt_livestreamers)
Live Stream Arts Fitness are providing a vast timetable of fitness and MT classes which are all free. Most take place on Instagram live, with some on YouTube, Facebook and Zoom. (Insta: @livestreamartsfitness)
Lockdown Live London hosts a daily 6pm workout with a West End star; these have include the Queens of Six, Kelly Mathieson, Sarah O Connor and Jonathan Bailey. They take place on instagram live and stay up for 24 hours. (@lockdownlivelondon)
Broadway Weekends at Home is a hub for all things MT and all the classes are free. All classes are taught by Broadway and West End Performers and there are ones for all ages. (Facebook: Broadway Weekends at Home)
Dance
Magnetic Movement are offering a whole timetable of weekly classes from industry professionals. From beginners tap to pilates and advanced jazz there's something for everyone. The classes take part live on Facebook and Instagram and there are also tutorials on the Instagram page. (Insta: @mageneticmovement_1)
LaDuca Shoes have a host of classes and Q&As, including musical theatre jazz, contemporary and ballet. (Insta: @laducashoesuk)
Sharpe Academy have daily instagram live routines, fitness classes and audition workshops with industry professionals. These have included a Six routine with Vicki Manser and a ballet barre masterclass with Bradley Shelver. (Insta: @sharpeacademy)
MXM have dance classes every Monday, Wednesday and Friday night and some children’s morning classes. They are 1 hour technique and routine classes which take place on instagram. (Insta: @mxmasterclass)
CLI Studios have regular live class events with renowned choreographers. Most classes are Intermediate/Advanced and are mainly Hip-Hop and contemporary. For any fans of The Ellen Show, this Sunday (19th) features a class with Twitch! (Insta: @clistudios)
Debbie Allen (Fame, Greys Anatomy) is holding weekly dance classes on Wednesdays and Saturdays (Insta: @therealdebbieallen) as well as offering Zoom classes through her dance academy, more information is available on www.debbieallendanceacademy.com
Capezio are offering a big timetable of instagram classes, with Body Conditioning, Locking and Tapping and Commercial just some of what’s available. (Insta: @capezio)
Ballet Specific
Tierney Heap is a current member of the Royal Ballet and a Bloch influencer, she is holding Instagram live classes on Tuesday and Thursday mornings at 10.30. (Insta: @tierneyheap)
Sander Blommaert is a former Royal Ballet dancer and is holding classes at 11am each morning on Instagram live. (Insta: @sanderblommaert)
Charise Logan (Renouf) is running barre focussed classes on Monday, Wednesday and Friday mornings at 10.30. (Insta: @charise_renouf_)
Sarah Du-Feu is running a whopping 18 Instagram live classes a week suitable for all ages with a mixture of basic and intermediate classes. (Insta: @theballetcoach)
Russian Pointe Brand are running classes for all levels on their instagram, including flexibility and pilates classes. (Insta: @russianpointebrand)
Q&As/Masterclasses
Beyond the Boards is a new theatre podcast which is holding weekly Q&As with performers about their advice for thriving and surviving during lockdown. Previous guests have included Arun Blair-Mangat, Richard Carson and Genesis Lynea. (Insta: @beyondtheboardspod)
SingEasy have launched the SingEasy Diaries where they chats to special guests each Monday, Wednesday and Friday at 8pm. Guests include Jodie Steele, Amy Hart and Jai McDowall. (Insta: @singeasywestend)
London Theatre Direct are hosting Q&As, takeovers, bake-alongs and more, with stars of the West End in their Stagey Lockdown. (Instagram: @londontheatredirect)
The Showbiz Clinic run by dancer and choreographer Xena Gusthart is currently doing a series called Pivot Through a Pandemic which is £5 a session and takes place Monday's at 10am. There are also free one to one's available as well as live instagram Q&As. (Insta: @theshowbizclinic)
Stage One have begun a series on online webinars with industry professionals. They take place on Zoom and participants have the chance to ask questions as well as hear stories and advice. (Insta: @stageonenewprod)
There are so many more classes than this but these are just some of the ones on my radar. If you know of anymore, please let me know and I’ll keep this list as updated and comprehensive as possible.
Stay safe and stay stagey!
Olivia x
Thursday 12 March 2020
Identity, Turbine Theatre | Review
Identity
Turbine Theatre
Reviewed on Wednesday 11th March 2020 by Olivia Mitchell
★★★★
Described as a "controversial and captivating masterpiece", Identity endeavours to showcase "society's negative perceptions" and highlight that being true to yourself and owning your insecurities is a way to thrive. With the constant pressures perpetually hurled at us via social media, as well as those around us, it's always important to be reminded that we're not alone in our struggles. This show certainly does that, and it's exciting and innovative in its approach.
Caitlin Elizabeth Taylor opens the piece by battling with a Polaroid camera, continually reaching and then drawing herself away from it. It's from this moment that her battle between hiding and owning her identity begins. Having composed some of the music and spoken word, it's clear from Caitlin's fierce performance that this piece is special to her. She boldly throws herself around and strikes a great balance between aggressive stress and introspective peace.
Whilst Caitlin does an excellent job of leading the show, it's during the ensemble (made up of Callum Sterling, Tinovimbanashe Sibanda, Marina Climent and Luke Cartwright) moments when it really comes to life. The interpretive and super sharp dance numbers are effective and emotive, even if they are a little aloof at times. Visually the way they pulse and leap around stage is exciting, but the use of sound adds another layer. It isn't just the movement that's synchronised but every breath feels as though it's coming from one entity. Equally, this unison makes the moments where the ensemble fall out, even more effective. Christopher Tendai has done a great job of incorporating contemporary dance, with Afro beats to create something which looks and feels stirring.
As well as Caitlin's music, the motion is also accompanied by the incredibly soulful sounds of Sam.G (aka Shekinah Mcfarlane). Her beautifully expressive music is evocative by itself, but when combined with the choreography, a really strong narrative is created.
Over an hour, we are taken on a journey of discovery. This piece finds a solid middle-ground between in your face expression and pared back simplicity. This is in part, thanks to Charlotte McAdam's lighting which is effective throughout; especially during striking strobe light moments where Caitlin's character contorts against the black backdrop.
Thanks to the killer cast and evident love for the work which is engrained in every moment, this is a great show to experience purely to start up a new conversation about being you. A very promising production, Identity is sure to fire up anyone who watches it and would be a great piece to showcase in schools as a subtle reminder to be a little kinder.
Thursday 5 March 2020
The Last Five Years, Southwark Playhouse | Review
The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell
★★★★
Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.
This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story.
Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.
As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey.
Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.
With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.
The Last Five Years plays at the Southwark Playhouse until 28th March
photo credit: Pamela Raith
Thursday 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
Monday 24 February 2020
Zorro, Cadogan Hall | Review
Zorro
Cadogan Hall
Reviewed on Sunday 23rd February 2020 by Olivia Mitchell
★★★★
Fiery, Latin, wacky, soulful and brilliant, Zorro made a triumphant return to London last night, 12 years after its West End premiere. The story of Diego De La Vega who becomes the illusive Fox aka Zorro, to save his town from the tyrannical reign of his childhood friend Ramon, is the classic good vs evil that can't help but invest you with its sincerity and heart of gold. Add to this a score by the Gipsy Kings and a fantastic cast and you've got a great night on your hands.
The plot is wafer thin but in this concert setting, we really had the chance to go beyond that to focus on the fantastic Spanish music and the wonderful characterisation from the whole cast. Even in a full setting, I would imagine that the self-awareness of this show, means you can pretty much overlook the plot faults and just enjoy it for what it is- a heap of fun! There are many 'deep' moments peppered throughout the production, but they're equally balanced with camp humour and wit which lighten the tone and allow us to go on a pretty much carefree journey.
Ricardo Afonso was incredibly convincing and powerful as Zorro/Diego, giving a completely marvellous vocal performance and enrapturing the audience of Cadogan Hall. Delightfully tongue in cheek, with a great balance of sincerity, swagger and playfulness, there's not much more you could ask for from the debonair hero. In great contrast, Robert Tripolino was truly evil as the rapacious ruler Ramon and completely commanded the stage in every moment. Zubin Varla and Jo Parsons, gave solid performances and it's just a shame we didn't get the chance to see and hear more from them.
The love interest Luisa was performed with tenderness by Emma Williams, who revived her West End role and showcased her vocal dexterity, namely in her touching rendition of The Man Behind the Mask.
Also reviving her (Olivier Award Winning) role, was Lesli Margherita who deservedly garnered much applause as the vivacious, smouldering gypsy Inez. Lesli's rendition of Bamboleo will be a memorable moment for everyone at Cadogan Hall and we can only hope she'll be back on London soil soon!
Under the baton of Freddie Tapner, the LMTO orchestra brought vibrant energy to the Hall, with exceptional guitar and percussion woven throughout the entire score. The foot stomping music was fully realised thanks to Paul Smith's sound design which was wonderfully balanced and showcased every single performer and musician brilliantly.
Entertaining and enthusiastic, Zorro was a perfect way to spend a Sunday. Hopefully the rapturous reception is enough to bring this musical back to London very soon. Viva el Zorro!
photo credit: Darren Bell
photo credit: Darren Bell
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