Posts with the label musical theatre
Showing posts with label musical theatre. Show all posts
Showing posts with label musical theatre. Show all posts
Wednesday 29 August 2018
Bat Out of Hell Sing-along, Dominion Theatre
Bat Out of Hell | Sing-along
Dominion Theatre
Reviewed on Tuesday 28th August 2018 by Olivia Mitchell
★★★★★
I'm going to start this post by saying it's not really going to be a review but more of a babbling-praise-fest for the amazing team at Bat Out of Hell and the fantastic sense of community they have created over their various runs.
It's no secret that I wasn't the biggest Bat fan when I first saw it at the Coliseum, but since then, something has changed and I just can't get enough of the show. Sure, the story is lacking but the performances and intricacies of every element just make it a complete extravaganza for all the senses and you can't help but feel energised and elated every time you see it. I certainly don't think the show is everyone's cup of tea, but if you go into it ready to be shocked, wowed and dazzled, then there's not much that can go wrong.
I've raved about them on twitter and praised them vastly in my previous posts about the show, but last night's sing-along just brought to light again, the incredible talents of the entire Bat cast. Whilst not everyone in the audience was singing along (the lady next to us told us to stop, so we just sang LOUDER) those that were, were giving it their all just like the cast do every night (minus all the dancing, quick changes and acting they do on top). My friends and I were going pretty full out in our sing-along "performances" but were giving no where near the energy and precision the cast provide night after night and we were still exhausted. This just highlights further the immense talent and stamina of the cast who perform night after night, giving it 150%; I truly believe you'd be hard-pressed to find a more well-rounded, powerful cast in the West End.
The sing-along itself was a wonderful thing to be a part of; I've been trying (and failing) to be a bit subtle about my adoration for Bat but last night I fully embraced the love and fangirling. With a small screen above the stage and a couple of others dotted round the theatre displaying lyrics, it was clearly shown which songs the audience were invited to sing along to. Much of the audience seemed to come out of their shells and start belting for their lives in Act 2, with Objects In The Rearview Mirror and I Would Do Anything For Love being clear audience/fan favourites. The microphones being turned up also meant that none of the cast's vocals were missed and we were still able to bask in the beauty of their voices. These sing-along performances not only give fans a chance to live their best lives, singing along whilst hearing their favourite songs live, but also puts the message out clearly that the normal shows are not for people to sing at. When you pay for a ticket to the theatre, you want to hear the performers sing, not someone next to you, so these special performances provide the perfect outlet and are a happy medium for everyone.
The Bat community are a wonderful family, that's for sure. I have only recently gotten into the show but have been welcomed in with open arms and have experienced the kindness and generosity of the fans several times already. The fans support not only the cast and show itself, but each other. A number of people at the singalong had met through the show and bonded over their love for it, so to see and hear them celebrate that was truly magical to be a part of. I expect the future singalongs and the upcoming last show of Patrick Sullivan and Andrew Polec will continue to highlight the fantastically dedicated community and show how music and theatre can really bring people together.
I'm aware this post really has very little content and is just me putting my post-show Bat thoughts out into the world but I felt I had to write something because the sing-along has made me feel so energised, inspired and content. The generosity of the cast with both their talent and time is fantastically motivational to see. I personally find stage-dooring very awkward but find myself drawn to it at Bat, purely to gush at the cast about how amazing they are. Despite having been rehearsing all day, performing a show a preparing for a double show day, the cast members who came out were so gracious and giving of their time. It's been discussed many times before that casts don't owe coming out and chatting/signing to any audience members, but it is great when a cast so clearly appreciate the people who support them and their show.
If you get the chance to see a normal show or a sing-along, you should grab it with open arms. If you haven't seen Bat Out of Hell before, go into it with an open mind and I am sure you'll leave feeling elated. If you have seen it before, then you know what to expect and can just relish in the pure spectacle of it all!
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
I am a mixture of larynx pain and adrenaline but couldn't be happier to have been a part of this exhilarating and special show... can I say I've played Raven now I've belted out It's All Coming Back to Me Now at the Dominion!?
Further Bat Out of Hell sing-along performances are taking place on September 25th, October 31st, November 27th and December 31st and the show is booking until January 5th.
Sunday 26 August 2018
Flashdance, Grand Opera House, Belfast (UK Tour) | Review
Flashdance (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 22nd August 2018 by Damien Murray
★★★★
Book-ended by its ever popular signature song, this was a fantastic feel-good show for people who remember the popular film with its memorable big hit songs or for those who just want an entertaining night of light-hearted escapism (which, judging by public reaction, was 99% of the audience).
Although there were some dramatic moments, this rather shallow and cliché-ridden story was never going to be a platform for displaying acting skills but simply a dance-based showcase for fancy footwork and ridiculously high-energy routines that made me exhausted just watching them.
When you know not to have high dramatic expectations, then you will not be disappointed, but you will be guaranteed to be blown away by this show’s series of storming dance routines for, as a dance-based piece, it proved to be every bit as energetic as one would have expected.
Going back in time to the era of baggy blue jeans, shell suits, work-out outfits, neon leg-warmers and equally bright head-bands, it all began with the mundane and relatively colourless world of welders contrasting in so many ways with the, sometimes sleazy, but always dazzling one of the dancers with Matt Cole’s spectacular and varied routines being so well realised by the extremely fit cast and even including choreographed cyclists at one point.
For those who don’t know the story, it is basically about a tom-boyish welder, Alex (Joanne Clifton), with dreams of training to be a professional dancer at an elite dance academy and her relationship with her well-meaning and influential boyfriend, Nick (Ben Adams), who is also her boss.
The sub-plot centres on another relationship – that of her down-on-her-luck dancing friend, Gloria (Hollie-Ann Lowe) and her wannabe, but unsuccessful, comedian boyfriend, Jimmy (Colin Kiyani).
Surrounded by the symbolic brick and metal stage frame, the dual level set may have looked cumbersome at times, but it was very cleverly designed to be both mobile, functional and versatile, using its many steps, projection screens and positioning points to become everything from a ballet studio to a run-down bar and from a work canteen to a nightclub.
I particularly liked the unusual angular performance space that it created at times and the performance space height variations that it allowed and, common to a lot of shows nowadays, I thought the use of the cast moving the props and set worked well for slick and distraction-free scene changes.
Andrew Ellis’ lighting plot was varied (often pulsating to the music) but was also subtle during the more dramatic scenes and very effective at key moments, while the blue and red neon lighting helped to establish the era of the piece.
With such a poor script, director, Hannah Chissick, must have had a difficult job inspiring her cast in the non-dancing parts of the show, but she did capture the frustrating reality of the audition process.
Strictly Come Dancing champion, Joanne Clifton, was a natural on stage as she took the demanding challenges of the dance routines in her stride; totally nailing the films two iconic moments (the chair-drenching Act 1 finale and the Academy audition routine), and, surprisingly for some, coping well with her acting and singing roles.
In many ways, this piece gave former A1 star, Ben Adams, very little to do, as – not being involved in the dance scenes - he had to rely on a few acting moments to show his skills.
I felt he was very much under-used, but, thankfully, as a more romantic character, he did get to use his impressive vocals to good effect, especially in his duets with Clifton.
Both Hollie-Ann Lowe and Colin Kiyani impressed here as the less successful couple, with Lowe capturing her character’s frustration about her general bad luck and life with her failed comedian boyfriend; a role that Kiyani made his own as he realised their relationship was more important than his dreamed about comic career.
Also worthy of mention were Demmileigh Foster as dancer, Tess, who was excellent throughout with great stage presence and top dancing skills, and Carol Ball’s Hannah; a Grand Dame of dance who lives in the past reminiscing about the successes of her glory days with unrealistic hopes for more.
Musical Director, George Carter’s 5-piece band offered solid backing throughout with musical highlights including: the song of dreams and hopes, It’s All In Reach; the female ensemble showing the first signs of what was to come in terms of manic movement during Maniac; the comic routine, Put It Down; the male choral work of Justice; the energetic and almost acrobatic version of I Love Rock And Roll; the duets, Here And Now and Hang On; the Act 1 finale reprise of Maniac; and Where We Belong, which sounded like it was written and performed by Dean Friedman .
Some additional songs for the stage version worked better than others, but it was always going to be difficult to match the quality of the show’s big well-known hit songs.
Finally, What A Feeling at the end of the show was well worth the long wait to see the iconic audition piece recreated, before a long curtain call and an all-dancing finale which gave everyone a chance to throw some serious moves centre stage (even Ben Adams).
It must be said that these dancers worked harder in the finale than most performers do in an entire show … never mind What A Feeling … What A Dance Show … you would be a Maniac to miss it!
Flashdance runs at the Grand Opera House, Belfast until 25th August
On The Town (Prom 57), Royal Albert Hall | Review
Prom 57: On The Town (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 25th August 2018 by Olivia Mitchell
★★★★
What better way to celebrate what would have been Bernstein's 100th birthday, than at the Royal Albert Hall with a glorious performance of On The Town?! Written in 1944 with Adolph Green, Jerome Robbins and Betty Comden, this show is a light-hearted look at love which takes place over 24 hours in New York and is accompanied by beautifully woven music.
The plot follows three sailors who are in the Big Apple for one day only. Their time soon becomes commanded by some humourous, strong, powerful women who provide a larger than life experience. Each character is memorable and brilliantly performed by the stellar cast which celebrates some of the best the West End theatre scene has to offer.
Each cast member came at their roles with vigour and embraced both the humour and more nuanced moments, fantastically. Whilst the humour is repetitive at times, it was very well pulled off, with well timed motifs remaining humourous instead of grating, especially the entrances of Pitkin (Barnaby Rea) whilst his fiancé Claire (Celinde Schoenmaker) and Ozzie (Nadim Naaman) were getting closer and closer.
Nathaniel Hackmann's smooth vocals were especially striking as the lovestruck Gabey, whilst Siena Kelly was perfectly flirty and humourous as Miss Turnstiles, Ivy Smith. Claire Moore was equally witty as drunken singing teacher, Madame Dilly, and earned several laughs from the audience.
Whilst the entire leading cast were extremely strong, it was Come Up To My Place, a back-and-forth duet by Hildy (Louise Dearman) and Chip (Fra Fee) which provided the most memorable scene of the night.
This very simplistic concert, whilst beautifully staged by Martin Duncan, with basic projections and innovative prop usage, really just highlighted how stunning the score of On The Town is. The music has wit and sharpness embedded in it which brings the story to life without a need for dramatic sets and scene changes.
John Wilson brought the vivid score to life, conducting the London Symphony Orchestra with energy and bringing out flawless sounds. The varied musical sections showcased the adaptability and versatility of the orchestra and really evoked feelings of the golden age.
The full-house of the Royal Albert Hall were treated to a truly spectacular performance which you would be a fool to miss on BBC catch up! Full of joy and life, watching On The Town was a joyous experience.
photo credit: Mark Allan
Friday 17 August 2018
Spring Awakening, Stockwell Playhouse | Review
Spring Awakening
Stockwell Playhouse
Reviewed on Thursday 16th August 2018 by Olivia Mitchell
★★★★★
I would hazard a guess that there aren't many musical theatre fans of my age that didn't go through a Spring Awakening phase. For me it went a little like this: watched the Glee pilot episode, became obsessed with Lea Michele, watched everything related to her entire career, found the bootleg of Spring Awakening, watched said bootleg obsessively, downloaded the cast recording, sung Mama Who Bore Me on an endless loop and never looked back. For someone who went through the phase hard, it's surprising that despite a number of revivals in the past few years, I'd never seen an actual production of the show so when the opportunity arose to see the British Theatre Academy's (BTA) production, I couldn't resist.
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
Tuesday 14 August 2018
Little Shop of Horrors, Regent's Park Open Air Theatre | Review
Little Shop of Horrors
Regent's Park Open Air Theatre
Reviewed on Monday 13th August 2018 by Olivia Mitchell
★★★★
Productions at the Regent's Park Open Air Theatre are basically a summer rite of passage. The beautiful outdoor space is the perfect place to watch brilliant theatre as the sun sets over you and (as long as it's not raining) provides a perfect summer evening. Currently on offer at the venue is a re-worked version of the 1982 plant-horror (?) musical, Little Shop of Horrors.
This story of a monster plant is crazy anyway so has the tendency to turn tacky very easily, but Director, Maria Aberg embraces the weirdness with open arms and pulls of a gloriously cheesy but worth-the-ticket-price production.
As the charming, plant loving, Audrey admiring, Seymour, Marc Antolin is fantastic. He brings a real warmth to the character as well as providing sweet, smooth vocals and working well alongside Jemima Rooper as Audrey.
The Greek Chorus made up of Christina Modestou, Renée Lamb and Seyi Omooba bring a sense of realism to the show (well, as real as you can get with a man-eating, talking plant) and provide killer vocals. The trio are absolutely outstanding, commanding the stage and making all their moments on stage shine, especially the note-perfect rendition of The Meek Shall Inherit.
In an inspired piece of cast, the plant, Audrey II is played by drag queen, Vicky Vox who gives a sassy, fiery performance and brings a fresh layer to the show which makes it feel new all of a sudden.
Mention must also go to Matt Willis as Orin (among other characters) who gives a humourously versatile and sadistic performance.
Tom Scutt's bleak Skid Row set is in perfect contrast to the lush surroundings of Regent's Park and also helps heighten the pops of green and pink on stage. The costumes are camp and wonderful, especially at the end when the entire cast and ensemble are serving looks.
This production is big, bold and wonderful. Humour, prime vocals and a crazy story make this the most enjoyable way to spend an evening. Tickets are limited but if you can find a way to get to Skid Row, you won't be disappointed!
Little Shop of Horrors runs at the Regent's Park Open Air Theatre until September 22nd
photo credit: Johan Persson
This story of a monster plant is crazy anyway so has the tendency to turn tacky very easily, but Director, Maria Aberg embraces the weirdness with open arms and pulls of a gloriously cheesy but worth-the-ticket-price production.
As the charming, plant loving, Audrey admiring, Seymour, Marc Antolin is fantastic. He brings a real warmth to the character as well as providing sweet, smooth vocals and working well alongside Jemima Rooper as Audrey.
The Greek Chorus made up of Christina Modestou, Renée Lamb and Seyi Omooba bring a sense of realism to the show (well, as real as you can get with a man-eating, talking plant) and provide killer vocals. The trio are absolutely outstanding, commanding the stage and making all their moments on stage shine, especially the note-perfect rendition of The Meek Shall Inherit.
In an inspired piece of cast, the plant, Audrey II is played by drag queen, Vicky Vox who gives a sassy, fiery performance and brings a fresh layer to the show which makes it feel new all of a sudden.
Mention must also go to Matt Willis as Orin (among other characters) who gives a humourously versatile and sadistic performance.
Tom Scutt's bleak Skid Row set is in perfect contrast to the lush surroundings of Regent's Park and also helps heighten the pops of green and pink on stage. The costumes are camp and wonderful, especially at the end when the entire cast and ensemble are serving looks.
This production is big, bold and wonderful. Humour, prime vocals and a crazy story make this the most enjoyable way to spend an evening. Tickets are limited but if you can find a way to get to Skid Row, you won't be disappointed!
Little Shop of Horrors runs at the Regent's Park Open Air Theatre until September 22nd
photo credit: Johan Persson
Monday 13 August 2018
West Side Story (Prom 39), Royal Albert Hall | Review
Prom 39: West Side Story (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 11th August 2018 by Olivia Mitchell
★★★★
At 61 years old, West Side Story remains one of the most well-loved and socially relevant musicals. Following the rivalry between the Jets and the Sharks and a forbidden love between Maria and Tony, it's a beautiful and heartbreaking story about the strength of love. The score was performed by a wonderful cast and the outstanding John Wilson Orchestra, but the omission of the majority of the text did dim the impact slightly. Following the narrative was a little difficult and some of the key characters were sidelined without their text but it was still a stunning performance.
The concert provided a reminder of the phenomenal way Bernstein contrasts musical styles and completely makes his own rules as he combines classical and contemporary music with exceptional effect. Tricky time signatures, scotch-snap rhythms, syncopation and chromatic notes are just some aspects which were played so wonderfully by the John Wilson Orchestra which Wilson conducted himself. The intensity and passion which they played with transferred to the audience and created some magical moments.
Our leads, Tony and Maria were played by the exceptionally talented Ross Lekites and Mikaela Bennett. Mikaela portrayed Maria's excited, fresh love with humour and warmth before bringing her heartbreak to life with honest pain. She was also vocally stunning with her pure operatic sound providing power which drew you to the character and worked wonderfully alongside Lekites' smooth, strong voice that flowed with flawless abandon.
Louise Alder performed Somewhere in a hauntingly beautiful way and was a certain highlight of the night. Eden Espinosa was vocally and physically fiery as Anita and gave a truly memorable performance of America alongside the vocally stunning Emma Kingston. Leo Roberts' Riff was notably strong, especially during his performance of Cool.
The concert provided a reminder of the phenomenal way Bernstein contrasts musical styles and completely makes his own rules as he combines classical and contemporary music with exceptional effect. Tricky time signatures, scotch-snap rhythms, syncopation and chromatic notes are just some aspects which were played so wonderfully by the John Wilson Orchestra which Wilson conducted himself. The intensity and passion which they played with transferred to the audience and created some magical moments.
Our leads, Tony and Maria were played by the exceptionally talented Ross Lekites and Mikaela Bennett. Mikaela portrayed Maria's excited, fresh love with humour and warmth before bringing her heartbreak to life with honest pain. She was also vocally stunning with her pure operatic sound providing power which drew you to the character and worked wonderfully alongside Lekites' smooth, strong voice that flowed with flawless abandon.
Louise Alder performed Somewhere in a hauntingly beautiful way and was a certain highlight of the night. Eden Espinosa was vocally and physically fiery as Anita and gave a truly memorable performance of America alongside the vocally stunning Emma Kingston. Leo Roberts' Riff was notably strong, especially during his performance of Cool.
The ensemble brought the two gangs to life, with Alistair Brammer, Jocasta Almgill and Michael Coulbourne standing out. The ArtsEd ensemble and Mountview choir added extra oomph, especially during their brief interactions with the performers on stage.
From the rapturous applause it was clear that Bernstein's score, performed by a stellar cast is a surefire way to entertain an audience. West Side Story is a beauty and it was truly glorious to see it performed in this well-rounded Proms version.
The BBC Proms continue until 8th September 2018
photo credit: Chris Christodolou
photo credit: Chris Christodolou
Friday 3 August 2018
Broken Wings, Theatre Royal Haymarket | Review
Broken Wings
Theatre Royal Haymarket
Reviewed on Thursday 2nd August 2018 by Olivia Mitchell
★★★
Broken Wings, the new musical based on Kahlil Gibran's bestselling poetic novel has taken over the Theatre Royal Haymarket for a limited run. It provides a swooping romance, combines Middle Eastern melodies with musical theatre influences and showcases some of the finest voices in the West End.
After a stunning orchestral prologue, the audience are thrown into the life of writer, Kahlil Gibran and his fated romance with kind hearted and beautiful Selma Karamy. The story is touching, if fairly cliched. We know from the start that the couple aren't going to have a happy ending but we still feel the emotion as they are consistently dragged apart from one another as Selma, a woman with very few rights, is destined to marry the bishop's nephew.
Personally, Joe Davison's orchestration is the star of the show. The beautifully flowing, virtuosic music evokes feelings of hot summer nights and all-encompassing romance and brings the emotion to life.
Unfortunately, I didn't feel that the lyrics had the same effect; over-dramatic phrases and simile's used on mass feel cheesy and somewhat simplistic. Instead of highlighting something which may not have been clear to the audience, they simply highlight the clear thoughts and emotions so didn't add to the intensity of the story. Of course, they are based on the original poetry the transition has not been fully successful.
The cast performing the songs however are outstanding both acting wise and vocally. As our narrator and older Khalil, Nadim Naaman is suitably brooding, whilst his younger counterpart, Rob Houchen shows a stunning transition from childish glee and positivity to a heartbroken man. Nikita Johal is vulnerable but strong as Selma and provides some moments of vocal brilliance, especially in act 2. Another stand out is Soophia Foroughi as Mother; Soophia brings a rich, emotion filled vocal to the show and leads the rousing closing number with skill and power. Nadeem Crowe also gives a humourous and memorable performance as Khalil's best friend, Karim Bawwab.
There's definitely an audience for Broken Wings and I certainly believe that after some lyrical changes it could have a much longer life in the West End. For stellar performances and outstanding orchestrations, get yourself along to the Theatre Royal Haymarket... if you can get a ticket!
photo credit: Marc Brenner
Broken Wings, the new musical based on Kahlil Gibran's bestselling poetic novel has taken over the Theatre Royal Haymarket for a limited run. It provides a swooping romance, combines Middle Eastern melodies with musical theatre influences and showcases some of the finest voices in the West End.
After a stunning orchestral prologue, the audience are thrown into the life of writer, Kahlil Gibran and his fated romance with kind hearted and beautiful Selma Karamy. The story is touching, if fairly cliched. We know from the start that the couple aren't going to have a happy ending but we still feel the emotion as they are consistently dragged apart from one another as Selma, a woman with very few rights, is destined to marry the bishop's nephew.
Personally, Joe Davison's orchestration is the star of the show. The beautifully flowing, virtuosic music evokes feelings of hot summer nights and all-encompassing romance and brings the emotion to life.
Unfortunately, I didn't feel that the lyrics had the same effect; over-dramatic phrases and simile's used on mass feel cheesy and somewhat simplistic. Instead of highlighting something which may not have been clear to the audience, they simply highlight the clear thoughts and emotions so didn't add to the intensity of the story. Of course, they are based on the original poetry the transition has not been fully successful.
The cast performing the songs however are outstanding both acting wise and vocally. As our narrator and older Khalil, Nadim Naaman is suitably brooding, whilst his younger counterpart, Rob Houchen shows a stunning transition from childish glee and positivity to a heartbroken man. Nikita Johal is vulnerable but strong as Selma and provides some moments of vocal brilliance, especially in act 2. Another stand out is Soophia Foroughi as Mother; Soophia brings a rich, emotion filled vocal to the show and leads the rousing closing number with skill and power. Nadeem Crowe also gives a humourous and memorable performance as Khalil's best friend, Karim Bawwab.
There's definitely an audience for Broken Wings and I certainly believe that after some lyrical changes it could have a much longer life in the West End. For stellar performances and outstanding orchestrations, get yourself along to the Theatre Royal Haymarket... if you can get a ticket!
photo credit: Marc Brenner
Friday 27 July 2018
Fame the Musical (UK Tour), Manchester Palace Theatre | Review
Manchester Palace Theatre
Reviewed on Thursday 26th July 2018 by Roni Hughes
★★★★
Most will be familiar with one of the many iterations of the Fame franchise, be it one of the many television adaptations, the 2009 reboot film, or even simply Irene Cara’s catchy song of the same name. Originated by David De Silva with the 1980 film from Alan Parker which netted two Academy Awards and a Golden Globe, the idea sparked many spin offs, before opening as a stage musical in 1988 in Miami. The last professional production in the UK was for the 25th anniversary tour ending in 2014, and as the latest UK tour kicks off in Manchester, there is a real buzz around this classic.
Telling the tale of the New York High School for the Performing Arts and its students, the show does everything it says on the tin. It’s vibrant, sassy, fierce, and with just enough backstory for each character to allow the audience to emotionally invest in them. In an interesting move, the staging itself is kept simple, with the occasional dance barre and mirror or set of lockers, but is wonderfully complimented by the busy backdrop of ‘character’ headshots set out as a yearbook. It provides a nice nostalgic touch, and reminds us that we have been transported back to the early 80’s.
This tour features an exciting cast, headed up by former Hollyoaks actress and Dancing on Ice contestant Jorgie Porter in the role of top dance student Iris. For her first musical, Porter’s performance was lovely, and you cannot fault her beautiful ballet steps and dance sequences with love interest Tyrone, played by Jamal Kane Crawford. Iris, however, is very much a secondary character in Tyrone’s story, and, whilst not the fault of the performer, was slightly too overlooked for us to fully embrace Porter as a musical theatre actress. Crawford, however, gives a stunning insight in to what it means as a young man to be illiterate, which is emotional, yet mixed with light hearted and genuinely funny moments that makes Tyrone so relatable to today’s audiences.
Having a young and energetic cast is a breath of fresh air, and the energy was consistent and electric throughout the entire show. The choreography is slick and strong, however at times it feels a little too ambitious, and a few cast members are noticeably fighting to keep up. This doesnt detract too much from the overall fun, and the buzz is still tangible long in to the finale.
The stand out performance of the show must go to Stephanie Rojas as fiery Latina, Carmen. Her voice is second to none, with her buttery–toned riffs making it look easy. Her rendition of There She Goes/Fame is flawless, show-stopping, and leaves the audience begging for more. Notable mention too to the powerhouse that is Mica Paris for her phenomenal performance as home room teacher Miss Sherman, in particular her solo number These Are My Children. Never before have I witnessed a cast member receive a standing ovation mid-show, but my god was it deserved.
Overall, Fame is still the thrilling, joyous, slightly melodramatic story we’ve all come to know. The music is beautifully contrasted with love songs and ballads to full out dance numbers, and the audience is never bored. This is definitely one to catch for an entertaining night out that will leave you singing that song for days afterwards.
Fame runs at the Manchester Palace Theatre until 28th July before heading to the Kings Theatre Glasgow and then continuing it's tour.
photo credit: Tristram Kenton
In Conversation With... Ian Stroughair aka Velma Celli | Interview
Ian Stroughair aka Velma Celli has the voice of an angel, is as hilarious as they come and truly knows how to put on a show. After seeing Velma Celli's West End Christmas I was completely overwhelmed and have since been following Ian's career (and life) on twitter. His latest venture is Iconic- A History of Drag which will be playing at the Edinburgh fringe...
How did Velma Celli come about?
Well, I have always been a singer much to my siblings annoyance. At age 14 I auditioned for a new musical called ‘Kes’ at The York, Theatre Royal. It was a professional show which needed an ensemble of kids. Much to my surprise I was cast. It was my first time on stage. I joined a Ballet school in York just before my sixteenth birthday. 3 months later my Ballet teacher sent me for an audition for a Theatre School. I got in and started that summer.
After 2.5 years I was out into the world and working as a singer/dancer/actor. I have appeared in West End and musical productions of Cats, Fame, Chicago, Rent and also appeared on Eastenders as myself…. I know, CAMP!!!!
When I was in Chicago I was asked out for an evening of drinks by the “girls" In La Cage and Priscilla. I bought a dress and some makeup and dragged myself up and out of stage door and met them in Madame Jojo’s. Apparently I ended up on stage belting out some queen and dropping into the splits. I can’t remember this, #gin! When I was leaving the manager asked me back the following week and I have never looked back!
You've had a very varied career, what's your favourite part of performing as Velma and creating your own show?
The freedom. When you are in a West End musical it's very strict. You are directed to give the same show every night and there is little room for your own creativity and interpretation. Velma is mine and she can do whatever she wants. Sing whatever songs she like. It’s very freeing!
You're taking your show, Iconic- A Brief History of Drag to Edinburgh. What can people expect from the show?
Iconic - A Brief History of Drag is a journey through my most favourite moments in drag history, whether it be music, pop culture, film or theatre it's those Iconic unforgettable drag events that inspired me to do drag and cultivate me into the queen I am now. They can expect to laugh (a lot) cry (a bit) and learn a bit about drag, things that people may not know. The past hero’s. A blooming good night if anything else!
Can you sum up A Brief History of Drag in 5 words?
Heartfelt, funny, camp, belt and emotional
You have a stunning voice. How do you keep it strong and healthy whilst facing the strains of touring?
Thank you. Lost of water and vocal rest. Healthy food!
If you could go back to any era, when would you go to and why?
I would have to say the 1960’s. I believe I am quite the hippy!
What's your number one piece of advice for aspiring performers who would like to carve their own, unique career?
WORK HARD. Work harder then repeat. This business is not for the faint hearted. It’s tough at times and the competition is high so armour yourselves with as much knowledge and learn as many skills as possible. Bring something to the party too. The odds of getting cast are extremely slim so I encourage all my students to write their own material and / or shows.
Thank you to the incomparable Ian Stroughair/Velma Celli for your amazing advice and story. Iconic- A Brief History of Drag will be at the Edinburgh Fringe from the 1st-26th August, at Assembly Checkpoint.
Interview by Editor, Olivia Mitchell
Thursday 26 July 2018
Theatrical, Maggie Harcourt (Book) | Things I Read Whilst Writing
A bit of a different post for you today, as you know I love theatre and books so when I heard about Maggie Harcourt's newest book release, Theatrical which is all about the stage, I was very excited to get my hands on it!
Maggie did a huge amount of research for this book, not only on shows but also a lot about what goes on behind the scenes as our lead character, Hope, is working as an intern backstage. This book is all things adorable and you can read my full review here, but without further ado lets set the stage for Maggie Harcourt's deep-dive into the DNA of Theatrical...
Maggie Harcourt: One of the best things about writing Theatrical was getting the chance to spend time completely immersed in the theatre world: not just writing about it but thinking about it, reading about it – and, of course, visiting it!
Here’s my deep-dive list of everything that went on behind the scenes. Not everything is obviously part of the world of the finished book, but it’s still part of the story…
Things I read:
- All About Theatre: the National Theatre
- Unseen London (especially the ‘backstage’ section): Mark Daly and Peter Dazeley
- London Theatres: Michael Coveney, Peter Dazeley and Mark Rylance
- Stage Management – The Essential Handbook: Gail Pallin
- Stage Management and Theatre Administration: Pauline Menear, Amanda Saunders and Terry Hawkins
- Untold Stories: Alan Bennett
- Simon Stephens – A Working Diary: Simon Stephens
- The Oberon Glossary of Theatrical Terms: Colin Winslow
- Harry Potter and the Cursed Child (black cover) souvenir brochure, which is full of detail about putting a big show together.
I also read a lot of plays: not only for research, but because I was also taking a theatre writing class, and because I just enjoy reading them. Here’s a few of my favourites, which I know I was reading at the same time as writing the book. A couple of them make cameo appearances in Theatrical as Luke’s scripts or as things Hope has seen…
- Rope: Patrick Hamilton
- The History Boys: Alan Bennett
- And Then Come the Nightjars: Bea Roberts
- The Ferryman: Jez Butterworth
- Misterman: Enda Walsh
- The Hairy Ape: Eugene O’Neill
- The Dazzle: Richard Greenberg
- Sea Wall: Simon Stephens
- The Habit of Art: Alan Bennett
- Ink: James Graham
- Harry Potter and the Cursed Child: JK Rowling, John Tiffany and Jack Thorne
Like Hope, I also read The Stage, which is the weekly theatre trade paper– especially the technical columns, and particularly Jess Gow’s stage management columns. And Usborne’s Slot Together Theatre was an invaluable tool for helping me picture the Earl’s Theatre!
I hope you enjoyed this amazing peek at all the research Maggie did for Theatrical, I know I'll definitely be picking up some of the books to fulfil my thirst for all things stagey. Theatrical is out now, more information can be found here and my full review can be read here.
This review for Theatrical is a part of the official blog tour, be sure to check out the other blog stops for more reviews, personal stories and guest posts from Maggie.
Post by Editor, Olivia Mitchell
I hope you enjoyed this amazing peek at all the research Maggie did for Theatrical, I know I'll definitely be picking up some of the books to fulfil my thirst for all things stagey. Theatrical is out now, more information can be found here and my full review can be read here.
This review for Theatrical is a part of the official blog tour, be sure to check out the other blog stops for more reviews, personal stories and guest posts from Maggie.
Post by Editor, Olivia Mitchell
Theatrical, Maggie Harcourt (Book) | Review
Theatrical by Maggie Harcourt
Published: 28th June 2018 by Usborne Publishing ltd
★★★★
Unless you've stumbled across this blog by an unexpected twister of fate (10 points if you get that reference) then I'm assuming you love or at least, like, theatre, so you'll more than likely be a fan of the book I'm talking about today: Theatrical.
The latest release from Maggie Harcourt, is Theatrical which takes us behind the scenes of the theatre and transports us to a world of romance and performance.
Our lead character Hope, dreams of working as a stage manager; her mother is a renowned costume designer who could easily get her daughter any job she wants but Hope wants to do it herself. When she lands an internship at the Earl's Theatre working on one of the biggest openings of the year, her secrets begin and she starts a journey she'll never forget. Now the story itself is fairly predictable and typical of contemporary novels but I'm a sucker for a cheesy romance so it's right up my street. What makes this book stand out is the theatre itself. Maggie highlights the world of theatre and makes it the heart of the story, showing the ups, downs and pressures of working on a production, especially one with a huge name attached and a lot of money invested into it! Of course the characters and their stories are crucial but throughout it feels as if the theatre is it's own character.
What I love about theatre is how it brings people together, not only the cast and crew, but audience members who know nothing about one another but are more than happy to launch into full conversations in the interval. There's also the pure magic of theatre when the perfect combination of great acting, stellar lighting, beautiful makeup, costumes and sets and every other aspect of a production come together to truly transport you to another world. As someone who goes to the theatre roughly 1-4 times a week I do find myself falling into a routine of going into London, picking my ticket up, watching the show and rushing home to write my review and I end up forgetting how special theatre is. Maggie has perfectly captured the magic of theatre and I found myself welling up towards the end when her writing reminded me of it and brought to the forefront why I put so much time into seeing as much theatre as I can.
Now back to Theatrical! It's just so cute. The romance between Hope and Luke had me swooning and I really felt as though I was standing alongside Hope and she worked and worked to help get the show open. Hope's determination is inspiration for anyone hoping to get into theatre and she shows us just how much hard work goes on behind the scenes. So much of what makes a great production is the work that's gone on in the rehearsal room which of course an audience never see, so this book is not only a celebration of theatre but of the unsung hero's of the stage.
Theatrical is a brilliant read for any stagey, romance lover. You'll find yourself willing everything to run smoothly with the show and will definitely finish the book with a newfound appreciation for the crew who work tirelessly behind the scenes. If you want a swoon-filled summer read then pick up Theatrical and if you're not already a theatre fan then this might just be the book to make you truly stagey!
Theatrical is available now, more information can be found here.
Maggie gave us an exclusive and very interesting deep dive into her research for this book which can be found here.
Review by Editor, Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 25 July 2018
Madagascar The Musical (UK Tour), New Wimbledon Theatre | Review
Madagascar The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Wednesday 25th July 2018 by Olivia Mitchell
★★★★
On a scorching summer night, the New Wimbledon Theatre played host to the opening of the high-energy, larger than life Madagascar The Musical. Based on the 2005 DreamWorks film of the same name, Madagascar follows a group of animals from the Central Park Zoo who find themselves in The Wild.
Fabian Aloise's choreography is wonderfully modern whilst not being overly cheesy. The children accompanying me especially loved the flossing and it's evident that Fabian know's what the show's target audience want. The cast of humans and 'animals' fill the space brilliantly and create a sense of motion throughout. This movement works hand in hand with Tom Rodgers' sets which are simplistic but vibrant and transition us well from one location to another. Howard Hudson's lighting is warming and especially effective in the more high-intensity group numbers where it feels like a party in the theatre.
The cast are superb; even in the sweltering heat they don't falter and give us intensity and power from start to finish. Medically challenged giraffe, Melman is embodied perfectly by Jamie Lee-Morgan who wanders round the stage in a somber but truly lovable manner whilst Tammika Ramsay as Gloria is sassy and commanding. As the zebra who dreams of escaping the zoo, Antoine Murray-Straughan is humourous and eccentric and his many talents are showcased especially during his brief rap and dance sections.
As the leader of the pack, Alex the lion, Matt Terry is impeccable. From his superb falsetto, riffs and generally beautiful tone, it's clear why he was voted the winner of X-Factor 2016. But, Matt's acting and dance performance is equally as strong as he owns the stage and draws the audience into the story.
Watching the show you completely forget these are not the same characters from the film. The costumes and puppets are so cleverly done that you even forget there are real humans on stage! The ensemble do a stellar job of playing a number of characters and completely transform themselves right in front of our eyes. Mention must also go to Jo Parsons as King Julian who has the audience in the palm of his hand with his epic performance of Move It.
The music of Madagascar is genuinely catchy and it's a show that both adults and children will appreciate and enjoy. If you want some light-hearted fun with a host of crazy characters and stellar performances then Madagascar is the one for you.
Madagascar runs at the New Wimbledon Theatre until July 28th before continuing it's tour.
photo credit: Scott Rylander
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