Posts with the label musical theatre
Showing posts with label musical theatre. Show all posts
Showing posts with label musical theatre. Show all posts
Friday 26 January 2024
Here & Now a Musical by Steps to Debut This Year
UK pop sensation Steps is over the moon to reveal the world premiere of their fresh musical, Here & Now. Set to the beats of their iconic music and featuring an original storyline by Shaun Kitchener, the musical will debut at The Alexandra, Birmingham, running from November 9 to 24, 2024. Produced by Steps and ROYO with Pete Waterman, directed by Rachel Kavanaugh, and choreographed by Olivier Award winner Matt Cole, Here & Now promises a spectacular showcase of Steps' timeless hits.
Casting details are yet to be unveiled, but here's a sneak peek into the musical's plot: Step into the lively aisles of seaside superstore Better Best Bargains on a Friday night, where the atmosphere is electric, and everyone's dancing. However, when Caz discovers that the shelves are filled with deceit, the anticipated Summer of Love turns into a heartbreaking tale. Will they miss their shot at 'happy ever after,' or does love have another twist in store?
Steps members (Claire Richards, Faye Tozer, Ian ‘H’ Watkins, Lee Latchford-Evans, and Lisa Scott-Lee) expressed their excitement about the musical, sharing, “We’ve searched for the perfect story for our music, and we’ve found it in the aisle of a seaside superstore. It’s a story of friendship, romance, and community, packed with our biggest hits. We can’t wait to see you there!”
With 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams, and 11 sold-out national arena tours, Steps is the UK’s most successful mixed-sex pop group. Their chart-toppers like Tragedy/Heartbeat, Stomp, One For Sorrow, Better Best Forgotten, 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, and Chain Reaction will be featured in the musical.
Steps' 2017 comeback tour was a massive success, selling out all 300,000 tickets, and the band has continued to make waves with new music. Their 25th-anniversary celebration included a headline summer tour and the release of the #1 album Platinum Collection, solidifying their status alongside ABBA, Rolling Stones, and Stereophonics as one of the few groups to score #1 albums in four consecutive decades.
Join Steps for a journey filled with laughter, tears, and dance in the aisles.
Thursday 18 January 2024
Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony
Rehab the Musical
Wyndham's Theatre
Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.
The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.
Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.
However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.
The undeniable chemistry between Maiya Quansah-Breed (Lucy Blake) and Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.
Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.
Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.
A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments.
While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.
★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 28 November 2023
Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out
Pretty Woman (Tour)
New Victoria Theatre
A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off!
Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…
The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for.
Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together.
Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly. The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence.
With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.
The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire!
Overall, the lightheartedness of the story and the fantastic talent onstage makes for a perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking!
★★★★★
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
He Sang to Me by Casey Tyler book review: A Delightfully Cheesy Ode to Broadway Romance
Self Published: 3rd October 2023 by Truelove Publishing
Casey Tyler's debut novel, He Sang to Me is a book that unabashedly caters to the delulu girlies, and as a self-proclaimed member of that tribe, I found myself both cringing and grinning through its pages. This 320 page tale, is reminiscent of a sweet and charming fanfic; intertwining the enchanting worlds of Broadway and romance – two of this reader's, favourite things.
The narrative unfolds amidst the hustle and bustle of New York City, and the author's vivid descriptions and location name drops skilfully bring the city to life. As well as this the pages are dotted with stagey references that act like hidden treasures for theatre enthusiasts like myself. The book really evokes the frenetic energy of the theatre district and certainly sparked my desire to hop on a flight back to New York to explore every corner of the city.
He Sang to Me follows Sunday Truelove, an aspiring actress who moves to New York to pursue her dreams. Within moments she wins tickets to the hottest show on Broadway and whilst she's there has a magical encounter with the leading man and famous British actor, Tyler Axel. From here the two enter a fairytale romance and discover whether they're truly meant to be.
Honestly, it's as cheesy as it sounds and I kind of loved it. There are all the classic tropes, from being spotted by paparazzi to caring for the sick partner and in a way it's pretty iconic. On the other hand, it's pretty basic. The characters aren't particularly developed, Sunday has extreme 'not like other girls' energy which is a little grating and the book, at times, tips into self-indulgence and lacks a grounded narrative. Despite the characters being in their late twenties and thirties, their personalities and emotional journeys comes across quite immature and lean towards a younger audience. It's clear that a bit more editing and development could add a layer of realism to their characterisations. Some of the British aspects were also inaccurate and took me out of the world a little but these are definitely things that could be tweaked and edited for future prints. Nevertheless, the book shines in capturing the essence swooping romance and is a sweet stagey story, with some charming moments.
There are elements of the characters that I truly enjoyed such as Sunday's bright eyed optimism and Tyler's love for his family and his craft. I know I would fall for an ex-Fiyero with a killer voice, although in my experience they're never quite as unproblematic as Tyler!
The rest of the characters, while somewhat idealised, form a found family that's lovely to discover. The friendships and relationships are sprinkled with relatable moments, creating a sense of nostalgia for those who have ever dreamt of having a dreamy friend group.
The musical theatre aspects of the story are really fun but I do think it would be interesting to include more of the backstage aspect of Broadway. With both of the leads being so heavily ingrained in the world, it would be easy to explore but a lot of the plot points surrounding it are quite surface level and because of the idealised world they are living in, the challenging realities of the Broadway business don't get a light shone on them. I definitely think this is a story that could benefit from a sprinkle of grit to elevate it to the next level.
Casey clearly has a love and talent for writing and whilst I found the initial chapters a bit heavy-handed with unnecessary descriptions, the writing blooms and improves throughout and it's quite wonderful that she's has taken the plunge to write and self publish the story, I'll certainly be keeping an eye our for future (hopefully stagey) treats.
In a nutshell, He Sang to Me offers a quick and enjoyable escape for fans of theatre, celebrity/normal dating dynamics, and the allure of found family tropes. While it may not be a polished piece of literature, its endearing charm, lively New York setting, and relatable theatrical moments make it a worthwhile indulgence for those in need of a cosy break from reality.
Reviewed by Olivia
Follow Casey to keep up with her writing journey
{AD PR product- book gifted by author}
Thursday 23 November 2023
The Drifter's Girl on Tour at the New Victoria Theatre Review: Enchanting Performances
The Drifter's Girl (Tour)
New Victoria Theatre
Currently on tour after a West End stint, The Drifters Girl offers audiences a glimpse at an intriguing journey, accompanied by top tapping hits and universally great performances. Showered with acclaim at the 2022 Olivier Awards, the show follows the dramatic narrative of Faye Treadwell, the incredible force behind shaping The Drifters.
While grappling with some visually lacklustre sets, the production compensates with performances that pack a punch and a memorable soundtrack featuring timeless tunes like ‘Saturday Night At The Movies,’ ‘Save The Last Dance For Me,’ and ‘Stand By Me.’
Despite the occasional visual challenge posed by the set design, The Drifters Girl invites audiences to dive headfirst into the heart of the action with an immediate and dynamic narrative approach. This spirited start, while invigorating, might require a bit of time for the audience to acquaint themselves with the characters and their relationships. If you’re not familiar with the story you may be a little dazed, but thanks to the fast pace, you don’t really have time to think about it!
From the energetic get go, the performances are the true stars of the show. Under the compelling portrayal of Faye Treadwell by Carly Mercedes-Dyer, the cast deliver stellar performances that highlight the ambition, determination, and drive which drives the story. The group's seamless transitions, brought to life by Ashford Campbell, Daniel Haswell, Miles Anthony Daley, and Tarik Frimpong, showcase their artistry in navigating the dynamic changes within The Drifters. Vocally, each performer has some stand out moments however don’t often get the chance to really come into their own. Carly Mercedes Dyer perfectly performs the peak moments of the show, with vocals that simmer and then soar.
The musical's charm lies in its unforgettable songs, which act as both a soulful soundtrack and sturdy pillars supporting the narrative. The emotional depth conveyed through these musical moments significantly contributes to the overall impact, and has you rooting for the story. However, it does feel like something is missing, with the short acts skimming over a lot of drama and never quite packing a punch.
Whilst it’s not a life altering night at the theatre, The Drifters Girl has performances that feel authentic, a soundtrack that strikes a chord, and a narrative that unveils the essence of a key figure in music history. Despite the initial visual challenges and a swift plunge into the storyline, the production eventually finds its rhythm, offering an enjoyable experience for fans of The Drifters and musical theatre enthusiasts alike.
★★★
Reviewed on Wednesday 22nd November 2023 by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 16 November 2023
SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly
SuperYou! the Musical in Concert
Lyric Theatre
Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.
After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.
What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.
Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.
Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.
Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling.
There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.
Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons.
In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere.
Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene.
★★★
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 3 November 2023
The Time Traveller's Wife at the Apollo Theatre Review: Time-Bending Spectacle with a Few Melodic Sparks
The Time Traveller's Wife
Apollo Theatre
Step into the Time Warp with The Time Traveller's Wife, a production that brings Audrey Niffenegger's cherished novel to life on stage. The story revolves around the unconventional love story of Clare and Henry, complicated by his uncontrollable time-traveling abilities. While the show boasts remarkable technical feats, it occasionally stumbles when it comes to character development and narrative cohesion.
One of the standout features of the show is the exceptional use of projections and special effects to depict Henry's time-traveling journeys. The combination of Chris Fisher's illusions and Andrzej Goulding's video design and animation, along with Richard Brooker's sound design, creates a mesmerising experience that truly captures the essence of the novel. Lucy Carter and Rory Beaton's lighting design further enhances the visual impact, making the time-travel sequences truly outstanding.
Anna Fleischle's stage design, characterised by large partitions, may be relatively simplistic, but it proves effective in transforming the stage to the various places and time periods covered in the story. The quick transitions between different settings are seamless and help maintain the audience's engagement.
However, the primary drawback of the musical lies in its plot. The inherent nature of sudden time travel results in a narrative that often feels clunky and choppy, making it challenging to develop a strong connection with the characters. The central relationship between Henry and Clare, which should be the emotional core of the story, lacks depth due to their limited time together as a couple. Instead, most of their interactions consist of Henry visiting Clare throughout her childhood, which raises complex questions, and their adult lives seem marked by unhappiness. This lack of a strong emotional connection between the leads diminishes the impact of their quest to have their love transcend time.
On the flip side, Charisse and Gomez, portrayed by Tim Mahendran and Hiba Elchikhe, serve as the comic relief characters and offer a more compelling relationship with a clearer backstory. Their presence is easier to root for, and the chemistry between Mahendran and Elchikhe is a highlight of the show. The dinner party scene, in particular, stands out as one of the most enjoyable and energetic moments, filled with humour and lively performances.
Individually, the cast members deserve praise. David Hunter, who plays Henry, delivers a convincing portrayal of a man grappling with his unique abilities and provides killer vocals to go with it. Joanna Woodward's Clare exudes warmth and vulnerability, making her character endearing. Tim Mahendran and Hiba Elchikhe, as Charisse and Gomez, steal the show with their fun and charismatic on-stage presence, and their strong vocal performances only add to their appeal.
The costumes by Illona Karas and wigs by Susanna Peretz are a visual delight, successfully covering various time periods with outlandish and wonderful designs. The backstage dressers deserve applause for their efficient execution of numerous quick changes, which contribute to the show's smooth flow.
Joss Stone and Dave Stewart's music adds a unique dimension to the production, featuring a diverse mix of musical styles that range from country-inspired tunes to more conventional pop songs. The entire cast delivers these songs with outstanding performances, showcasing their musical talents. However, the musical score, while competently composed and executed, lacks truly memorable tunes. Most of the songs are lyrically predictable, serving the primary purpose of advancing the storyline. That said, there are moments in the second act that shine, such as "Journeyman," performed by Henry, and "A Woman's Intuition," a trio featuring Henry, Charisse, and Gomez. These standout moments provide a fresh and memorable musical experience within the production and leave a lasting impression. While the music may not be the show's strongest suit, it still contributes to the overall atmosphere and storytelling.
In spite of its narrative challenges and somewhat forgettable music, The Time Traveller's Wife succeeds in creating an engaging theatrical experience, thanks to its outstanding technical aspects, charismatic performances, and a handful of standout musical moments, making it a worthwhile and visually stunning night out at the theatre.
★★★
Reviewed on Thursday 3rd November 2023 by Olivia
Photo Credit: Johann Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Lizzie at the Southwark Playhouse (Elephant) Review: A Bloody Good Time
Lizzie
Southwark Playhouse (Elephant)
A transfer from the Hope Mill Theatre, Lizzie boasts a cast that impresses with their strong vocals and well-defined characterisations. The performers do an excellent job bringing their characters to life and infusing the show with their energy and passion, making it an engaging experience for the audience.
The musical takes inspiration from the infamous Lizzie Borden case and the story revolves around Lizzie Borden and her sister; exploring the mysteries and events leading up to the gruesome murders of their parents. It delves into themes of murder, mystery, and the complexities of human nature, all set against a rock opera backdrop. With a gripping narrative, powerful performances, and a thrilling atmosphere, Lizzie invites the audience to step into a world where dark secrets are uncovered, and the truth is as elusive as the swing of an axe.
One of the standout features of Lizzie is the striking lighting design and stage setup by Andrew Exeter, which, particularly during the climactic moments of Act One, leave you breathless with its deathly allure. The lighting and set design effectively create an atmosphere that's visually captivating and in keeping with both the rock musical vibes, and the traditional 1800s setting of the story.
While William Whelton's choreography wields a sharp blade and is executed very well, it sometimes feels like it's hacking away at a different story, leaving us with a tenuous connection. It adds some movement and visual appeal, but it doesn't fully meld with the narrative.
Direction wise though, Whelton has approached the show at a fun angle, melding massive arena concert energy with traditional musical theatre techniques. The energy is consistently high and despite knowing the ending, you're still on the edge of your seat, awaiting the next thrilling act. The use of handheld microphones is a cool twist on the storytelling, and hung in holsters at their sides it's almost as if the ladies are wielding them as potential murder weapons. However, when they're actually in use, it doesn't always make sense within the context of the show, I think it would be more effective if it was made clear that they were symbolising inner most thoughts or something of the like.
This really is a girl power musical and each character in the production is well-defined, allowing the audience to connect with their individual stories and motivations. The attention to detail in the character development adds depth to the overall performance, revealing layers like peeling back the pages of a forbidden diary.
The cast deliver exceptional performances, with each woman commanding the stage with finesse. As this performance, Lizzie Borden was played by Emma Louise Hoey who seamlessly transitions from innocence and sweetness to sheer and utter madness. Her expressive eyes, and body tics convey a myriad of emotions, and every movement she makes skilfully illustrates her transformation into the manic killer fully. There's also a real level of innocence woven throughout the character and despite her gruesome act and obvious manipulation, you can't help but root for her. Vocally, Emma is marvellous, providing literal killer vocals with ease and conviction.
Shekinah McFarlane shines as Lizzie's sister, particularly in Act 2, showcasing her superb vocal prowess, that peaks and troughs in all the right places. For vocal masterclasses, this truly is the show to see. It's certainly a trend, as Mairi Barclay also astounds with her killer voice, as Bridget Sullivan. Barclay not only gets to showcase her impressive vocal range but also adds a touch of humour to this otherwise dark drama, often subtly encouraging Lizzie to commit the heinous acts in clever and witty ways, even if her motivations remain somewhat ambiguous. As Lizzie's friend Alice Russell, Maiya Quansah-Breed's performance is nuanced and heartfelt, offering a soothing contrast to the intense and rage-filled numbers that punctuate the show.
Rachel Tansey's costumes are notably well-executed, dressing the characters for their gruesome deeds and helping transport the audience back in time to the historical setting, where every outfit feels like a well-prepared disguise.
Musically Steven Cheslik-Demeyer and Tim Maner have created songs which sound great in the moment but aren't particularly memorable. Lyrically they are fast-paced and super action packed, sometimes to their detriment. So much is crammed in that you don't know what to focus on so things come across somewhat disjointed.
However, despite its minor shortcomings, Lizzie manages to transform the intimate Southwark Playhouse into a high-energy rock concert experience that's a crime of passion, making it a unique and memorable theatrical event that keeps you on edge and engaged.
★★★
Reviewed on Thursday 2nd November 2023 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 1 November 2023
Bat Boy the Musical at the London Palladium Review: A Campy Delight
Bat Boy the Musical in Concert
London Palladium
I had the pleasure of spending Halloween at Bat Boy the Musical in concert at the iconic London Palladium, and it was truly a wild, wacky, and wonderful show. The talented cast, which included Jordan Luke Gage, Jodie Steele, and Trevor Dion Nicholas, delivered an electrifying performance that left the audience thoroughly entertained.
The campy nature of the production was evident from the get-go, and it added to the overall charm of the show. The exaggerated characters, over-the-top antics, and quirky humour all contributed to a delightfully eccentric atmosphere that had the audience in stitches. Victoria Hamilton-Barritt in particular is a complete comedic superstar, perfectly bouncing off the crowd and having everyone in stitches from the smallest movement or expression.
However, it wasn't all smooth sailing. There were some noticeable sound issues throughout the performance. Missed lines and an uneven balance between the orchestra and vocals meant that, at times, it was challenging to hear the lyrics properly. While these technical hiccups did momentarily detract from the overall experience, they were overshadowed by the sheer fun of the show.
For those unfamiliar with the story, Laurence O'Keefe's Bat Boy the Musical is a quirky tale about a half-human, half-bat creature who is discovered in a cave and taken in by a family in a small town. The musical explores themes of acceptance, prejudice, and the complexities of human nature, all while delivering it with a humorous and satirical touch.
Despite the sound issues, the show's humor and the cast's stellar performances shone through. The witty one-liners and comedic timing of the actors had the audience roaring with laughter, making it easy to forgive the occasional technical glitch.
Jordan Luke Gage gave an endearing performance as the title Bat Boy, showcasing stupendous vocals as well as really well done and hilarious characterisation; continually rising to new heights, I cannot wait to see what he takes on next. Jodie Steele's portrayal of the struggling sister balanced superbly with Gage's and had some solid development and growth throughout. Completing the family pack, Trevor Dion Nicholas gave a vocal powerhouse performance and made the morally wild father a stand out performance. Tosh Wanogho-Maud was a complete powerhouse, giving some of the best vocals of the night, despite not having a hugely developed character. The entirety of the supporting cast and choir also did an excellent job of bringing the Bat Boy world to life.
One aspect that truly stood out was the effective and simple staging. The use of minimal sets and props allowed the audience to focus on the characters and the story. It was remarkable how such a straightforward approach could be so striking and immersive. This also allowed Rhys Wilkinson's well thought out and adapted movement to really shine and add a finessed element to this one night only performance.
Bat Boy the Musical was a wild, blood filled, hoot of a musical, with a fantastic cast and an abundance of humour. While the sound issues were a minor drawback, the overall experience was thoroughly enjoyable, leaving the audience with smiles on their faces. A hilarious and campy musical done so well!
★★★★
Reviewed on Tuesday 31st October
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 24 October 2023
The Bodyguard the Musical on Tour Review: Starts with a bang and thrills throughout!
The Bodyguard the Musical (Tour)
New Victoria Theatre
Demanding your focus from the very first second, The Bodyguard the Musical has it all! Romance, rivalry, and iconic music for all ages to enjoy.
As per the 1992 movie of the same name, the show tells the story of a famous superstar finding herself to be the unwanted attention of a threatening stalker. As a solution, her team decided to hire a bodyguard to keep her and her family safe. It’s not long before he becomes more invested in his employer than he ever has before.
The leading role of Rachel Marron was made famous by the legendary Whitney Houston. Needless to say, the bar has been set rather high. Multi-platinum recording artist, Emily Williams (also known as ‘Queen of the High C’s) performs the role with phenomenal ease. Her vocal range is staggering! Emily performs Whitney’s iconic songs so beautifully, whilst making sure to add her own touches here and there.
Ayden Callaghan portrays the role of Frank Farmer (the Bodyguard) in a distinguishable manner. His character is stern and unwavering, yet begrudgingly, he shows a softer side as his feelings for Rachel grow. Ayden and Emily have fantastic chemistry together, making their romantic storyline so believable!
Manasseh Mapira, who plays Rachel’s son Fletcher, is an absolute delight to watch. His dancing, vocals and overall charisma have the audience in love! A star in the making…
After a slower-paced first half, things really begin to move in Act Two. The ensemble have a larger part to play, which they do so well; whether it be whilst playing some tone-deaf karaoke singers, or Rachel’s back-up dancers, the energy lifts when they are on the stage.
The set and costume design by Tim Hatley fit the era and flavour of the musical well. It would have been more effective to see the stage space utilised more, but the potential is definitely there!
The use of dramatic sound effects and lighting/projections are what you would expect from a 1992 movie. Whilst the connection to the original movie rings true, some modernisation here may have been beneficial.
Overall, the vocal talent of the cast, the iconic music originally given to us by the one and only Whitney Houston, and the passionate storyline, sells this thrilling musical so well. Highly recommend!
★★★★
Reviewed on Monday 23rd October 2023 by Grace Dickinson
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 18 October 2023
The Barricade Boys West End Party at the Adelphi Theatre Review: Everything Great About Musical Theatre
The Barricade Boys West End Party
Adelphi Theatre
★★★★★
After extensive touring, The Barricade Boys were back in the West End last night for a heaping dose of feel-good fun. The brainchild of Scott Garnham and Simon Schofield, the Les Misérables-alumni-super-group (completed by Craig Mather and Kieran Brown) performed a maelstrom of musical theatre numbers, alongside pop, rock and swing numbers. With effortless rapport and smooth moves, it's clear to see why the group have gained such a strong fanbase who turned out in full force to the Adelphi Theatre.
What truly sets The Barricade Boys apart is more than just their extraordinary vocal talents and impeccable harmonies. It's the genuine friendship and affection they share, and the fact that they truly seem to be having a ball on stage. Amidst their impressive musical performances and polished dance routines, they weave in personal stories and charming anecdotes from their experiences in various shows; effortlessly connecting with the audience and creating an atmosphere that feels wonderfully welcoming.
Their repertoire spans a wide range of emotions, from the heartfelt intensity of Les Misérables to the joyful doo-wop harmonies of Jersey Boys. Through this musical journey, they showcase melodies from some of the world's greatest musicians, including The Beatles, Bon Jovi, and Queen, all interpreted in a specifically Barricade Boys way. It's a show that will lift your spirits and induce pure joy and serotonin.
There's a certain charm that makes the whole thing feel superbly carefree and entertaining, and whilst there is an element of cheesiness that comes with this sort of show, the group do a spectacular job of keeping everything high quality and entertaining for all, whether they're the target audience or not.
It must be said that at some points the sound balance was a little off, with the backing slightly overpowering the singers but as a whole it was a spectacular sounding evening and the team must be applauded for balancing a show with so many moving vocals, especially for a one night only performance at this venue. It must also be said how outstanding the Barricade Band are, perfectly matching the energy of the boys as well as having a ball themselves.
All of this plus the special guests Courtney Bowman, Fra Fee and Matt Henry, really made it an evening of musical theatre magic.
In a time when so much hatred and pain is prevalent in the world, it's such a privilege and honour to be able to escape to the comfort of the theatre, and this show is a glorious illustration and celebration of the joy and unity the art form can provide.
Reviewed on Tuesday 17th October 2023 by Olivia Mitchell
Photo Credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 4 October 2023
Sondheim's Old Friends at the Gielgud Theatre Review: A Magical Piece of Theatre History
Sondheim's Old Friends
Gielgud Theatre
★★★★★
Musical theatre is what it is today, in no small part thanks to the brilliance of Stephen Sondheim, and this musical revue gloriously celebrates that whilst also providing an amazing memorial of Stephen and his melodic legacy. Devised by Cameron Mackintosh, the show like opening a musical time capsule which whisks you back to a bygone era, and a theatrical peak; showcasing a selection of the well known and lesser known Sondheim pieces.
Every aspect of the show is like a trip down memory lane, capturing the essence of a glamorous past. Jill Parker's costumes are simplistic enough for the setting whilst really elevating the story telling necessary to truly do Sondheim's work justice. Particularly impressive are the wolf ensemble and Mrs Lovett's get up which both have a refreshing modern feel. Set wise, Matt Kinley's design cleverly uses the Les Miserables moving pieces to create visual interest and bring some real wow moments to the stage. The entire Sweeney Todd section is impeccable. Thanks to Matthew Bourne's staging and direction, you find yourself lost in the magic, engulfed in the nostalgic beauty of a time that lives on through this production.
The show features the creme de la creme of the musical theatre world, with Broadway royalty Lea Salonga and Bernadette Peters taking the helm, and proving why they are so beloved- it feels like an out of body experience seeing such wonders. The whole cast give standout performances and there are truly too many to name but mention must go to Bradley Jaden's Wolf, Joanna Riding's 'Not Getting Married Today' and Jeremy Secomb's Sweeney Todd. Christine Allado and Bonnie Langford, are also wonderful and the cast really doesn't have a weak link. Universally their voices, movements and energy are enchanting- conjuring a musical spell that leaves you mesmerised. Each song feels like a little piece of history, beautifully presented and cherished. Stephen Mear's choreography adds to this magical experience, bringing a further touch of grace and finesse to proceedings.
Conducted by Alfonso Casado Trigo the orchestra are humungous aspect of the success of this show. Faultlessly performing every note, their music lingers long after the final bow.
Sondheim's Old Friends at the Gielgud Theatre is a magical trip through musical history. It's a celebration of Sondheim's genius and the enchantment of the stage. If you're seeking a dose of wonder and a reminder of the magic that live performances bring, don't miss this truly magical experience.
Reviewed on Thursday 28th September 2023 by Olivia Mitchell
Photo Credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 27 September 2023
The King and I on tour at the New Victoria Theatre Review: An Enchanting Evening
New Victoria Theatre
★★★★★
Last night the New Victoria theatre came alive with Rodgers and Hammerstein's timeless musical, The King and I. Set in the 1860s, the storyline revolves around the King of Siam, portrayed by Brian Rivera, who hires the intelligent British schoolteacher Anna Leonowens, played by Annalene Beechey, to educate his extensive family. The clash of their personalities and cultural backgrounds sets the stage for a compelling narrative.
The performances showcased a beautiful transformation of understanding and mutual appreciation between the stubborn monarch and the determined British teacher. This transformation is beautifully encapsulated through the touching rendition of 'Getting to Know You' by Anna (Annalene Beechey) and the Royal Children, leaving the audience in awe.
Rodgers and Hammerstein’s memorable score stole the spotlight, standing the test of time. The talented cast breathed life into these classic songs, leaving the audience longing for more. The chemistry between the leads was palpable, and both Beechey and Rivera delivered exceptional performances. Beechey's voice charmed the audience, while Rivera's portrayal of the King of Siam was both strong and hypnotic, reminiscent of Yul Brynner's iconic performance at the London Palladium in 1979.
Special mention must be made of other outstanding cast members, including Cezarah Bonner as Lady Thiang and Marienella Phillips as Tuptim, who delivered exceptional performances that enriched the overall experience.
The stage was adorned with a stunning backdrop featuring vibrant colors that transported the audience to the sumptuous world of the King’s Palace, thanks to the masterful designs by Michael Yeargan. Catherine Zuber's costumes enhanced the performers' presence, making them glitter and shine against the opulent palace setting.
The choreography by Christopher Gattelli was a true standout, with intricate dance numbers blending traditional Thai movement with a modern flair. The 'Small House of Uncle Thomas' dance sequence was particularly mesmerising, captivating the audience with its hypnotic beauty and emotional resonance. Generally the show is well paced, although Act 2 might have felt a bit lengthy to some.
In summary, The King and I musical on tour provides a captivating experience, combining talented performers, unforgettable music, entrancing dance sequences, an immersive set, and beautiful costumes. I wholeheartedly recommend this production, and for me, it was undoubtedly a 5 out of 5.
Reviewed on Tuesday 26th September by Glenys Balchin
Photo Credit: Johann Persson
{AD PR Invite- tickets gifted in exchange for honest review}
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 15 September 2023
The Little Big Things at Soho Place Review: Shines as a Celebration of Disability
The Little Big Things
Soho Place
★★★★
The Little Big Things at Soho Place presents an emotional journey that triumphs in depicting the resilience of the human spirit. Based on the story of Henry Fraser as told in his 2017 memoir of the same name, the musical tracks his journey from a budding rugby player, to being paralysed from the neck down after a freak diving accident on holiday in Portugal. This production is a testament to the power of adaptation and determination, and instead of being a somewhat patronising portrayal of becoming an inspiration after a life trauma, it showcases the transition from the person Henry was pre-accident to who he became post-accident. It also looks at how Henry's family deal with the changes and features the work of the NHS as well as a small romantic subplot. Each aspect makes this a truly uplifting and charmingly British musical, which feels like it's actively trying to shy away from the typical style of storytelling that often surrounds the stories of disabled people.
Nick Butcher (music) and Tom Ling (music and lyrics) clearly have a talent for writing high energy songs and ballads that tug at your heartstrings. The music is primarily upbeat and big however, while deeply engaging during the performance, the songs don't engrave themselves into memory once the curtains fall. The performances are undoubtedly and unanimously captivating, enriching the scenes and evoking a range of emotions. However, a few standout, memorable tunes would have elevated the overall experience and resonated long after leaving the theatre.
The integration of projections and lighting (Howard Hudson) in The Little Big Things is nothing short of remarkable. The creative use of light and visuals immerses the audience into the heart of the story, enhancing the emotional impact of the narrative. The play of light and shadows amplifies the depth of the characters' struggles and triumphs, leaving a lasting visual impression.
Director Luke Sheppard fearlessly pushes the limits of accessible theatre, infusing innovation, vitality, and charisma into an already poignant narrative. The staging is in constant motion, driven by Mark Smith's lively choreography, which ingeniously integrates moments of BSL (British Sign Language) and embodies the joy and celebration which is infused throughout the show.
Despite the undeniable power of the narrative, there are moments when the production grapples with sudden transitions and dialogues that could benefit from a smoother flow. The pacing occasionally feels a bit clunky, disrupting the overall rhythm. However, this doesn't detract significantly from the musical's poignant message of resilience and adaptation.
The cast's performances are stellar, embodying the characters with authenticity and dedication. Their portrayals breathe life into the story, allowing the audience to connect deeply with the struggles and triumphs of the characters. The musical shines as a celebration of disability, showcasing the strength and adaptability required to navigate a new life.
The Little Big Things is a moving musical that speaks to the resilience of the human spirit. The impeccable use of projections and lighting, along with a talented cast, creates a poignant theatrical experience. Despite minor pacing and memorability concerns, the musical stands as a heartfelt celebration of perseverance and a glowing portrayal of adapting to life's challenges. The little faults don't take away from the big things that make this show as glowing and special as it is and I wholeheartedly recommend it to anyone seeking a meaningful and uplifting night at the theatre, just make sure you take some tissues with you!
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 25 August 2023
Love Never Dies in Concert at the Theatre Royal Drury Lane Review: Musicality Reigns Supreme
Love Never Dies in Concert
Theatre Royal Drury Lane
★★★★
Once again, the LMTO and Fourth Wall Live have joined forces to bring a musical to life in concert form with a stellar cast and stunning music. This time, it’s the much discussed and dissected Love Never Dies, which hasn’t been staged in the West End since 2011. For two days the Theatre Royal Drury Lane played host to the latest iteration of the show which mesmerisingly took audiences back to the world of the Phantom and Christine. With the spotlight on a talented cast, and powerful orchestrations, this concert rendition really let the music shine and provided a memorable theatrical experience for those in attendance.
With such a brilliant cast, it’s no surprise that the performances were broadly nothing short of exceptional, capturing the essence of the characters and their emotions. Celinde Schoenmaker stepped back into the role of the beloved songbird, Christine Daae and did so in an utterly magical way, with her soaring soprano perfectly bringing the score to life and dazzling throughout her time on stage. Alongside her, Broadway veteran Norm Lewis put mask back on (in this case a swanky gold number) and became the musical Phantom of the Opera once again. His gorgeous baritone vocals provided some spectacular moments, especially in the rousing Till I Hear You Sing and it’s always a treat to see him on a West End stage. It did however seem that the rock number The Beauty Underneath was not performed live, which is a bit disappointing in a show of this calibre, and it would be interesting to know what prompted this decision from the creative team. This isn’t a criticism of anyone in particular, but perhaps opens a wider conversation about how these concert versions are rehearsed and put together. Of course it’s a massive task to create such strong shows in a short amount of time and given their minimal runtime it’s understandable that the turnaround has to be fairly quick, but it would be curious to know if it’s possible to create a rehearsal process that works for everyone involved and doesn’t leave the audience feeling shortchanged.
Aside from this, the music was incredibly strong, with a number of stand out moments that brought to life the deeply evocative and emotive feelings which course through this show. As Meg Giry, Courtney Stapleton brought a lovely buoyancy and freshness which showed the character in a new and engaging light, whilst Matthew Season-Young provided some strong vocal moments as Raoul. The supporting cast, including the London Musical Theatre Chorus deserve commendation for their remarkable vocals which truly soared in the Theatre Royal Drury Lane.
Staging wise, this was one of the less full-out concerts compared to others but it still did an excellent job of evoking the world of Phantasma and showcasing some of the whimsy of Coney Island. Rebecca Brower’s costumes were very in keeping with the gothic vibes and cleverly mirrored some of those from the original Phantom production, overall creating a dynamic atmosphere which cleverly set the place and time, without overshadowing the music.
The LMTO orchestra, under the baton of Freddie Tapner, masterfully captured the intricate emotions of the music, underscoring the characters' journeys with every note. The majestic melodies and haunting refrains were a testament to the timeless quality of Lloyd Webber's composition and it was such a treat to hear the score performed by such a large group of highly talented musicians.
While Love Never Dies has faced criticism for its narrative depth, the concert format seemed to address some of these concerns. The live performance allowed the characters to shine and their relationships to be explored with greater nuance. A lot of the plot is quite frankly ludicrous and the characters have taken complete 180s from their initial iterations but this concert format seemed to be a perfect vehicle for highlighting the strengths of the piece while minimising its perceived weaknesses.
Overall Love Never Dies in Concert, was a captivating and emotionally resonant experience. The talented cast and impeccable orchestral accompaniment combined to create a theatrical event that honoured the legacy of its predecessor while standing as a powerful production in its own right. Many of the original book issues still stand but from the audience reaction, it’s clear that this is still a show which many hold close to their hearts.
Reviewed on Tuesday 21st August 2023 by Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 22 August 2023
Death Note the Musical in Concert at the London Palladium Review: An Ambitious and Engaging Evening
a testament to the creative team's dedication to translating the essence of Death Note to the stage"
Death Note the Musical (Concert)
London Palladium
★★★★
In its first ever English language performance Death Note the Musical in Concert provides an engaging experience, that beautifully combines a concert style show with the allure of a full-fledged production, including captivating staging, meticulously designed costumes, and expertly executed choreography. Drawing inspiration from the iconic Death Note franchise, which originated as a manga series written by Tsugumi Ohba and illustrated by Takeshi Obata, this musical adaptation pays homage to the rich history and context of the source material.
The exceptional cast, which include remarkable talents such as Frances Mayli McCann as Misa Amane, Dean John Wilson as L, Aimie Atkinson as Rem and Adam Pascal as Ryuk, deliver performances that breathe life into the characters. Their portrayal of the characters showcasing both their impressive vocal prowess and their deep understanding of the emotional complexities within the story which questions morality, justice and power.
While the storyline can be a bit challenging to follow, particularly for those not acquainted with the original Manga, the production's sleek execution manages to pack in a lot without feeling overwhelming. The adaptation skilfully navigates the intricate plot points, a testament to the creative team's dedication to translating the essence of Death Note to the stage.
The translation of various elements from the manga to the stage is nothing short of impressive in this truly ambitious concert debut. The show's director, Nick Winston, and the rest of the creative team, including choreographer Alexzandra Sarmiento and costume designer Will Skeet, deserve commendation for their remarkable work in seamlessly integrating these elements into the live performance. The audience's palpable elation is a testament to the success of this collaborative creative endeavour.
The pre and post-show buzz, along with the audience's enthusiastic reactions, clearly indicate that Death Note the Musical has found its niche. Wonderfully, it manages to attract those who might not typically be drawn to musicals, thanks to its connection to the established Death Note franchise and the efforts of the cast and creatives. This broad appeal speaks volumes about the production's ability to engage and captivate diverse audiences.
Admittedly, the sound balance did exhibit some issues on opening night, which can be expected with such an ambitious score. While it occasionally detracted from the overall experience, it's understandable for a complex production. Once the sound balance is finely tuned, there's no doubt that this show will achieve the impactful resonance it aims for.
Death Note the Musical in Concert at the London Palladium showcases the successful fusion of storytelling, outstanding performances, and production design. By highlighting the talents of the cast, and thanks to the creative vision, the musical celebrates the legacy of the Death Note franchise while crafting a unique and captivating theatrical experience. The show's potential to become an unforgettable sensation is evident, and with further refinements, it's poised to leave a lasting mark on the world of musical theatre and is a must see for fans of the source manga.
Reviewed on Monday 21st August 2023 by Olivia Mitchell
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 25 July 2023
Ride at the Southwark Playhouse Elephant Review: A Triumph of Story Telling
While it may not boast the grandeur of a West End spectacle, its simplicity and sincerity are what set it apart"
Ride
Southwark Playhouse Elephant
★★★★
Embarking on a wondrous return, the dynamic musical Ride, crafted by Freya Catrin Smith and Jack Williams, is back to captivate audiences with an enchanting odyssey like no other. Having previously seen this show as part of the Vault Festival in 2020, it's amazing to see how it has developed and become even more of a theatrical gem.
This thrilling new production delves into the extraordinary escapades of Annie Londonderry, an indomitable spirit who shattered barriers in 1895 by becoming the first woman to cycle around the globe. Fearlessly challenging societal norms and religious expectations, Annie spins a captivating tale that dances on the edge of truth and fiction, skillfully molding narratives to serve her greater cause. She fearlessly embraces her convictions, even if it means bending the boundaries of morality. Wrapped around Annie's finger from the moment the metaphorical curtain is raised, we are spellbound by her storytelling prowess.
This British masterpiece takes us on an emotional rollercoaster ride, filled with hearty laughter and unflinchingly honest revelations about life and society, leaving a profound impact. With every twist and turn, the characters' raw emotions and vulnerabilities are beautifully portrayed, drawing us into their world and ensnaring our hearts until the closing moments.
The brilliance of Ride shines through the remarkable performances of its two-person cast: Liv Andrusier as Annie and Katy Ellis as Martha. Their chemistry is palpable, and they breathe life into their characters with heartfelt authenticity. Liv's portrayal of Annie is a multi-dimensional masterpiece, blending determination and defiance as she navigates a male-dominated world, striving to be heard. Her captivating Bostonian drawl lures us in, and her vocal prowess keeps us enchanted as she flawlessly delivers the demanding score, showcasing a masterclass in acting through song.
Under the direction of Sarah Meadows, Liv's performance radiates authenticity, leaving no doubt that this role was destined for her. Her portrayal of Annie exudes old Hollywood star quality, and her stage presence is truly remarkable.
Katy Ellis skilfully takes on the role of Martha. With comic flair and charming wit, Ellis brings Martha's thoughts to life, infusing the character with delightful nuance. While Annie weaves the narrative, Martha's hesitance and humorous antics provide the perfect balance, eliciting laughter from the audience. Throughout the show, Katy astounds as she embodies various characters in Annie's story, infusing each with unique purpose and unveiling layers of compassion, empathy, and a hint of romance.
Both Liv and Katy breathe a profound humanity into these characters, capturing the hearts of the audience. Their nuanced performances are a testament to their immense talent and dedication, leaving us in awe of their emotional range.
The minimalist yet ingenious set design by Amy Jane Cook effortlessly transports us to multiple locations, aided by clever use of props and set pieces that set our imaginations free. Matt Powell's projections expand the space, while Andrew Johnson's sound design adds an extra layer of brilliance, spotlighting the subtlest of sounds.
At the heart and soul of Ride lies its soul-stirring music. The mesmerising melodies and emotionally charged lyrics take us on an unforgettable journey, resonating deeply within us. While some musical moments may seem repetitive, they ultimately deliver an emotional and vocal punch, showcasing the brilliance of new British compositions.
Ride is an absolute triumph of storytelling, talent, and artistic vision. This emotionally charged musical takes us on a profound journey of self-reflection and connection. While it may not boast the grandeur of a West End spectacle, its simplicity and sincerity are what set it apart. Ride showcases the very essence of what theatre can offer, leaving us yearning to relive this magical journey again and again.
Reviewed on Monday 24th July by Olivia Mitchell
Photo Credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
