Posts with the label musical
Showing posts with label musical. Show all posts
Showing posts with label musical. Show all posts
Thursday 13 December 2018
Kinky Boots (UK Tour), Edinburgh Playhouse | Review
Kinky Boots (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 11th December 2018 by Liv Ancell
★★★★★
Audiences at the Edinburgh Playhouse are being transported straight to the Price & Sons Shoe Factory in Northampton this December, to a time and place where drag queens and shoemakers collide in spectacular fashion, in what is a truly unique and special tale.
Kinky Boots has boldly strutted into town and delighted the Edinburgh Playhouse’s audiences since opening night on 11th December. With original music & lyrics by Cyndi Lauper performed by a diverse cast eager to impress, it is impossible not to get swept up in the drama and excitement of this unique spectacle.
The promise of the show’s eponymous red kinky boots seems far off at first, as the curtain rises to reveal the gritty factory belonging to Price & Sons, practical shoemakers. Here we meet Charlie Price, who was portrayed brilliantly by the energetic and tone-perfect Joel Harper-Jackson.
Set design (by Tim McQuillen-Wright) convincingly transforms the stage between its main two states: a working shoe factory and an intimate drag club. This reinforces the contrast between the very different worlds of protagonists Charlie and Lola, as the story dips in and out of Charlie’s tough reality and the exciting world of the exotic drag queen, Lola.
Speaking of Lola, Kayi Ushe who played the show’s famous red-boot bearer on the night stole the show in spectacular fashion. With his perfectly placed sashays, sassy one liners and full range of emotions, Kayi Ushe put on a winning performance in what is undeniably an extremely demanding role. From booty drops to belting out ballads, deadpan put-downs and effortless switches between the character’s macho masculine and drag-queen personas - sometimes done in the very same breath - the audience was absolutely blown away by the level of talent and professionalism Kayi brought to the performance.
Another notable performance in the show was that of Coronation Street veteran Paula Lane, who stepped into the fun role of homegrown Northampton pocket rocket Lauren. Her rendition of The History of Wrong Guys - just one of the show’s long list of incredibly catchy tunes - was underpinned by well-delivered slapstick elements which caused hilarity among the audience.
Lola’s cast of utterly fabulous drag queens, a.k.a The Angels, proved that when drag and theatre cross-over, the result is electric. Played by the kick-ass combination of Connor Collins, John J. Dempsey, Damon Gould, Joshua Lovell, Chileshé Mondelle, and Toyan Thomas-Browne, The Angels left the audience in utter wonderment with their sharply executed choreography. Their performance should almost come with a warning that mere mortals should not attempt their high-tempo sequences of squats, drops, jumps, sashays and moves at home. Not to mention the Angels’ costumes (costumes by Gregg Barnes) which would have put even Ru Paul’s Drag Race contestants to shame, with their dazzling glitter and unashamed flamboyance.
The story of Kinky Boots has its glorious ups, its poignant downs, and beautiful nuances of human emotion which eclipse the themes of loss, love, acceptance and even, the challenges of running a family business. The cast perfectly led us along the full spectrum of emotions, and put on a visual feast for the whole audience. A particular highlight for me in terms of staging was the boxing scene, where strobe lights helped to paint a particularly tense and dramatic scene.
I’ll leave the rest under wraps; this show is an absolute treasure box of surprises, laughs, and delights. The cast and production is of the highest standards and quality rarely seen outside of the West End or Broadway. If you’re looking for a little sparkle and escapism on a cold December evening in Edinburgh, there truly is no better place to be.
Kinky Boots runs at the Edinburgh Playhouse until January 5th 2019
photo credit: Helen Maybanks
Tuesday 11 December 2018
A Christmas Carol (LMTO), Lyceum Theatre | Review
A Christmas Carol (LMTO)
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell
★★★★★
The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.
Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life.
Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions.
Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.
As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances.
The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice. David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.
I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.
The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.
The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre.
A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm
photo credit: Nick Rutter
Friday 7 December 2018
In Conversation With... Sophie Isaacs | Cinderella | Interview
Fresh from starring in the hit musical, Heathers, Sophie Isaac's is getting festive and tackling Panto with Cinderella which opens tonight in Woking at the New Victoria Theatre. Olivia sat down with Sophie for a festive chat...
You've just finished playing Heather McNamara in Heathers, tell us a bit about that...
It was possibly the best experience I've ever had. Seeing a job from workshops, then to a sold out run at The Other Palace and then transferring to the West End; to see a show develop from the start like that has been incredible and also, it's such a special show that I just adore it.
Heathers has obviously already been on, but you basically created this version of Heather Mc yourself, so what was the hardest part?
Probably just getting to grips with the character and her journey because she starts off being a Heather, with the not nice aspect of that but her journey means her character changes throughout the show and her interactions with different people affect her. Especially with Veronica (Carrie Hope Fletcher) and that friendship, which really develops. So getting that journey is the most important in terms of making sure she had heart at the beginning, even though it was a little hidden, and gradually bringing that out.
Did you get a lot of say in the changes in your production of Heathers?
Yeah, we were really lucky. The creative team were unbelievable; so gracious and open to us saying "it doesn't feel natural" but honestly, generally they knew what was right and what was best. They've been with the show for ten years but they were absolutely open to discussion and seeing what works and what doesn't.
Heathers audiences were very different in terms of their live reactions compared to other musical audiences, what was that experience like and do you think it prepped you for the interactive aspect of Panto?
Yes, Heathers was like a rock concert and it's nice because I now won't be put off by people suddenly shouting at me or cheering or being very very involved. We always said that the Heather's audience was the fifth Beatle and pantomime has the fifth Beatle as well, so it was very good prep.
We didn't know how Heathers would land going from 300 seats at The Other Palace to the much bigger, Haymarket but it was bigger and better which was amazing.
So, Cinderella the Panto- are you excited?
Yes! I put the dress on today and I just cannot wait. The shoes are just stunning, jewelled everywhere, with a monster jewel on the front. I am possibly the biggest Christmas fan on the planet so any opportunity to get festive, I love!
What are your favourite parts of Christmas, do you have any traditions?
Of course the whole, advent calendar and chocolate for breakfast everyday thing. My favourite things are generally food related! Mulled wine, piggies in blankets, I love a buffet.... oh and love a mince pie! Just all of it!
I was out of the country last year for Christmas and it was awful, I was just so sad cause I wanted to be here with my family so I thought to myself, "what's the most Christmassy thing I can do next year?" and here we are... Panto!
Are you a big Panto fan?
Yeah I love it, absolutely love it. I haven't been in one for years and years and years but the last one I saw was Cinderella. It was in Swindon and my friend was playing Cinderella so it's nice to be doing this now.
So why should people come and see Cinderella in Woking?
You should come to the Panto because it's an amazing night out, it's a time to have a lot of fun with your family; it's festive; there are jokes that mums and dads will get, and jokes that the children will get, so it's fun for all and I think it's going to be incredible!
Cinderella runs at the New Victoria Theatre until January 6th 2019
Interview by Editor, Olivia Mitchell
photo credit: Grahame Larter
Wednesday 5 December 2018
Hot Gay Time Machine, Trafalgar Studios | Review
Hot Gay Time Machine
Trafalgar Studios 2
Reviewed on Tuesday 4th November 2018 by Olivia Mitchell
★★★★
Fun, flamboyance and festivity, Hot Gay Time Machine is probably the most fun you'll have at the theatre this year (and next year when it'll no doubt be ruling the West End and the world). Conceived by Zak Ghazi-Torbati, Toby Marlow and Lucy Moss, this show is a ridiculously humourous look and laugh at life as a hot (privileged) gay. With a pink carpet and sparkles abounding, Trafalgar Studios becomes the time machine as Zak and Toby travel through a series of iconic moments in their lives, accompanied by a catchy, riotous soundtrack.
Zak and Toby have done an outstanding job of creating a show that feels fresh, modern, exciting, wild and amusing but also has moments that are moving and informative. Alongside innuendos and outright unruly behaviour there are sweet moments about gay-splaining and coming out which are looked at with sincerity and fun.
Asides from the fantastically witty writing, it's the chemistry between the pair which makes this show a surefire success. The duo bounce off one another as if the whole show is impromptu, and there are a number of moments where they ad lib and give one another knowing glances that just add to the already extra humour. Toby deftly plays the piano whilst singing his soul off and Zak provides vocals for days as well as witty one liners and harmonies to give you life.
In all honesty there's not much more I can say about this show other than: GO SEE IT. If you want to laugh your face off and have 75 minutes of pure, unadulterated, gay fabulousness alongside absolutely stellar performances, Hot Gay Time Machine is the show you need in your life. Go now or commit a small hate crime.
Hot Gay Time Machine runs at Trafalgar Studios 2 until January 5th 2019
photo credit: Pamela Raith
Tuesday 4 December 2018
Striking 12, Union Theatre | Review
Striking 12
Union Theatre
Reviewed on Monday 3rd December 2018 by Olivia Mitchell
★★★★
Now we've entered December, the festive shows on offer are really stepping up, with the Union Theatre's Striking 12 providing a festive but not in-your-face-Christmas 90 minute story to warm hearts and have toes tapping.
With an eclectic score by Brendan Milburn and Valerie Vigoda's this re-telling of Hans Christian Anderson's The Little Match Girl, switches between a contemporary New Year's Eve and the 1840s New Years Eve where the Anderson tale is set.
Declan Bennett plays Brendan, a man who dislikes NYE as he's haunted by memories of his ex-fiancé; whilst home alone, he reads the Anderson tale and is reminded of the importance of giving and sharing. Bennett is vocally powerful and gives an admirable performance despite some sound issues, especially towards the start, which made him hard to hear.
In the 1840s setting, Bronté Barbé plays the Little Match Girl with a sweetness and sincerity that the audience can't help but be drawn to, and in the modern setting, she plays an equally kind and appealing character as a girl selling seasonal lightbulbs. Barbé's effortless vocal performance is utterly mesmerising to watch and, helped by Alex Lewer's lighting, really evokes the warm feeling we all desire at Christmas.
The rest of the cast are made up by Andrew Linnie on piano, with Danielle Kassaraté, Kate Robson-Stuart and Leon Scott acting as narrators, secondary characters and musicians in a series of seamless turns and twists. The trio do an outstanding and humourous job of moving the story forward and work extremely well together in the small space of the Union.
Whilst the cast are very strong and the story is sweet, there are a few faults with this production, mainly that the overarching story, doesn't have much oomph as it lacks emotional depth. Our leading man spends the entirety of the show reading about the struggles of the Little Match Girl so that he eventually becomes a 'new man'. However, he wasn't bad to start with, at least, from what we see. Other than turning away the young girl selling light bulbs, there isn't a scrooge-like aspect to him so his transition doesn't feel overly effective. There's also a number of mentions of his ex-fiancé which aren't explored, so again, have little impact.
However, even with these issues, the story is super sweet and with a couple of tweaks could be a real hit. To combat those winter blues, and get a fuzzy feeling inside, be sure to take a trip to the Union Theatre and spend 90 minutes with Striking 12.
Striking 12 runs at the Union Theatre until 23rd December 2018
photo credit: Tom Grace
Monday 3 December 2018
A Christmas Story: The Musical, Waterloo East | Review
A Christmas Story: The Musical
Waterloo East
Reviewed on Saturday 1st December 2018 by Olivia Mitchell
★★★
A stage adaptation of the 1983 film, A Christmas Story: The Musical follows young Ralphie who's sole Christmas wish is to receive a Red Ryder Carbine Actin 200-shot Range Model Air Rifle. Besides that there's pretty much no story other than a boatload of coming of age tropes, including bullying, classroom issues and family arguments. It's a simple show, which doesn't contain anything groundbreaking but is well performed by the cast.
The main story is focussed on Ralphie and his family unit who are struggling during the Depression but are still hopeful for a merry Christmas. Ralphie's mother sings stereotypically about a mother's work and his younger brother refuses to eat whilst his father wins a leg lampshade in a crossword competition- random indeed.
Whilst very different in tone to their other works, and particularly less memorable, the music of this show is by highly successful writing duo, Pasek and Paul (The Greatest Showman, Dear Evan Hansen, La La Land) who have provided some charming but repetitive pieces, which despite being somewhat uninspired, do evoke a warm, festive feeling.
The cast are really what make this show. The children (at this performance: Harry Irving, Edward Flynn Haddon, Evan Huntley-Robertson, Flynn Timberlake, Chloe Weir and Sofia-Elena Tait) are full of energy and cheer as they rattle around the stage with young glee and excitement for impending Christmas celebrations. Sofia-Elena Tait is a particular standout throughout. Leading the show as Ralphie, Rufus Kampa is very strong as he barely steps off stage and provides some lovely vocal moments. As Farkus the bully of the school, Bradley Riches is wonderful, and even more so as he shows off his humourous side as an elf who is certainly not loving his life. It's just a shame Bradley doesn't have a little more stage time as he really shines among the cast.
The adult cast who make up the rest of the show are great. Lucyelle Cliffe brings a real warmth to her role whilst her partner, Simon Willmont brings humour as well as sincerity in his solo moments where he just longs to be someone special. Garry Freer narrates the show well, whilst, Jenny Gayner astounds as the hilarious Miss Shields, and performs potentially the best number of the show with her act 2 tap dance (choreographed by Rhainne Butts). Katy Stephens is also strong in her various roles and again, it would be nice to see more of her.
Despite it being a different time and place, there's something jarring about a number of songs focussing on a gun; some transitions are a little clunky and the story is basically non-existent, but thanks to the strength of the performers, I think we can let those things slide and appreciate A Christmas Story: The Musical, for the injection of festivity that it is.
A Christmas Story: The Musical runs at Waterloo East until 22nd December
photo credit: Robert Piwko
Sunday 2 December 2018
Lea Michele and Darren Criss (Concert), Vicar Street, Dublin | Review
Lea Michele and Darren Criss (Concert)
Vicar Street, Dublin
Reviewed on Thursday 29th November 2018 by Damien Murray
★★★★
It is not often that you get not only one, but TWO Broadway and former Glee stars sharing a concert stage together in Ireland.
However, so good a time was had by both in Dublin on the last Glee tour that – ahead of their LM/DC concert tour dates in the UK – Lea Michele and Darren Criss (aka Glee’s Rachel Berry and Blaine Anderson) decided to open their latest joint tour in the Irish capital.
Although the venue was a relatively intimate one for such a popular attraction, it proved to be a perfect choice for this talented twosome to display the wide-ranging vocal ability that they each possess and – being a rock venue (a ‘first’ for Michele!) as opposed to the more theatrical surroundings that they are used to – it was a totally less formal affair for an opening night and made for a more relaxed and fun-filled atmosphere for both the audience and performers alike.
While Gleeks and musical theatre fans turned out in force from all corners of Europe to enjoy this ‘Glee-ful’ trip down memory lane, there was so much more to this concert than the Glee and musical theatre input, with the inclusion of a selection of rock and pop songs representing either songs they performed in the iconic television series or those they wished they had performed … and either songs they had written or those they wished they had written.
Backed by a tight 4-piece band, the dynamic duo did not disappoint in this eclectic night of music, with around 2 dozen songs during the 2-hour performance.
The relaxed mood also allowed for lots of stage banter from the pair (although I was surprised at some of the colourful language being used) and their individual personalities shone every bit as much as their singing skills with jokes about the tour being called the Nick Jonas and Idina Menzel Show because of their similarity in looks to these stars.
Neither could conceal their obvious excitement at being back in Ireland again and, during her solo set, Michele became openly emotional at one point and surprised many by revealing some secrets about herself, including that she is very nervous during shows and that she needs a wide range of liquids on stage to aid her vocals … and that she, too, is a Gleek!
Opening with soaring vocals in two classic Broadway duets - Sondheim’s Broadway Baby and Suddenly Seymour- the duo’s softer harmonies came into play and were perfectly suited to their third choice, Falling Slowly (The Swell Season’s Once); a popular choice for a Dublin audience as it is a story set in the city and written by local singer/songwriter, Glen Hansard.
Lea's solo set was very entertaining with pop songs like Cannonball and Lady Gaga’s Poker Face/Edge Of Glory alongside a show-stopping trio of musical theatre classics, including belters like Don't Rain On My Parade and Maybe This Time, and, while it may have been a rock venue, you could have heard a pin drop during her beautiful vocals in an Eva Cassidy style rendition of Over the Rainbow.
Accurately describing the show as ‘a celebration of all types of music’ during his solo set, Criss, who often accompanied himself on guitar and piano, was really at home in a rock venue and, in addition to some of his own compositions (of which Going Nowhere was an undoubted highlight), offered some surprises in re-imagined and improbable versions of musical evergreens, Hopelessly Devoted To You, and I Dreamed A Dream.
Keeping the set list fresh and, to a degree, unpredictable, Criss has made a point since the tour began in May of throwing in a new song each performance that is appropriate in some way to the gig location on any given night.
With so many great songs having emerged from Dublin over the years, he had a difficult job deciding which one to perform … So, he ended up giving a musical nod to the city with a short rendition of a Thin Lizzy hit and a full version of U2’s I Still Haven’t Found What I’m Looking For.
The duo reunited on stage for the finale, which featured the last song that Rachel performed in Glee, This Time (written for her by Criss), and one of the earliest songs from the series, The Human League’s international chart-topper, Don't You Want Me.
The encore also proved to be a highlight, and a surprising choice, with a totally acoustic and unamplified version of Bob Dylan’s Make You Feel My Love as a final little love note to the fans.
Overall, peppered with interesting little anecdotes from their past, this was a fun-filled night full of surprises, musical and otherwise, and a chance to hear two incredible and quite different young stars doing what they love so perfectly.
Tuesday 27 November 2018
Seussical, Southwark Playhouse | Review
Seussical
Southwark Playhouse
Reviewed on Tuesday 27th November 2018 by Olivia Mitchell
★★★★
Seussical is a colourful whirlwind of a musical which takes the works of Dr. Suess and winds them into a magical, heartfelt story of acceptance and love. We follow JoJo, a Who with a larger than life imagination who, along with the rest of the Whos, live on a tiny speck of dust which is found by Horton the elephant. Horton vows to protest this speck with all his might which leads to a story of ups and downs and a whole host of characters.
Aesthetically this is a beautiful production. The pops of colour both in the set (Justin Williams and Jonny Rust) and the costumes (Rachel Cartlidge) really emphasise the story book feel and bring this wacky world to life in an over the top but never tacky, way. The costumes cleverly differentiate the characters without becoming cliched or predictable.
Marc Pickering leads the cast sublimely as the Cat in the Hat. Absolutely commanding every inch of the stage he touches and demanding the audiences attention with every brow raise and smirk; he is utterly hysterical and clearly born to be seen. Amy Perry is sincere and relatable as Gertrude, Anna Barnes is suitably energetic as JoJo and Adam Dawson and Daisy Steere are outstanding as Mr and Mrs Mayor and they totter around the stage with humourous aplomb.
Scott Paige is endearing and vocally faultless as the lovable Horton and it's great to see him helming a show after standing out in Eugenius and The Addams Family. Paige brings a heart and warmth to this story that makes it the perfect show for a cold winter evening. The entire cast are enthusiastic and full of life from the get go; with tasteful audience interaction, energetic, sharp and fitting choreography (Chris Whittaker) and a boatload of originality, they make the production sleek and engaging.
Captivating and innovative, Seussical is a musical for all the family that is sure to delight and enthral from start to finish. Presenting an over the top look at some crucial and relevant social issues, it's a show for everyone, that is extremely well thought out and will leave you feeling warm inside, with a smile so wide.
Seussical runs at the Southwark Playhouse until 29th December 2018
photo credit: Adam Trigg
Saturday 24 November 2018
In Conversation With... Rebecca Lock | Kiss Me Kate | Interview
Fresh from starring as Ms Fleming in Heathers, Rebecca Lock is tackling the tough but exciting role of Lilli in the Sheffield Crucible's production of Kiss Me, Kate. Rebecca chatted to us all about the show, how Lilli is an ever relevant character and what people can expect from this new production...
Can you tell us a little about Kiss Me, Kate and how your character, Lilli, fits in?
Kiss Me, Kate is a Cole Porter musical about the inner workings of a travelling touring acting company and, in particular, about the tempestuous relationship between the two leading actors – Fred Graham and Lilli Vanessi – who are a newly divorced couple coming together for the first time in year to play opposite each other in The Taming of the Shrew. It’s a brilliant premise and you are taken on a journey of love, romance, mistaken identity and intrigue throughout. It’s a real whirlwind with tremendous highs and lows, beautiful music, incredibly dance routines, farce and a total transportation to the 1940’s world of glamour and Hollywood. It’s an absolute gift to any actor and I’m relishing every second of playing Lilli!
Lilli is a very vocally taxing role, how do you go about tackling her and performing in a way to maintain your voice and vocal health?
The somersault vocals as Lilli/Kate are taxing but it’s something I’ve always loved in all the roles I’ve played in my career; a real diversity of style – one second a lilting soprano for Wunderbar, and then belting my head off in I Hate Men, then finishing Act One with a coloratura that would fit nicely at the ENO, it’s brilliant! Of course, I have to look after myself. I’m drinking plenty of water, sleeping plenty and doing all the steaming – I don’t think I’m going to be able to partake in the usual jollities this Christmas! Although, I’ll maybe manage to sneak in a medicinal glass of port... or two.
What’s your favourite moment in Kiss Me, Kate?
Oh, there are so many! At the moment i’m really loving all the fighting we’re [Edward Baker Duly who plays Fred/Petruchio] getting to do as our play-within-a-play characters, it’s awesome. No holds barred.
In the era of #MeToo, Lilli seems like an extremely relevant character; is this something which drew you to the role?
I feel very honoured to have been trusted with a role like Lilli in today’s world. We do tackle some themes in the show of domestic abuse; there’s a famous scene towards the end of Act One where Fred [on stage as Petruchio] spanks Lilli [as Kate] which, in past productions, has been played for laughs with the exposing of frilly bloomers but actually, it isn’t at all hilarious that this man is hitting a woman. In our production, the genius that is Paul Foster [Director] has brought the situation right up to 2018 and tackles the scene in a new and very real way. Lilli definitely gives as much as she gets during the fight and it’ll be interesting to see how the audience react to this new and raw way of playing it – it’s an important story to tell.
What can audiences expect from this production of Kiss Me, Kate and why should they come to see it?
This production of Kiss Me, Kate is going to be a beautifully new, fresh and extremely funny show for a 2018 audience. I’m so excited for people to see it. The combination of Matt Flint’s breathtaking choreography and getting to work under the direction of Paul Foster is making this one of those really special productions that I am sure I will look back on and remember as a firm favourite.
What is your pre-show warm up like?
My pre-show routine is rather mundane: I eat about 4.30pm so I’m not digesting food during the show and burping in Edward [Baker Duly]’s face, then I get make-up ready for our company physical and vocal warm ups, then back to the dressing room to wig up and get dressed. I like to be ready to go by the five minute call so I’m not panicking and running late. I tend to always have a Jakemans’ throat sweet before beginners – not for medicinal purposes, just because it’s nice and comforting – and then, of course, a last minute wee. The show is so busy that I’m definitely not going to have a wee break until the interval!
Who would your dream duet partner be?
Hmm, good question! There are so many wonderful singers who would be so dreamy to duet with, but I’d have to say Audra McDonald. I absolutely love her rich, full and velvety voice and think we’d just have a brilliant time.
What’s your top piece of advice for aspiring performers in terms of finding and maintaining your voice?
To all aspiring new performers who are finding and maintaining their true voice, I would say to be yourselves. Be inspired by other singers but don’t imitate. Your individuality and unique quality is something you should be proud of – there’s only one you, embrace it! Oh, and drink plenty of water, get lots of sleep and avoid noisy places – talking loudly can be a killer when it comes to vocal health.
Kiss Me, Kate is at the Crucible Theatre from Friday 7 December – Saturday 12 January
photo credit: Manuel Harlan
Friday 23 November 2018
West End Live Lounge, The Other Palace | Review
West End Live Lounge
The Other Palace
Reviewed on Sunday 18th November 2018 by Olivia Mitchell
★★★★★
We all know by now that West End Live Lounge concerts are in my top ways to spend a Sunday, and last weeks 90s extravaganza was no different! A host of the West End and theatre in generals finest, took to the stage at The Other Palace to perform some remixed and refreshed versions of 90s classic hits as well as some less remembered tunes.
Ever humourous and energetic, Vikki Stone and Paul Taylor Mills presented the night, which raises funds for a different charity each month, with banter and bounce. Opening the show, Matthew Harvey treated us to a laid back version of the secondary school music class classic, Wonderwall which perfectly set the tone for the night of nostalgia.
A string of vocally flawless performances followed with Sam Coates' arrangements doing justice to the performers, venue, musicians and audience. As always he breathes fresh life into music and manages to balance warmth and energy in everything he touches. Particular stand outs included Lauren Drew's spine tingling rendition of I'm Your Baby Tonight, Sharon Sexton's All About Soul which had the entire audience bopping along, and Brady Isaacs Pearce's Hallelujah which brought Carrie Manolakos vibes and a whole lot of heart and power.
The buzz was clear during the interval, from the beaming faces, to bopping heads and general chipper vibes, the anticipation for act two grew and we all knew we were in for another series of musical treats.
Vocal powerhouse and sultry queen Danielle Steers gave ballad realness with Don't Speak whilst Divalution brought their usual sass with their epic 90s mash up. All the ladies have not only voices for days, but for months. Some icy vibes were given to the evening by Jordan Luke Gage's dark and vocally incredible performance of You Oughta Know.
Sophie Isaacs also performed a lovely mash up, whilst, accompanied by gasps from the audience, Rob Fowler and Sharon Sexton joined forces to perform the well loved song which was cut from Bat Out of Hell: It Just Won't Quit. Every single performance of the night had something special and it's really magical to experience such diversity come together to celebrate music and talent.
As always, if you weren't at this West End Live Lounge, you missed a whole lot of brilliance but don't fret because there will be future concerts and it's clear from the Union Theatre to now, that the only way is up for Shaun McCourt and West End Live Lounge!
Keep up to date with West End Live Lounge on twitter
photo credit: Leigh Lothian
Thursday 22 November 2018
In Conversation With... Patrick Sullivan | Doctor Dolittle | Interview
After starring as Blake in Bat Out of Hell, Patrick Sullivan has swapped a motorbike for a cycling bike and a whole load of animals, as he becomes Matthew Mugg in Doctor Dolittle. Patrick told us what we can expect from the show, what Matthew is like and what he'd love to do next...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is a beautifully charming family show. It deals with important issues like the way we treat animals and in turn the environment. It has real heart and integrity and stands up against some of the more well-known family classics like Mary Poppins and Chitty Chitty Bang Bang.
You recently starred in Bat Out of Hell which is very different from this show, what drew you to Doctor Dolittle?
It was actually that huge difference that attracted me! I had the most incredible time creating and working on Bat. As a cast we were given such freedom to develop and adapt our characters. I had never done a show like Doctor Dolittle and reading the script the character I play, Matthew Mugg, really felt like something I wanted to work on! It's a very traditional show with great song and dance numbers which I've always wanted to do!
As you mentioned, you’re playing Matthew Mugg, what’s he like as a character?
Matthew is a very sweet innocent guy, with the best of intentions. He's an Irish immigrant and so doesn't have any family of his own in Puddleby, where the show is set, so he builds his own family when Doctor Dolittle takes him in. We see Matthew repeating this gesture when he takes in a local orphan Tommy Stubbins. He is driven by a kindness and warmth of character that I find very admirable!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
It's been a very rewarding challenge! I have had zero experience with puppetry prior to this show so I was really starting from the ground up! It's fantastic to be able to create reality where animals can pack a suitcase or do a dance number! It's really magic!
Have you got a favourite puppet in the show?
I might have a soft spot for him Chee Chee the chimpanzee...
Can you sum up Doctor Dolittle in five words?
Charming
Rich
Joyous
Fun
Heartwarming
If you had a magic wand, which show would you do next?
Oh a very difficult question. I don't really have a favourite show! I would love to do A Man of No Importance or else Catch Me If You Can. I think those are two shows that have never got the attention in London they deserve.
If you could go back to any era, when would you go to and why?
I know this isn’t the question but I'd much rather go into the future a hundred years and just see how it all plays out.
What’s your top piece of advice for aspiring performers?
Perform as much as you can. I was very lucky growing up in Ireland where there was considerably less competition for shows, especially for boys, so I was given loads of opportunities to play parts and develop a stage craft before I ever went to college! I was very lucky but there are still opportunities to be had if you look in the right places!
Also just try and be nice to people! It’s easy to forget to treat people with respect.
A massive thank you to Patrick for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
photo credit: Alastair Muir
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