Posts with the label musicals
Showing posts with label musicals. Show all posts
Showing posts with label musicals. Show all posts
Wednesday, 7 May 2025
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 15 April 2025
Ghost the Musical UK Tour: Great Cast, Ghostly Magic, But Time for a Refresh? | REVIEW
Ghost the Musical (Tour)
New Victoria Theatre
Based on the beloved 1990 film starring Patrick Swayze and Demi Moore, Ghost the Musical first premiered in Manchester in 2011 before transferring to the West End and Broadway. With a book by Bruce Joel Rubin (who also penned the original screenplay) and a pop-infused score by Dave Stewart and Glen Ballard, the musical brings romance, loss, and the supernatural to the stage. The current UK tour proves there's still plenty of love for this story and though a few creaky moments show its age, the emotional core and a jaw-dropping central performance keep it engaging and enjoyable.
This touring production is anchored by a genuinely great cast, with standout performances across the board. At the heart of it all is the phenomenal Rebekah Lowings, whose portrayal of Molly is nothing short of spellbinding. Her vocals are among the best I’ve ever heard. Rich, emotional and technically flawless, she brings such raw depth to the role that you can’t help but root for her from her very first note. Honestly, I want to see her in everything from now on.
Josh St. Clair also provides some great vocal moments and makes for a compelling Sam, navigating the tricky emotional beats of his spectral role with sensitivity. As Carl, James Mateo-Salt is a real standout, bringing a great intensity to the role and some top level vocals to match, while Jacqui Dubois as Oda Mae delivers excellent comic timing and vibrant charisma, perfectly lifting the mood just when it’s needed. The show benefits from this balance of emotional sadness and humour, which helps it maintain a fairly fast pace and keeps the audience emotionally invested throughout.
That said, Ghost the Musical does show its age in places. Some moments feel a little on the cringe-worthy side, especially in the dialogue and transitions, and it’s easy to imagine how a subtle modern refresh-whether through design or direction- could polish off the rougher edges. The choreography also feels a little mismatched with the tone of the piece; while the dance breaks are energetic, they often feel more suited to a pop concert than a supernatural love story.
Despite that, the show offers some strong technical elements. The special effects (particularly those ghostly illusions) are slick and satisfying, and the lighting does a lot to establish mood and movement. While the sound mix could use some fine-tuning (a few ensemble lyrics got lost in the score), the overall production values are solid for a touring show.
Ultimately, this Ghost might not be reinventing the wheel, but it’s still an entertaining and emotionally satisfying night at the theatre. With a cast this talented, and a leading lady who deserves every starring role coming her way, it’s easy to overlook some of the creakier bits. Whether you’re a die-hard fan of the film or simply in the mood for a musical that blends romance, comedy, and a touch of the otherworldly, this tour is worth catching.
★★★
Reviewed on Tuesday 15th April by Olivia
Photo Credit: Alastair Muir
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 March 2025
Five Reasons Why Austenland is Going to Be Your New Favourite Musical
Austenland
Savoy Theatre
Last night, I had the absolute pleasure of attending the world premiere concert version of Austenland: The Musical- though calling it a 'concert' feels like a stretch. Directed fantastically by Jonathan O'Boyle this was an almost full-fledged, gloriously staged spectacle, complete with choreography, costumes, and a cast who threw themselves into the period-drama-meets-modern-romcom chaos with raucous enthusiasm. The result? An evening of sheer delight that left me grinning ear to ear.
So with that being said, here’s why Austenland is about to be your next musical obsession:
1. The Songs Are Instantly Addictive
From swooning ballads to toe-tapping ensemble numbers, Austenland delivers a diverse soundtrack that sticks with you long after the final bow. Thanks to the creative team- Jodi Picoult (co-librettist), Timothy Allen McDonald (co-librettist), Elyssa Samsel & Kate Anderson (song writers)- the score feels fresh, interesting and exciting. At times it's a little bit too try hard for me but whether it’s the Regency-style waltz that morphs into a pop anthem or Manly's hilariously over-the-top song dripping with melodrama, every number feels like a hit waiting to happen.
2. It’s Jane Austen… But Make It Hilarious
Austen adaptations often lean into the drama, but this musical leans hard into the comedy- and it absolutely works. The show revels in the absurdity of Austen-obsessed tourists attempting to live out their fantasy in a Regency holiday retreat, complete with exaggerated social etiquette, scandalous misunderstandings, and a delightful send-up of brooding leading men.
3. The Cast Brings the House Down
The performances were electric, blending impeccable comedic timing with genuine heart. Lucie Jones (who I would quite literally listen to if she sung the phonebook) as leading lady Jane delivered a pitch-perfect mix of modern cynicism and romantic longing, while the ‘perfect’ Mr. Darcy-esque love interest (Oli Higginson) was both swoon-worthy and delightfully self-aware. Laura Baldwin and Cassidy Janson were gloriously funny as Miss Heartwright and Aunt Carolyn/Wattlesbrook. As Elizabeth Charming Alex Young was an absolute scene-stealer, milking every single moment for maximum comedic effect. Not a second of stage time was wasted- she wrung every syllable of the script dry, crafting a performance that was equal parts razor-sharp and utterly ridiculous in the best way. As Manly, Idriss Kargbo also took every moment and ran with it in the best way, infusing every moment with energy and draaaaaama. The entire ensemble did a wonderful job, especially given the short rehearsal time and were truly impressive.
Of course, we don’t yet know who will be starring in future productions, but with this incredible cast laying the groundwork, Austenland is already shaping up to be a must-see hit.
4. A Feast for the Eyes
Even in this so-called ‘concert’ setting, the production values were on point. The period-inspired costumes added flair, while clever staging and super fun choreography (Joanna Godwin) gave the show a dynamic, refreshing feel. Mention must also go to the sound (Sound Quiet Time), which was the best I've heard in a concert version in a long time! If this was just a taster, I can’t wait to see what a full-scale production will look like.
5. It Balances Romance and Satire Perfectly
Austenland manages to poke fun at the tropes of romance novels while also delivering a genuinely satisfying love story. Just when you think it’s all ridiculous escapism, the show hits you with a moment of sincerity that reminds you why we all love a good Austen-inspired romance in the first place. Plus of course, all of us romance girlies get what we crave, a swoony story with a Hand Flex included.
Now, I won’t say Austenland is a flawless masterpiece just yet. The pacing needs a little fine-tuning, some songs need altering and a few jokes could land better with some tweaking. But with a few adjustments, this could very well be a 10/10 musical the next time we see it. And honestly? I can’t wait for that moment.
Article written by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 February 2025
Calamity Jane 2025 Tour Review: A Rootin’-Tootin’ Revival Where Carrie Hope Fletcher Shines
Calamity Jane (Tour)
New Victoria Theatre
The 2025 UK tour of Calamity Jane bursts onto the stage with energy, charm, and a dose of old-fashioned Wild West fun. Led by the ever-brilliant Carrie Hope Fletcher in the title role, this revival brings a fresh spark to the beloved musical while staying true to its classic appeal. With impressive orchestrations, great lighting design, and dynamic staging, the production proves that Calamity Jane is as entertaining as ever.
If there was ever a performer perfectly suited to bring Calamity Jane to life, it’s Carrie Hope Fletcher. Best known for her powerhouse performances in Les Misérables, Heathers, and The Addams Family, Fletcher steps into the buckskins of the iconic frontierswoman with charisma and confidence. Her portrayal balances tomboyish bravado with heartfelt vulnerability, making her Calamity both lovable and layered.
Vocally, Fletcher is sensational. She delivers showstoppers like 'The Deadwood Stage' and 'Secret Love' with clarity, warmth, and emotional depth. Her rendition of 'My Love Is Higher Than a Hawk' is a standout moment, showcasing her ability to blend rich storytelling with soaring vocals. She brings a modern sensibility to the role without losing the charm and humour that make Calamity such an endearing character.
The production’s lighting design is a major highlight, transporting the audience from the dusty streets of Deadwood to the glittering backstage in Chicago. Soft amber tones create a rustic, sun-drenched frontier feel, while dramatic spotlighting enhances the emotional weight of key scenes. During the climatic 'Secret Love', the transition from warm candlelight to a radiant glow beautifully mirrors Calamity’s personal transformation.
The staging is dynamic and well-paced, with director Nikolai Foster and Co-Director Nick Winston ensuring seamless transitions between the saloon, the theatre, and the open plains. The use of multi-level sets adds depth to the storytelling, and the clever choreography breathes life into the ensemble numbers. The bar fights and comedic misunderstandings play out with precision, bringing a sense of playfulness to the production without feeling over-the-top.
Under the musical direction of Catherine Jayes, the orchestrations remain faithful to the show’s roots while injecting a fresh vibrancy. The lush string and brass arrangements add richness to the score, making classics like 'Windy City' feel both nostalgic and exhilarating. The live band, positioned on stage at times, adds an immersive element, reinforcing the raw, unpolished energy of the Wild West setting.
The 2025 tour of Calamity Jane delivers a highly entertaining, well-executed revival of this beloved musical. Carrie Hope Fletcher leads the charge with a captivating performance, supported by stunning visuals, lively orchestrations, and seamless staging. Modern touches and attitudes mix perfectly with the classic story and show, ensuring a night of laughter, romance, and unforgettable music.
Whether you're a longtime fan of Calamity Jane or discovering it for the first time, this tour is well worth saddling up for. Get ready for a rootin’-tootin’ adventure full of heart, humour, and standout performances.
Reviewed on Tuesday 25th February 2025 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Monday, 24 February 2025
Come with me to West End Press Launch for The Great Gatsby
Press launches are always a treat but this one had an extra air of excitement surrounding it as I, alongside a host of stagey people, stepped into the opulent Savoy Hotel for the press launch of the West End's latest sensation, The Great Gatsby musical.
A vintage Rolls Royce parked outside plus the grandeur of the iconic venue, with its art deco interiors, perfectly mirrored the Roaring Twenties ambiance that the production promises to deliver and certainly set the tone for what we can expect from this hotly anticipated Broadway transfer.
The show itself is hugely exciting, but the cast are a whole separate spectacle. Leading the ensemble is the charismatic Jamie Muscato, renowned for his roles in Moulin Rouge!, Heathers and Les Misérables. We got to hear him perform the beautiful, For Her, and I can already see how well he's going to bring the enigmatic, illusive Jay Gatsby to stage. Opposite him, the supremely talented Frances Mayli McCann, celebrated for her performances in Bonnie & Clyde and my personal favourite, Our Ladies of Perpetural Succour, portrays the captivating Daisy Buchanan. Their on-stage chemistry promises to reignite the timeless romance at the heart of F. Scott Fitzgerald's classic.
Adding to the stellar lineup is Corbin Bleu, making his West End debut as the introspective Nick Carraway. Amber Davies steps into the shoes of the vivacious Jordan Baker, while John Owen-Jones takes on the role of the shrewd Meyer Wolfsheim. Jon Robyns and Rachel Tucker round out the principal cast as Tom Buchanan and Myrtle Wilson, respectively. Clad in their finery, this cast are already killing it and I cannot wait to see how they bring their roles and the show to life.
During the launch, we were treated to another exclusive performance by Muscato and McCann, who delivered a mesmerizing rendition of My Green Light, a poignant number that encapsulates Gatsby's yearning and Daisy's allure. The song's haunting melody and evocative lyrics offered a tantalising preview of the musical's rich score.
The creative team behind this adaptation boasts impressive credentials. Director Marc Bruni, known for his work on Beautiful: The Carole King Musical, collaborates with choreographer Dominique Kelley to bring the Jazz Age to life through dynamic staging and dance sequences. The musical features a book by Kait Kerrigan and an original score by Tony Award nominees Jason Howland and Nathan Tysen, blending jazz influences with contemporary musical theater elements to create a soundscape that resonates with modern audiences.
Set to open at the London Coliseum on 11th April, 2025, The Great Gatsby musical invites audiences to immerse themselves in the opulence and decadence of the 1920s. The production promises lavish sets and costumes, transporting theatergoers to Gatsby's extravagant parties and the glamour of West Egg.
Beyond the visual spectacle, the musical delves deep into themes of love, ambition, and the pursuit of the American Dream. Audiences can expect a narrative that honors Fitzgerald's original work while offering fresh interpretations and insights into the characters' psyches.
As the evening at the Savoy concluded and the last of the Laurent Perrier champagne was drunk, it was evident that The Great Gatsby musical is poised to be a landmark event in the West End calendar. With a compelling cast, visionary creative team, and a story that has captivated readers for a century, this production offers a theatrical experience not to be missed.
Tickets are now on sale, and given the buzz surrounding the show, securing seats early is highly recommended. Prepare to be transported back in time and witness a tale of passion, decadence, and the relentless pursuit of dreams.
Friday, 24 January 2025
2025 Theatre: West End and Broadway Shows Opening This Year
2025 is set to be another brilliant one for theatre fans, with both Broadway and the West End set to welcome a host of exciting new productions. From fresh adaptations of beloved classics to innovative original works, the stages are primed to dazzle audiences worldwide.
Here's a list of seven shows we're excited to see open in 2025:
1. The Great Gatsby- West End Premiere
F. Scott Fitzgerald's timeless novel, The Great Gatsby, is set to dazzle the West End in a new musical adaptation. Following a successful Broadway run, this production will grace London's London Coliseum from 11th April. Audiences can expect a lavish portrayal of the Roaring Twenties, complete with opulent sets, period costumes, and a jazz-infused score that brings the enigmatic Jay Gatsby and his world to life. This adaptation promises to capture the essence of the classic tale, exploring themes of love, ambition, and the American Dream.
2. Hercules- Disney's Mythical Musical
After a long wait, Disney's animated favorite, Hercules, is making its way to the West End stage in a grand musical way. Set to open at the Theatre Royal Drury Lane on 6th June, this production reimagines the legendary tale of the demigod Hercules on his quest for heroism. Directed and choreographed by Casey Nicholaw, with music by Alan Menken and lyrics by David Zippel, the show promises a blend of humour, heart, and high-energy numbers. Audiences can look forward to beloved songs from the original film, such as Go the Distance, alongside new compositions crafted for the stage.
3. Dirty Dancing- A Classic Reimagined
For film fans, the iconic love story of Dirty Dancing returns to the stage, offering fans a fresh take on the beloved 1987 film. Opening on 23rd October, 2025, at the newly established Capital Theatre in Westfield London, this production invites audiences to relive the romance of Baby and Johnny, whilst experiencing a new theatre too. With its memorable dance sequences and a soundtrack featuring hits like (I've Had) The Time of My Life, the show captures the essence of the original while introducing innovative choreography and staging. The Capital Theatre, a state-of-the-art venue, promises an intimate experience, ensuring every seat offers a prime view of the performance.
4. The Picture of Dorian Gray- Broadway's Bold Adaptation
After a hugely successful West End run, Oscar Wilde's classic novel, The Picture of Dorian Gray, receives a contemporary twist in this bold Broadway adaptation. Previews begin on March 10th, 2025, at the Music Box Theatre, with an official opening on 27th March. Starring Sarah Snook, renowned for her role in Succession, the production features her in an impressive 26 roles, showcasing her versatility and depth as a performer. Directed by Kip Williams, the play delves into themes of vanity, morality, and the consequences of eternal youth, offering a poignant reflection on society's obsession with appearance.
5. Buena Vista Social Club- A Musical Journey to Cuba
Transporting audiences to the vibrant streets of Havana, Buena Vista Social Club is a new musical inspired by the Grammy Award-winning album of the same name. Set to begin previews on 21st February, 2025, at the Gerald Schoenfeld Theatre, with an official opening on March 19th, the production celebrates the rich musical heritage of Cuba. Produced by John Leguizamo, the show features a live Afro-Cuban band and a cast that brings to life the stories of the legendary musicians who made the album a global sensation. Audiences can expect a rhythmic journey filled with soulful melodies, vibrant dance, and a narrative that honours the resilience and passion of Cuban artists.
6. Operation Mincemeat- The Little Show That Could
Making its Broadway debut after a successful run in London's West End, Operation Mincemeat is a musical comedy that brings to light one of World War II's most audacious deceptions. Previews commence on 15th February, 2025, at the Golden Theatre, with an opening night on 20th March. The story follows a daring British intelligence operation that aimed to deceive the opposition, turning the tide of the war. With a blend of sharp wit, engaging music, and historical intrigue, the production offers a fresh perspective on a remarkable true story, making it a must-see for history buffs and theatre lovers alike.
7. Stereophonic- A Rock 'n' Roll Stage Experience
After garnering critical acclaim and multiple Tony Awards on Broadway, Stereophonic is set to electrify London's West End in May 2025 at the Duke of York’s Theatre. Written by David Adjmi, the play immerses audiences in the dynamic world of a 1970s rock band as they navigate the tumultuous process of recording their second album. Featuring original music by Will Butler of Arcade Fire, the production delves into themes of ambition, creativity, and the personal struggles that come with fame. The show's innovative staging and compelling narrative promise an unforgettable theatrical experience that resonates with music enthusiasts and theatre-goers alike.
This is just a small taste of what's on offer this year, and there's so much more across the UK and USA. Whether you're a fan of dramatic storytelling, musical extravaganzas, or historical tales brought to life, the stages of Broadway, the West End and beyond are set to offer something truly special this year. And of course, we'll be covering as much as we can on Rewrite This Story.
Stay Stagey!
Thursday, 12 December 2024
Everything You Could Ask For in a Panto: Sleeping Beauty at the New Victoria Theatre REVIEW
Sleeping Beauty (Pantomime)
New Victoria Theatre
The New Victoria Theatre’s Sleeping Beauty was a beautifully crafted production with amazing scenery, atmospheric lighting and flamboyant costumes; it was everything you want a panto to be. From the playful delightful Royal magician (Richard Cadell), Spirit of Dreams Dame played by the national treasure himself Christopher Biggins, to the wicked Evil Sorceress Carabosse delivered by the talented Faye Tozer, everything was wonderful.
To hear the adult’s laughter and the children’s screams of delight was a jubilant piece of escapism from a very grey world of doom and gloom. All the cast were fantastic in their differing roles and together, they transformed the theatre into a magical sanctuary of joy and fun for everyone. It was funny throughout with hilarious one liners that didn’t veer into political territory as is sometimes the case. Instead it focussed more on colloquialism of the local towns and surrounding areas of Woking and general life experiences, which were really effective and brought the audience to tears of laughter. Particular mention must go to the inventive stage design and special effects; the 3D scenes with the helicopter and the dragon were so effective, they had the front rows cowering!
Another real hit with the audience was Sooty accompanied by Sweep and SOO, it certainly transported me back to being a young child and loving that little puppet so much that you begin to believe that they are real, well aren't they? Special mention of course must go to Richard Cadell as Muddles and Faye Tozer as Carabosse. Muddles really galvanized the plot together with brilliant funny one liners, his magical illusions, excellent timing and great engagement with the audience. Tozer as Carabosse made an excellent villain and to be honest was not a role I had thought would naturally suit Faye, but how wrong was I. She delivered both excellent acting and singing- a perfect Panto villain. The rest of the cast equally delivered solid performances. Prince William made a great leading man with a Bridgerton air around his persona and a great singing voice, with both the King and Queen delivering a majestic and humorous performance, Princess Aurora, as the love sick princess being completely oblivious of Muddles’ crush on her and his feelings. With Christoper Biggins delivering a masterclass of being a Panto Dame, as the spirit of dreams whilst precariously hanging in the air above the stage.
I left the theatre in a much happier place after seeing the Pantomime, it made me vow to myself that I would make a promise to upkeep the British tradition of of going every year, after not going to for such a long time. I left the theatre with ringing in my ears of cries of delight "look behind you", "I feel good", "Oh no you don't "and "Goodbye Biggins " and with the whole audience dancing to ‘Tragedy’. In summary- I absolutely loved it!
If you want a feel good feeling, sprinkled with a festive fairy dusting of humour and fun, then Sleeping Beauty is the panto for you! A definite 10/10!
★★★★★
Reviewed on Tuesday 10th December by Glenys Balchin
Photo Credit: Ian Osslon
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 6 December 2024
The West End’s Most Stylish Show? The Devil Wears Prada Musical Delivers Glamour and Heart
The Devil Wears Prada musical delivers a dazzling blend of nostalgia, fresh storytelling, and powerhouse performances- a night out that even Miranda Priestly might deem acceptable"
The Devil Wears Prada
Dominion Theatre
When adapting a cultural phenomenon like The Devil Wears Prada, the stakes are high. Fortunately, this musical adaptation succeeds in channeling the charm and sass of the beloved 2006 film while refreshing the story for modern audiences. With a talented creative team led by Elton John (music), Shaina Taub/Mark Sonnenblick (lyrics), and direction/choreography by Tony Award-winning Jerry Mitchell, the musical brings a vibrant mix of fashion, drama, and heartfelt character development to the stage.
One of the show's strengths lies in its balance of homage and reinvention. Fans of the movie will appreciate iconic nods like the cerulean sweater monologue and Andy’s stunning transformation, while new elements ensure the production feels fresh. For example, Andy's struggles with her weight are taken out, reflecting contemporary sensibilities. Similarly, the character of Nigel (played with warmth and depth by Matt Henry) has been given more of a backstory, highlighting his journey as a gay man and his profound love for fashion. These updates add layers of relatability and emotional resonance to the narrative.
Another welcome change is the improved portrayal of Andy’s boyfriend, Nate (played here by Rhys Whitfield). In the film, he’s often criticised for being unsupportive, but here he’s a far more sympathetic figure, expressing his emotions and making genuine efforts to support Andy as she navigates the high-stakes world of Runway magazine. These tweaks make the story feel less dated and more nuanced.
The cast is a powerhouse, led by Georgie Buckland, who shines as the ambitious and relatable Andy Sachs; her vocals are fantastic and she does a great job of showing Andy's journey and development throughout. As recently promoted assistant Emily, Amy Di Bartolomeo completely steals the show. Her razor-sharp wit and impeccable comedic timing make every scene she’s in a delight, and her big number is a standout moment that earns thunderous applause; her vocals are astounding and she truly shines in every single moment. Vanessa Williams as Miranda Priestly is commanding and effortlessly stylish, capturing the character’s icy exterior and surprising moments of vulnerability with finesse. Universally, the cast are really strong with a number of member multi-rolling to great effect.
Visually, the show is a feast for the eyes. The costumes-unsurprisingly-are spectacular, Gregg Barnes has done a stellar job of bringing high fashion to life on stage. The gala scene, paired with the title number 'The Devil Wears Prada', is a jaw-dropping spectacle where the wardrobe truly takes centre stage. The lighting design (Bruno Poet) is equally impressive, often framing characters as though they’re mannequins in a window display- a clever and effective visual motif that underscores the story’s themes of image and identity.
Elton John’s score is undeniably fun, packed with witty lyrics and catchy melodies. While it doesn’t push the boundaries of musical theatre, it fits the show perfectly, delivering the energy and humour fans expect. Numbers like 'How to Survive at Runway' and 'Miranda Girl' capture the glitzy yet cutthroat world of fashion, while more introspective songs give the characters room to breathe and connect with the audience.
This production knows its audience: die-hard fans of the film and lovers of fashion will relish every moment, but it also has the potential to win over theater newcomers. Its approachable storyline, dazzling production values, and killer performances make it an excellent introduction to musical theatre.
Ultimately, The Devil Wears Prada is not a groundbreaking work of art, but it doesn’t need to be. It’s a stylish, fun, and faithful adaptation that celebrates what we loved about the original while making smart updates for today. With its 2000s nostalgia, enviable wardrobe, and impactful performances, this is a show that delivers exactly what it promises: a fabulous night out.
Miranda Priestly may not gush, but this production earns a well-deserved four stars. That’s all.
★★★★
Reviewed on Sunday 1st December 2024 by Olivia
Photo Credit: Matt Crockett
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 29 November 2024
The Lightning Thief: The Percy Jackson Musical Review- A Vibrant Escape Packed with Heart and Humour
Like Camp Half-Blood itself, this show offers an unforgettable escape filled with friendship, unity, and a world where everyone can be a hero."
The Lightning Thief: The Percy Jackson Musical
The Other Palace
The Lightning Thief the Percy Jackson Musical based on Rick Riordan’s beloved novel of the same name, finds its perfect home on the intimate stage of The Other Palace. This fantastically staged production knows exactly what it’s aiming for: a heartfelt, high-energy story for fans of the books, young theatergoers, and anyone seeking an escapist evening of fun. It’s not a transformative piece of theatre but it never tries to be. Instead, it’s a faithful, joyfully chaotic adaptation that delivers a thoroughly entertaining experience.
The musical, with a book by Joe Tracz and music and lyrics by Rob Rokicki, condenses the sprawling first book of the Percy Jackson & the Olympians series into a fast-paced two-hour show. Percy Jackson, a seemingly average teenager, discovers he’s the demigod son of Poseidon. Alongside his best friend Grover and fellow camper Annabeth, he embarks on a quest to retrieve Zeus’s stolen lightning bolt, battling monsters and confronting his insecurities along the way. Themes of friendship, belonging, and overcoming personal challenges echo throughout, resonating especially with anyone navigating the struggles of growing up.
The standout performances begin with Max Harwood as Percy Jackson. Harwood, known for his starring role as Jamie New in the movie version of Everybody's Talking About Jamie and his recent role in Stranger Things once again demonstrates why he’s a star on the rise. I was lucky enough to see Max's debut as Melchior in Spring Awakening and I knew great things were on the horizon for him so it's so wonderful to see him leading this show with such brilliance. His strong, healthy vocals handle Rokicki’s rock-influenced score with confidence, while his physicality and emotional depth ground Percy’s journey in authenticity. Harwood’s Percy is funny, flawed, and fiercely relatable- a hero in trainers we can all root for. Watching him embody the sarcastic yet earnest demigod is an absolute treat, solidifying his status as one of the most exciting young performers on the stage today.
Mirroring Percy’s charm are Jessica Lee as Annabeth Chase and Scott Folan as Grover. Jessica brings a sharp wit and determined energy to Annabeth, perfectly capturing the daughter of Athena’s intellect and drive. Her duet with Harwood, 'My Grand Plan', is both heartfelt and empowering. Scott, meanwhile, is utterly delightful as Grover, mixing lovely comedic timing with moments of vulnerability that bring the satyr’s loyalty to life.
The ensemble shines, masterfully multi-rolling through a colourful array of characters, from meddling gods to fearsome monsters. Their quick changes and distinct characterisations are a testament to their talent and energy. Whether it’s a eye-dangling Fury or a groovy Poseidon, the ensemble brings Riordan’s mythological world vividly to life.
The creative team deserves immense credit for transforming the small stage of The Other Palace into a dynamic playground of gods and monsters. Charlie Morgan Jones’s vibrant lighting design and Duncan McLean’s imaginative projections work in tandem to expand the space, while clever touches- like bubbles to suggest underwater scenes- immerse the audience in Percy’s world.
The musical’s ability to nod to large-scale moments from the book (like the showdown with Ares) without overcomplicating them is a smart move by director Lizzi Gee. By focusing on character and humour rather than spectacle, the adaptation avoids the pitfalls of feeling overly ambitious.
Rob Rokicki’s score is an infectious blend of rock and pop that captures the angst and excitement of Percy’s story. Songs like 'Good Kid' and 'The Tree on the Hill' resonate emotionally, while the humorous numbers like 'D.O.A.' provide laugh-out-loud moments. That said, at times, the sound mix leaned too heavily on volume, making some lyrics difficult to catch- a minor issue in an otherwise great production.
The Lightning Thief thrives because it knows its audience. It’s not here to change the world- it’s here to celebrate it, offering fans of Riordan’s books and newcomers alike a chance to step into a world of camaraderie and mythological mischief. The Other Palace, with its cosy yet versatile stage, feels tailor-made for this production, inviting the audience into Camp Half-Blood’s warm embrace.
The musical excels at what it sets out to do: entertain, uplift, and provide a few hours of joyous escapism. With a faithful adaptation, a gifted cast led by the brilliant Max Harwood, and a visually inventive production, it’s a treat for fans and a celebration of the power of storytelling- a monster of a show! Like Percy’s time at Camp Half-Blood, it reminds us that even when life gets messy, friendship and unity can see us through.
★★★★
Reviewed on Thursday 28th November 2024 by Olivia
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
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