Posts with the label musicals
Showing posts with label musicals. Show all posts
Showing posts with label musicals. Show all posts
Friday 20 May 2022
My Fair Lady, London Coliseum | Review
My Fair Lady
London Coliseum
Reviewed on Thursday 19th May 2022 by Olivia Mitchell
★★★★
On the eve of Eliza Doolittle day, the London Coliseum was packed to the rafters and buzzing to see the long awaited West End transfer of Lerner and Lowe's My Fair Lady. Bartlett Sher's joyous production had a highly acclaimed run on Broadway and has now opened here, with the glorious Amara Okereke in the leading role. A role that seems made for her.
As Eliza, Amara is astounding in her versatility. From loud, brash and boisterous, she can flip to a calmer, softer side in an instant and is a joy to watch, whatever side she is showing. Taking on the role of Henry Higgins, the phonetics professor who bets that he can transform a cockney flower girl into a Duchess, is Harry Hadden-Paton who is engaging, witty and kind of manic. His relationship with Eliza is interesting and feisty. They are combative throughout but there's also a simmering slow-burn relationship happening that is so enjoyable to watch.
In supporting roles, there are some gems. Malcolm Sinclair is hilarious as Colonel Pickering and Vanessa Redgrave is charming as Higgins' mum. Stephen K Amos also gives a comedic performance as Eliza's dad, Alfred. His vocals are quite as strong as you'd expect but his performance is spirited and exciting.
This really is a sumptuous production, with absolutely beautiful costumes by Catherine Zuber which reference the film nicely but aren't direct copies. The iconic Ascot scene is particularly impressive. In terms of the stage design there are peaks and troughs. Michael Yeargan has crafted a meticulously detailed Edwardian house, which spins on a revolve to to reveal the various rooms. However, the other sets aside from this are somewhat lacklustre and fail to provide the wow factor you'd expect with a production like this. Everything works and effectively tells the story but there's a final sparkle missing that keeps it from being a five star production. There's also the unavoidable issue that Higgins' patronising reaction to Eliza has not aged well at all and his flaws make it hard to really root for him. The open ended closing of the show does help to ease this uneasiness but there's still a lingering awkwardness.
Despite these faults, it really is a lovely production which is chockablock with humour. And whilst is does show its age at times, much of the show feels fresh and Amara gives a starring performance that is worth the ticket price alone.
Thursday 19 May 2022
Lift, Southwark Playhouse | Review
Lift
Southwark Playhouse
Reviewed on Wednesday 18th May 2022
★★★
Produced by Gartland Productions, Lift has returned to London after premiering in 2013. Set in a Covent Garden lift (if you've attempted the steps, you know how crucial this particular lift is) it looks at eight of the characters on the same under a minute journey.
Played by Luke Friend, the busker (like many of us do while laying by the pool on holiday) imagines what his fellow lift-mates' stories and connections may be and the plot goes from there. Opening the musical alone on stage with a guitar, he is good at leading the show and seems at ease throughout. Sometimes his words get lost but his super strong vocals are great and he especially shines in the more angsty moments.
The rest of the cast share the names Sarah, Kate and Gabriel and you never quite know whether their stories are really happening or whether they're in the buskers head. Due to this the plot is somewhat confusing and hard to follow, and in fact it may have been better just to focus on one or two individual characters. Each character's story is interesting and intriguing but due to the structure you never truly get to delve into them so are left feeling a little short changed.
However, it's the first-rate performances that really bring this show to life. Hiba Elchikhe is a certified star in her role as the secretary; giving dreamy vocals and making the absolute most of all she's given to work with. Alongside her, Marco Titus gives a nice performance and the pair bounce off of one another very well. Kayleigh McKnight completely wows with her rendition of Lost in Translations which is a vocal marathon and Cameron Collins shows versatility in his various personas. Tamara Morgan is endearing and witty in her performance as well as working with Collins and McKnight well. Jordan Broatch and Chrissie Bhima are excellent together, bringing their virtual avatar characters together so impressively and entertainingly.
As a whole, the cast are incredibly strong and it's in the ensemble, deeply harmonic moments where the musical really comes to life. It's also when the narratives intersect that things become interesting. The audience start to spot connections and are forced to work out what's really true and linked. As well, the plot provides an interesting study on grief that has moments of revelation which are well approached.
Andrew Exeter's steel rig set is good at emphasising certain parts of the story and is a solid way of transforming the space to the various locations. The bright lighting is engaging and adds to Lift's fantastical, dreamlike setting. There's not a huge amount of diversity between Craig Adams' songs but each one does well to bring some story to each character, even if it is fairly surface level.
Overall, Lift is a well-paced show which lacks real depth and cohesion but is carried exceptionally well by the eight person cast. As a cult favourite, it's worth catching it just for the powerhouse voices and strong visuals.
photo credit: Mark Senior
Bonnie and Clyde, Arts Theatre | Review
Bonnie and Clyde
Arts Theatre
Reviewed on Wednesday 18th May 2022 by Olivia Mitchell
★★★★
After over a decade of waiting, Frank Wildhorn, Don Black and Ivan Menchell's Bonnie and Clyde has finally entered the West End and has done so with a bang. Telling the story of the eponymous duo who became outlaws before being killed together, the romanticised musical is exciting and features some of the strongest performances seen in a long time.
Based on the semi-true story, we follow Bonnie and Clyde from their childhood dreams (her to be a movie star like Clara Bow, and he to be an outlaw like Billy the Kid) to their first flukey meeting, their following life of crime and eventually their downfall and death. Running in parallel to this story is an unrequited love plot as well as some glimpses into the economic depression of the time which highlight why turning to crime was in some ways, necessary, at least for the Barrow Brothers.
At times the book is a little jumbled and some things are over explained, whilst others lack a little development. However, it is equally brilliant in its comedy, especially in the snarky exchanges between Blanche and Bonnie. Aside from the few issues, this is a really wonderful production that is spirited and exudes intensity.
As the leading characters, Frances Mayli McCann and Jordan Luke Gage completely own the stage. McCann is a certified star and she brings her clear as glass vocals to life in ballads such as Dyin' Ain't So Bad- a brilliantly dynamic portrayal as Bonnie. Gage is charming and terrifying in equal measure and vocally he fires on all cylinders. Raise A Little Hell is a complete roof raiser that is powerful, thrilling and aggressive. Together the pair balance one another well and are realistic in their juvenile, all encompassing love story. The sizzling chemistry grows from their first meeting and remains so until the very last second.
The entirety of the small cast are equally strong, with Natalie McQueen giving the most hilarious performance as God-fearing Blanche Barrow. You're Goin' Back To Jail is absolutely hilarious and she imbues every moment with wit, even down to her out of time clapping which is brief but wonderful. Alongside her comedy masterclass, she also brings a more mellow moment in the duet You Love Who You Love which is outstanding. As with much of the show, it's the tight harmonies which really bring the house down and have the audience enraptured. George Maguire is also strong as Buck Barrow and Cleve September nicely balances the hostility of Clyde with his smooth and calmer vocals.
As well as the performances, the set by Philip Witcomb takes on a life of its own and makes the Arts feel so much bigger than it is. The set is ambitious and impressive and coupled with great projections bu Nina Dunn and sound design by Tom Marshall make the whole show a real spectacle.
Nick Winston has done an outstanding job with this production and it's so wonderful that it's finally getting the run it deserves. How bout' you dance your way to the Arts Theatre and grab yourself a ticket for this theatrical jewel.
photo credit: Richard Davenport
Tuesday 17 May 2022
Grease The Musical, Dominion Theatre | Review
Grease The Musical
Dominion Theatre
Reviewed on Tuesday 17th May 2022 by Olivia Mitchell
★★★
It’s a cult classic that’s got the word, got the groove, it’s got meaning, and in its current West End run at the Dominion Theatre, Grease provides a high energy, fun night out that’ll have you feeling good and tapping your toes.
The production which previously toured the UK features all the iconic moments and songs from the film, but shuffles them around and combines them with their original stage versions. For example The T Birds are now back to their og name of the Burger Palace Boys. These small tweaks allow the audience to be more engaged as they don’t quite know what’s coming. However, other attempts to somewhat modernise the book fall a little flat. You would assume that ending the show with the punchline of the girl changing herself so the boy likes her, could’ve been switched up a little but it remains the same as the movie and certainly feels dated. This version of Grease does give Sandy's character more of a backbone but it would be nice to see just a bit of dialogue added to give her a bit more autonomy at the end.
The West End cast is chockablock with strong performers who bring the array of characters to life incredibly well. As the leading lady, Olivia Moore is a delight as Sandy. Her powerhouse voice soars every time she opens her mouth and she gives a dynamic and endearing performance. Leader of the Burger Palace Boys, Danny Zuko is played well by Dan Partridge who really comes into his own in the angsty number How Big I'm Gonna Be and also provides great humour and vocals in Stranded at the Drive In.
Other standout performers include Jocasta Almgill, who’s rendition of There Are Worse Things I Could Do, is heart-wrenching and transforms the song to be heard in a new light. Mary Moore is also a gem as Jan and Eloise Davies is wonderfully witty and whimsical as the Beauty School Dropout, Frenchie. Paul French’s Kenickie is rough and brooding but sometimes lets his softer side show and is a delight to watch.
If you’ve seen the adverts for this show, you’ll have probably seen Peter Andre who is starring as Vince Fontaine and Teen Idol. Whilst only appearing briefly in act one, in act two he comes to life and is highly entertaining and will certainly please audience members who are fans!
There are a few moments in the show where the energy lulls or jokes fall a bit flat but it’s the full ensemble sections that really bring it back up and make it soar. The Hand Jive and We Go Together are especially good moments that ooze energy and almost create electricity in the auditorium. This is in a big way thanks to Arlene Phillips' outstanding choreography that is fresh and exciting but completely in keeping with what we know and love as typically Grease.
As a whole the cast are top notch and work really well together. It's great to see how much characterisation work has gone into each role, so that no matter who you're looking at one stage, you can always see a story or relationship developing with them.
Despite a few shortcomings, the musical is a real laugh and a nice, hand jiving escape from reality. It's not groundbreaking but Grease The Musical does what it says on the tin and delivers iconic scenes and songs that fans of the film will love. So, all you crazy cats better get booking!
Thursday 12 May 2022
Jeremy Jordan to Perform Live in London
Fourth Wall Live is thrilled to announce that Broadway star Jeremy Jordan will be performing a solo show live in London at Theatre Royal Drury Lane on Monday 29 August 2022. Pre-sale sign up is open now. www.fw-live.com/jeremy
This marks Jeremy’s fourth solo engagement in London after three previous sold-out runs as well as the sold-out Bonnie and Clyde in Concert at Theatre Royal Drury Lane in January of this year. The show is an opportunity for Jeremy to celebrate the some of music he is most loved for performing as well as personal favourites both old and new.
Jeremy Jordan is a Broadway performer who is best known for Newsies (Tony, Grammy, Drama Desk nominations), Bonnie and Clyde (Theatre World Award), American Son, Little Shop of Horrors, West Side Story, Waitress and Rock of Ages. On television he has appeared as a series regular on Supergirl, Smash, and Disney's Tangled. His film credits include The Last 5 Years, Joyful Noise, American Son, Newsies. He will soon star as the tenacious record industry giant, Neil Bogart, in the upcoming feature film, Spinning Gold. Jeremy is also a singer-songwriter whose concerts and cabaret shows have won awards and acclaim worldwide.
Benjamin Rauhala is one of the Broadway community's most trusted music directors and collaborators. He is the Music Supervisor and co-creator of Disney Princess - The Concert, touring over 90 cities in North America throughout 2022. He was named Best Musical Director at the 2020 Broadway World Cabaret Awards. He has toured the world as the music director for Jeremy Jordan, the Tony-nominated star of Broadway's Newsies and The CW's Supergirl. He is also the music director for Academy Award Winner Ariana DeBose, Halston star Krysta Rodriguez, Tony nominees Derek Klena, Jennifer Damiano, Kathryn Gallagher, Nashville star Kyle Dean Massey, and Frozen stars Caroline Bowman and Austin Colby. He was the Associate Music Director for the world premiere of The Secret Life of Bees at the Atlantic Theater, directed by Sam Gold, with music by Duncan Sheik. He worked on the music team for both Bartlett Sher's Broadway revival of Fiddler on the Roof and the Broadway production of Duncan Sheik's American Psycho simultaneously during the 2016 season. His Off-Broadway credits include David Byrne’s Joan of Arc: Into The Fire at The Public Theater and The Marvelous Wonderettes at Theater Row. He previously served as music director for Hit List, the meta-musical from the NBC television show SMASH and is an Original Programming Producer at Feinstein's/54 Below, where he has created dozens of sold-out concerts, including the Broadway Loves Series, that has famously honoured Britney Spears, Demi Lovato, Selena Gomez, Celine Dion and many more beloved pop icons.
Fourth Wall Live (FWL) is a live entertainment company that produces events, concerts and on-stage shows. This January FWL presented Bonnie & Clyde the musical in concert for two nights to a sold-out audience at Theatre Royal Drury Lane starring Broadway favourite Jeremy Jordan. This concert broke Drury Lane box office records selling out a 2-night run in less than 6 minutes.
FWL regularly brings Broadway artists to the UK, previous concerts include Broadway and TV regulars Chita Rivera, Keala Settle, Laura Benanti, Sierra Boggess, Kelli O’Hara, Laura Michelle Kelly, Megan Hilty, Tituss Burgess, Jeremy Jordan, Matthew Morrison, Erich Bergen, Eden Espinosa, Julia Murney and Cynthia Erivo. Other concerts include West End and UK Stars solo concerts including Michael Ball, Matt Cardle, Kerry Ellis, Oliver Tompsett, Hannah Waddingham, Sharon D Clarke, Bonnie Langford and Jenna Russell.
Tori Amos’s musical The Light Princess was presented to critical acclaim, as a special one-off concert in the summer of 2018. Rodgers + Hammerstein’s Cinderella and Zorro The Musical were presented with musical-all-star-casts in 2019 and 2020 respectively to sold out audiences.
Fourth Wall Live also regularly partners with the Hippodrome Casino, in November-December 2020 they produced 25 nights of socially distanced entertainment, proudly being the first live concert event post lockdown in the UK. Season two at the Hippodrome concerts ran from September 2021 to December 2021 and featured 20 nights of musical entertainment from the world of musical theatre and pop cross over.
Thursday 5 May 2022
Bat Out of Hell Returns to the West End
The producers of Jim Steinman’s Bat Out of Hell – The Musical, featuring Jim Steinman and Meat Loaf’s greatest hits, are delighted to announce the musical’s return to London in 2023. The show, which is currently touring the UK and Ireland, will play a limited season at the Peacock Theatre with performances from 17 February, ending on 1 April 2023.
Bat Out of Hell – The Musical will also have a residency at Paris Las Vegas Hotel & Casino from 27 September 2022.
Casting for both productions to be announced.
Bat Out of Hell – The Musical wowed critics and public alike when it played limited seasons at Manchester Opera House, London Coliseum and London’s Dominion Theatre from 2017 to 2019. The musical also ran successfully in Canada, Germany and at New York’s City Centre in 2019. The current UK and Ireland tour began performances at Manchester Opera House on 11 September 2021 and has been playing to sold out houses and great critical acclaim.
Bat Out of Hell – The Musical won the Radio 2 Audience Award for Best Musical at the Evening Standard Awards and was nominated for 8 WhatsOnStage Awards, including Best New Musical. Bat Out of Hell became one of the best-selling albums in history, selling over 60 million copies worldwide. 16 years later, Steinman scored again with Bat Out of Hell II: Back into Hell, which contained the massive hit I’d Do Anything for Love (But I Won’t Do That).
For the stage musical, the legendary and award-winning Jim Steinman incorporated iconic songs from the Bat Out of Hell albums, including You Took the Words Right Out of My Mouth (Hot Summer Night), Bat Out of Hell, I’d Do Anything for Love (But I Won’t Do That) and Two Out of Three Ain’t Bad, as well as two previously unreleased songs, What Part of My Body Hurts the Most and Not Allowed to Love.
The electrifying rock songs of Mr Steinman propel an epic story of rebellious youth and passion as Strat, the immortal leader of The Lost, has fallen in love with Raven, the beautiful daughter of the tyrannical ruler Falco.
The UK & Ireland Tour of Bat Out of Hell - The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography adapted by Xena Gusthart, with musical supervision and additional arrangements by Michael Reed, set and costume design by Jon Bausor, original costume designs by Meentje Nielsen, original wig designs by Linda McKnight, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestration by Steve Sidwell, original casting by David Grindrod CDG and UK Tour casting by Anne Vosser.
Bat Out of Hell – The Musical is produced by David Sonenberg, Michael Cohl & Tony Smith, with executive producer Julian Stoneman.
This tour is dedicated to the memory of Jim Steinman, who sadly passed away on 19 April 2021, and Meat Loaf, who passed away on 20 January 2022.
Website: www.BatOutOfHellMusical.com
Twitter, Facebook & Instagram: @BatTheMusical
photo credit: Chris Davis Studio
Thursday 21 April 2022
The Cher Show (Tour), Leicester Curve | Review
The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★
After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.
This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.
The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.
As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.
It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.
Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.
Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.
The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.
photo credit: Pamela Raith
Wednesday 13 April 2022
Zorro, Charing Cross Theatre | Review
Zorro
Charing Cross Theatre
Reviewed on Tuesday 12th April 2022 by Hope Priddle
★★★★★
Last seen in London in 2008, Zorro is back and ready to bring a taste of Spain to the Charing Cross Theatre! Set to a legendary soundtrack by the Gipsy Kings, this sizzling show follows the mysterious masked vigilante El Zorro in his efforts to defend the Pueblo of Los Angeles from a ruthless autocratic leader. Written by Stephen Clarke and Helen Edmundson, the book is pacey and exhilarating. Whilst drama and action undeniably motivate this production, it really shines in the quiet moments of passion and pathos between our central lovers.
Ben Purkiss is perfectly cast in the titular role. He is utterly endearing as the charismatic and courageous Diego, but he transforms into the suave crusader with ease. Alex Gibson-Giorgio gives an accomplished performance as the tormented tyrant, and Diego’s estranged brother, Ramon. Gibson-Giorgio masterfully conveys Ramon’s internal conflict, inviting sympathy despite his character’s irredeemable actions. Special mention must go to Marc Pickering as Garcia, who is tremendous as our comedic antagonist. Not only does he play the fool, but his character has real heart and displays a truly rewarding arc.
Despite its name, this production is all about its women. Phoebe Panaretos is a complete tour-de-force as the sensual, strong-willed Gyspy queen Inez. Her voice is rich and full-bodied, stealing the showing on more than one occasion. Panaretos leads a rousing rendition of Bamboleo at the end of Act One, captivating her audience in every way possible. Paige Fenlon is similarly exquisite as Diego’s childhood friend Louisa. Louisa may appear innocent on first introduction, but a fire quickly ignites inside of her as she leads the Pueblo uprising. Fenlon’s heavenly vocals soar as her character finds her voice.
Panaretos and Fenlon are supported by a searing female ensemble who truly are the lifeblood of this production. Their vital choreography and visceral harmonious drive the action forward. During Libertad, the ensemble cries sympathetically as one, moving as a single pulsating body under sanguine lighting designed by Matthew Haskins.
Creative elements work in harmony to create a production which is immersive and evocative. The traverse staging, admittedly typical of productions at this venue, works to enclose the Pueblo and create a homely, intimate feel. Set and Costume Designer Rosa Maggiora does a tremendous job of world building. A multi-levelled set elevates the action, whilst aisles and doorways are used effectively for either flamboyant or stealthy entrances and exits. An actor-muso approach greatly compliments this production. Talented ensemble members play classical guitar and trumpets, recreating the sounds of 19th Century California. Moreover, the very stage itself becomes an instrument, integral as brass or string. As the cast stamp and stomp across the floor, they ‘play’ the boards and percussive sound fills the rafters.
With thrilling stage combat (Renny Krupinski) and impactful flamenco routines (Cressida Carre) led by the commanding Ajjaz Awad, this dynamic production is packed full of colour, texture and noise. It fully embraces its audience, sweeping them up into the spirited world of Spanish Gypsies and swashbuckling heroes.
photo credit: Pamela Raith
Wednesday 30 March 2022
Alex Gibson-Giorgio Discusses Playing the Villain and Returning to the Stage | Zorro | Interview
You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting Alex Gibson-Giorgio is set to play Ramon in Zorro the Musical which is set to open at the Charing Cross Theatre this weekend. Pre-opening he chats to us about the rehearsal process, what it's like playing the villain and what audiences can expect from the musical...
Firstly, could you tell us a little bit about what audiences can expect from Zorro?
We all know and love the mask-wearing, sword-wielding bandit who fights for the poor and defends injustice, breaking many a heart along the way; made eternally famous by Antonio Banderas. Well, the musical has all the passion, love and fire of the film, with a little extra heart, all set to the songs of the Gipsy Kings.
It must be great to get back into theatre post-lockdown, especially with such a high energy show, what has the rehearsal process been like?
Being back in the rehearsal room is a huge privilege … it’s definitely one of my favourite parts of putting on a show. The pure magic of a group of actors in a space creating an imaginary world together … it’s so exciting! It’s a place to make bold offers and explore the full range of your character with no judgement … there are no wrong choices, instead there are endless possibilities. As my acting teacher Margot Fenley would say “Be bold and fail gloriously!”
Ramon is a pretty evil character and you’ve previously played Jafar in Aladdin, are you a fan of the villains?
I do love myself a villain. I think they’re the most interesting characters to play because you get to safely explore often darker ways of thinking and existing that are not always socially acceptable in everyday life. In the case of Jafar, it’s just CAMP!
The score of Zorro is by the Gipsy Kings, if you were to have a band write the score for a musical about your life, who would you choose?
Fleetwood Mac for sure. Or Gaga. Maybe James Taylor … this one’s hard.
What song are you most excited to perform for an audience when the show opens?
I love Baila Me … such a good tune! But watching Djobi Djoba and Bamboleo from offstage is a personal highlight for me. We are lucky to have such a talented company who not only sing and act, they also have to play multiple instruments, dance (WHILST PLAYING), shoot guns and sword fight!
Why should people come and see Zorro?
If you love The Gipsy Kings, you will love this show. The music fills your soul! You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting. VIVA EL ZORRO!
Thank you so much Alex for taking the time to chat to us. Zorro opens at the Charing Cross Theatre 2nd April
Interview by Olivia Mitchell, Editor
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