Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts
Tuesday 28 November 2023
My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic
My Neighbour Totoro
Barbican Centre
After a hugely applauded and successful run last year, My Neighbour Totoro has returned to the Barbican Centre and is as highly anticipated as ever. The 1988 Japanese animated fantasy film is much loved around the globe, but having never seen it personally I was intrigued how this stage adaptation would affect me. Thankfully I was blown away by the story and staging and can see why it's a tale so close to people's hearts.
Brought to the stage by producers Joe Hisaishi and the Royal Shakespeare Company, the show is a perfect combination of animation style moments and theatrical wonder. As a whole, it does a masterful job of capturing the essence of childhood wonder and innocence in a way that's relatable to adults and children alike. The colours are vibrant, the details meticulous, and the animation style timeless. From the moment the logo comes to life, the enchanting world of Totoro wakes up and takes the audience on a whimsical, wonderful journey.
The story, a heartfelt tale of two sisters, Satsuki and Mei, and their mischievous encounters with forest spirits, is simple but encompasses a range of emotions. The emotional depth and universal themes of family, friendship, and the magic of nature are portrayed with a subtlety and grace that I'm learning is very typically, Studio Ghibli. It's not the most intriguing of tales and is definitely more of a visual treat but the pacing is perfect, and allows the audience to savour every moment whilst keeping engaged throughout.
Tom Pye's ingenious design, paired with the creative direction of Phelim McDermott, has given life to an awe-inspiring and intricately detailed set, with hidden aspects and elements that come swooping in to create magical moments. The intricacy of this production's design serves as a testament to the limitless potential that the enchanting world of theatre can bring to life and even more special, is how throughout, it also manages to retain a sense of cosiness and intimacy.
The truly mesmerising part of My Neighbour Totoro is of course the astounding puppets crafted by Basil Twist. The production fearlessly showcases the puppeteers, adding a unique layer to the wonder and escapism of the performance. Far from diminishing the magic, the visible puppeteers become an integral part of the spectacle, stopping to bow during the show, often breaking the fourth wallk and culminating in a genius curtain call that is it's own whimsical show that's truly unexpected and brilliant.
The music in My Neighbour Totoro is the beating heart of the production, thanks to the enchanting vocals of Ai Ninomiya. Her performance provides a mesmerising soundtrack that weaves seamlessly with the unfolding events. The original film score by Joe Hisaishi, expertly re-orchestrated by Will Stuart, and the adapted lyrics by Tom Morton-Smith and Hilmi Jaidin which blend delicate Japanese and English verses, all add layersof depth to this beautifully intricate production. The perfect harmony between music and storytelling creates an immersive experience, and furthers the impact of the tale.
The amazing cast assembled feels like a tight-knit family on stage. Mei Mac and Ami Okumura Jones, portray the lively sisters Mei and Satsuki, effortlessly taking the audience on an emotional rollercoaster with their youthful energy and seamless chemistry. Dai Tabuchi and Emily Piggford give endearing performances as the caring parents, Tatsuo and Yasuko. What's truly remarkable is that, beyond their main roles, each cast member (bar Mei and Satsuki) also step into the role of puppeteer, showcasing the incredible versatility and talent that defines this consistently outstanding ensemble.
Whether you're a long-time Studio Ghibli fan or experiencing the magic for the first time, My Neighbour Totoro at the Barbican Centre is an absolute must-see. It's a theatrical gem that touches hearts and transports audiences to a world where imagination knows no bounds. Five stars simply don't do justice for this enchanting experience.
★★★★★
Reviewed on Monday 27th November 2023 by Olivia
Photo Credit: Manuel Harlan
Tickets for My Neighbour Totoro are available at London Box Office
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 20 October 2023
Dear England at the Prince Edward Theatre review: An Ode to the Nation
Dear England
Prince Edward Theatre
It could be argued that James Graham is the master of creating works which capture the intricate fabric of contemporary Britain, and his most recent opening, Dear England does just that, emerging as a heartfelt, thought-provoking piece. This engaging production eloquently delves into British identity, the echoes of history, dreams for the future, and the nation's relationship to football.
Dear England artfully blends past and present, transporting audiences through time in a seamless and captivating manner. This storytelling technique offers a unique lens through which we can view the profound influence of history on our present. The play focusses on Gareth Southgate's journey as manager of the England football team, linking in his own personal history, as well as the histories of his team and England as a whole. It's a very cleverly done show which feels completely relevant, modern and necessary.
The characters, portrayed by a talented ensemble cast, come alive with vibrant, authentic performances. These characters represent a rich tapestry of contemporary Britain, showcasing immigrants, soldiers, activists, and politicians. Joseph Fiennes outstandingly leads the show as Gareth and helps to cultivate the entire cast's emotional depth, forging a genuine connection between the characters and the audience.
Es Devlin's set design is typically National Theatre and incredibly well done, seamlessly transporting us from one time to another. The use of multimedia elements, including videos, adds depth and texture to the storytelling. With each shift in the backdrop, the mood and ambiance evolve, underscoring the diversity and complexity of the themes explored.
Graham's writing is sharp and insightful, with sprinkles of humour throughout to balance the gravity of the themes. Dear England explores national identity, migration, patriotism, and the ever-relevant question of what it truly means to be British. The dialogue is simultaneously poetic and genuine, prompting the audience to reflect on their own connection to the nation.
It's fair to mention that the play occasionally teeters on the edge of trying a bit too hard, with the odd scene not being as impactful as you'd hope. Nevertheless, this is a small price to pay for a production that aims to encapsulate the very essence of a nation and overall Dear England is a touching and timely exploration of the British identity. It masterfully navigates the waters of history, politics, and human experience, leaving audiences with a deeper understanding of what defines their nation.
This production is a testament to the incredible power of theatre to mirror, challenge, and celebrate our shared story. With its compelling storytelling, exceptional cast, and innovative design, Dear England is a need-to-see performance, that hopefully will engage and resonate with both regular and not so regular theatregoers.
★★★★
Reviewed on Thursday 19th October 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 4 October 2023
Life of Pi on Tour at the New Victoria Theatre Review: A Painful Story Vibrantly Brought to Life
Life of Pi (Tour)
New Victoria Theatre
★★★★★
Before last night I had no prior exposure to Life of Pi. I hadn't read Yann Martel's acclaimed novel or watched Ang Lee's award-winning film. Approaching the play with no preconceptions, I found it enchanting. While it may not resonate with everyone, I personally adored the captivating production by playwright Lolita Chakrabarti. It held my attention from the very beginning to the end of the performance. I found myself deeply engrossed in Pi's perspective on faith, humanity, survival, brutality, and mankind, and I even wished there hadn't been an interval as I was so enthralled.
The narrative revolves around Piscine "Pi" Patel, the son of a zookeeper in Pondicherry, who claims to have survived a shipwreck on a life-raft with a Bengal tiger as his companion.
Some readers might initially think this story isn't their cup of tea, but let me assure you that the magic lies in the simplicity of the stage design, the visual effects, and the lighting that interweaves the tale. The incredible collection of large puppets portraying the captive animals from the zoo adds to this magic.
The play centers around Pi, portrayed by Divesh Subaskaran in his impressive professional debut. Divesh truly shines in this role, immersing the audience in Pi's world. I was particularly impressed by his performance, seamlessly transitioning from a mischievous young man-boy to an overwrought, delusional individual grappling with the world's cruelty. He later revealed a kinder, gentler side, yearning to believe in the world of storytelling and escape the horrors of the boat's events. The two actors who questioned the young Pi about his experiences greatly complemented Divesh's portrayal, contributing to the unraveling of the story with their strong performances.
Credit must be given to the entire cast. The stage was always vibrant with energy, the performers transforming it in seconds as Pi recalled flashbacks of his voyage. The mastery of the remarkable puppeteers, animating butterflies, shoals of fish, a hyena, a zebra, an orangutan, and the Bengal tiger, was truly commendable. Special acknowledgment goes to those who skillfully maneuvered the Bengal Tiger, creating a sense of predatory readiness on the boat.
For me, the imaginative world that offers solace from the world's atrocities, coupled with the magical animals brought to life through outstanding puppetry, are the true stars of this show. This made the theatrical event a thoroughly enjoyable experience for everyone.
Reviewed on Tuesday 3rd October 2023 by Glenys Balchin
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 31 May 2023
2:22 A Ghost Story at the Apollo Theatre review: A tremendously tense night out
2:22 A Ghost Story
Apollo Theatre
★★★★
2:22 A Ghost Story is quickly carving its name out in the UK theatre scene. Having played a number of runs at various West End theatres to much acclaim and with a touring version coming up, it's certainly a show which knows how to spook and entertain audiences.
Based on experiences had by the play's writer, Danny Robbins, this haunting production takes you on a thrilling journey into the supernatural, exploring themes of love, loss, and the unbreakable bonds that transcend time. The storyline is quite masterfully crafted, keeping you on the edge of your seat but equally including lots of humour which really works well and in fact makes the whole thing feel even more realistic. The pacing is solid, with suspense building at the right moments, and unexpected twists that keep you guessing. Sometimes the sound effects are a bit over obvious and aren't particularly scary but as a whole this is a really solid production.
Set at a dinner party, with minimal set or moving pieces, this really is a character driven piece and the cast do well at creating a truthful atmosphere that perfectly portrays a boozy evening. Sophia Bush's performance as Lauren is a really wonderful one; she is effortlessly sarky and charming and also has some tender moments that bring layers of complexity to the role. Ricky Champ plays her partner, Ben and is absolutely fantastic, his comedic timing is perfect and his intriguing character is so enjoyable to watch and try to work out. Taking on the role of Jenny, the tormented protagonist, Jamie Winstone brings depth and vulnerability and comes across quite genuinely terrified, with Clifford Samuel as her husband Sam the pair showcase an interesting dynamic which really takes you on a journey and shows you that families aren't always what they seem on the outside.
Whats great with this show is that it's more than a surface level thriller; it also comments on social and economic issues, as well as beliefs and science vs supernatural. There are times when the commentary comes across as a bit forced and out of left field but for the most part, topics are broached well and really elevate the production to be more socially nuanced and topical. The chemistry among the whole cast is palpable, adding an extra layer of realism to the relationships portrayed on stage.
Anna Fleischle's set design leaves space for lots of spooky moments but is also perfectly mundane and fitting for the setting of the show. The Apollo Theatre really looks like it's had an open plan kitchen dropped into it and the attention to detail really captures the essence of a family home. Combined with atmospheric lighting by Lucy Carter, the ghostly tale has a perfect backdrop.
If you're a fan of thought-provoking theatre 2:22 A Ghost Story is a definite must-see. From the superb performances to the captivating storyline, this play transports you to a realm where the lines between the living and the dead blur, and where love and loss intertwine in ways you never thought possible. Running for two hours which fly by, this is theatrical experience that will linger in your mind like a persistent ghost long after the final curtain falls.
Reviewed on Tuesday 30th May 2023
photo credit: Helen Murray
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 12 April 2023
The Mousetrap (Tour), New Victoria Theatre | Review
The Mousetrap (Tour)
New Victoria Theatre
★★★★
“The World’s longest running play”, The Mousetrap is a classic whodunit play that has been running for 70 years in London’s West End and is now embarking on a UK tour. Seeing this touring iteration, it's easy to see why it has stood the test of time and continues to charm audiences.
The play is well-written and tightly plotted, with plenty of twists and turns to keep the audience guessing until the very end; Agatha Christie proves again why she continues to be one of the most lauded and loved mystery writers. The characters are interesting, and the performances by the cast are generally strong. Todd Carty as Major Metcalf and Kieran Brown as Mr Paravicini give especially strong performances and really engage the audience.
One of the things that impressed me about The Mousetrap is how it manages to keep you engaged and guessing throughout the entire performance. The play does an excellent job of setting up the mystery and then slowly unraveling it, with each new revelation leading to more questions and intrigue. Not only this, but sprinkled amongst the mystery of it all, are some really humorous moments which go down very well and make the pacing really work.
The set design and staging of the play are simple yet effective, and the use of lighting and sound helped to create a suitably ominous atmosphere, without being gimmicky or over the top.
Overall, The Mousetrap is a fantastic play that is definitely worth seeing for two hours of escapism. Whether you're a fan of murder-mysteries or just enjoy a good story, this play will not disappoint. I would highly recommend it to anyone looking for a thrilling and entertaining night out at the theatre. Find out for yourself Whodunit at your local touring theatre!
Reviewed on Tuesday 11th April 2023 by Valerie Field
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 4 April 2023
Vikki Stone on her Olivier Award Win | Hey Duggee Live | Interview
Vikki Stone is a British composer, comedian, actress and musician who has had huge success in tv, radio and theatre. She recently won an Oliver Award for her adaptation of the popular children's TV show, Hey Duggee. Vicki sat down to talk to us about her process when taking something from screen to stage, and how important it is for young people to experience theatre...
Firstly, congratulations on being an Olivier Winner 2023! Where were you when you found out you were nominated?
I was at the gym. (I didn’t share my excitement with anyone around me, as I’m not sure they’d have fully understood what I was excited about.)
You won for Hey Duggee which is a show that entices young audiences/families to the theatre, perhaps for the first time. What was the process like for creating a show, made to entertain and engage children?
Hey Duggee is a well loved kids TV programme, and there are 300+ episodes, so the very first thing myself and co-adaptor Matthew Xia did was sit down in a room with a massive whiteboard and write down all the things that audiences would expect to be in the show. We also wanted to surprise audiences, and deliver an experience that lifts the 2D cartoon into a 3D theatre world. We were also aware that this show would be many people’s first time in the theatre, so we wanted to make it magical and memorable too. We kept that list of audience expectations in our minds throughout the whole process and I think it paid off.
Why do you think it’s so important to involve people of all ages in theatre?
Family co-viewing, which is where Hey Duggee Live sits, is such an important genre of theatre. Those shows where 3 year olds can sit* down with parents, and grandparents and everyone has a good time.
*In Hey Duggee Live there’s no pressure that the under fives have to sit. There’s probably more bouncing around with joy, than sitting.
Within theatre you’ve had a pretty diverse career, what draws you to a project?
When I first started writing theatre it was whoever would pay me! There’s an advantage in the arts for those that can write without the pressure of needing to earn a living, and they can afford to be more choosy, I was not one of those people. I don’t think we talk about that enough in the arts. I wrote anything and everything. These days I do have passion projects that I’m working on that don’t have any finance attached, and you have to believe in those much more, and hope that at some point in the process someone will come along and help get it off the ground.
If you could create your next dream job, what would it include?
I’ve got something “in development” that is pretty much my dream job. I’d really like to work on an on-screen musical theatre show next! Watch this space.
What advice would you give to other female writers who want to break into the industry and forge out a path like yourself?
My advice would be to keep pushing and pivot if necessary. My whole career has been formed out of pivoting, and all the skills I gathered along the way - classical music, stand-up, composing - all form part of who I am as a writer now.
Thank you so much, congratulations on the award!
Sunday 2 April 2023
For Black Boys..., Apollo Theatre | Review
For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
Apollo Theatre
★★★★
For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is powerful and thought-provoking production which offers a unique perspective on the challenges faced by young black men in today's society. The exceptionally strong play tackles heavy topics such as mental health, racism, and police profiling, all with a skilful blend of humour and heart that keeps the audience engaged from start to finish. For Black Boys... is a must see in its limited run.
The performances from the cast, made up of Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh and Kaine Lawrence are universally strong, with each actor bringing a unique and enticing angle to their role. Ryan Calais Cameron's writing is equally impressive, with sharp dialogue and powerful monologues that strike you whilst watching and also stay with you long after the play has ended. What's so effective is how the show flawlessly integrates spoken word, music, and dance to create an immersive and multifaceted experience. The whole thing is utterly seamless and flows with such a strong balance of urgency and intimacy.
The set design (Anna Reid) and lighting (Rory Beaton) add to the immersive experience, transporting the audience to the therapy room, without feeling basic; and the use of multimedia elements and striking choreography (Theophilus O. Bailey) add extra layers of depth to the production. As a whole it feels incredibly modern, relevant and powerful; a stunning representation of why new British Theatre is so necessary.
The show tackles important and sometimes taboo topics surrounding mental health, masculinity, and the experiences of young Black men and it's often incredibly moving; but what works so well is how these important social issues are balanced with humour and light. The authenticity which runs through the piece makes it feel so personal, and the audience really go through the journey with the performers.
For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is a deeply moving and important work of art that, is a must-see for those interested in social justice, mental health, and ultimately, the power of storytelling. When the ensemble come together, they create some of the most powerful theatre seen in the West End in a long time.
Reviewed on Saturday 1st April 2023 by Olivia Mitchell
photo credit: Ali Wright
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 22 March 2023
The Way Old Friends Do, Park Theatre | Review
The Way Old Friends Do
Park Theatre
★★★★
The Way Old Friends Do is a heartwarming play set to the backdrop of ABBA, that has you feeling an array of emotions and having a really good time. Written by Ian Hallard and under the expert direction of Mark Gatiss we are taken on the journey of music, friendship and found family.
The talented ensemble cast that bring each character to life in a charming way. Rose Shalloo is a complete stand out, continually bringing an infectious energy and providing some of the most endearingly humourous moments. James Bradshaw and Ian Hallard give well thought out performances and have an excellently witty chemistry with one another.
Janet Bird's set design is simple but effective, allowing the focus to remain on the actors and their performances. The revolving set cleverly transforms to a number of rooms whilst maintaining the ABBA-ness of it all.
This is a heartfelt play explores themes of love, loss, and friendship in a way that feels both universal and deeply personal. The story is filled with moments of both joy and sadness, that feel mostly natural and have you invested in the lives of the characters. The second act does suddenly take a turn to drama and comes across somewhat rushed, without enough development to truly hit home but overall things are well paced, and it's a sweet tale that celebrates friendship.
Overall, The Way Old Friends Do is a production that I highly recommend. It's a touching, well-crafted play that will stay with you after the final curtain call and have you wanting to create your own ABBA tribute group!
Reviewed on Tuesday 21st March 2023
photo credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday 18 March 2023
Further Than the Furthest Thing, Young Vic | Review
Further Than the Furthest Thing
Young Vic
★★
The Young Vic's current revival production of Further Than the Furthest Thing is somewhat adventurous, with some redeeming qualities; but ultimately it's piece that falls short of providing any truly moving or effective moments. The production has some visually stunning aspects and some really impressive performances, however, the pacing and overall coherence leaves much to be desired, and has you exiting the theatre feeling somewhat dazed.
Zinnie Harris’ 1999 play tells the tale of a remote island who's peaceful world is upended by the evils of the wider world. Based on the 1960s history of Tristan da Cunh, the source material provides some interesting insights but the script itself is disjointed, and often makes the story hard to follow. The themes of colonialism and displacement are important, and there are some comments which really stand out, but the overall execution lacks depth and nuance and keeps any solid points from being made. The transitions between scenes are also clunky and disrupt the flow of the play, leading to a sense of confusion and continual detachment from the characters.
Furthermore, the sound design and lighting choices are often distracting and do not add to the overall experience. At times, the sound effects are overly loud and jarring, while the lighting feels gimmicky and unnecessary. Soutra Gilmour's set offers some moments of visual excitement. The clever projections make the piece feel almost like an immersive art installation and the revolve allows all angles to be shown to the audience, but there's never enough oomph to really bring the show to life.
That's not to say the performers don't do a solid job with what they've been given. Jenna Russell especially gives a captivating performance, bursting with charm and charisma. Gerald Kyd is mysterious as Mr Hansen and Cyril Nri has some of the best character development, as well as great chemistry with Russell.
Overall, Further Than the Furthest Thing has some admirable aspects, but they are very much outweighed by the weaknesses in the production. It's truly a tale of two acts, which could work on their own but the general lack of cohesion really hinders the strong messages trying to be portrayed. While it may appeal to some theatre-goers, I personally found it underwhelming and would not recommend it as a must-see performance.
Reviewed on Friday 17th March 2023
photo credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
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