Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts
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}
Thursday 2 March 2023
Someone of Significance, The Vaults | Review
Someone of Significance
The Vaults
★★
Last night I attended a performance of Someone of Significance at The Vaults and unfortunately, it was one of the weaker shows I've seen at the festival. It basically chronicles the life of two business people and the issues they have when mixing work, politics and their social lives. In theory it could be entertaining, and whilst there are occasional moments and pieces of social commentary that make you think, overall it doesn't offer much and fails to really nail home any enduring messages.
The two hander written by Amalia Kontesi, is led well by Funlola Olufunwa (Rosie) and Simon Bass (Brad) who bring some elements of charm to their characters. The duo's chemistry isn't particularly strong but they do a good job of bringing the story to life, and have brief sparks where they really bounce off one another well. Unfortunately they've not got much to work with as the script itself is lacklustre and fails to be engaging. The pacing of the play is also quite slow, which make it difficult to maintain interest, even with it only being an hour long.
Additionally, the technical aspects of the production leave something to be desired. The lighting and sound effects are often out of sync with the action on stage, and the incessant costume changes between every scene feel completely unnecessary and take you out of the action continually. These issues are frequently distracting and make is very difficult to fully immerse yourself in the story.
Overall, while the show has some interesting moments, it never really develops any ideas enough and as a whole is an aggressively fine production. In its current form, the play doesn't feel like it has much to say. It would be much more interesting if it further developed its exploration of classism instead of trying to be a love story. The underwhelming script and strange scene changes definitely need tweaking to make any future versions of this show memorable enough to recommend.
Reviewed on Wednesday 1st March 2023
Photo credit: Vasiliki Verousi
{AD PR Invite- tickets gifted in exchange for honest review}
Caligula and the Sea, The Vaults | Review
Caligula and the Sea
The Vaults
★★★
Caligula and the Sea is a beautiful theatrical experience, that really works within the setting of the Vaults Festival. The play does a good job at immersing its audience in a vivid and surreal world, and expertly brings scenes to life with minimal set and just a few well-crafted props. The performances are great, with each actor bringing a unique energy and presence to their role.
Noah Silverstone as Caligula has both a childlike innocence and an unstable menace that works well to bring the mad Emperor to life; his guard, friend and confidant Cassius played by Felix Ryder is pretty nicely nuanced and has some well thought out character development which works well, and bodes well for future iterations of the play. Early on, Caligula meets Neptune (Riko Nakazono), God of the sea, who he makes a deal with for absolute power. Riko's performance is mystical and a lovely addition to the story which is dark and thought-provoking, delving into themes of power, corruption, and the consequences of unchecked desire.
Under the direction of Yuxuan Liu, Caligula and the Sea is hugely impressive in both technical aspects and staging. Fiona McKeon’s set design and visual aesthetic bring about striking visuals, from a forceful storm to a disappearing tide; it continually transports the audience to a world that is both familiar and otherworldly. The show's use of lighting (Hannah Bracegirdle) and sound (Aaron J Dootson) is particularly impressive, creating a haunting and evocative atmosphere that lingers long after the performance has ended. Also noteworthy is the use of puppetry, designed by Silverstone, that moves so well and adds an element of true interest to the show.
Whilst a lot of the show works, there are elements that need a fresh sweep over. The short running time means that in trying to cram in an epic story which spans many years, a lot doesn't have time to be properly explored and the nuances which work so well at the start, cannot be retained throughout. Beginning with Caligula’s exile, his rise to power and through to his eventual assassination, there's a lot to be seen and some of the more moving and effective aspects, such as Caligula's relationship with Cassius don't have time to be really developed. This means that there are some pacing issues and in attempting to say a lot of things, the show loses an overall moral or key plot point so the audience leave unsatisfied.
There's a lot of good in this show and with some edits it could certainly become a hit. While the play can be challenging at times, it is ultimately a rewarding and interesting show. Good performances and really strong theatrical elements make it a solid production.
Reviewed on Wednesday 1st March 2023
{AD PR Invite- tickets gifted in exchange for honest review}
Shirley Valentine, Duke of York's Theatre | Review
Shirley Valentine
Duke of York's Theatre
★★★★★
From the audience at the Duke of York's Theatre, it's clear that Shirley Valentine is a much loved story and after seeing Sheridan Smith's performance, I think it's only going to receive further love and praise. The one woman show follows disillusioned mother and wife Shirley as she reminisces on her "unused life" and wonders how she can really find herself and her happiness again. The show is a glorious manifesto on being a woman and is so incredibly moving in all the best ways. It celebrates the small things and highlights hardships so many people go through in such a seamless and engaging way. You truly couldn't ask for more.
Sheridan Smith has had many star turns in her career and is a hugely celebrated actress for good reason and this production completely hammers that home. Smith is completely born for this role, giving into it and making the audience feel like she's truly lived the life she talks about; and also making the audience feel like they've lived it with her. There's no way to not sound overly gushy, because Sheridan is just that good; her performance is an absolute dream and truly couldn't be better.
Watching this show, it's quite amazing to realise that, without being condescending, it was written by a man. Willy Russell has completely nailed the female spirit and the entire script feels incredibly natural. For a show written over thirty years ago, it remains as fresh and sadly relevant as ever.
Paul Wills' set is completely fitting for the story and allows the story to shine, almost becoming a character of its own, especially given the personification of the kitchen wall. The simplistic staging works perfectly as does the gorgeous lighting design from Lucy Carter. Understated lighting changes parallel the emotions Shirley is feeling and work well to really emphasise the most emotive moments.
What's so wonderful about this show, and I'm sure why it resonates with so many, is that it's all about a normal person. There's no larger than life drama or swooping romantic relationships, instead there's a genuine character discussing real life issues. In a way it's sad that so many can relate to Shirley's feelings but hopefully this show will help people realise that they are not alone and that your life, however small it may feel, is a glorious, stage worthy one too!
Under Matthew Dunster's excellent direction, with Sheridan Smith at her absolute best, this is perhaps one of the most grounded and well performed productions in the West End and I just wish everyone could see it. Stunning, stunning work.
Photo Credit: John Wilson
Reviewed on Saturday 25th February 2023 by Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 26 January 2023
The Ocean at the End of the Lane (Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed on Wednesday 25th January 2023 by Olivia Mitchell
★★★★★
One of the most moving and stunning pieces of theatre, The Ocean at the End of the Lane is currently making its way around the UK on a tour that is truly a must see. Based on Neil Gaiman's book with the same name, the play is a complex story which deals with the concept of memories and how we carry them with us, as well as forgetting them. A visual and emotional masterpiece, it's an intriguing tale which has many magical realism elements that are transferred to stage so well by Joel Harwood's adaptation and Katy Rudd's expert direction.
The show was originally staged at the National Theatre and many of their trademark features and overall aesthetic are completely woven through. From the start you are immersed in a world which is dark but enticing. Fly Davis' stunning set really embodies those childhood memories of imagining what spookiness lies just out of sight. A minimalistic moss covered design provides the backdrop for some moments of pure magic, where chiffon becomes an ocean and clever stagecraft movement (Steven Hoggett) is transformed into out of this world beings. There's also great contrast between the father's home which never truly feels complete since his wife passed and the nightmare world which is dark and loud.
The fantastical elements of the show feel strangely natural while still being awe-inspiring. Jamie Harrison's illusions are so well pulled off and are authentically magical and the balance of magic and genuine heartfelt moments is perfect.
Perpetually moving, the play perfectly captures grief and the painful fear that your lost loved one is being replaced and erased. These emotions are intensely portrayed not only through the action on stage, but via Jherek Bischoff's imposing and enchanting music which is utterly cinematic and combined with Ian Dickinson's sound design- so powerful. Alongside Paule Constable's lighting design, the whole thing is a masterclass is storytelling and theatricality.
As well as all of this, the cast of outstanding performers imbue every moment with sincerity and vulnerability. Keir Ogilvy really taps into the innocence of childhood whilst bringing to life the Boy who is struggling with the pain of losing his mother. As his Sis Laurie Ogden is fantastic at portraying her need to be loved and noticed through her's, and her families pain. Charlie Brooks fulfils that need as the chilling, omnipresent Ursula who is really what nightmares are made of. Trevor Fox as Dad has some really emotionally challenging scenes which are brought to life incredibly well. Finty Williams, Millie Hikasa and Kemi-Bo Jacobs have excellent chemistry as the Hempstock trio, and individually give wonderfully strong performances as well as coming together to provide some humourous moments. The rest of the ensemble work as one entity to bring the whole world to life with complete fluidity and power.
A spectacle of a show in the most quiet and beautiful way, The Ocean at the End of the Lane embodies everything that makes theatre so magical and is moving in all the best ways.
{AD PR Invite- tickets gifted in exchange for honest review}
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