Posts with the label review
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Thursday, 22 May 2025
Review: Shucked at Regent’s Park Open Air Theatre- A Theatrical Kernel of Joy
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
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
Summer in the City by Alex Aster: A Romance for the Delulu Girlies | Book Review
Summer in the City by Alex Aster
Published: March 2025 by Bloomsbury
I finished this book with tears in my eyes and love in my heart and immediately had to talk to people about it. I feel like it was written just for me!
Alex Aster's debut romance novel, Summer in the City, is a delightful blend of swoon-worthy romance, engaging character development, and a vibrant portrayal of New York City that will captivate readers from start to finish.
The story follows Elle, a 27-year-old screenwriter grappling with a severe case of writer's block as she faces a looming deadline for a big-budget movie set in New York City. In search of inspiration, Elle returns to the city she once vowed to avoid, only to discover that her new neighbour is none other than Parker Warren- a charismatic tech billionaire and her unforgettable stairwell fling from two years prior. As their paths intertwine, they strike a mutually beneficial arrangement: Parker needs a fake girlfriend to navigate his company's acquisition, while Elle seeks authentic New York experiences to enrich her screenplay. What begins as a convenient partnership soon evolves into something far more profound.
Aster excels in crafting multidimensional characters that resonate deeply. Elle is portrayed as a relatable and self-aware protagonist, whose internal monologues often provide moments of genuine humour. Her journey through personal challenges and emotional growth is both authentic and compelling. Parker, on the other hand, embodies the quintessential swoon-worthy billionaire- charming, considerate, and profoundly devoted. Their dynamic is enriched by witty banter and palpable chemistry, making their evolving relationship both believable and engaging.
An aspect I adored is how the city's depiction is so vivid and immersive that it transcends mere setting, becoming a character in its own right. Readers are treated to a love letter to NYC, exploring iconic landmarks and hidden gems alike. From leisurely strolls through Central Park to the bustling energy of local coffee shops, the narrative captures the essence of summer in the city, evoking a sense of nostalgia and wanderlust. I read this just before my own trip to the Big Apple so it couldn't have been more perfect!
Summer in the City cleverly uses beloved romance tropes such as fake dating, forced proximity, and the billionaire-next-door fantasy, without making them too cheesy. The elements are woven seamlessly into the narrative, and are at times acknowledged as tropes, fueling delightful escapism and catering to readers who revel in indulgent fantasies. This really is a book for the delulu girlies like me. The progression from lovers to enemies to lovers adds depth and complexity to Elle and Parker's relationship, keeping readers eagerly turning pages.
As Aster's inaugural foray into the romance genre, this novel is nothing short of impressive. Her transition from fantasy to contemporary romance is executed with finesse, showcasing her versatility as a writer. The narrative's humour, emotional depth, and romantic tension are testaments to her storytelling prowess. This was my first experience with Aster's work, and it has left me eager to explore more of her writing.
Summer in the City is a must-read for romance enthusiasts seeking a heartfelt and entertaining escape. With its engaging plot, well-developed characters, and enchanting portrayal of New York City, it stands out as a memorable addition to the genre that's wonderfully reminiscent of 90's/2000's rom-coms. Alex Aster has truly nailed her debut romance novel, delivering a story that is both captivating and delightfully indulgent.
★★★★★
Reviewed by Olivia
{AD PR product- book gifted for honest review}
Friday, 21 February 2025
The Favourites by Layne Fargo: A Riveting, High-Stakes Tale of Passion and Ambition | Book Review
The Favourites by Layne Fargo
Published: January 2025 by Vintage
If you, like me, obsessively watch this video of Tessa Virtue and Scott Moir's Moulin Rouge routine, then this book is for you.
If I had to describe it in one word, it would be: ICONIC. Layne Fargo’s The Favourites is a masterfully crafted novel that takes readers deep into the thrilling and cutthroat world of elite figure skating and it is utterly fantastic. With its gripping narrative, complex characters, and intense emotional depth, this book is an absolute must-read for fans of psychological drama, competitive sports fiction, and stories that explore the darker side of ambition; plus there's a side of yearning, angsty romance that's just epic. Fargo delivers a stunning portrayal of the sacrifices, betrayals, and desires that drive athletes to greatness- no matter the cost.
At the heart of The Favourites is the electrifying partnership between Katarina Shaw and Heath Rocha, two elite ice dancers whose chemistry on the ice is matched only by the tumultuous intensity of their relationship off it. From the very first page, Fargo immerses readers in their world- a world where perfection is demanded, competition is ruthless, and every victory comes with a price. Their dynamic is equal parts passion, obsession, and rivalry, making for a story that is impossible to put down.
One of the standout aspects of The Favourites is its unique narrative structure. Fargo seamlessly blends first-person storytelling with documentary-style interviews, giving the novel a fresh and immersive feel. This technique not only adds depth to the characters but also builds suspense, leaving readers eager to uncover the truth behind the story’s central mysteries. Much like Daisy Jones & The Six, this approach makes the book feel vivid and real, as if you’re witnessing an actual behind-the-scenes exposé of figure skating’s most controversial duo. Even after finishing the book, I can't believe these characters aren't real, everything is so consuming, I continually found myself wanting to search for them and compulsively watch their routines- I'm still sad I can't!
The novel also excels in its exploration of the psychological toll that comes with striving for excellence. Fargo doesn’t shy away from the darker elements of competition- rivalries that turn toxic, the pressure to maintain public personas, and the blurred lines between love and control. The emotional stakes are as high as the physical ones, making every triumph and setback feel deeply personal. Readers who love character-driven stories with high tension and psychological complexity- think Black Swan meets I, Tonya- will find The Favourites utterly enthralling.
Beyond the characters and storytelling, Fargo’s attention to detail in portraying the world of competitive figure skating is impeccable. From the grueling training sessions to the politics of the sport, every element feels meticulously researched and authentically depicted. Even readers who aren’t familiar with ice dancing will find themselves swept up in the drama, thanks to Fargo’s ability to make the stakes feel both urgent and visceral.
In The Favourites, Layne Fargo has created a novel that is as dazzling as it is haunting. It’s a story of ambition, love, betrayal, and the sacrifices required to be the best. With its compelling characters, unique storytelling format, and razor-sharp tension, this book is a standout in contemporary fiction. Whether you’re a fan of sports dramas, psychological thrillers, or emotionally charged character studies, The Favourites is a novel you won’t want to miss!
Friday, 13 December 2024
Januaries by Olivie Blake: A Fantastical Feast of Short Stories | Book Review
Januaries by Olivie Blake
Published: October 2024 by TOR
In the realm of contemporary short stories, few works have captivated me as much as Olivie Blake's Januaries. This exceptional collection of stories transcends the conventional boundaries of the genre, offering readers an immersive experience that lingers long after the final page is turned.
Blake's writing style is so unique and wonderful. Her prose is both lyrical and precise, weaving intricate tapestries of emotion and imagery that draw readers into each narrative. The worlds she constructs are richly detailed, brimming with life and authenticity. Whether set in fantastical realms or grounded in reality, each story's setting is meticulously crafted, allowing readers to fully immerse themselves in the diverse landscapes she presents.
One of my favourite elements of Januaries is Blake's ability to introduce elements that initially appear random or disparate, only to seamlessly intertwine them in ways that are both surprising and profoundly impactful. This narrative technique keeps readers engaged, as they eagerly anticipate how each thread will converge. The culmination of these elements often leads to revelations that are both satisfying and thought-provoking, showcasing Blake's masterful command of storytelling.
In my experience, short story collections can be a mixed bag, with some narratives resonating more than others. However for me, Januaries defies this trend. Each story stands as a testament to Blake's versatility and creativity, offering unique perspectives and themes that resonate deeply. The consistency in quality is a testament to her prowess as a writer, ensuring that readers are equally invested in every tale.
Beyond the technical greatness, Januaries delves into universal themes that resonate on a personal level. Blake explores the complexities of human nature, the intricacies of relationships, and the profound impact of choices. Her characters are multifaceted and relatable, their journeys reflecting the myriad experiences that define the human condition. This exploration adds depth to the collection, inviting readers to reflect on their own lives and experiences.
Januaries by Olivie Blake is a literary triumph that exemplifies the art of short story writing. With her exquisite prose, masterful world-building, and the seamless way she pushes a message, Blake has crafted a collection that is both engaging and impactful. Each story offers a unique journey, yet collectively they form a cohesive tapestry that celebrates the richness of storytelling. For readers seeking a profound and immersive literary experience, Januaries is an absolute must-read.
Reviewed by Olivia
{AD PR product- book gifted by publisher}
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}
Wednesday, 27 November 2024
Now That’s What I Call a Musical: A Fun Nostalgia-Fest with some Flaws | Review
Now That’s What I Call a Musical
New Victoria Theatre
If you’re craving a night of toe-tapping 80s hits and breezy humour, Now That’s What I Call a Musical might be just the ticket. Currently touring the UK, this jukebox musical delivers big on nostalgia, though it stumbles in depth and pacing. With a talented cast and high-energy set pieces, it’s a fun evening out, even if it doesn’t push any creative boundaries.
The first act introduces a 1989 school reunion and a group of ex-students struggling with love, ambition, and nostalgia. However, while the setup is charming enough, the narrative lacks momentum, with the story often feeling like it’s merely an excuse to lead into the next song. Fortunately, the second act ramps up the stakes. Secrets unravel, tensions surface, and the characters finally confront their dilemmas in earnest. While these revelations might not reinvent the wheel, they bring a welcome spark of drama and emotional resonance.
The cast gives it their all, infusing charisma and vocal talent into even the thinnest material. Nina Wadia (as Gemma who feels stuck in her life) brings a heartfelt performance and vocals. Shakil Hussain steals scenes as the sarcastic but brother, delivering some of the show’s best comedic moments. Meanwhile, Chris Grahamson is compelling as Tim, the sleazy player who's got Gemma wrapped around his finger. The standout is absolutely Melissa Jacques who enters just before the end of act one and provides the best vocals and some really emotional moments. Her portrayal of the larger than life April, who went to LA to live her actress dreams is very well characterised and feels like the most developed of them all. Carol Decker makes a guest appearance for one song and showcases her great vocals in her hit song 'China in Your Hand'.
The humour is light and occasionally sharp, with plenty of laugh-out-loud moments and nods to the 80s. The jokes might not land for everyone, but there’s an endearing self-awareness in the script that keeps it from taking itself too seriously. And, of course, the 80s anthems are the real star here. Whether it’s 'Red Red Wine' or 'Every Breathe You Take', the production knows how to use these iconic songs to maximum effect.
The show’s design team deserves applause. The set design, by Tom Rogers, captures the small-town charm with a versatile backdrop that transitions seamlessly between locations. Ben Cracknell’s lighting design adds flair, particularly in the second act’s climactic moments, bathing the stage in dramatic reds and blues that elevate the mood. The sound design by Adam Fisher ensures the music is crisp and immersive, though there were moments where dialogue got lost beneath the score.
If there’s a weakness, it’s in the writing. Pippa Evans' script doesn’t dig deeply into its themes or characters, sticking to predictable tropes and shallow conflicts. While this simplicity might frustrate those looking for a more substantial narrative, it’s clear the focus here is on entertainment, not profundity.
Now That’s What I Call a Musical won’t change your life, but it’s an enjoyable escape. For fans of 80s music, it’s a nostalgic treat, carried by a dedicated cast and vibrant production design. While the story doesn’t say anything new, the show’s heart and humour make it a worthwhile outing. Go for the tunes, stay for the laughs, and enjoy the trip down memory lane.
★★★
Reviewed on Tuesday 26th November 2024 by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 20 November 2024
Wicked Movie Review: Everything we Hoped For and More
Like so many, I’ve been enchanted by Wicked since I was young. The musical shaped my childhood, inspired my imagination, and stayed with me through every stage of life (my dog is literally called Elphie!) When news of a film adaptation first surfaced all those years ago, my heart soared, though tempered with the hope that they would do justice to something so pivotal to me and countless others. It’s been a long yellow brick road, with years of speculation, rumours and anticipation, but now that it’s here, Wicked: The Movie exceeds every expectation and delivers a spectacle that was worth every moment of the wait.
Director Jon M. Chu has not only brought the world of Oz to life- he has redefined what a movie musical can be. This film doesn’t just enchant; it moves, it stirs, and it utterly inthralls. From the first soaring notes of 'No One Mourns the Wicked' to the breathtaking final moments, it’s clear that this team poured their hearts into every frame.
The cast, led by the luminous Cynthia Erivo as Elphaba and the effervescent Ariana Grande as Glinda, is extraordinary. Erivo’s performance is as brilliant as we all expected- her Elphaba is fierce, vulnerable, and heartbreakingly human. Of course, she also imbues every note with raw emotion, making every song a transcendent experience. Grande, meanwhile, brings a sparkling charm and necessary depth to Glinda, perfectly balancing her bubbly exterior with a poignant sincerity. The chemistry between the two is electric, capturing the complexities of friendship and rivalry that lie at the heart of the story, I am already buzzing with anticipation of how the pair are going to develop in Wicked: Part Two. Like with every aspect of this film, you can tell how much love has gone into it, Ariana and Cynthia's performances feel so incredibly lived in, you can tell how much they adore the roles and how they planned and turned every stone in finding their own versions. They feel true enough to the originals but also bring newness and fresh energy. The Winkie Prince doesn't have as developed of a role in Part One but Jonathan Bailey as Fiyero is still masterful. His smooth charisma is utterly swoon-worthy but more than that, his sincerity and depth is enchanting to watch. In my opinion, 'Dancing Through Life' is one of the most edited songs from the original, but it works so SO well. The new musical arrangement is very cool, with a more funkified feel that complements the show, while feeling totally relevant for a 2024 Wicked release; the whole scene is a joy to watch. Supporting performances by Ethan Slater as Boq, Jeff Goldblum as The Wizard and Michelle Yeoh as Madame Morrible round out the ensemble, each actor bringing something fresh to the beloved characters and paving the way for Part 2.
The music, brought to life with lush orchestration and gorgeous vocals, feels both reverent to Stephen Schwartz’s original score and fresh for this new medium. Familiar songs like 'Popular' and 'What is This Feeling' shine anew, while the staging and cinematography elevate them into true cinematic moments.
One of the greatest triumphs of this adaptation is its fidelity to the source material. Despite its aspirations of massive commercial success- evident from the ambitious marketing campaign- it never sacrifices the heart of the story or the integrity of the musical’s themes. This feels like a love letter to the fans who’ve cherished Wicked for years. Seeing the iconic Time Dragon Clock, the enigmatic blobby men (yes, the technical term!), guest star appearances, and subtle musical motifs scattered throughout feels like being reunited with an old friend. I also love how the cast were allowed to play around with riffs throughout the movie, something that's a big part of the Wicked fandom. There are whole YouTube compilations of the best 'Defying Gravity Riffs' and I have no doubt that the movie one will be added alongside all the others that perfectly fit and bring a freshness to the score that delivers on every level.
The world-building is nothing short of spectacular. Every corner of Oz is brought to life with meticulous attention to detail, from the verdant forests of Shiz and the university to the glittering, imposing Emerald City. Each setting feels wonderfully alive, creating a fully realised world that you can’t help but get lost in. It’s a treasure trove of visual and thematic delights, packed with details that will have fans poring over every frame on their fourth, fifth, or tenth viewing.
This is the kind of film that makes you want to shout about it, to grab everyone you know and say, “You have to see this!” Jon M. Chu and the entire team behind this masterpiece have created a work that will fill the hearts of longtime fans while dazzling new audiences with its brilliance.
For those of us who grew up with Wicked, this is more than just a movie- it’s a moment, a celebration, and a dream brought to live. I could go on for hours and I'm honestly still tearing up the morning after seeing this film, but in summary- it's perfect! Congratulotions to the cast, crew, and creators for giving us something so magical, so heartfelt, and so, so Wonderful. 💚
Sincerely, Olivia
Wicked Lover since Age 8
★★★★★
{movie tickets were gifted}
Tuesday, 12 November 2024
The UK Tour of The Rocky Horror Show Delivers Electrifying Fun
Rocky Horror (UK Tour)
New Victoria Theatre
The current UK tour of The Rocky Horror Show is a dazzling celebration of camp, comedy, and timeless rock ‘n’ roll rebellion. Richard O’Brien’s cult classic continues to delight audiences, and this production pulls out all the stops, blending sensational performances with impressive choreography and vivid lighting design that heightens the show’s electrifying atmosphere.
This 2024-25 tour boasts a stellar ensemble led by the charismatic Stephen Webb as Frank-N-Furter, whose magnetic stage presence and powerful vocals breathe new life into the iconic 'Sweet Transvestite'. Erica Wild (at this performance) shines as Janet, combining comedic timing with vocals that soar in numbers like 'Touch-a, Touch-a, Touch Me'. Opposite her, Connor Carson brings humour and vulnerability to Brad, nailing his transformation from buttoned-up to liberated, as well as providing spectacular vocals.
A special shoutout goes to Edward Bullingham as Eddie/Dr. Scott, whose versatility and energy light up the stage, and Joe Greuter as Riff Raff, whose performance captures both menace and mischief, and brings some of the most amazing vocals to the show. Meanwhile, Natasha Hoeberigs delivers a spellbinding portrayal of Magenta, and Jayme-Lee Zanoncelli infuses Columbia with relentless charm. Together, the cast creates a perfect harmony of chaos, comedy, and glamor.
As always, The Rocky Horror Show thrives on audience interaction, and the current tour embraces this with gusto. The Narrator, played by Nathan Canton, deserves particular praise for his impeccable wit and quick-thinking, delivering ad-libbed responses to audience callouts that kept the theatre roaring with laughter. His dry humour perfectly balances the wild, unrestrained energy of the rest of the production and brought a modern twist to the show that works really well.
The technical brilliance of this production enhances the experience. The lighting design uses bold, neon hues and dramatic contrasts to amplify the show’s gothic and sci-fi aesthetic, especially during key numbers like 'Over at the Frankenstein Place'. The choreography, spearheaded by Nathan M. Wright, is a standout, with each dance number exuding energy and precision while maintaining the delightful chaos that defines Rocky Horror.
What makes this tour particularly noteworthy is how it embraces the timeless themes of liberation, self-expression, and community while subtly nodding to modern sensibilities. The chemistry between the cast and the audience creates a shared experience that feels both nostalgic and refreshingly contemporary.
Whether you’re a longtime “Transylvanian” or a first-time viewer, this tour of The Rocky Horror Show promises a night of unapologetic fun, unforgettable music, and stellar performances. From the iconic 'Time Warp' to the heartfelt 'I’m Going Home', every moment brims with energy and passion.
Book your tickets now to catch this phenomenal production on its UK tour- it’s a thrilling night out that’s guaranteed to leave you grinning and singing along. With its flawless cast, stunning visuals, and classic rock ‘n’ roll charm, The Rocky Horror Show continues to be a cult masterpiece that’s impossible to resist.
★★★★
Reviewed on Monday 11th November 2024 by Olivia
Photo Credit: David Freeman{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 7 November 2024
The Curious Case of Benjamin Button at the Ambassadors Theatre: A Timeless Tale with Newfound Precision and Radiance
The Curious Case of Benjamin Button
Ambassadors Theatre
The Curious Case of Benjamin Button the musical at London’s Ambassadors Theatre isn’t just a production; it’s an unforgettable journey through life’s fragility and beauty, rendered with soul-stirring precision and depth. I previously reviewed the show at the Southwark Playhouse and I'm thrilled to say that in its current run, this show has transformed into an even sleeker, tighter production, gracefully weaving together heartfelt storytelling with mesmerising visuals and a flawless cast. Every element is fine-tuned and elevated, resulting in a masterpiece that celebrates light over darkness and resilience over despair. At a time when the world is rife with uncertainty, especially on a night as charged as tonight with the outcome of US election, Benjamin Button feels like an essential reminder of hope, love, and the good in humanity. If the title makes you expect a straightforward story about aging backward or something akin to the Brad Pitt film, think again- this adaptation of F. Scott Fitzgerald’s short story blossoms into a beautifully layered, vibrant musical that’s so much more than its name suggests.
From the outset, the cast, led by the astounding performances of John Dagleish (Benjamin) and Clare Foster (Elowen), grounds the fantastical tale with warmth, authenticity, and nuance. Dagleish’s transformation through Benjamin’s reverse aging is breathtaking; he deftly captures the innocence of youth and the weariness of age within a single character arc, making every step of Benjamin’s journey feel genuine and impactful. Foster’s portrayal of Elowen exudes strength, tenderness, and an unwavering belief in love that carries the entire production. Together, their chemistry illuminates the stage, bringing the highs and lows of Benjamin’s unconventional life to vivid reality.
The supporting cast, too, delivers standout performances, each role finely crafted and essential to the show’s tapestry. This ensemble excels in maintaining a delicate balance between humour and emotion, enriching the story and infusing moments of levity that accentuate the depth of the more profound themes. It’s rare to find a cast so collectively committed to a show’s vision, and here, every actor plays a vital role (and instrument) in amplifying the story’s emotional impact.
This really is a theatrical feast and the technical design elements elevate the show even further. The lighting, created by Zoe Spurr, is simply exquisite; it bathes the stage in soft, evocative hues that shift subtly as Benjamin’s life unfurls. From warm sunlight to muted twilight, Spurr’s design captures the moods of both time and place, visually narrating Benjamin's life in a way that feels poetic and hauntingly beautiful. The sound design, crafted by Luke Swaffield, adds another layer of immersion. It gently guides the audience through the ebb and flow of Benjamin’s experiences, using carefully timed soundscapes that accentuate the emotional resonance of each scene without ever overshadowing the actors, as well as keeping us in the world during the pre-show and interval.
From the carefully curated theming of the venue with period-inspired newspaper articles and gentle nods to the show scattered around, to the Cornish-sourced drinks and playful options like Miss Moncreif's teapot cocktails, every touch feels like an invitation to step deeper into Benjamin’s world. The merchandise is equally thoughtful, with unique items that perfectly echo the essence of the production, offering mementos as distinctive as the show itself. What’s truly remarkable, though, is the respect the show affords its audience; it trusts them to form their own interpretations and to find meaning in the visual and thematic patterns woven throughout. Symbolic imagery and clever symmetry appear again and again, enriching the storytelling and leaving subtle clues for the audience to uncover on their own. The love and care that have gone into crafting The Curious Case of Benjamin Button shine through in every detail, creating a rare and unforgettable experience. Shows like this are a rarity, and it feels like a privilege to witness the start of something so genuinely special.
What makes The Curious Case of Benjamin Button particularly profound is its unwavering commitment to showcasing the best of humanity. In a story that could easily become mired in the tragic aspects of aging backward, this adaptation instead emphasises joy, connection, and the resilience of the human spirit. Every moment, whether tinged with sorrow or elation, reflects a radiant optimism that’s both disarming and inspiring. By centring the narrative on life’s beauty, fleeting as it may be, the musical leaves audiences with a renewed sense of appreciation and awe for the world we inhabit.
The score, written by Darren Clark and Jethro Compton, is both folk-inspired and timeless, perfectly complementing the story’s unique narrative. The music serves as an emotional anchor, moving with ease from soul-stirring solos to harmonious ensemble numbers that stay with you long after the final curtain call. Each song feels intricately woven into the fabric of the story, enhancing the unfolding of Benjamin's life and carrying the audience through his journey with grace and sincerity.
Reflecting on this evening's performance- especially set against the tense backdrop of the US election results- I can’t help but feel that Benjamin Button offers something the world desperately needs. It’s a beacon of light, a testament to the resilience of love and the enduring power of human connection. It urges us to look beyond divisions and differences and find solace in the beauty of a shared journey. I left the theatre not only deeply moved but also with an undeniable urge to spread the word about this remarkable production. Theatre this beautiful, this uplifting, deserves to be seen, discussed, and cherished.
In a world that sometimes seems obsessed with darkness, The Curious Case of Benjamin Button chooses to shine, offering a precious reminder of all that is good, kind, and beautiful. It’s a production that demands to be witnessed, not just for its artistic brilliance but for its resounding message: that even in a life bound by time, there’s so much to savour, celebrate, and remember. Don’t miss your chance to experience this exceptional production- it will touch your heart, challenge your perspective, and leave you with a warmth that lingers long after the lights dim.
Reviewed on 6th November 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 30 October 2024
Dear Evan Hansen UK Tour Shines with Stellar Cast Led by Ryan Kopel as Evan
Dear Evan Hansen (UK & Ireland Tour)
New Victoria Theatre
The UK touring production of Dear Evan Hansen is a powerful reimagining of this iconic musical, bringing a fresh perspective on the poignant themes of loneliness, mental health, and connection. With an emotionally charged lead performance by Ryan Kopel as Evan, this tour delivers an impactful night at the theatre, even if certain plot elements occasionally feel drawn out.
The story centers on Evan Hansen, an anxious high schooler who, after a classmate's tragic death, finds himself unintentionally entwined in a lie that spirals beyond his control. His journey explores themes of identity, social isolation, and the quest for belonging- a plot that resonates as deeply now as it did on the West End.
One of the biggest draws of this tour is the remarkable cast, each bringing a fresh, dynamic energy to their roles. Ryan Kopel’s portrayal of Evan is truly outstanding. The role is demanding, both physically and emotionally, requiring stamina, vulnerability, and incredible vocal control- Kopel delivers on all fronts. His clear, supported voice was faultless, his high notes beautifully sustained, adding depth to Evan's raw emotional state. In key numbers like 'Waving Through a Window' and 'Words Fail', Kopel navigates complex vocal lines with ease, creating a deeply moving experience for the audience.
Other cast members also stand out, especially Alice Fearn as Evan’s mother Heidi, whose raw emotion and vocal strength bring heart to the challenging role of a single mother trying to connect with her son. Lauren Conroy as Zoe Murphy brings a nuanced, sensitive touch to Evan’s love interest, balancing warmth with resilience. Tom Dickerson brings excellent comic relief to the musical as Jared Kleinman, bouncing off the other cast members brilliantly, as well as providing some great vocals. Killian Thomas Lefevre is engaging and interesting as Connor Murphy, while Vivian Panka brings real depth and charm to Alana Back. Meanwhile, Helen Anker and Richard Hurst as Cynthia and Larry Murphy round out a strong ensemble, infusing depth into the grieving parents navigating an unimaginable loss.
While the touring version of Dear Evan Hansen maintains the essence of the original West End production, subtle changes give it a fresh appeal. The staging is slightly pared down but still uses projections to convey the overwhelming impact of social media on Evan’s life. This simplified set design may lack the intricate detail of the West End, but it shifts the focus squarely onto the characters’ raw emotions, allowing the actors’ performances to truly shine.
The music, written by Benj Pasek and Justin Paul, is the highlight and fundamental strength of the production. Songs like 'For Forever', 'Only Us' and the powerful ensemble number 'You Will Be Found' are beautifully melodic and resonate deeply, perfectly mirroring Evan's emotional turmoil and the longing for connection that permeates the story. That said, the show’s pacing lags at points, especially in the second act. Certain scenes feel slightly stretched, and the plot occasionally meanders, which impacts the overall flow. Nonetheless, the emotionally charged score and Kopel’s riveting performance help the production recover from these slower moments.
Ryan Kopel’s portrayal of Evan is nothing short of stellar, capturing the emotional weight of the role with impeccable vocal and physical stamina.”
Ultimately, this touring production of Dear Evan Hansen offers a heartfelt, stirring experience, driven by a cast whose performances capture the story’s core themes. While the pacing could benefit from a tighter structure, the show’s ability to connect with audiences remains as strong as ever. Ryan Kopel’s Evan is a tour de force- worth experiencing for his performance alone, as well as for the lovely ensemble that brings this story to life across the UK.
Reviewed on Tuesday 29th October 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 24 October 2024
Pulman and Stilgoe Shine at The Other Palace: A Musical Duo in Perfect Harmony
Pulman and Stilgoe: A Couple of Swells
The Other Palace Studio
Pulman and Stilgoe’s performance at The Other Palace was a captivating display of musical brilliance, highlighting their undeniable chemistry and technical prowess. The show brought a dazzling blend of jazz, cabaret, and sophisticated storytelling through song, delivered by two accomplished performers whose talents complemented each other beautifully.
Joe Stilgoe, a well-established pianist and composer, commanded the stage with his intricate piano arrangements and playful charm. His quick wit and engaging presence set the tone for a delightful evening. Liza Pulman, on the other hand, showcased her remarkable vocal versatility and impeccable timing. Together, they created an immersive atmosphere that made the audience feel as though they were part of something truly special.
While musically the repertoire leaned into a genre slightly before my time, I still found myself swept away by the sheer brilliance of their performances. The duo’s setlist featured timeless classics alongside more obscure gems, from jazz standards to Broadway hits. While some references may have been lost on a younger audience, there’s no denying the powerful effect the songs had on those familiar with the material. Plus, there were a selection of Joe's compositions showcased, which were truly wonderful.
The real magic of the evening lay in the way Pulman and Stilgoe interacted musically. Their on-stage chemistry was palpable, each responding effortlessly to the other’s cues. The fluidity of their collaboration made the performance feel intimate and spontaneous, giving the impression that they were performing just for you. Their musicality was nothing short of glowing- Pulman’s emotive phrasing paired with Stilgoe’s delicate touch on the piano created moments of pure, soulful harmony.
Standout songs included renditions of 'Don't Rain on My Parade' and a stunning medley of 'People Will Say We're in Love/If I Loved You', both delivered with an emotional depth that resonated with the entire audience. Their ability to take well-loved songs and infuse them with fresh energy was a testament to their talent.
While I may not have connected with every musical reference, I left with an immense appreciation for the artistry displayed. Pulman and Stilgoe are a perfect pairing- two seasoned musicians at the top of their game, bringing classic songs to life with grace, humour, and passion. It’s a rare thing to witness two performers so in sync, making this a truly memorable evening, and a masterclass in musicality.
For fans of jazz, cabaret, and musical theatre, this is an unmissable experience. Pulman and Stilgoe have a magical ability to breathe new life into songs, making them feel both timeless and contemporary.
Pulman and Stilgoe’s glowing musicality and effortless chemistry made for an evening of unforgettable performances.
If you're seeking a performance rich with musical artistry and genuine connection, look no further than Pulman and Stilgoe at The Other Palace- you won’t be disappointed.
★★★★
Reviewed on Wednesday 23rd October by Olivia
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 23 October 2024
Here You Come Again: Strong Performances & Nostalgic Set Design Outshine a Thin Plot in This Dolly Parton-Inspired Musical
Here You Come Again (Tour)
New Victoria Theatre
Here You Come Again: The Musical is a lighthearted jukebox musical that blends the iconic charm of Dolly Parton’s greatest hits with a tale of self-discovery set during the lockdown era. Created by Bruce Vilanch, Gabriel Barre and Jonathan Harvey, this show brings the country queen’s signature wit and wisdom to the stage, all while exploring themes of loneliness, identity, and the universal need for connection. Currently touring, it is soon heading to the West End, where fans of Dolly’s music and humour will undoubtedly flock.
The story revolves around Kevin, a man struggling with the emotional fallout of a breakup during the pandemic. Isolated and adrift, Kevin is unexpectedly visited by his idol, Dolly Parton- part fairy godmother, part figment of his imagination—who helps him through his personal crisis with a series of humorous, song-filled moments. The concept of facing one's inner demons during lockdown is timely and offers moments of introspection, but ultimately, the plot feels somewhat underdeveloped. Kevin’s journey lacks the emotional depth to make his self-discovery truly engaging, and the ending, without giving too much away, feels a bit too convenient. While the premise is intriguing, there’s not enough character growth to sustain a two-hour show.
That being said, the real highlights of Here You Come Again lie in its stellar performances and detailed set design. The two leads- Tricia Paoluccio as Dolly and Steven Webb as Kevin- carry the production with extraordinary vocal talent and impeccable comedic timing. The chemistry between Dolly and Kevin is undeniable; their playful banter keeps the audience laughing, while their shared emotional moments add some needed tenderness to the storyline. The actors’ voices are perfectly suited to the classic Dolly Parton hits, delivering each song with warmth, power, and precision. Tricia Paoluccio is Dolly Parton, her portrayal is completely faultless, with every inflection and rhythm completely spot on. If you're attending this show for the music and the performances, you won’t be disappointed.
The set, designed by Paul Wills, is another triumph, offering a richly detailed, nostalgic environment that keeps things visually interesting despite its minimal changes throughout the show. Kevin's attic home is packed with fun Easter eggs, from a mischievous Sooty and Sweep puppet set to a slightly eerie Chucky doll lurking upstairs. Of course, Dolly Parton records dot the space, creating a shrine-like atmosphere perfect for a superfan like Kevin. The clever use of the set helps maintain the whimsical tone, with small magical effects (Richard Pinner) and props that appear out of nowhere, adding charm and surprise to each scene. The live band (led by Jordan Li-Smith) and ensemble, stationed mostly on the upper floor of the set, adds an extra layer of energy to the performance, and their seamless integration into the scenes enhances the intimate, living-room-concert vibe.
Despite the strengths of the performances and the captivating set, the plot often feels like it's simply a vehicle for Dolly’s music. While this is common in jukebox musicals, there are shows that manage to balance narrative and song more effectively. Kevin’s central conflict- his struggle with loneliness and identity post-breakup- doesn't feel fully resolved by the end. His transformation, or lack thereof, feels handed to him rather than earned, which may leave some audience members (myself included) feeling a bit underwhelmed.
However, the fairytale-like quality of Dolly’s guidance and the feel-good nature of her music provides enough sweetness and heart to make the experience worthwhile. For those who are diehard Dolly fans or enjoy a nostalgic trip through the country icon’s greatest hits, Here You Come Again offers plenty of charm. The show may not deliver the most compelling story, but its combination of five-star performances, a cleverly designed set, and Dolly’s ever-enchanting presence makes it worth a visit for a fun, light night out at the theatre.
★★★
Reviewed on Tuesday 22nd October 2024 by Olivia
Photo Credit: Hugo Glendinning
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 18 October 2024
Lord of the Dance- A Lifetime of Standing Ovations on Tour: A Footwork Feast with a Touch of Nostalgia
Lord of the Dance: A Lifetime of Standing Ovations
New Victoria Theatre
Lord of the Dance: A Lifetime of Standing Ovations is a unique production that showcases the unmatched talent of its dancers, but it also carries a sense of nostalgia that doesn’t quite hold up in today’s world. Originally created by Michael Flatley in 1996, the show is rooted in Irish mythology, featuring stunning footwork and energetic performances.
At its core, Lord of the Dance tells a mythic tale of good versus evil, with the "Lord" representing all that’s noble and heroic, while the "Dark Lord" embodies chaos and villainy. As these two archetypal male figures battle for dominance, female characters like "Saoirse" and "The Morrighan" find themselves relegated to fairly traditional roles: yearning for the hero or caught in the middle of the conflict. The story itself feels more like a backdrop to the dancing rather than a fully fleshed-out narrative, and the idea of macho men saving the day while women stand by feels a little tired in today’s cultural climate.
Visually, the show is a mixed bag. At times, the lighting, costumes, and staging can be quite effective, creating moments of real magic. However, there are other moments where the visuals feel random and disconnected, with no real cohesion in design or purpose. The costumes range from ethereal and elegant to overly flashy and out of place. The lighting effects, while dynamic, often seem to be trying to add drama where the narrative fails to deliver. These dated visual elements can distract from the otherwise incredible dance performances and make the production feel less polished than it once was.
That said, the live music elements, including violin interludes and occasional vocal performances, are a welcome addition. They break up the dance-heavy sequences in a way that adds depth and texture to the show. The mix of live music and recorded tracks is well-balanced, enhancing the energy of the performance while giving the dancers brief moments to reset.
The dancing itself is the undeniable highlight of the show. The sheer athleticism and precision of the cast are nothing short of remarkable. The iconic Irish step-dancing routines are performed with an intensity and flair that keeps the audience fully engaged, even when the story feels secondary. The choreography remains as impressive as ever, with the dancers’ footwork bringing an unmatched level of excitement and spectacle to the stage. Even if the visuals and plot don’t always hit the mark, the dancing alone is enough to make the show worth seeing.
Lord of the Dance is still a strong production for fans of Irish dance and music, but it feels very much like a product of its time. The plot is simple, predictable, and hinges on outdated gender roles, while the visual elements, although sometimes effective, lack coherence and can feel random or overdone. Yet despite these shortcomings, the live music and the incredible talent of the dancers keep the show afloat and make it worth a watch. It's a show that knows what it is and embraces it fully. It might not break new ground for those familiar with it, but it offers a nostalgic, enchanting escape for anyone craving the magic of Irish dance. For longtime fans, it’s a delightful revisit to a cherished classic, while for newer audiences, it serves as a beautiful introduction to the art form, even if it does show its age in places.
★★★
Reviewed on Friday 18th October by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
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