Posts with the label review
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Friday 1 March 2019
Rock of Ages (UK Tour), New Wimbledon Theatre | Review
Rock of Ages (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 28th February 2019 by Olivia Mitchell
★★★
Lets start by saying that this is not a musical masterpiece by any means, but it is a super self-aware, high intensity, fun and crazily well performed show, that'll definitely have your toes tapping to some of the most well-loved rock classics.
The story, which is highly basic, follows small town girl, Sherrie and city boy Drew, who meet on the sunset strip whilst trying to achieve their Hollywood dreams. When German developers sweep into town, they threaten to ruin the rock n roll fairytales of everyone and the gang have to fight (and sing) for the the strip.
Rock of Ages absolutely doesn't take itself seriously, and instead revels in the cliches and nostalgia of the 80s with power ballads, rockers, shoulder pads and skimpy costumes. The minimal storyline is made up for with epic performances and a whole lot of fun. You can expect cheesy backdrops and props, tongue in cheek choreography, a rocking score and sexy rock chicks peppering the stage.
The flimsy script is brought to life by animated and intense performances from the cast. As Sherrie, Jodie Steele belts out power ballads with vocal skill and ease, whilst her love interest Drew, is played incredibly well by Luke Walsh who has an outstanding voice. Zoe Birkett delivers completely stellar vocals in her small role as Justice and Kevin Kennedy brings vibrance and humour to Dennis who could easily command the stage as a bigger role. Kevin Clifton brings a surprisingly well rounded performance as the embodiment of sex and drugs and rock n roll, Stacee Jaxx.
Also keeping up the humour and energy is Rhiannon Chesterman as Regina who's voice is criminally underused but she does a great job with the script she's given. As German duo, Vas Constanti and Andrew Carthy are caricature's to the extreme but completely know how to work to the audience.
The ensemble of skimpily clad men and women add moments of interest away from the main action and make the simplistic stage feel full and vibrant. It's Lucas Rush as Lonny who really steals the show with his charismatic performance and natural audience banter. He breaks the fourth wall with ease and seems to constantly be thinking of ways to entertain, and these pay off!
Nick Winston's direction and choreography is pretty strong throughout, although at time it feels like too much is happening at once, and what little story there is, becomes even more shadowed by other movement or action spread across the stage. At the same time, that does kind of sum up the show which is essentially a wacky showcase of some hit songs that have you not sure where to look or what to think.
Rock of Ages is thick with cliches, crudeness and semi-nudity but it's certainly fun. If you want a moving, dramatic narrative and a PG show, this is absolutely not for you. But, if you want great performances and a pretty electric atmosphere and some raucous, rocking fun, then pop along and have a fun night!
Rock of Ages runs at the New Wimbledon Theatre until March 2nd before continuing it's UK Tour.
photo credit: Richard Davenport
Tuesday 26 February 2019
Abigail's Party (UK Tour), New Victoria Theatre | Review
Abigail's Party (UK Tour)
New Victoria Theatre
Reviewed on Monday 25th February 2019 by Melanie Mitchell
★★★★
I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.
As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies.
We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog.
Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee.
As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos.
The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s.
In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance.
The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour.
As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown décor, the party food and the music. Not a single item of detail was missing from that room.
Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago.
This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.
Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour
photo credit: Manuel Harlan
Sunday 24 February 2019
Charlie and the Chocolate Factory, Captiol Theatre, Sydney | Review
Charlie and the Chocolate Factory
Capitol Theatre, Sydney
Reviewed on Thursday 21st February 2019 by Amy Mitchell
★★★
Roald Dahl’s enchanting book is brought to life in this reinvention of a part magic, part menacing classic. The story stays true to the original with some modern twists sprinkled through. Eccentric and reclusive chocolatier, Willy Wonka opens the doors of his chocolate factory to five lucky golden ticket winners. Paul Slade Smith plays Wonka as the wacky, charismatic Candyman peppered with the trappings of a psycho who revels in the demise of spoilt kids.
The first four golden ticket winners are exaggerated caricatures representing vulgar vices of modern society like social media, self-medication, self-obsession and lazy parenting. Augustus Gloop and his mother are a hysterically funny, sausage loving duo from Bavaria. Veruca Salt is reinvented as a Russian Ballerina who pirouettes and shrieks her way through to a deliciously wicked and frankly nutty end! Mike Teavee has a modern spin as a vacuous hacker with a social media compulsion and med dependant mum, and Violet Beauregarde is reimagined as a bubble gum popping, Instagram queen from Cali with an impossibly suave dad to boot.
The fifth lucky winner is chocolate obsessed, wise beyond his years Charlie Bucket. The Bucket family with Charlie’s grafter of a mother Mrs Bucket, and four-in-a-bed grandparents including kooky, kind hearted Grandpa Joe are all Australian in this adaptation. The script has been tweaked with a smattering of Aussie references which delighted the local audience. Mrs Bucket adds a soft touch to this sugar rush of a show, with a beautifully moving performance of If Your Father Was Here.
The staging, visual and special effects are for the most part fantastical combining illustrious projections and clever slide-on scenery – disappointing was the chocolate fountain, fashioned from a plain brown silk sheet it leaves a lot to be desired. The songs are a fun blend of classics (like Candyman, Pure Imagination and I’ve got a Golden Ticket) and reinvented pop and hip hop tunes which were catchy enough, however the lyrics were often swallowed by the performance.
The Oompa Loompas are a weird and raving triumph with the blend of puppetry and performers - this surprise was a show stopper!
Charlie and the Chocolate Factory is a magical and enchanting moral tale of kindness prevailing, wrapped up in an eccentric, sugar coated world of imagination. This show exaggerates the dark (Veruca’s squirrel centric demise got a few gasps from parents in the audience) and amped up the light with exuberant performances from a flawless sugar sweet cast.
Charlie and the Chocolate Factory runs at the Capitol Theatre until
Friday 15 February 2019
Peter Pan Goes Wrong, Sydney Lyric Theatre | Review
Peter Pan Goes Wrong
Sydney Lyric Theatre
Reviewed on Wednesday 13th February 2019 by Amy Mitchell
★★★★
Peter Pan Goes Wrong is a theatrical disaster panto crammed with slapstick calamities and magic misadventures. The production is framed around the JM Barrie classic and follows the formula that delighted past audiences with The Play That Goes Wrong, from the same creators Mischief Worldwide Theatre Company.
We’re introduced to a fictional and farcical troupe of amateur dramatists come outright nincompoops and their hapless attempt at putting on a play of Peter Pan. The scene is set on a revolving stage encompassing the Darling’s nursery, Neverland, the lagoon and a pirate ship. From the opening scene pandemonium explodes with absurd tomfoolery and monstrous malfunctions - lines are fluffed up, there are trips and falls galore, bunk-beds collapse, infidelities are exposed, stage-hands and props go rogue, Captain Hook has a minor emotional breakdown, Peter is concussed and Tinkerbell almost snuffs it.
A wildly energetic ensemble cast with brilliant comic timing have the audience chortling at the relentless abundance of frantic visual comedy, corny gags and quick change disasters. Where it’s light on musical numbers (although one will have you toe tapping home) it’s brimming with exuberant physical wit.
The cast are multi-task magicians, with stand-out performances from Tammy Weller jumping hysterically between housekeeper Liza, Mary Darling, Tiger-Lily and Tinkerbell and Jordan Prosser flitting between 4 year old Michael Darling (complete with baby pink pyjamas), desperate but loveable Max and unwitting underdog hero, the crocodile. Francine Cain triumphs with an over-acted shimmy-athon as Sandra and Wendy Darling and Connor Crawford’s patriarchal parodies as the director, Daddy Darling and Captain Hook are wonderful.
With only a smattering of surprises, the audience could anticipate the choreographed mayhem before it happened, and while the repetition stifled a few extra laughs, you’d be hard pressed not to maintain a delighted grin throughout at the playful and precise absurdity of it all.
Peter Pan Goes Wrong runs at the Sydney Lyric Theatre until 3rd March 2019
photo credit: David Watson
Saturday 9 February 2019
The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review
The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★
Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.
This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.
Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.
For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.
Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.
As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).
Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.
Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits.
Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece.
Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.
Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.
Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.
Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony.
What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.
Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore.
Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production.
The Bodyguard runs at the Grand Opera house until 16th February 2019
photo credit: Paul Coltas
Wednesday 6 February 2019
Avenue Q (UK Tour), New Wimbledon Theatre | Review
Avenue Q (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 5th February 2019 by Olivia Mitchell
★★★★★
The puppets are back in one of the naughtiest and funniest musicals around, and they will make you laugh, cringe, gasp and howl as they make their way round the UK.
Avenue Q is set in New York and follows English graduate Princeton as he moves into the city alone with the ambition of finding his purpose. On this journey of discovery, he meets his neighbour Kate Monster and a whole host of highly unique characters who teach him life lessons through ridiculously catchy and OTT songs. Princeton realises how important love and friends are as well as how enjoying the moment is crucial in life.
Lawrence Smith, Cecily Redman, Tom Steedon, Saoiri Oda and Oliver Stanley lead the small cast, alongside Megan Armstrong, Nicholas Mclean, Jasmine Beel, Ellis Dackombe, Chloe Gentles and Robbie Noonan. Each company member is outstanding and they provide an amazing ensemble performance that is strangely realistic in this wacky world of Avenue Q.
Special mention must go to Cecily Redman as Kate Monster and Lucy the Slut (yes, really) who is utterly wonderful. Cecily has one of the most beautiful tones and clearest voices I've ever heard and it was a real treat to see her perform in such a technically strong and well thought out way.
Cressida Carré has directed this show with a gentle hand and really lets the songs and characters shine. From the simple but highly effective set design (Richard Evans) to the powerful lighting (Charlie Morgan Jones) and fantastically designed puppets (Paul Jomain) everything has been so well put together and makes the whole show feel extremely cohesive.
So much of this production is highly memorable and the entire cast and crew have done a fantastic job in engaging the audience through the fantastic show and contemporary themes. This is a show which instills joy and celebrates amazing performers. If you miss out on this show, it'll really "suck to be you"!
Avenue Q is at the New Wimbledon Theatre until February 9th before continuing it's tour around the country.
*production photos are of previous Avenue Q tour*
*production photos are of previous Avenue Q tour*
Sunday 23 December 2018
Come From Away, Abbey Theatre, Dublin | Review
Come From Away (European Premiere)
Abbey Theatre, Dublin
Reviewed on Wed 19 December 2018 by Damien Murray
★★★★
As a former refuelling stop for trans-Atlantic flights, the remote town of Gander in Newfoundland was once well used to having many visitors on board passing planes.
In 2001, due to its position and facilities, it unexpectedly found itself playing host to 38 international flights filled with 7,000 passengers of many nationalities during the horrific attacks of 9/11 on the North-Eastern region of the United States.
This is not a show about those atrocities, but rather a true story of generosity, gratitude and ultimate hope performed as a theatrical documentation of the unfolding events at Gander as a result of the attacks and the efforts of a small island population to help their fellow man in exceptional and demanding circumstances.
Ahead of its transfer to London at the end of January, it is, perhaps, appropriate that the European premiere of Irene Sankoff and David Hein’s relatively new, but highly-acclaimed, award-winning musical, is being staged in Dublin as Newfoundland owes much of its music, language and culture to Ireland.
This fact is reflected in the show’s accents, humour and music, with a distinctly ‘celtic’ approach to the score, instrumentation and underscoring in this Abbey Theatre co-production with Junkyard Dog Productions and Smith & Brant Theatricals.
Playing a multitude of roles with a quick-fire change of accent, hat, shirt or jacket to convey each character, the hard-working and 12-strong cast - Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and, returning to the city where she made her professional debut, Ireland’s own West End and Broadway star, Rachel Tucker - prove the perfect team for this exceptional ensemble piece.
Indeed, the captivating cast takes ensemble performance to a whole new and higher level in this factual, intense and heart-warming drama.
Performances here are of such a uniformly impressive standard, it is almost impossible to single anyone out for special praise, but it must be said that, with her commanding stage presence, quality vocals and passionate performance, it is no accident that one of Rachel Tucker’s main characters is, appropriately, that of the Captain.
By necessity, the casting is diverse to reflect the wide cross section of some of those who were caught up in the Gander situation with people of various shapes, colours and creeds being represented; each with their own story and circumstances and each dealing with the situation in their own way.
With Beowulf Boritt’s simple, sparse and static (apart from a stage revolve, which, thankfully, is not overused) set representing the remoteness of the forested island being cleverly lit by Howell Binkley’s mood-inspiring lighting, this production is greatly helped by Christopher Ashley’s no thrills direction and Tara Overfield-Wilkinson’s relentless choreography and movement to advance the evolving story in its 100-minute performance time, without ever losing the attention of its audience.
Because of the nature of its unfolding story, this unconventional musical benefits greatly by the absence on an interval to ensure no loss of momentum or continuity.
The show is also unusual in terms of the musical score, which mixes Celtic with folk and rock with the addition of a few ballads and, with tongue firmly in cheek, gives a musical nod to Titanic to add humour to the piece.
Apart from when they take centre stage for a bit of an international hoe-down during Screech In (highlighting the importance of music as an international language), the eight accomplished musicians, under Alan Berry’s musical direction, are discretely positioned at the side of the stage.
Musical highlights are dominated by the ensemble’s excellent choral work throughout, particularly in songs like Darkness And Trees, while the beautiful rendition of Prayer reinforces the commonality of music in religion.
Other highlights include Rachel Tucker’s moving showcase song, Me And The Sky, and the tender love song, Stop The World.
In the midst of mixed emotions, fear, confusion, panic, terror and tragedy, we find that camaraderie, friendship, tolerance, respect and humour are universal and all shine through in this story of interaction between strangers when they are thrown together in the most unusual of circumstances and when relationships survive and grow with random acts of kindness.
Human resourcefulness becomes second nature as all rally round to provide such practical essentials as food, clothing, accommodation, language interpreters, counselling, medical and spiritual care, money and special care needed for babies and animals that were on any of the grounded flights.
In addition to the positive feelings when they are all pulling together as one, a painful feeling of loneliness and emptiness descends on everyone immediately after they eventually leave to go home similar to that experienced at the end of an Irish wake.
This story of ordinary people doing extraordinary things in a time of need is truly inspirational and this intense, gripping, emotional and heart-warming production perfectly captures the generosity of the human spirit and the hope that has been born out of tragedy to create an oasis of harmony in a world of confusion.
Come From Away runs at the Abbey Theatre until Sat 19th January 2019
Photo credit: Matthew Murphy
Friday 30 November 2018
The Nutcracker (UK Tour), New Victoria Theatre | Review
The Nutcracker (UK Tour)
New Victoria Theatre
Reviewed on Thursday 29th November 2018 by Olivia Mitchell
★★★★
As the festive season steps up a gear, it seems only fitting that The Nutcracker should be required viewing, and the Northern Ballet's current production provides festivity and magic in abundance. David Nixon's choreography and a sublimely talented cast make this an enchanting show, which exudes youth and generates a true feel-good factor.
The Northern Ballet Sinfonia lead the show musically with control and effectiveness. Showing off Tchaikovsky's stunning score, they are led fearlessly and faultlessly by Brett Morris.
Other than the dancing, this is a visually stunning show thanks to Charles Cusick Smith's inventive and luxurious set which not only frames the choreography but adds another level of intricacy and interest. Act III's Garden of Delights is especially mesmerising thanks to the beautiful tones of burgundy, gold, peach and green which are woven into both the set and costumes (David Nixon). The Russian Cossacks, French Ballet Dancers and Arabian Princesses are all incredibly unique in design but work cohesively to create a strong flow throughout.
Despite these intricacies, the more simplistic moments are also incredibly moving, such as the Pas De Deux between the Sugar Plum Fairy (Antoinette Brooks-Daw) and Cavalier (Kevin Poeung) which despite being surrounded by opulence, is purely focussed on the faultless ballet.
Ommaira Kanga Perez's beaming smile and innocent attitude is perfect for the young Clara who is overwhelmed by a world of magic and sparkle, just like the audience watching her. Literally brought to life by glitter, our Prince, Riku Ito is outstanding. Mention also goes to Harris Beattie and Natalia Kerner who caught the eye from the start, Mlindi Kulashi who is suitably mystical and attractive as Drosselmeyer and the Mouse King (Lorenzo Trossello) who gave a fully humourous performance, including flossing which brought the piece right up to date.
The Northern Ballet's production of The Nutcracker is a real treat of a show that has magic and enchantment that will keep both adults and children entertained and enthralled.
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
Thursday 22 November 2018
La Traviata: Behind the Curtain (UK Tour), New Victoria Theatre | Review
La Traviata: Behind the Curtain
New Victoria Theatre
Reviewed on Wednesday 21st November 2018 by Olivia Mitchell
★★★★
As part of Glyndebourne's 2018 touring season, they are offering Behind The Curtain performances where "the essence of opera is revealed" and audiences get a look at La Traviata as it's cleverly dissected and put together again for a condensed version of the show.
Hosting the night is comedian and opera lover, Chris Addison who welcomes the audience with open arms, and discusses opera in a thoughtful but easily understandable way. First up is a look at the famous brindisi which in 1853 was the equivalent of Gangnam Style in a show, as shown by the stellar Glyndebourne chorus. Addison likens the song style to "a group of students who don't stop talking about getting drunk." These comments, plus other ingenious ways of educating- such as showing the difference between recits and arias through a sung version of outrage at a Greggs bakery opening- make the entire night flow whilst informing people of all ages and keeping them entertained through humour and music.
Much of Addison's commentary is underscored by the glorious Glyndebourne Tour Orchestra, led by Ben Glassberg, who play both pieces from La Traviata and pieces which inspired/were inspired by it. The talent of the orchestra is evident throughout, no more so than when their sight-reading skills are shown off when playing Glyndebourne's Balancing The Score composer, Ailie Robertson's Invocation. Other games include a quick change competition called Beat The Orchestra and an audience guess at how many operas have been composed since Jacopo Peri's first, Dafne.
This Behind the Curtain event takes on the form of part opera performance, part lecture and is a whole lot of fun for both opera fanatics and new fans. It also raises questions to keep you thinking such as "is there ever an authentic setting for Verdi?" and introducing us to the wonderful performances available from Glyndebourne. Particularly interesting for theatre fans is when the Gypsy dance is taking place on stage whilst we see the rehearsal process on the screens; giving us an insight into the backstage process of forming a show.
Original Glyndebourne Violetta, Marie McLaughlin gives wonderful insight into the vocal variations needed for Verdi compared to other composers as she discusses technique and how solid breath control comes from the feet to the top of the body. Alongside some beautiful vocal demonstrations, Marie also explains how the beauty of Verdi is that he gives everything to you in the music and text which tell you exactly how to feel like the "consumptive" Violetta.
Overall La Traviata: Behind The Curtain is just a whole lot of fun. For music students it will surely provide an invaluable and memorable operatic experience and will inspire more people to participate in and enjoy opera. Glyndebourne should be commended for providing such an accessible operatic night. Here's to many more!
photo credit: Tristram Kenton
Thursday 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Grease, Bridewell Theatre | Review
Grease
Bridewell Theatre
Reviewed on Tuesday 13th November 2018 by Nicola Louise
★★
With its cheesy jokes, feel good songs and an array of over enthusiastic teenagers from the 50’s with a rebellious edge, it’s not hard to see why Grease has been at the forefront of musical theatre for over 30 decades.
Songs like You’re the One That I Want and Look at me I’m Sandra Dee have been played countless times, and sung by some well-known names. So when Rewrite This Story got invited to review an Am Dram revival of this well-loved musical, we jumped at the chance to take our seat.
Unfortunately, I wish I hadn’t been so quick off the bat, apart from Yvette Stiel (Cha Cha) and Charlie Smith (Danny) dancing to Born to Hand Jive at the school dance, there’s very little right with this show.
Danielle (Rizzo) had countless face movements, almost like she had a tick and put on a very strange New York/Boston accent which carried on through her singing, making it very hard to hear the words and almost painful to the ears. I was unsure why Director Stuart James had Danielle sing There are Worst Things I Could Do to Sandy (Laura), who looked just as confused as myself and a couple of people sitting next to me.
Casting Smith as Danny, in my opinion was not the best move. He had no charm and nothing about him screamed leader; Jarrod Hawn, who played Kenickie would have been a much better choice as I found him to have more stage presence, charm and wit.
Ellis as Sandy was a decent choice although I felt like she was cast due her voice, her rendition of Hopelessly Devoted to You was pitch perfect and the whole audience was captured by her and her emotion during the song. As sweet and innocent Sandy, Ellis played the role ok at first but as the show went on it looked like she was more comfortable. In the grand scheme of things this is a positive as it mirrors Sandy and her character growth but at the start just felt unsteady.
The rest of the T-Birds and Pink ladies we’re nothing special, however, I was drawn to Ashlie Kenyon-Evason who portrayed Jan, the way she bounced around stage and belted out high notes made the show watchable, as well as Kate Winney (Marty) who carried her character well and had the 'younger girl wishing to be older' scenarios down to a T.
With direction from New Zealand born Stuart James, this show is, unfortunately a massive flop, the singing was mediocre, the acting was barely there and they shoved too many people on the stage at one time making the dance scenes look messy and uncoordinated which I would have thought the choreographers, Samantha Herriot and Vanessa Forte have noticed.
Overall, the show seemed clunky and unrehearsed and this is one showing of Grease I wish to never see again.
Grease is currently playing at the Bridewell Theatre with completely sold out performances.
Tuesday 2 October 2018
Fame the Musical (UK Tour), New Victoria Theatre | Review
Fame (UK Tour)
New Victoria Theatre
Reviewed on Monday 1st October 2018 by Olivia Mitchell
★★★★
Fame is the original high school musical drama. The story about a group of wannabe New York performers became an instant success with audiences after the 1980 film, and various incarnations including tv series and musical performances were spawned. Fame the Musical, developed by David De Silva, is currently touring again to celebrate it's 30th anniversary before a stint in the West End next year.
Fame the Musical follows the lives and struggles of students attending the New York High School of Performing Arts. It is a real-life, non-sugar-coated version of being a young adult and facing issues, including substance abuse, sexuality and self worth.
From the opening number to the very last moment of toe-tapping brilliance, Nick Winston's production screams energy and vibrance. The entire show is a well choreographed, lively machine that, although being set in the 80s, feel fresh, relevant and energetic.
The energy comes from the outstanding young cast who deliver every moment with enthusiasm and precision. Molly McGuire is loveable and quirky as she falls in love with Nick (Keith Jack) the TV actor, wanting to move to more serious roles. Both performers provide beautiful vocals, especially during Let's Play a Love Scene in which Molly shines. The pair compliment each other wonderfully and present a sweet romantic arc.
Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.
Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.
Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.
Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.
Mention must also go to the fantastic actor-musicians who are present on stage throughout and bring a natural, realistic feel to the show and transport us to a frenetic performing arts school- Alexander Zane is a standout of the group.
The real star of the show is undoubtedly, Stephanie Rojas who gives a fiery performance as Carmen, the Latina who longs for fame. Stephanie is everything Carmen should be with her transition from a larger than life girl in There She Goes/Fame, to a broken woman in the devastating In LA supplying a supremely moving storyline. Stellar vocals and superb acting make Stephanie's performance a must see and should be required viewing for any budding performers.
On top of the impressive performances, Prema Mehta's lighting is extremely atmospheric from the opening scene which dazzles the audience to attention and sets the tone for an exhilarating show. Particularly clever is the use of light tones, for example in Carmen's emotional climax during act 2, she is bathed in cool, stark light whilst her counterpart Schlomo (played touchingly by Simon Anthony) is lit in a warm tone. These subtle details are part of what makes this production of Fame superior.
Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!
Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.
photo credit: Tristram Kenton
Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!
Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.
photo credit: Tristram Kenton
Friday 17 August 2018
Spring Awakening, Stockwell Playhouse | Review
Spring Awakening
Stockwell Playhouse
Reviewed on Thursday 16th August 2018 by Olivia Mitchell
★★★★★
I would hazard a guess that there aren't many musical theatre fans of my age that didn't go through a Spring Awakening phase. For me it went a little like this: watched the Glee pilot episode, became obsessed with Lea Michele, watched everything related to her entire career, found the bootleg of Spring Awakening, watched said bootleg obsessively, downloaded the cast recording, sung Mama Who Bore Me on an endless loop and never looked back. For someone who went through the phase hard, it's surprising that despite a number of revivals in the past few years, I'd never seen an actual production of the show so when the opportunity arose to see the British Theatre Academy's (BTA) production, I couldn't resist.
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
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