Posts with the label review
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts

Friday 21 January 2022

Moulin Rouge! the Musical, Piccadilly Theatre | Review


Moulin Rouge!
Piccadilly Theatre
Reviewed on Thursday 20th January 2022 
★★★

The West End premiere of Baz Luhrmann's 2001 musical Moulin Rouge has been a long-awaited adaptation. After a number of delays it has finally opened and is certainly a spectacle to behold. There's razzle-dazzle, glitz and glam and hugely sumptuous chorus numbers, but often it's a case of style over substance, with some moments falling flat.

There is a lot to love with the production; the energy is next level throughout, the variety of performers is wonderful to see and the classic songs from the movies are excellent. Unfortunately, a lot of the new musical additions feel chaotic and detract from the action. Some additions work well such as the updated Elephant Love Medley which combines the old and new incredibly deftly and is joyous as it's performed amongst a starlit backdrop. Adele's Rolling in the Deep combined with Gnarls Barkley's Crazy also sums up the angst and anger in act 2 well and is one of the strongest performances of the show. Many of the other songs are jarring and actually drag us out of the story, making the show feel more like a cabaret presentation or pantomime.

As a visual piece of art, this musical truly is like no other. Derek McLane's set is utterly jaw-dropping from the moment you enter the auditorium. Luscious velvet and fabric drapes the walls and the ceiling, a life size elephant watches over the auditorium and the swirling windmill of the Moulin Rouge gets the motion going from the start.  Glitter and pyrotechnics are also a mile a minute and Catherine Zuber's costumes are a show in themselves. 


The cast mostly do a great job at bringing the iconic cabaret to life. Liisi LaFontaine is beautiful as Satine, especially when she can really let her vocals soar in solo moments. As the young composer Christian, Jamie Bogyo is suitably awkward and charming but occasionally feels like he's holding back vocally. The pair are sweet, but there's something lacking in the chemistry and both characters feels quite underdeveloped. Instead of showing any real emotion, they're used for humour and it's not until the end that we get to see them make any decisions themselves. The only character who really gets to show his emotion is Tolulouse-Lautrec played expertly by Jason Pennycook.

It's in the large group numbers that the musical really excels and gets the audience invested. Sonya Tayeh's choreography is spirited and enticing, especially so in the Tango Roxanne, where Sophie Carmen-Jones and  Elia Lo Tauro command the stage and give outstanding performances. The opening Lady Marmalade number and the closing mega-mix of all the best parts are also stunning showcases for the ensemble who lift the whole show up. The can-can is also particularly impressive and enjoyable to watch.

Whilst the show is lacking in places, it's certainly a spectacle and if you want to be immersed into a wild world then Moulin Rouge is certainly worth a visit. 

photo credit: Matt Crockett

Moulin Rouge! the Musical, Piccadilly Theatre | Review

Friday 21 January 2022

Thursday 11 November 2021

Six the Musical, Vaudeville Theatre | Review



Six The Musical
Vaudeville Theatre 
Reviewed on Wednesday 10th November 2021 by Olivia Mitchell 
★★★★★

Since opening in 2017 Six the Musical has taken the world by storm, with productions running in the West End, Australia and Broadway, as well as on tour and cruise ships. Laden with awards, critical, and audience praise, it's a history lesson you'll want to revisit time and time again.

In Six the wives of Henry VIII come back to life and remix five hundred years of trauma, grief, drama and exploits to decide who will get to lead their girl-power band. A series of stylistically varied songs chronicle their lives and how they got their place in the classic rhyme: Divorced, Beheaded, Died, Divorced, Beheaded, Survived. It's an 80 minute treat that flies by in a whizz of comedy, vocal excellence, spangly costumes and heart.

The incredible women who make up the cast (at this performance: Jarnéia Richard-Noel, Courtney Bowman, Collette Guitart, Cherelle Jay, Sophie Isaacs and Hana Stewart) give first class solo performances, whilst also bouncing off of one another perfectly. The chemistry and camaraderie on stage is a joy to watch and alongside the stellar audience reaction, makes you really feel part of the girl power rewrite. From the opening beats the energy in Six's new home, the Vaudeville theatre, is completely frenetic and doesn't slow until you're brought back to the real world when you step onto the Strand.

Gabriella Slade's bedazzled costumes are the perfect combo of modern sass, mixed with historical elements. With Tim Deiling's fantastically precise and impactful lighting the women sparkle like royal disco balls and the whole production is an explosion of brilliance. Like the whole show, Emma Bailey's set has had a slight upgrade and continues to perfectly frame the Tudor tale. Toby Marlow and Lucy Moss' score continues to hit however many times you hear it and since last seeing the show, the small tweaks and tucks have made the whole thing tighter and chicer than ever before. 

With huge energy, this royal riot is everything you could wish for and Six the Musical is sure to continue it's reign long into the future. Move aside Henry, it's these Queens we want to remember!

photo credit: Pamela Raith

Six the Musical, Vaudeville Theatre | Review

Thursday 11 November 2021

Wednesday 3 November 2021

Heathers The Musical (UK Tour), New Wimbledon Theatre | Review


Heathers The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 2nd November 2021 by Olivia Mitchell 
★★★★

Westerberg High School is back open and this time it's touring the UK, currently playing at the New Wimbledon Theatre. The show's popularity is evident from acclaimed Off-West End and West End runs in 2018, followed by another West End engagement this summer and a newly announced run at The Other Palace. The touring production embodies the same energy and will continue to provide Big Fun until the end of the year.

What works so well about this musical is that it doesn't take itself too seriously; the whole thing is melodramatic and larger than life, focussing on high school stereotypes that are highly stylised and humourous. Alongside this, Heathers does focus on some extremely dark issues such as suicide, sexual assault and bullying, and it does so pretty well, although at times it feels somewhat sloppily handled and it would be great if there were some sort of trigger warnings before the show or placed around the theatre to prepare people for some jarring moments.

However, Andy Fickman does a great job at directing this fast-paced black comedy, which alongside Kevin Murphy and Laurence O’Keefe’s book, music and lyrics provides an energetic and enjoyable night out. Ben Cracknell's lighting does an excellent job of packing the stage with colour and cleverly draws your eye to crucial moments as well as literally highlighting the Heathers in their signature colours and often bathing JD in a cool, eerie shade. David Shields' design effectively transfers us to each plot setting, whilst maintaining the school vibes which course throughout; and the split levels utilise the space as well as working to emphasise the hierarchies of the characters.



Phil Cornwell leads the band to bring the rock soundtrack to life vigorously, Dan Samson's sound design really shines and Gary Lloyd's choreography ties it all together, with some excellent work by the mile a minute ensemble.

As our protagonist Veronica Sawyer, Rebecca Wickes is a powerhouse force. Her vocals are sensational and she maintains her energy and intelligence from start to finish. Barely leaving the stage Rebecca is a joy to watch as she brings a wide array of emotion and has a self-awareness that is magnetic. Simon Gordon as the brooding bad boy JD has equal pull as he sweeps Veronica and the audience up with his suave mystique, only to reveal his true self as the show moves on. Simon's voice is perfectly matched to the role and the pair work brilliantly together.

The three Heathers are played boldly by Maddison Firth (Chandler), Merryl Ansah (Duke), and Lizzy Parker (McNamara). Liam Doyle and Rory Phelan as Kurt and Ram give stand out performances and have a fantastically humourous chemistry with one another. As Martha Dunnstock, Mhairi Angus is heartwarming and vocally outstanding, providing a real starring moment and some calm in an otherwise crazy show.

Overall Heathers is a musical which clearly delights audiences and is top-notch for a modern musical. It ticks the boxes of humour, angst, drama and generally being over the top and is well worth visiting as it tours the country.

photo credit: Pamela Raith

Heathers The Musical (UK Tour), New Wimbledon Theatre | Review

Wednesday 3 November 2021

Thursday 16 September 2021

Bat Out of Hell (Tour), Manchester Opera House | Review



Bat Out of Hell (UK Tour) 
Manchester Opera House
Reviewed on Saturday 11th September by Hope Priddle
★★★★★

Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend. A stunning realisation of Jim Steinman’s life’s work and Meat Loaf’s iconic trilogy, the rock-opera is set in the dystopian city of Obsidian, a wasteland governed by the despotic Falco in the wake of a chemical war. Falco embarks upon a campaign to rebuild his metropole, which has since been overrun by a gang of feral, mutated youths – The Lost - frozen forever at the age of eighteen. As their leader Strat falls for the tyrant’s daughter Raven, an epic drama unfolds.


Bat Out Of Hell has undergone numerous changes across its various iterations; this new touring production is no exception, having been understandably shortened and scaled back. The book, which was already somewhat nonsensical, has suffered because of this. Amendments to the script, which were clearly made to clarify and accelerate the storyline, are overly literal, with clunky dialogue often betraying the visceral atavism of Steinman’s poetry. However, it’s foolish to think that anyone coming to see Bat Out Of Hell is after a refined and sophisticated narrative. Bat Out Of Hell is bursting with knowing irony and sarcasm – it has its tongue firmly situated in its cheek throughout. It’s a magical fever dream that invites you to suspend your disbelief.


Incoherency is irrelevant when you have a cast as stellar as this one - a cast who perform with such raw passion and hunger, you absolutely cannot take your eyes off them. As the black-hearted leader of The Lost and ultimate manic pixie dream boy, Glenn Adamson is mesmerising as Strat. His powerful performance of the titular song blew the roof of the Manchester Opera House. Adamson shares sizzling chemistry with Martha Kirby, our atypical teenage ingénue Raven, who perfectly captures the character’s fearless spirit and delivers flawless vocals. Rob Fowler and Sharon Sexton triumph as Raven’s parents, Falco and Sloane. While the couple are outrageously comic and camp, their failing marriage inspires genuine pathos as they reflect upon What Part of My Body Hurts the Most. Sultry and savvy, Joelle Moses embodies the role of Zahara; James Chisholm is charming as  tough yet huge-hearted Jagwire, and Killian Thomas Lefevre plays a wholly endearing Tink, the youngest member of The Lost. Whilst supporting characters Valkyrie (Kellie Gnauck) and Ledoux (Danny Whelan) demonstrate stunning vocal prowess, the loss of an all-male rendition of Objects In The Rear View Mirror during the second-act, is felt massively.  In previous productions, the number provided an emotional antidote to examples of sexually-charged masculinity and it was always refreshing to see raging machismo tempered by platonic male love.


The ensemble are electric, executing Xena Gusthart’s dynamic choreography with real attitude. They are complimented by a spectacular use of multi-media effects, including live video. Action is televised, Big-Brother style, across the auditorium, with an on-stage camera woman magnifying the drama. Given that the cast have free-reign over Jon Bausor’s multi-levelled post apocalyptic playground, this technique proves highly effective in capturing every little detail. The show is a huge assault on the senses, in the best way possible; expect a cacophony of colour, light, sound (and fire)!


If you’re after an evening like no other, exploding with hedonistic pleasure and unadulterated euphoria, head out on your Harley and get yourself a ticket…before they’re too hot to handle. 


Bat Out of Hell is currently touring the UK and Ireland


photo credit: Chris Davis Studio

Bat Out of Hell (Tour), Manchester Opera House | Review

Thursday 16 September 2021

Friday 2 July 2021

Wonderful Town, Opera Holland Park | Review


Wonderful Town
Opera Holland Park 
Reviewed on Thursday 1st July 2021 by Olivia Mitchell 
★★★★

As the world returns to a new normal, there aren't many better ways to spend a Thursday evening than enjoying a glorious musical in the beautiful setting of Opera Holland Park. Quick Fantastic have returned to the space to present Wonderful Town, the half-forgotten 30s  musical which brims with exhilarating jazz and witty comedy.

Under Alex Parker's musical direction, Bernstein's score soars around the auditorium and reminds us just how brilliant the older Broadway musicals can be. The comedy on stage is matched perfectly with the music and the whole affair feels as rich and jubilant as can be. The musical  diversity is also a treat to hearr, with an Irish jig, a beatnik scat and some moving ballads, there's really something for everyone.

The book by Jerome Chodorov and Joseph Fields is basically the story who two sisters from Ohio who arrive in the New York with dreams of taking the town by storm. The source material for the show was taken from autobiographical short stories by Ruth, the sister who longed for a writing career and chronicled her and her sisters' lives in The New Yorker. There are a number of little adventures the duo go on whilst finding their careers (and romances) which make for a highly entertaining and all round wholesome story.

Ruth is played with grit and wit by West End superstar, Louise Dearman, who seems almost made for the role of the sassy, vulnerable, bookish author. Of course Louise is vocally effortless and provides some real highlights, but she also shines in the humourous moments which help make the whole production feel so jubilant.



Balancing Dearman out is the equally brilliant Siubhan Harrison as Eileen, the sister who knows how to get what she wants but in the end is unwaveringly committed to her sister. The double act are a dream to watch and have the audience wrapped around their little fingers, especially during their smooth as butter rendition of Ohio.

The male love interests are performed by Ako Mitchell who is vocally divine and very authentic as magazine editor Bob; Roger Dipper who is utterly wonderful and so humourous as the bumbling Walgreens worker Frank Lippencott; and Alex Lodge who is suitably sleazy as newspaper hack Chick Clark.

Billy Nevers is the washed up football player The Wreck, and Emma Harrold is his secret fiancé, Helen. Both do a great job of padding out their characters as well as providing super strong vocals and some light-hearted comedic moments.

The rest of the cast made up of: Jade Albertsen, Robson Broad, Ashley Daniels, Tamsin Dowsett, Gregory Haney, Jas[er Kajd and Natasha Leaver are super sleek throughout whilst bringing the vibes of 30s New York to life. Carrie-Anne Ingrouille's choreography is superb and a joy to watch.

From a conga to an incarceration there's a lot to enjoy and laugh at, and the cast do an outstanding job of making a semi-staged production feel full. Overall it's a wonderful night at Wonderful Town.

Photos by Danny Kaan

Wonderful Town, Opera Holland Park | Review

Friday 2 July 2021

Tuesday 8 June 2021

Showstopper! The Improvised Musical, Garrick Theatre | Review



Showstopper! 
Garrick Theatre
Reviewed on Monday 7th June 2021 by Olivia Mitchell 
★★★★★

It's hard to say what you'll enjoy about Showstopper! The Improvised Musical, because as the name suggests, every show is different but what you can expect is to laugh like there's no tomorrow, see an array of outstanding performances, watch some truly wacky goings on and overall to have a really good time.

The basic structure is that the audience are invited to put in suggestions for settings, themes, musicals, styles and composers and then the Showstoppers team make these into a stagey spectacle like no other. Whilst this was previously done via the audience shouting from their seats, thanks to Rona, it now takes place via tweets or texts, which are then voted for via which one gets the loudest claps and feet stamps. 

Last night's suggestions included a Deep South setting, a school reunion and the winning choice: a dog show where the prize pup had been murdered. Limitless possibilities provided the most entertaining show, full of various twists and turns, a selection of plot points and a surprising amount of character development. No one was who they claimed to be and the ending really was a surprise. 

As the host with the most, Dylan Emery took control of the proceedings, often popping in with suggestions for character moments and musical styles (Hamilton and The Phantom of the Opera were two highlights) as well as adding some great guitar backing.

The entire cast: Pippa Evans, Adam Meggido, Justin Brett and Lucy Trodd gave performances that more than anything just had the audience in awe. It's quite amazing how they can be so stellar whilst improvising and working so tightly as a team. Craig Apps on percussion and Chris Ash on keys kept the music flowing as they seamless transitioned between styles and interacted brilliantly with the cast.

The comedic timing of the whole cast is second to none and it felt so wonderful to be at a theatre, genuinely laughing and having a good time after such a trying year. There's not much more to say than GET A TICKET. Showstopper! is a treat that will always be unexpected but outstanding.

Photo by Hugo Glendinning

Showstopper! The Improvised Musical, Garrick Theatre | Review

Tuesday 8 June 2021

Thursday 3 June 2021

Becoming Mila by Estelle Maskame Book Review


Becoming Mila by Estelle Maskame
Published: 3rd June 2021 by Ink Road
★★★★

Estelle Maskame is a writing fiend, having had her first book published at age seventeen, she has gone onto publish a further five books, all of which received critical acclaim and huge love and support from her fanbase. Becoming Mila is the latest offering and the first instalment in a new trilogy about a teenage girl who is sent back to her off the grid Tennessee place of birth, so she doesn't show her film star father up close to the premiere of his new movie.

This is a great coming of age story as well as a romance and like Estelle's other books, it reads incredibly well and has you hooked from the get go. Estelle is brilliant at getting the angst and tension of new relationships on the page and from the first encounter between love interests Blake and Mila, there is a frisson of energy that starts and never lets up. The romance itself is very cute and I love how developed the characters are not only as a pair, but individually too. A lot of layers are added even to the side characters and there's so much scope for the subsequent books in the series.

I did however, find a slight disconnect at times between the writing and the characters. Mila and Blake sometimes come across much more mature than sixteen year olds whilst, the writing feels aimed at younger teens. This had no negative impact on the story but I do think it would be really interesting and exciting to read a more grown up, New Adult style book from Estelle. I'm sure it's only a matter of time!

As lead characters, Blake and Mila are extremely likeable. Mila is multi-faceted and really sure of her own mind, she faces problems head on and it's really refreshing to see a couple who communicate so well. Blake is a semi-bad-boy who you can't help but fall for. A lover of country music, he's pretty swoon worthy from the moment he nicknames Mila. The friendships are also incredibly sweet (I have a suspicious things may be not quite as they seem as the series continues) with Savannah playing a big role. There are also some lovely familial aspects, especially between Mila, her aunt and her grandpa- very wholesome.

Becoming Mila is a treat of a book though and the carefree, contemporary vibes are perfect for a quick beach read. Sizzling levels of angst, musical interludes and a couple you really root for make it a surefire summer hit... just be ready to need the second book as soon as you finish.

{AD PR product- book gifted in exchange for honest review}

Becoming Mila by Estelle Maskame Book Review

Thursday 3 June 2021

Tuesday 25 May 2021

Monday Night at the Apollo, Apollo Theatre | Review



Monday Night at the Apollo
Apollo Theatre 
Reviewed on Monday 24th May by Olivia Mitchell 
★★★★

Since my last trip to the theatre in December, I have been dreaming of starting my week enveloped in the stagey comfort of musical theatre and I am oh so happy that last night my dream came true. Created by Wild Mountain Productions and presented by Greg Barnett, a spectacular lineup were brought to the stage of the Apollo to take us through a night of vocal gymnastics, diversity, humour and just a bunch of fun in the first instalment of Monday Night at the Apollo.

You couldn't have gotten a much better bunch than the first five performers in the series: Aimie Atkinson, Cassidy Janson, Lucie Jones, Cedric Neal and Julian Ovenden. Every artist gave powerhouse performances, as well as bouncing off one another and highlighting the fantastic camaraderie and community that comes along with the world of theatre.

After a lockdown of creating content online, forming a girl band and most recently performing on This Morning, seeing Aimie Atkinson back on stage was a real treat. Don't Rain On My Parade felt very apt as we all hold our breath hoping theatres can remain open and Aimie's performance was top notch. Sparkles galore, being a complete professional during technical difficulties and serving sassy vocals were the best reminders of why Aimie is quickly becoming West End royalty.

If you search "riff legend", it should really show a whole host of pictures and videos of Cedric Neal who is the definition of control. His smooth, pin-sharp vocals are passionate and utterly mesmerising. It's also incredibly impressive to see and hear how versatile he is as a performer, with So You Wanted to see the Wizard and Hold Me in Your Heart showcasing contrasting vibes but both being completely absorbing and joys to watch.

As always, Lucie Jones provided not only the most stunningly dexterous, ice clear and faultless vocals, but also showed off her excellent humour and stage presence which create a perfect performance. At this point I think Lucie just needs to star in everything and sing everything! 

I also wouldn't complain if Julian Ovenden started singing everything, including phone books, instruction manuals, weather reports etc... His absolute dream of a voice carried so well throughout the night and I found myself in complete awe of the the technical ability he displays in every note. He really is a masterclass in the importance of support, diction and classical technique. All of his songs were honestly just joyous to hear.

Completing the line up, recent Olivier Award winner Cassidy Janson brought her usual magnetism and soulful vocals to the Apollo as she performed a variety of songs, with Nobody's on Nobody's Side proving a real highlight.

The evening absolutely wouldn't have been the musical success it was without the stellar band who both backed the singers and also shed light on the importance of live music. The synchronicity and musicality was evident throughout and it really seemed like everyone was thrilled to be back on stage. The simplistic stage adorned by rugs and bathed in warm light worked brilliantly to create a welcoming atmosphere.

Also streaming online via Thespie the future Monday Night at the Apollo events are sure to be complete treats and the perfect way to bring back the stageyness we've all been missing.

photo credit: Danny Kaan

Monday Night at the Apollo, Apollo Theatre | Review

Tuesday 25 May 2021

Saturday 3 October 2020

The Theatre Channel, Episode One | Review


Innovation is coursing through the theatre community, as new ideas and ways to spread the joy of performance are brought to life everyday. One of these ways is the new brainchild of The Theatre Café and Adam Blanshay Productions: The Theatre Channel.

The channel is a series of musical episodes which celebrate the all-singing, all-dancing joy of theatre as well as showcasing fantastic performers and the café itself. Each episode is roughly half an hour long and features a different group of stage stars, as well as the Café Four (Alyn Hawke, Emily Langham, Sadie-Jean Shirley and Alex Woodwardwho appear in each episode as a sort of omnipresent group of musical theatre muses. The performers are encouraged to perform songs or roles they've not previously had the chance to, which leads to an eclectic episode of musical excellence.

The first episode opens with the café four performing the very fitting Coffee in a Cardboard Cup, in which they use pretty much the entirety of the  café to showcase their vocal, dance and acting skills; they're definitely a talented bunch! From then Tarinn Callender takes us on a soulful journey with On Broadway and Lucie Jones serves her stunning, clear-as-glass vocals with a brilliant rendition of Maybe This Time. Amongst an abundance of flowers, Carrie Hope Fletcher and Oliver Ormson bring the classic duet, Suddenly Seymour to life brilliantly. Jodie Steele takes things up an octave (and a level) as she gives a gender-switched version of Heaven on Their Minds from the roof of the cafe, which oozes sass and strength. Rounding off the episode, Matt Henry is smooth and oh so stirring with Let It Sing from Violet and Jenna Russell is completely excellent in every way with Sondheim's Ladies Who Lunch.


Whilst of course the performances are uniformly wonderful, it's the production value which really makes this series worth the hype. Ben Hewis' outstanding videography is sleek, high quality and just beautifully shot; and alongside Bill Deamer's choreography-which is astoundingly bold for happening in such a small space- the whole thing feels much more cinematic than any of the online theatrical offerings so far.

The creative team clearly have a strong vision and there's no doubt that each episode is going to be a step bigger and bolder. With themed episodes in the works including the upcoming Halloween episode, there are sure to be surprises galore. With everything from the vocals to the finished product being recorded on the premises, this really is a celebration of not only theatre and performance, but the Theatre Café itself where the arts still has the space to thrive, even when performances themselves are few and far between.

With a great team behind it, this series is a treat for those missing theatre and a gem of an online offering. Once purchased for £12 you have unlimited access to the episode so you can relive the stagey goodness time and time again. So grab your laptop and take yourself on a virtual trip to the theatre.

★★★★★


The Theatre Channel, Episode One | Review

Saturday 3 October 2020

Monday 20 April 2020

A Good Girl's Guide to Murder by Holly Jackson Book Review


A Good Girl's Guide to Murder by Holly Jackson
Published: 2nd May 2019 by Electric Monkey
★★★★★

For no particular reason, I've never really been into crime YA. I love me a true crime podcast and YouTube video but I'd never transferred that love to books. This is why it's taken a lockdown to make me read A Good Girl's Guide to Murder! I was very kindly sent a proof copy back before the release but it had never spiked my interest  (and I was also being a lame book blogger) but good lord I'm glad I finally picked it up; it's fast paced, multi-layered excellence that just delivers in every way.

Pippa Fitz-Amobi is a true crime loving teen who aspires to study English and become a journalist one day. So, she decides to begin honing her journalistic abilities early by focussing her sixth form EPQ on the big unsolved murder that took over her town five years ago, that of Andie Bell. What starts as a simple idea, soon becomes a full-scale investigation full of twists and turns, as well as beautifully done character studies. Teaming up with the alleged murderer's brother, the duo go on a journey of obsession and danger that could lead them many ways.


This debut is exceptionally written, with multimedia formatting that is engaging from page one. The book allows the reader to feel like they are investigating alongside the characters with police transcripts, maps, diary entries and more, truly immersing us into the world of Andie Bell. 


Not only is this a truly captivating mystery, but it also features a diverse cast with discussions about racial injustice, corruption and the importance of friends and family, be those natural or found. Ravi and Pip's friendship is touching and it's amazing how strong both these characters are. Back when I was at sixth form, I wrote my EPQ on the importance of strong female leads in YA fiction and I would certainly add the brilliant, dedicated, powerful Pippa to the ranks.


I can't recommend this book highly enough, the characters are superbly defined and the structure is so well thought out, that you are hit with information in a way that never feels overwhelming or confusing. This is just a great edge of your seat read, that is sure to be enjoyed by children and adults alike.

(ps. in the proof copy I received, the last pages were ripped out. I thought these were just for effect and that the story really did end on a complete cliffhanger but I WAS WRONG. The final chapters of this book are a complete roller coaster and I can't believe I almost missed them! What a spectacular read!)

 {AD PR product- book gifted in exchange for honest review}

A Good Girl's Guide to Murder by Holly Jackson Book Review

Monday 20 April 2020

Monday 10 February 2020

Twisted, Trafalgar Studios | Review


Twisted (Concert)
Trafalgar Studios
Reviewed on Sunday 9th February 2020 by Olivia Mitchell 
★★★★

There weren't many reasons to leave the house on Sunday, as Storm Ciara battered the UK, but a dose of musical theatre and Disney were certainly two. The latest in Monsteers' concert series, Twisted provided a chance for performers to sing the Disney songs they've always wanted to, as well as those which they wouldn't typically be cast in. This led to an afternoon of uplifting numbers, belting galore and a great escape from mother nature.

Thirteen performers took to the stage to treat us to a selection of (mostly) contemporary songs, ranging from Poor Unfortunate Souls to Hellfire. Each performance brought something special to the stage and offered a chance for stripped back performances celebrating musicality, Disney, Pixar and general theatricality.

Everyone on stage gave top notch performances, with a mixture of upbeat, chilled and full-out stagey numbers. Emily Mae Walker's rendition of Let It Go, Charlotte Anne Steen's Zero To Hero (complete with super fast mic reflexes) and Cameron Burt's Go The Distance were particular standouts among a group of wonderful performers. Gender swapped numbers proved exceedingly entertaining, with Maiya Quansah-Breed's I'll Make a Man Out of You and Grace Mouat's Proud of Your Boy earning huge applause and showing the audience the songs in a different light.

Completing the male line-up were Aran McRae, Lewis Asquith and Christopher Cameron who all gave brilliantly entertaining performances. On the ladies side, it was Lauren Soley's exceptional performance of Tangled's Mother Knows Best that really impressed, as did Jessica Cervi (who stepped in last minute) giving a luminous rendition of Beauty and the Beast. Also stepping up to the plate just the day before was Esme Laudat who's version of Speechless, closed act one in the best way possible. Josie Kemp and Chloe Hazel also gave strong performances with Hazel's Poor Unfortunate Souls a real highlight.

Although the bare, minimalist approach was effective, perhaps future concerts could include some props just to make the fairly large space feel a little more welcoming and less of a 'stand up, sing and go' affair. I did find that occasionally the speakers were a little loud and the lighting somewhat abrupt, and whilst these issues did not detract from the performances, they are things which could be tweaked to step the next concert up a level. 

Twisted was a great way to spend a Sunday and I'd certainly recommend booking future Monsteers concerts.  Great songs, a fab theme and an outstanding band led by the incomparable Steve Corley made for a thoroughly entertaining afternoon.

Twisted, Trafalgar Studios | Review

Monday 10 February 2020

Wednesday 5 February 2020

Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review


The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell 
★★★★

Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.

With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.

What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.


Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.

Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.

Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing.  This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.

The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.

The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour

Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review

Wednesday 5 February 2020

Thursday 23 January 2020

Sex/Crime, Soho Theatre | Review


Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★

The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.

The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…

Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.


Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.

Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.

It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.

SEX/CRIME runs at the SOHO Theatre until 1st February 2020

photo credit: Matt Spike

Sex/Crime, Soho Theatre | Review

Thursday 23 January 2020

Friday 10 January 2020

Once (UK Tour), Fairfield Halls | Review


Once (UK Tour)
Fairfield Halls
Reviewed on Thursday 9th January 2020 by Olivia Mitchell 
★★★★★

Embarking on a UK tour, Once tells the story of Girl meeting Guy. He, is a Dublin busker on the brink of walking away from music after having his heart broken and feeling unheard in a bustling world; whilst, she is a force for change who exudes positivity from the moment their worlds collide. In the space of a few days, their lives become beautifully connected and changed forever. The musical is an evocative piece, which slowly creeps up on you to warm, break and soothe your heart in equal measures. It's a love letter to music and identity that deserves to be seen and heard.

Emma Lucia is a certified star as Girl, as she gives an assured performance, filled with warmth, vulnerability, encouragement and love. Girl is married to an unseen man who walked out on her, and has a daughter who has her heart. Lucia's incredibly truthful performance is outstanding from start to finish, as are her vocals which ring out with a clarity and strength that utterly absorbs the audience. Alongside her, Daniel Healy is perfect as Guy. His angst fuelled performance of Leave opens the show with the grit, intensity and honesty which courses through it until the end. Healy's musical performances are highly impressive as he shows exceptional vocal control.

The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.



Libby Watson
's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.

Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.

The audience can't hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate. Of course this a show about music, but what's even more magical is how spectacularly the entire team make the most out of silence. Each pause feels completely natural but intentional at once as an atmosphere like no other is formed. This is a complete delight of a musical that must be experienced. It's not jazz hands and drama, but instead, is melancholic, unashamedly romantic and wholeheartedly wonderful.

Details about the Once Tour can be found here

photo credit: Mark Senior

Once (UK Tour), Fairfield Halls | Review

Friday 10 January 2020

Friday 13 December 2019

Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review


Snow White and the Seven Dwarfs (Panto)
Richmond Theatre 
Reviewed on Thursday 12th December 2019 by Nicola Louise
★★★★

It seems like yesterday I was sent to review my first pantomime, but here we are again a year later. This time its Snow White at Richmond Theatre where the stars are big and -evident from the multitude of advertising and glitzy theatrical splendour- so is the budget!

We all know the story of Show White and how she was ordered to die at the hands of her evil stepmother; and this story is no different even if it does start a little unusually. Prince Harry arrives at the palace where Snow White is due to celebrate her 21st birthday, as childhood sweethearts they’re drawn to each other once again after having been apart for so long.

James Darch is great as the charming Prince Harry, with a pantomime hero look about him. Mia Starbuck is as sweet as Snow White can be, with her flowing black hair and porcelain skin she glows with beauty and shines when she sings. Panto’s by nature are a bit cheesy, especially with the panto prince, however, this isn't the case with Richmond’s production. Both Snow and Harry are not your typical panto hero’s, some may say this won’t do but as a lover of panto’s for many years, I felt this gives it an edge above the others.

Jason Sutton as the dame is as funny as ever, along with John Clegg  as played Muddles, the son. The pair are a great double act who bounce off each other with chemistry that sparks on stage.

Some may remember Clegg from Britain’s Got Talent where he wow’d audiences with his talent for impressions and it isn’t hard to see why. Clegg's rendition of ‘You’ve Got a Friend in Me’ where he portrays a range of different characters is something I did not expect, and is an excellent moment in the production.


Each year Richmond has a big name to draw people in to it's festive offering, this year its Jo Brand as the evil Queen Lucretia. As funny as she is, her incredibly dry humour often feel misplaced within the tone of this panto. However, Brand's ‘I don’t care’ attitude brings something new to the show and is certainly entertaining. The director and producers have clearly worked around Brand's lack of singing talent and focused more on her wit, a stellar choice on their part.

Like all Pantos, there's a mish mash of popular music, in this case Ed Sheeran amongst others. Some songs seem out of place and a bit cliché, as if the writers are trying to reach out to the teenagers in the crowd, so to say ‘look, we’re hip as well’.

With a talented bunch of actors and great performances from the 7 men who portrayed the Dwarfs, (this year Richmond opted for tall actors rather than go for actual Dwarfs), this show protrudes enough sweetness and glitter than you can shake a stick at.

Fun for all the family and even the little ones get involved at the end.

Snow White and the Seven Dwarfs is running at Richmond Theatre until Sunday 5th January 2020

photo credit: Craig Sugden

Snow White and the Seven Dwarfs (Pantomime), Richmond Theatre | Review

Friday 13 December 2019