Posts with the label reviews
Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts
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
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}
Friday 28 May 2021
Public Domain, Vaudeville Theatre | Review
Public Domain
Vaudeville Theatre
Reviewed on Thursday 27th May by Olivia Mitchell
★★★
Francesca Forristal and Jordan Paul Clarke first premiered their verbatim musical Public Domain in January as part of the Southwark Playhouse's lockdown streaming series. Directed by Adam Lenson, they have moved to the Vaudeville Theatre to bring their fresh, British musical to in person audiences.
Public Domain is interesting in the way that it doesn't have a fixed narrative or structure. Instead it's a melange of different characters' lives and their journeys with social media. There are two influencers, Z who drops out of school at 16 to make YouTube his career but who really doesn't know what he's doing with his life; and Millie, a health and lifestyle vlogger who is all about the #positivevibes. Alongside these two, we also hear mostly from Facebook founder, Mark Zuckerberg and his wife Dr Priscilla Chan. A number of other characters, all played by the extremely talented Francesca Forristal and Jordan Paul Clarke (who also wrote the book, lyrics and orchestrations) join together to take us back to the roots of Facebook and see how what started as a harmless way of keeping in contact, has become so ingrained in our everyday lives without us even realising.
The set is simple but effective, with Libby Todd setting up see through screens that separate the actors and the audience, a clever nod to the divide between online personalities and their viewers. The space in the middle becomes the "real world" and the screens also provide the backdrop for a selection of extremely well done projections by Matt Powell. In a show about technology, it's delightful that there is so much of it used so well. The video overlays of real life comments made by Mark Zuckerberg amongst others are seamlessly woven in and the virtual choir who join for one number work really well. Cameo's by Donald Trump and George Bush also feel painfully poignant.
The verbatim musical takes quotes directly from posts, tweets, videos and other online content to create a semi-real, semi-distorted reality which is moved along by an entertaining techno-pop score. Forristal and Clarke are relentless and excellent in their performances and they cleverly highlight the struggles and contradictions of today's social media world, however, it does end up feeling a little one layer.
Whilst the topics covered are very affecting, especially that of the Facebook content moderators who were left scarred by watching hundreds of videos of abuse and murder, it was overall very 'the internet sucks, we're in an endless cycle of bad things'. Which to an extent is obviously true, but it would have been interesting to have a little balance with the more positive, community driven, wholesome sides of social media. There is a heart-warming moment with some senior citizens discussing their use of the internet but the positives felt somewhat outdated and brushed over.
That's not to say this isn't a good show though and aside from anything, it's a real treat to see a new, British musical paving the way in the West End. The music is incredibly catchy and the overall presentation of the show is great, it just feels like it's almost scratching the surface of what social media is, and what message the show wants to put across. This will certainly be a musical that has many iterations and it will be very interesting to see how it grows and changes alongside social media.
photos by Jane Hobson
Thursday 27 May 2021
Here Come the Boys, London Palladium | Review
Here Come The Boys
London Palladium
Reviewed on Wednesday 26th May by Olivia Mitchell
★★★★
Here comes the sun, here comes the bank holiday, here comes some form of normality and most importantly, Here Come The Boys. In their West End transfer, following a successful UK tour, four of Strictly's favourite boys take to the stage to showcase their impeccable dance skills and take us on a journey of styles and music.
Backed by an excellent ensemble of professional dancers, Aljaž Škorjanec, Pasha Kovalev, Robin Windsor and Graziano di Prima are joined by Strictly celebrity finalist Karim Zeroual, who also hosts the night in a fiercely entertaining dance contest. The audience play they key role in "deciding" who wins each round and ultimately becomes the King of Dance. The boys are also joined by Nadiya Bychkova who is utterly brilliant and serves some girl power realness throughout.
A latin filled first half, followed by a ballroom and swing filled second half mean there's something for everyone, with Karim's tiktok segment also proving an audience favourite. The selection of top 40 music, combined with great mash ups and reworked versions of classics works really well, and the resident DJ does a great job of engaging the crowd, although it perhaps would be nice to have some aspect of live performance, just to add some extra oomph.
It's a show which knows exactly what it is and thrives off of giving the audience completely what they want. Of course the dancing is outstanding but aside from that there is witty banter between the performers on stage and cheeky smiles, winks and bum-wiggles with the audience.
Here Come The Boys almost feels like the winning combo of Magic Mike and Strictly Come Dancing. There are moments that feel highly cheesy but what else would you expect? It's a really fun, glitzy and enjoyable night out that'll leave you smiling and tapping your toes, what more could you want?
Photos by Fiona Whyte for The TCB Group
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 12 October 2020
The Show Must Go On, The Lost Alhambra | Review
The Show Must Go On (Chicago)
The Lost Alhambra
Reviewed on Friday 9th October 2020 by Olivia Mitchell
★★★★★
With the fate of theatre hanging precariously right now, in a happy medium and potential loophole, cabaret style nights out appear to be one of the few ways live theatre can still go ahead. One venue which is making this happen (and happen in style) is The Lost Alhambra in Leicester Square. The Show Must Go On is an immersive, cabaret dining experience which packs a punch. The night is complete with a 3 hour show, a 2 course meal, welcome cocktail and bottomless prosecco, you couldn't really ask for more!
Drag performer Poppycock hosts the night alongside some of musical theatre's best stars as they take us through a show via the score and some of the text. At this performance we got the treat of Chicago, which fits wonderfully into the dimly lit space of The Lost Alhambra; upcoming performances include Hairspray, Mamma Mia, Rocky Horror and Priscilla Queen of the Desert.
In theory, this is like any other cabaret but it feels so much stagier than anything I've experienced before. As you walk in you are greeted background music from some of the most popular and current shows, the staff all seem to love theatre and the whole thing feels like an immersive show, full to the brim with theatricality.
The venue itself is an instagrammer's dream, with pink decor, vintage feeling bathrooms and a Photo Booth to document the night (it's £4 and you get an email with the photos and gif as well as your print out keepsake). The luxurious space is perfect to let your troubles slide away, and the unlimited prosecco which starts flowing from the moment of entry doesn't hurt either! Mention must also go to the staff who are excellent at not only being attentive but also create a wonderful atmosphere from the get go. You really feel part of something special and this only helps to get the room buzzing for the upcoming night of performance.
At this performance, Poppycock was the hostess with the mostest, welcoming us with a rousing rendition of Don't Rain on my Parade, before heading full throttle into the night, taking on various roles and perfecting the balance between ringleader, comedian and vocal dynamo. Laura Tyrer reprises her West End role as Velma Kelly, with Haley Flaherty as her partner in crime, Roxie Hart and Oliver Tompsett as the quick talking lawyer, Billy Flynn. Poppycock takes on basically every other role from Amos Hart to Mary Sunshine.
Each of the performers show off their impeccable talent and really transport us to the world of Chicago. An audience full of prosecco can definitely be noisy but the cast do an exceptional job of keeping everyone engaged and giving a truly top notch performance. Particularly impressive is the three-person Cell Block Tango and the energetic, high-kick filled I Can't Do It Alone.
The tickets start at £50 for everything and 1 hour of prosecco, with the top price being £65 for 2 hours of prosecco. It sounds a little pricey but for the amount and quality of the evening it's well worth it; plus the 10pm curfew means you can have an excellent night out and still be in bed at a reasonable time! I would certainly love a trip back, would weekly be too excessive?
The Chicago theme was excellent and the future performances are sure to be just as good. If you're looking for a way to get your theatre fix, look no further than The Show Must Go On. Not only is this a spectacularly wonderful night out but it's also a beacon of hope for the future of theatre. Get yourselves down to Leicester Square and live your best stagey life.
Sunday 4 October 2020
Cabaret All Stars, Proud Embankment | Review
Proud Cabaret
Proud Embankment
Reviewed on Friday 2nd October 2020 by Olivia Mitchell
★★★★
With theatrical nights out so few and far between (for obvious reasons) each opportunity to experience live performance is a real treat. With the weather getting colder and the nights getting longer, Proud Cabaret is a perfect remedy for the gloom which is so often prevalent these days, and is a treat for anyone craving some glitz and glam in their lives; plus you get to see West End superstar Kerry Ellis headline the night.
The evening takes place at Proud Embankment, a bustling venue under the arches of Waterloo bridge. You're escorted in by ushers draped in feathers and sparkles (including a glitzy face mask, of course) and it almost feels like entering a speak easy where unknown adventures will take place. The tables in the venue are socially distanced and you are asked to wear your own face mask any time you stand up or move around. As well as the performances the ticket includes a wonderful Japanese fusion three-course meal and a welcome cocktail, provided by head chef, Antonio Vacca. The food is outstanding, and a show in itself.
The show/event itself occurs in the round over two levels. Each table has a great view of the action and the varying levels of the acts themselves means every view is completely unique. The night is jam packed with world class circus and cabaret performers who keep you on the edge of your seat and completely invested from start to finish. The whole thing feels very vintage but with a modern twist; there's classic burlesque numbers mixed in with mime, sword swallowing and aerial work. There's no story or dramatic structure as such but the whole thing flows well and feels very dreamlike. Each week features a slightly different line up but they are all high class and high quality.
The through-line of the show is Kerry Ellis who appears periodically throughout the evening to wrap us around her finger with her powerhouse vocals. She is a certified star who controls the stage with elegance and power in perfect balance. Ellis' rendition of Diamonds Are Forever is completely brilliant and like each song, is followed by rapturous applause.
It's a treat to see any sort of live performance these days, but performances of such high standards make it even more of a treat. A night of decadence which evokes the Jazz age, Cabaret All Stars is definitely worth a visit.
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 Woodward) who 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.
★★★★★
Saturday 19 September 2020
Pippin, Garden Theatre | Review
Pippin
Garden Theatre, Vauxhall
Reviewed on Friday 18th September 2020 by Olivia Mitchell
★★★★
After six months of a world with no in person theatre, it feels almost foreign to see a stage in front of you with real life performers, performing real life music, but ever so slowly it's becoming the norm again. Well, the new, socially distanced norm.
The Garden Theatre in Vauxhall are paving the way for the reopening and reconfiguring of venues as one of the first to put on productions in this post-lockdown world. The latest in their programme being Stephen Schwartz's Pippin; the tale of a boy trying to prove he's extraordinary as he finds his place in the world. A show which often excels by involving the audience could be a strange option given the regulations, but the cast do an outstanding job of making you feels as though you're getting a personal performance and that you're part of the story, without being too close. The team of "players" who are often shown as circus performers, are in this production, a hippie tribe who are telling the tale of young Pippin. Together they weave a story of drama and excitement which feels truly uplifting and joyous during these unpredictable times.
Thanks to Steven Dexter's Direction, this is a production which highlights all the wonderful parts of fringe theatre and Nick Winston's choreography is overwhelming in all the best ways. Bursting from all nooks and crannies every movement feels both precise and free and it's amazing how much power has been fit into such a small space. Plus, the way so many dance styles (including wonderful homages to Bob Fosse) flow into one another, is truly sensational to experience.
The title role is taken on expertly by Ryan Anderson who relentlessly showcases his brilliant vocals and outstanding dance ability, whilst making Pippin a multi-faceted, endearing, earnest and infuriating character. His renditions of Corner of The Sky and the motif versions which are consequently peppered throughout are beautiful and controlled oh so well.
Pippin's glamourous, manipulative "normal" step-mother is played excellently by Joanne Clifton who also takes on the role of the sweet and sassy Grandmother, Berthe. Each moment of Clifton's stage time is completely electrifying. Whether she's ad-libbing hilariously or leading the audience in a singalong she finds a way to completely draw the audience in.
It would be shameful to not mention the rest of the cast who bubble with energy throughout. Harry Francis is playfully enjoyable as the self-obsessed bother Lewis and sweet Theo who longs for a father figure and also provides vocals which stand out due to their exceptional power and mastery. As Charlemagne Dan Krikler is dominant and impressive and his Gilbert and Sullivan-esque solo is a right treat; he leaves you wanting more from him once his individual moments end . Tsemaye-Bob Egbeis takes on the role of the Leading Player with ease and freedom. Her vocals soaring above the sounds of passing busses and her movement around the stage oozing authority. Completing the cast, Tanisha-Mae Brown thrives in the intimate moments of the show and is in beautiful contrast to the more high-octane, over the top moments of the story.
The only downside to this production is the sometimes questionable approach to social distancing. While the staff are brilliant and it appears lots of measures have been put in place such as temperature checks, table service, copious amounts of hand sanitizer and social distancing before the show, the actual auditorium is somewhat cramped. Seats are very close together which it does feel strange when everything else is so organised. Whilst the audience does only seat 50, it would perhaps be better to have even fewer seats for the moment.
Despite this, the terrific cast of triple threats make this bittersweet, upbeat and consistently enjoyable musical a must see (covid permitting, of course). There's magic to do and the Garden Theatre are certainly doing the most they can in these crazy circumstances to do it.
Photos by Bonnie Britain Photography
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