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

Friday 19 November 2021

Little Women, Park Theatre | Review



Little Women 
Park Theatre
Reviewed on Thursday 18th November 2021 by Olivia Mitchell 
★★★★

Louisa May Alcott's timeless 1886 classic has earned praise and adoration, especially after the recent adaptation starring Florence Pugh and Timothée Chalamet, therefore there's a lot of excitement surrounding  the London premiere of the Little Women Musical.

Thankfully, this production, adapted by Allan Knee and directed by Bronagh Lagan is a completely wholesome treat which is full of youthful energy and is brilliantly loyal to the novel. It's a tale of life and love, with dramatic ebbs and flows that fit perfectly with musical moments.

The story follows the March sisters, with Jo, the outspoken writer taking us on a whirlwind journey through her life with her other sisters and the people they meet along the way. Everything about the story is intimate and familial and the sleek two level set and general feeling of the theatre fits it exactly.  Particularly enjoyable are the moments when Jo brings her stories to life, at times cleverly mimicking the actions of various performers and later on with projections.

Whilst most of the music adds emotional depth, there are quite a few songs and at times the dynamic feels somewhat one level. They're performed admirably but several songs are a bit samey. However, that's no reflection on the female string quartet who are vivacious from start to finish, nor the cast who are stellar.

Leading the charge is Lydia White as Jo who is entirely excellent. Her voice is clear as ice and her emotional variety and intensity is a dream to watch; she exudes star power from start to finish. As the other sisters Hana Ichijo (Meg),  Anastasia Martin (Beth) and Mary Moore (Amy) complement one another as well as having super strong solo moments. Savannah Stevenson's voice is stunning as she plays the role of the matriarch Marmee. Stevenson's vocal technique shinea through as she gives a nuanced and throughly endearing performance.  Ryan Bennett as Professor Bhaer is charming as is Sev Keoshgerian who makes Laurie a bumbling, loveable and humourous character. Mention must also go to Lejaun Sheppard who is brilliant as John Brooke. 

As a whole this is a wholesome musical that will have you laughing and tearing up. A number of shining performances and a story which highlights the importance of both unity and independence make it a thoroughly enjoyable time. Little Women is a little show with a big heart and hopefully a big future ahead of it!

photo credit: Pamela Raith
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Little Women, Park Theatre | Review

Friday 19 November 2021

Wednesday 17 November 2021

My Name is Not Wigs, Angela Cobbin (Book) | Review



My Name is Not Wigs! | Angela Cobbin
Published: 11th November 2021 by Brown Dog Books
Rating: 4 out of 5 stars

If you're a theatre fan (which I'd assume you are if you're reading this) then I would urge you to pick up My Name is Not Wigs! by Angela Cobbin. It's not just a look at theatre but it provides a deep dive into what goes on behind the scenes, and a look at all the hard work which goes into learning and perfecting a craft.

The book is an enticing and enthralling journey through theatre, fashion and history as Angela goes from a hairdresser/manicurist in the 1960s, to a wig maker for massive West End and Broadway shows. What's lovely about this book is that it feels like chatting to an old friend. Angela's writing is witty and natural from page one, with the whole thing reading like a very entertaining and humourous train of thought.

Angela expertly makes us feel part of her backstage adventures without being excessive or including gossip to make things seem extra dramatic. As far as stagey memoirs go, this is up there with the most entertaining and certainly broaches an aspect which is not often written about. Angela's career is super interesting, with so many exciting moments combined with hard graft. The beautiful imagery included in the book adds another element and takes you through the various locations Angela mentions. I particularly loved the photo of Angela's work place Nathans at the start which was so evocative of the time- I felt like I could breathe in the photo and would absolutely love to watch a film set purely in that work room!

My Name is Not Wigs is a fascinatingly beautiful insight into what goes on behind the scenes at theatres as well as a celebration of a theatrical aspect which is so important to shows but often goes unsung. My Name is Not Wigs! is a perfect addition to a theatre fan's bookshelf and you'll never watch a show without paying special attention to the hair on the characters heads after reading it!

My Name is Not Wigs! is available for purchase now

*This book was sent to me for review purposes. All views and opinions are my own*

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My Name is Not Wigs, Angela Cobbin (Book) | Review

Wednesday 17 November 2021

Friday 12 November 2021

The Choir of Man, Arts Theatre | Review


The Choir of Man 
Arts Theatre 
Reviewed on Thursday 11th November 2021 by Olivia Mitchell 
★★★★

Nine men, a pub, singing, dancing and amazing energy levels, The Choir of Man is an absolute treat of a show that's ready to entertain audiences this year at the Arts Theatre. Following three sell-out seasons at the Sydney Opera House and various US and European tours, a West End debut seems like the natural next step and how lucky we are that it's found a home in London where it can spread musical joy every evening.

Set in your average pub (The Jungle), the show follows nine individuals as they discuss aspects of their lives and share their stories with one another in a sort of beer filled utopia. The show features a number of reimagined classic songs such as Sia's Chandelier, The Impossible Dream from Man of La Mancha, Somebody to Love and many more. Every single number is performed expertly by the performers and you're constantly waiting for the next song to start and wrap you up in its harmony filled embrace.

What's so wonderful about this show is the simplicity of it. The basic set includes a bar, some tables and the band set up on a higher level. The costumes are everyday clothes and aside from some glasses and the occasional other item, there are no props. This is a show which really relies on its cast to carry it and they do so with an ease and grace that only comes with innate musicality. It's wonderful to experience such powerful harmonies without any gimmicks overshadowing them. One aspect which must be mentioned though, is Richard Dinnen's lighting design which works perfectly with the songs and helps evoke the various moods throughout.


The only flaw with The Choir of Man is that there isn't really any story or through line to the songs. Whilst it's great that each moment is a snapshot into one of the men's lives, it would be nice if there was a little more plot to tie everything up and round it out. However, credit must go to Ben Norris who plays The Poet and also wrote the monologues which open and close the show and are dotted throughout. These moments are funny, moving and so well performed. Ben is really a masterful storyteller and is completely enthralling.

In fact, the whole cast and band are first-rate. They work smoothly both individually and as a team and really make you feel like you're on a night out with a group of friends.

The energy of this show is really like nothing else on in the West End. Each moment was a sucker punch of emotion or musical brilliance and the whole audience seemed to be buzzing throughout. If you want feel-good, The Choir of Man is the show for you! The cast seems to so genuinely enjoy performing and it really shows and helps make the experience so uplifting and welcoming. This show is a perfect reminder of the importance of community, a message which couldn't be more prevalent now, and it's well worth a visit (and probably a repeat visit) for a night of carefree fun.

Photo credit: Helen Maybanks
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The Choir of Man, Arts Theatre | Review

Friday 12 November 2021

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
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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

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

Wednesday 3 November 2021

Wednesday 20 October 2021

9 to 5 The Musical (UK Tour), New Wimbledon Theatre | Review


9 to 5 The Musical (UK Tour) 
New Wimbledon Theatre
Reviewed on Tuesday 19th October by Olivia Mitchell
★★★★

If a night of carefree fun is what you're after, look no further than the girl-power, 80s musical that is 9 to 5. Telling the tale of a group of women who are fed up of their misogynistic boss, the show is filled with tongue-in-cheek moments, high energy choreography and of course, the Queen of Country herself: Dolly.

Having seen this show in its various iterations, what's quite amazing is how it retains it's intensity and lavishness wherever it's situated. Musically, Dolly Parton's score pared with arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland is catchy and toe-tapping, whilst,  Lisa Stevens' buoyant choreography keeps the momentum of the show going and provides there's always action across the stage. Tom Rogers' design which consists mostly of screens which light up various colours and desks which come in and out, is very effective and adds to the upbeat feel of the entire production.

Jeff Calhoun's production features a fantastic cast who perform with vigour and drive. Stephanie Chandos completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and instantly likeable, Stephanie brings warmth to the role and provides a wonderful moment with Backwards Barbie. Vivian Panka is charming as the naive Judy Bernly who becomes an independent woman and finds herself throughout the show. Her rendition of Get Out and Stay Out is a real highlight and her overall performance is top notch. Louise Redhnapp is entertaining and capable as long term office employee, Violet Newstead. Together the trio are a real force as they take drastic measures to show their sexist boss, Franklin Hart Jnr. (played with faultless comic timing by Sean Needham) who's really in charge.

It's almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. But book writer, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and this remains a strong and necessary advocator of workplace (and life) equality. With a second act of just 45 minutes, this is a crowd-pleasing-production which flies by and serves up female-led-feel-good-fun on a shining platter. 

photo credit: Pamela Raith
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9 to 5 The Musical (UK Tour), New Wimbledon Theatre | Review

Wednesday 20 October 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

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

Thursday 16 September 2021

Thursday 9 September 2021

Waitress, New Wimbledon Theatre | Review


Waitress (UK Tour) 
New Wimbledon Theatre
Reviewed on Tuesday 7th September by Hope Priddle
★★★★

On the menu at Wimbledon Theatre this week, Waitress the Musical follows Jenna Hunterson (Lucie Jones), an aspiring baker who, with the support of her colleagues and dreamy gynecologist, imagines an escape from her provincial life and unhappy marriage. Based on the 2007 film by the late Adrienne Shelly, Waitress is a bittersweet story of friendship, love and finding yourself, with (nearly) all the ingredients for a tasty theatrical treat.

 

Music and lyrics by Sara Bareilles add flavour and spice to this quaint story; her playful, folk-pop score is full of frolicking motifs, followed by some gorgeous reflective numbers. They accompany a book by Jessie Nelson which is delightfully witty and whimsical throughout, but sometimes suffers from its more casual tone. 

 

We are introduced to a collective of characters who are wholly endearing yet undeniably flawed, and it is refreshing to spend time with such imperfect and compromised characters. However, their poor choices often lack consequence and the stakes never quite feel high enough. Likewise, the shows treatment of domestic violence is lacking. Her abusive marriage to tip-stealing husband Earl - played by Tamlyn Henderson, who nonetheless deftly balances the fine line between comedic stock villain and insidious manipulator - is explored in a just a few short scenes which are uncomfortably inserted into the narrative. Though pitched as a feminist drama, any moral message is half baked.

 

Jones steals our heart as weary waitress Jenna, giving a sensitive and nuanced performance which perfectly reflects the heartache, anguish and disappointment of our begrudgingly pregnant protagonist. Her buttery vocals are rich and controlled; her control and clarity unsurpassed. Jones’ soaring rendition of She Used To Be Mine across a silent auditorium scored a well-deserved mid-show ovation.

 

Jenna’s colleagues are equally well cast. Evelyn Hoskins is totally loveable as the adorably anxious Dawn, whose slow burning affection and excitement for new beau Ogie, brought to life with a welcome touch of innocence and youthfulness by George Crawford, is joyous to watch. Sandra Marvin similarly packs a punch as the feisty, lively yet loyal Becky. 

 

The duo provides comfort and advice to the expectant mother as she cautiously begins to imagine a new life for herself and her baby. Waitress offers such a lovely, intimate insight into female friendship, and it is in these quieter moments that the show really lands. As Dr Pomatter, Jenna’s forbidden love interest, Matt Willis proves himself to be a highly capable actor, capturing the character’s goofy and bumbling demeanour with ease. It is just a shame that his slightly nasally vocals are lost in his duets with Jones.

 

Lorin Latarro’s choreography is inspired, with instructive and empathetic gesturing by the ensemble used to cleverly mirror the movements of the lead characters. As Jenna goes into labour during Contraction Ballet, a female quartet pulsate and swell perfectly in time. The ensemble is so in sync throughout and are truly mesmerising to watch.

 

Latarro’s routines are complemented by tastefully restrained lighting design (Ken Billington) that features but a series of coloured spotlights. Likewise, both set (Scott Pask) and costume (Suttirat Anne Larlarb) are simplistic, if not a tad twee, but offer a sense of familiarity and warmth which gives the show heart. A final special mention must go to on-stage band that seamlessly integrate themselves into the diner landscape – you wonder if their music is meant to be diegetic given how often we see into Jenna’s mind as she creates her fantastical pies.  

 

Waitress isn’t perfect, but it most certainly serves the audience with a little slice of happiness pie. Surely they’ll be coming back for second helpings?


Photo credit: Johan Persson

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Waitress, New Wimbledon Theatre | Review

Thursday 9 September 2021

Sunday 11 July 2021

Hamilton and Me, Giles Terera | Book Review


Hamilton and Me by Giles Terera
Published: 1st July 2021 by Nick Hern Book
★★★★

While working to bring the smash hit musical Hamilton to the West End stage, Giles Terera kept a journal which chronicled the journey and now provides a wonderfully moving insight into the process that so few get to be part of. However, instead of just being a diary which looks at the day to day process of putting on a show, this book is an honest and academic look at what it takes physically and mentally.

Throughout the rehearsal period, Terera takes a methodical approach to playing the role of Aaron Burr; he looks at what made Burr do the things he did, as well as comparing his own journey and life experiences to the character. It's quite amazing to see just how much mental work goes into making Burr as well-rounded as he comes across in the musical. 


What is also striking about this book is how humble Terera seems. The way he openly discusses his fears, weaknesses and struggles comes across very genuinely and as an outsider, it's particularly interesting to see how he overcomes his struggles and pushes through the intense process without breaking down. His rawness clearly comes across in his portrayal of Burr and it's no surprise that he received rave reviews and praise when the show opened in London.

Hamilton and Me: An Actor's Journal serves as a snapshot of time and masterfully takes readers on a journey they would rarely get to go on, of even really understand. Terera offers an exhilarating look at a musical stripped down to its simple roots and lets us be both in the room where it happens as well as watching the room be formed. This is a real treat of a book and a must-read for theatre lovers and aspiring performers.

Reviewed by Olivia Mitchell

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

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Hamilton and Me, Giles Terera | Book Review

Sunday 11 July 2021

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