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

Tuesday 26 February 2019

Abigail's Party (UK Tour), New Victoria Theatre | Review


Abigail's Party (UK Tour)
New Victoria Theatre 
Reviewed on Monday 25th February 2019 by Melanie Mitchell 
★★★★

I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.

As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies. 

We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog. 

Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee. 

As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos. 

The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s. 

In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance. 


The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour. 

As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown dĂ©cor, the party food and the music. Not a single item of detail was missing from that room. 

Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago. 

This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.

Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour

photo credit: Manuel Harlan

Abigail's Party (UK Tour), New Victoria Theatre | Review

Tuesday 26 February 2019

Saturday 23 February 2019

Jesus Hopped The 'A' Train, Young Vic | Review


Jesus Hopped The 'A' Train
Young Vic 
Reviewed on Friday 22nd February 2019 by Olivia Mitchell 
★★★★

Originally directed by Philip Seymour Hoffman and performed by LABrynth Theatre Company, Stephen Adly Guirgis' Olivier-nominated Jesus Hopped the 'A' Train, returns to London in a striking revival directed by Kate Hewitt.

Set for the most part in Rikers prison, New York, Jesus Hopped the 'A' Train is an intellectual and depth filled examination of justice, faith and redemption. Kate's direction does the perfect job of revealing both the desperation and life found in Guirgis' script, and brings it force in a sharp, to the point way.

The majority of the story is made up from pacy back and forth conversations between multi-murderer Lucius Jenkins (Oberon K. A. Adjepong) who is living his last few weeks before his death sentence, and young man, Angel Cruz (Ukweli Roach) who is battling a charge of first degree murder for shoot and evangelist who he believed was brain washing his friends. These conversations are intense and full of information. The pair debate their sentences, their actions in life and religion with an electricity that never ceases. Angel's attorney Mary Jane (Dervla Kirwan) addresses Angel and the audience as she narrates the story and tells us her part in the trial.  


The contradictions between the characters make lines unsettlingly blurred and its particularly ambiguous who's side the audience should be on. Joplin Sibtain as Valdez acts at times as a moral compass, and through his intense anger and lack of care for the prisoners, reminds us that they are murderers; but at other times, his lack of sympathy purely highlights failures in the American prison system and we again feels for the incarcerated men. This back and forth of the audience questioning morality, is a testament to Guirgis' outstanding writing as well as Magda Willi's long stage which brings these emotions to life in front of us. Glass frames move up and down the stage to show both physical and mental confinement and the clear glass allows us to look straight at the characters and feel as though we're seeing aspects that should be hidden. This brightness and clarity leads to a desire for exploration.

Perhaps the character who embodies self-questioning the most, is Charlie (Matthew Douglas) who at the start is an ally to Lucius but returns at the end to give a particularly moving monologue about how his initial views of the man, were clouded by his final view of him at his execution.

Everything about this production makes you want to ask questions and certainly doesn't leave you with an answer. From the impossibly loud scene transitions to the peaceful feeling when Mary Jane seems to be asking the audience for guidance, we are continually reminded of the balance between good and evil, and justice and repentance. Jesus Hopped the 'A' Train is riveting and engrossing from start to finish and spits energy in your mind, even after you've left the theatre.

photo credit: Johan Persson

Jesus Hopped The 'A' Train, Young Vic | Review

Saturday 23 February 2019

Friday 22 February 2019

Follies, National Theatre | Review


Follies
National Theatre, Olivier Theatre
Reviewed on Thursday 21st February 2019 by Olivia Mitchell 
★★★★

After its sold out run in 2017, Follies is back in true glamourous style as it follows a group of dancers reminiscing and reliving their youth. Mr Weismann's iconic theatre is being turned into a car park, so he's invited his past Follies dancers back to say one last farewell to the space. The walls of the theatre bring back memories and as we see childhood friends Phyllis and Sally reopen chapters they thought were closed, we are taken on a journey where past and present collide.

Dominic Cooke has once again directed a visceral and intense production. At 2 hours 15 minutes with no interval, the piece steadily flows and retains ferocity throughout. Vicki Mortimer's set and costumes are a spectacle in themselves; the crumbling theatre is periodically brought back to life by a subtle change and cleverly used to signify mental changes and journeys as well as the physical flashbacks. The costumes are elaborate and unique to each girl, with the delicate smatterings of jewels and sparkles, shining and flowing as they move around the stage.

Bill Dreamer's choreography brings the best of the Follies era to life  as the girls move around the stage gracefully, as if every movement is strategically planned for attention. Of course, the stand out choreographic moment is 'Who's That Woman' where the young and old combine to create a magical tap routine. Also, particularly striking is the way the young and old follies dancers, reflect themselves across the stage.


In terms of cast, you can't get much better than this one. Tracie Bennett's 'I'm Still Here' is a chill inducing, nuanced filled performance; whilst,  Claire Moore is hilarious throughout, no more so than in her gloriously sung, 'Broadway Baby'. Fellow The Girls alum, Joanna Riding is utterly outstanding as Sally. The transition from excitable girl, to fragile woman is perfectly performed, with 'Losing My Mind' providing a complete masterclass is acting through song and maintaining vocal technique even in moments of peak emotional earnestness. This intensity is mirrored by Gemma Sutton as Young Sally who is perfectly cast, alongside Christine Tucker as Young Phyllis, to show how we change, and how we remain the same.

Janie Dee is striking as Phyllis, whilst husbands, Buddy and Ben have great characterisation and development thanks to Peter Forbes and Alexander Hanson.

Whilst Follies is an outstanding piece of theatre, personally I feel a little far removed from the story; most likely because I lack the life experiences to relate on an emotional level. However, there's not denying that this is one of the most glitzy shows around, with one of Sondheim's finest scores and it's worth a visit to see how theatre should be done. Regardless of being able to relate, this is a marvellous piece of theatre. 

photo credit: Johann Persson

Follies, National Theatre | Review

Friday 22 February 2019

Thursday 21 February 2019

In Conversation With... Shaun McCourt | West End Live Lounge | Interview

West End Live Lounge is back at The Other Palace on March 10th for a celebration of WOMEN. The stellar line up of performers will sings songs from powerful ladies, all whilst raising money for Samaritans. I spoke to founder, Shaun McCourt about all things West End Live Lounge...



Can you tell us a bit about the creation of West End Live Lounge?
West End Live Lounge started in 2017 as an idea for a series of concerts to raise money for charity and has since grown to where it is today. I wanted to create an event which would allow West End performers the platform to sing material which was not from the world of musical theatre with a live band. There was a gap in the gig/concert circuit for such an event and I simply decided to go for it-and what an exciting journey it has been.


You’ve gone from the Union Theatre to the Other Palace Studio to the main house and each concert is getting bigger and better. What’s the next thing you’d like to achieve with your concerts?
I am always overwhelmed by the support that West End Live Lounge receives. It is great to see so many people enjoying the concerts. Without this support, its reputation would not be where it is now. The show continues to grow and there are certainly exciting plans in place for its future. However, I am going to keep the secrets for now I am afraid. Watch this space!

In terms of what I would like to achieve, my aim is to continue to produce concerts that not only entertain our audiences, but also raise as much money for charity as possible.


What’s your favourite part of putting the Live Lounge concerts together?
Though I may look slightly stressed on the day of a Live Lounge concert, I have to say that I enjoy the whole process of putting it together- from picking the theme, to casting the line-up, liaising with The Other Palace, to the day of the concert itself. However, if I had to pick a favourite moment, it would be the rehearsals and soundcheck on the day of each event. The Live Lounge band are all incredible musicians and our musical director, Sam Coates, is a genius. That moment when we are all set up and I hear the band play for the first time is really special. It is always a reminder of just how much hard work people put into making these events a success. 

West End Live Lounge has become a bit of a family. The central team is made up of Sam Coates (musical director), Will Miney (technical manager) and myself. However, all performers and musicians that have been involved become part of this family. Getting to work alongside so many talented individuals always makes this such a rewarding process.


What can people expect when they come and experience a West End Live Lounge?
People can expect a great night at the theatre. If this doesn't happen, then I am doing something wrong! A West End Live Lounge event promises a fantastic line up of incredible singers and musicians. Each concert has an exciting theme and gives the audience the chance to see their favourite West End performers step out of the world of musical theatre. 


Each concert you raise money for a different charity, how do you choose the charities to support and what do they mean to you?
Choosing the charity for each concert is always a tricky job. There are so many important charities, so rather than continue to raise money for just one, I decided that it was really important to me that each concert raised money for a different cause. For some concerts, the theme and charity often go hand in hand. There have also been times where a major event has happened in the world around the time of the concert and it makes total sense to donate the proceeds to this cause. 


If you could have any performer dead or alive to perform at a Live Lounge, who would you choose and why?
This is a tricky question! I am incredibly grateful to every single performer who has given up their time to be part of a West End Live Lounge event. They each bring an amazing talent and such a great energy to the stage. It is important to me that I continue to introduce new faces to the Live Lounge stage and that each concert offers a diverse and exciting line up.

But if I had to pick one person... 

Well...If I could get Jennifer Hudson along to sing a number, would I be excited? Absolutely!


Can you sum up in 5 words why people should come to the next West End Live Lounge?
Belting for a good cause.


West End Live Lounge tickets go on sale March 25th.

Full cast (subject to availability): Adam Bailey, Christina Bennington, Louise Dearman, Lauren Drew, Simon Gordon, Jennifer Harding, Matthew Harvey, Emma Hatton, Lisa Marie Holmes, Claudia Kariuki, Sejal Keshwala, Emma Lindars, Shekinah Mcfarlane, Kayleigh McKnight, Christina Modestou, Brady Isaacs Pearce, Lauren James Ray, Danielle Steers, Laura Tebbutt, Jennifer Tierney, Rodney Vubya.

Interview by Editor, Olivia Mitchell

In Conversation With... Shaun McCourt | West End Live Lounge | Interview

Thursday 21 February 2019

Monday 18 February 2019

Come From Away, Phoenix Theatre | Review


Come From Away
Phoenix Theatre
Reviewed on Tuesday 12th February 2019 by Olivia Mitchell 
★★★★★

Come From Away is a giant hug in a musical which even the most icy of people will be moved by, as it portrays a time of amazing and heroic hospitality under immense pain and pressure.

Discussed as a 9/12 musical, Come From Away is set on and after the horrific events of September 11th 2001, but instead of leaving you downtrodden, it will leave you inspired and probably feeling a little sentimental. Written by Irene Sankoff and David Hein, it is an incredibly well rounded and fluent piece of theatre which provides catharsis whist becoming a celebration of goodness.

The show is set in the small town of Gander in ,Newfoundland Canada, which homes just over 11,000 people. On September 11th 2001, 38 planes were diverted to Gander airport, with 7,000 passengers and crew plus several pets and a pair of chimpanzees who were headed for a zoo. The people of Gander came together to provide shelter, food and friendship to the 'plane people'; and all who were there have incredible stories, bonds and live changing experiences from their time. They may have left Gander, but Gander never left them.


After interviewing many Plane People and Ganderites, David and Irene condensed these stories into a 100 minute show that features sleek role-swapping, musical theatre numbers and catchy Celtic tunes. Christopher Ashley's direction is crisp and to the point but also leaves room for us to study the story further, and of course allows us to look at ourselves and wonder what we would do in the same situation. This is further helped by Tara Overfield-Wilkinson's relentless and sharp choreography and Howell Binkley's striking and mood-evoking lighting. These aspects married with Beowulf Borritt's well thought out space, keep up momentum and evolve the story as simply but effectively as possible.

The heart of this show is community, and like the stories themselves, it is built around ensemble and teamwork.  The typically Newfoundland scenes such as the 'Screech In', feel like we've stepped into a pub and are really experiencing a group of people enjoying life. In such a group led piece, with smooth character changes, amazing use of simple props/set, it is unfair to name standout performances. The cast as a whole bring these people and stories to life and it's truly moving to witness such a wonderful and transformative piece of theatre. 

The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band  (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End. 

Concise and well-rounded, Come From Away is a stunning and poignant reminder of human kindness, which will surely leave you standing a little taller and smiling a little more.

Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Matthew Murphy

Come From Away, Phoenix Theatre | Review

Monday 18 February 2019

Sunday 17 February 2019

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Come From Away is one of the most inspiring and heartwarming musicals to hit the West End in a long time. Telling the story of the planes diverted during 9/11 and what happened to the people on them and those in the place they landed: Gander, Newfoundland. 

One amazing story is that of Nick and Diane Marson who met on a diverted plane and fell unexpectedly in love. Editor, Olivia, got to chat to Nick and Diane about the show alongside their actor counterparts, Robert Hands and Helen Hobson...


Can you sum up Come From Away in 5 words?
Nick Marson: A show about human kindness
Diane Marson: Love and acceptance
Robert Hands (plays Nick): Friendship
Helen Hobson (plays Diane): Human spirit, community


What's it been like seeing yourselves brought to life on stage?
Diane: well it was rather unnerving at first but we're used to it by now. We've seen the show eighty-eight times, in nine cities, in four countries and with four casts, so we're used to it now. But at first it was very unusual to hear your words come back to you.

Nick: When we gave our story to this nice young couple, David and Irene, they were making a musical not a documentary so they could've done anything with our stories, but they kept it very true and I'm very grateful and thankful to them. Our story was in the Washington Post and the reporter said "it has to be true, nobody could've made all of that stuff up!"

Helen: I think that was a clincher for one of our producers, John Brandt. When he was first invited to come and see the show, to find out if he wanted to be part of it, he watched the show and wondered about the love story, he wasn't sure because it seemed too amazing. But, Randy one of the other producers said "come with me, there's a couple you need to meet" and introduced him to Nick and Diane... and John was in!

Diane: At the time it was just our life that was unfolding; it wasn't something we had any designs on producing or writing about, we were just living it.

Nick: Neither one of us got on the airplane that day expecting a romantic occurrence



What's it like to bring real people's stories to life onstage?
Helen: It was good because our producer released us from the notion that we would have to do a carbon copy and do an impersonation of these two. He said you do what's in the script and what we put out and yes, you have to learn a Texan accent but that's really about it, so the pressure was off in that way. We were lucky enough to FaceTime them [Nick and Diane] early on in rehearsals which was great and we've improvised and used their real selves in the show.

Robert: They're so natural together so we try and bring that and make it as real as possible without trying to impersonate them as such.



The show is five days condensed into one hundred minutes, are there any stories from those days that are special to you and didn't make it into the show?
Nick: There are many other things that happened. There's the classic one where we went for a walk with another couple, and you see that in the show, but it was actually a man and his wife, the wife was a doctor and she had to turn back because she had sandals on and it was a gravel road. We carried on, and this was a checkmark in my mind because we went into a convenience store to buy a diet coke and some trail mix and normally I would buy it, cause that's what guys do, and Diane whipped it up and paid for it!

Diane: Well I figured if I did that, he'd have to sit on the park bench with me and spend more  time with me so there was method behind the madness!

Nick: Also, the show gloss' over it but the next year we go back to our lives and for me it was an emotional rollercoaster. I was thinking "was that real?", "is that woman really how I remember her?... I've got to go back and check it out" which I did and then I proposed to her
Diane: On the phone in November
Nick: and I was working in England and wondered how I was going to get to Houston but fortunately the parent company of mine was based in Houston, so the president of the company in England made it possible for me to transfer to Houston. But I was doing two weeks here, two weeks there and it was an emotional roller coaster itself. So I got to Houston properly in May and was a nobody; I didn't exist, I couldn't get a car or a driving licence, or anything until I had a social security number.

Diane: It was a lot of paperwork! We had to come back here in June and July of 2002 to get him a work visa because without that he couldn't get anything in the United States. We couldn't even get married in the United States.

Nick: It's a huge mountain to climb to move countries and basically, I saw this lady, threw my life up in the air and went off to America! It sounds very romantic but it was also stressful and took quite a toll on us. Of course it was worth it though!


How has the show been going so far?
Nick: The first time we saw the show here, there was a line of Delta Airways stewards behind us and they were a mess! When they found out who we were they were even more of a mess! And the lady behind us couldn't stop crying, so I said "come here, I've got to give you a hug!"

Whether they come here excited for the show or not really bothered, people are going to leave happy!

Diane: It's a 9/12 show, what happened on September 11th, everyone remembers that, but this is forward and it's a feel good story.


Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Helen Maybanks and Matthew Murphy

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Sunday 17 February 2019

Wednesday 6 February 2019

Avenue Q (UK Tour), New Wimbledon Theatre | Review


Avenue Q (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 5th February 2019 by Olivia Mitchell 
★★★★★

The puppets are back in one of the naughtiest and funniest musicals around, and they will make you laugh, cringe, gasp and howl as they make their way round the UK.

Avenue Q is set in New York and follows English graduate Princeton as he moves into the city alone with the ambition of finding his purpose. On this journey of discovery, he meets his neighbour Kate Monster and a whole host of highly unique characters who teach him life lessons through ridiculously catchy and OTT songs. Princeton realises how important love and friends are as well as how enjoying the moment is crucial in life. 

Lawrence Smith, Cecily Redman, Tom Steedon, Saoiri Oda and Oliver Stanley lead the small cast, alongside Megan Armstrong, Nicholas Mclean, Jasmine Beel, Ellis Dackombe, Chloe Gentles and Robbie Noonan. Each company member is outstanding and they provide an amazing ensemble performance that is strangely realistic in this wacky world of Avenue Q


Special mention must go to Cecily Redman as Kate Monster and Lucy the Slut (yes, really) who is utterly wonderful. Cecily has one of the most beautiful tones and clearest voices I've ever heard and it was a real treat to see her perform in such a technically strong and well thought out way.

Cressida Carré has directed this show with a gentle hand and really lets the songs and characters shine. From the simple but highly effective set design (Richard Evans) to the powerful lighting (Charlie Morgan Jones) and fantastically designed puppets (Paul Jomain) everything has been so well put together and makes the whole show feel extremely cohesive.


So much of this production is highly memorable and the entire cast and crew have done a fantastic job in engaging the audience through the fantastic show and contemporary themes. This is a show which instills joy and celebrates amazing performers. If you miss out on this show, it'll really "suck to be you"!

Avenue Q is at the New Wimbledon Theatre until February 9th before continuing it's tour around the country.

*production photos are of previous Avenue Q tour*

Avenue Q (UK Tour), New Wimbledon Theatre | Review

Wednesday 6 February 2019

Wednesday 23 January 2019

Showstopper! The Improvised Musical, The Other Palace | Review


Showstopper! The Improvised Musical 
The Other Palace
Reviewed on Wednesday 23rd January 2019 by Olivia Mitchell 
★★★★★

It's. So. Good. 

Showstopper! The Improvised Musical is exactly what it says on the tin, a musical that is created new every night by audience input and the amazing, fast thinking and uber talented cast. Every show is different and every show is a celebration of the amazing improv performers. Tonight was the 1000th performance of Showstopper but you could've been at every single one and seen something unique every time; that's the joy of the show.

Tonight's show, titled The Cream of Yorkshire, was set in a soup kitchen and featured songs inspired by Singing in the Rain, Oklahoma, The Producers, The Rocky Horror Show, Cabaret, Joseph and Bat Out of Hell. It was wild and wonderful. 


The cast work together to create priceless, drama filled and absolutely wild shows. Up to seven performers appear at each performance, with each one having an unrivalled amount of comedic and improvisational talent. They create a show, and command an audience who are in the palm of their funny hands from the second they step on stage.

Despite the full improv of this show, it's so well planned it's unreal. The cast know each other and their movements so intensely that they pick up every innuendo and make it into a polished, laugh out loud performance. 

This is top dollar entertainment that will have you laughing your socks off and feeling inspired to create. Showstopper! is a magical, mysterious and wonderful show that needs to be seen... and then seen again!

Showstopper! The Improvised Musical is at The Other Palace until March 16th 2019

photo credit: Savannah Photographic and Alex Harvey-Brown

Showstopper! The Improvised Musical, The Other Palace | Review

Wednesday 23 January 2019

Monday 31 December 2018

Olivia's Top 10 Shows of 2018


2018 has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in an order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats. 2019 is the year of change for West End theatre as a lot of beloved shows close and we get a number of new shows and shows from across the pond. I can't wait to see what next year provides and if we get anything like the treats from this year, it's going to be truly wonderful...


This was one of the wackiest nights out at the theatre. Alan Menken's score, accompanied by the changing natural light, a dancing tongue (shoutout Billy), and a host of standout performances, you couldn't help but smile and laugh at this treat of a summer show.



My heart was torn out and I ugly cried most of my train home but this was a magical theatrical experience. Highlighting the struggles of grief, this production cleverly used simplistic, ensemble staging to create a highly moving, highly polished, yet still raw piece of theatre.



This is one of the most truthful productions I have ever seen in my life. The outstanding cast seemed as if they were living the show for the first time as they travelled through Nine Nights of mourning with humour and depth in perfect balance. 



This show deserved better. Mythic was a whole host of self-aware-hilarity accompanied by the catchiest music. A modern twist on the Greek Gods, it was 90 minutes of unadulterated brilliance and I can only hope 2018 isn't the last time this show graces the stage.



Robert Hastie's revival of The York Realist was 130 minutes of theatrical perfection. Handled with genuine care and a real attention to detail, this was a beautiful exploration of love, class and life. 



All I can say is that London is not ready for the perfection that this show is. Book your tickets NOW.



Toby Marlow and Lucy Moss are the best thing to happen to British theatre in a long time. Telling the stories of the wives of Henry VIII, Six uses modern musical styles, mixed with laugh out loud one liners, out of this world performances from the Queens and it's just spectacular. It's a show for all ages that is sure to wow audiences for years to come as they keep coming back for their royal fix.



This is another gem of a show from Trafalgar Studios. Arinzé Kene gave the most devoted and energy fuelled performance I've ever seen. Misty is vibrant and fresh as it uses the dual-narrative structure perfectly to leave you wordless.



If The Rink was a person, I would've married it by now. Caroline O'Connor gave a masterclass in acting and this show needs to come back right now. Roller blades, delightful music and fabulous staging made this a faultless production.



I saw Hadestown twice this year but if I could've made it 20, I would have. I truly can't describe how special this show is; the lighting, staging, choreography, ensemble, leads and music come together to create an emotional journey and spectacular theatrical experience. The entire show is painfully relevant and the whole spectacle of it is exceptional.


So there we have my Top 10 Shows of the year, do you have any of the same ones? I'd like to give mention also to Bat Out of Hell which became a huge part of my year and provided some wonderful memories; and the BTA who put on two fantastic shows: Spring Awakening and Bring it On which featured stellar performances from the stars of the future.

For me, this was the year of female led performances and a real forward movement in the showcasing of diversity in theatre which are two huge positives in the industry. Lets hope for a continuation of these changes in 2019! Wishing you a the stagiest of stagey 2019s!

-Olivia x

Olivia's Top 10 Shows of 2018

Monday 31 December 2018

Tuesday 2 October 2018

Fame the Musical (UK Tour), New Victoria Theatre | Review


Fame (UK Tour)
New Victoria Theatre 
Reviewed on Monday 1st October 2018 by Olivia Mitchell 
★★★★

Fame is the original high school musical drama. The story about a group of wannabe New York performers became an instant success with audiences after the 1980 film, and various incarnations including tv series and musical performances were spawned. Fame the Musical, developed by David De Silva, is currently touring again to celebrate it's 30th anniversary before a stint in the West End next year.

Fame the Musical follows the lives and struggles of students attending the New York High School of Performing Arts.  It is a real-life, non-sugar-coated version of being a young adult and facing issues, including substance abuse, sexuality and self worth.

From the opening number to the very last moment of toe-tapping brilliance, Nick Winston's production screams energy and vibrance. The entire show is a well choreographed, lively machine that, although being set in the 80s, feel fresh, relevant and energetic.

The energy comes from the outstanding young cast who deliver every moment with enthusiasm and precision. Molly McGuire is loveable and quirky as she falls in love with Nick (Keith Jack) the TV actor, wanting to move to more serious roles. Both performers provide beautiful vocals, especially during Let's Play a Love Scene in which Molly shines. The pair compliment each other wonderfully and present a sweet romantic arc. 

Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.  



Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.

Mention must also go to the fantastic actor-musicians who are present on stage throughout and bring a natural, realistic feel to the show and transport us to a frenetic performing arts school- Alexander Zane is a standout of the group. 

The real star of the show is undoubtedly, Stephanie Rojas who gives a fiery performance as Carmen, the Latina who longs for fame. Stephanie is everything Carmen should be with her transition from a larger than life girl in There She Goes/Fame, to a broken woman in the devastating In LA supplying a supremely moving storyline. Stellar vocals and superb acting make Stephanie's performance a must see and should be required viewing for any budding performers.



On top of the impressive performances, Prema Mehta's lighting is extremely atmospheric from the opening scene which dazzles the audience to attention and sets the tone for an exhilarating show. Particularly clever is the use of light tones, for example in Carmen's emotional climax during act 2, she is bathed in cool, stark light whilst her counterpart Schlomo (played touchingly by Simon Anthony) is lit in a warm tone. These subtle details are part of what makes this production of Fame superior.

Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!

Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.

photo credit: Tristram Kenton

Fame the Musical (UK Tour), New Victoria Theatre | Review

Tuesday 2 October 2018

Thursday 1 March 2018

Pippin, Southwark Playhouse | Review


Pippin
Southwark Playhouse
Reviewed on Wednesday 28th February 2018 by Olivia Mitchell 
★★★★

Based on the real-life story of Prince Pepin and his father, King Charlemagne, Pippin tells the story of a young prince who longs to find adventure, fulfilment and passion in his life. To prove himself to his distracted father, Pippin goes to war. He finds no fulfilment there so when the Leading Player convinces him to fight tyranny, Pippins kills his father and takes over the throne. 

With music and lyrics by Stephen Schwartz, book by Roger O Hirson and original direction by Bob Fosse, Pippin brings spectacle, comedy and whimsy to the transformed Southwark Playhouse. Maeve Black's set complete with a false proscenium and footlight bulbs around the tongue of the stage, has transformed The Large into a magical, slightly decrepit playground of mystery.

Braving the snow, I enjoyed this production despite feeling it took a little while to get into. The story is fast paced and full of intricacies but the varying styles and scenes are a bit too much of a mish-mash to be fully cohesive.


However, the performances are stellar across the board. Genevieve Nicholas is absolutely outstanding as the Leading Player. Poised to pounce and vocally faultless she commands the stage every second she's on it. She is very dynamic alongside Jonathan Carlton in the title role who sings the role perfectly as well as having great comic timing and stage presence. The two bounce off one another and have a sort of unsettling relationship.

Mention must also go to Bradley Judge as Lewis, Pippin's brother, and Mairi Barclay as Fastrada and Berthe who both nailed the comedic side as well as providing some scene stealing vocal moments. As director, Jonathan O'Boyle has done a wonderful job of bringing the small cast together to create something electric and well as showcasing individual talents.

Choreographer William Whelton has stuck to the shows iconic past, with Bob Fosse's choreography central to the action but has brought a somewhat modern twist with some sharp, almost frantic movements at times.


Whilst the jumpiness of the book does let this show down at times, this production is like nothing else I've seen on a London stage recently and for that reason it must be applauded. The cast do an outstanding job and the razzle-dazzle of the costumes and in-your-face lights by Aaron J. Dootson do a wonderful job of wowing the audience.

For a magical, mystical, whimsical show that will surprise, make sure you get along to the Southwark Playhouse for the limited run of Pippin.

photo credit: Pamela Raith

Pippin, Southwark Playhouse | Review

Thursday 1 March 2018