Posts with the label theatre review
Showing posts with label theatre review. Show all posts
Showing posts with label theatre review. Show all posts
Wednesday 25 October 2017
Million Dollar Quartet (UK Tour), Edinburgh Playhouse | Review
Million Dollar Quartet (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 24th October 2017 by Liv Ancell
★★★
Memorialising the famous jam session of 1956, where fate brought together legends Elvis Presley, Johnny Cash, Carl Perkins and newcomer Jerry Lee Lewis, Million Dollar Quartet is an energetic show which rattles through instantly recognisable hits from the golden age of rock n’roll at a lightning-fast rate.
Martin Kemp plays the ‘ringmaster’ of the show, Southern music mogul Sam Phillips. The man who brought them all together under his grass-roots label Sun Records, he also provides commentary as to the back stories of the four stars, frequently breaking the fourth wall and treating the audience like an old friend.
This is a fast-paced show with little time for dialogue; the first half is a mere 40 minutes of back-to-back tunes, with little time for talking. During this time, the characters share a little camaraderie, but the focus is on the hits. The spectacular array of voices as well as world class musicians in the tiny recording studio set turns the theatre show into a veritable live rock concert.
The leg-shaking, foot-tapping firecracker, Jerry Lee Lewis, is portrayed with limitless vitality by Martin Kaye - a role he has been playing since 2013, but astonishingly, not a single iota of his energetic and charismatic presence has waned in this time. He really stole the show and was an audience favourite - his cheeky and youthful, unpolished and unfiltered personality was both refreshing and infectious.
The other actors had clearly studied the iconic voices of their roles in great depth, with Robbie Durham (Cash), Matthew Wycliffe (Perkins) and Rhys Whitfield (Presley) all achieving near-perfect matches of their famous characters, even mimicking their stage presence and movements. Katie Ray played a supporting role of Dyanne, but when she did take to the microphone, the versatility and depth of her voice shone through. My only criticism of Katie Ray would be that her accent strayed from American to English at times, which was a little confusing.
The pace slows in the second half, as the session slowly winds down and reality sets in. It becomes clear that the session that we have witnessed was a remarkable and fleeting moment in history, where these four stars came together under one roof, united by the music they loved.
The ending was extremely ambiguous; for the last half an hour, it wasn’t clear quite when the show was going to end. The story ended, and the characters bowed. This was immediately followed by an impromptu seeming concert, allowing each of the 4 a solo to really showcase their talents, which whipped the audience into a frenzy. During this time, the lighting effects were amped up with extra rigging lowered, as we were no longer witnessing a performance in the confines of the recording studio.
In terms of staging and lighting throughout, it was relatively low key, with no transitions in staging. The singular static setting meant that a small recording studio was recreated on stage, which was a small place for such a big sound. This reinforced however how small-town Phillips’ recording studio really was though, making this encounter all the more unbelievable.
Overall, the talents in this show were incredible - particularly Martin Kaye’s performance in which playing complex scores on the piano while jumping around animatedly somehow seemed effortless. More dialogue and more of a back story would have perhaps given the show a little more depth and narrative however, but if you simply want to see a performance which showcases these artists or this style of music, Million Dollar Quartet is guaranteed to rock your socks off!
Tuesday 9 May 2017
Thoroughly Modern Millie (UK Tour), New Victoria Theatre | Review
Thoroughly Modern Millie
New Victoria Theatre
New Victoria Theatre
Reviewed on Monday May 8th 2017 by Valerie Field
★★★★★
Thoroughly Modern Millie has had many reincarnations and is based on a 1967 movie musical that is itself based on a 1956 London stage musical that in turn became a 2002 Broadway show. This new tour mixes a bit of each in to create a very enjoyable and well constructed production.
Set in 1922, Thoroughly Modern Millie tells the story of small-town girl Millie Dillmount who makes her way to New York with the sole intention of finding a husband, not out of love but for money. However, events take a sinister turn when she checks into the Hotel Priscilla for single women which just happens to be owned by Mrs Meers, the leader of a white slavery ring. Things get interesting for sure!
Joanne Clifton as Milly, the Kansas girl desperate to make it in New York, is superb and effervescent. Although she is probably best known for her dancing on Strictly she can certainly act and has a good singing voice. She's the perfect fit for the title character and she warmed to the audience immediately.
A big mention must go to Graham McDuff as Mr Grayden, especially for his drunken scene which was hilarious and had the whole theatre laughing. Lucas Rush also deserves a mention as Mrs Meers, embodying the character well and showing off a great stage presence throughout.
The glamorous costumes, all out dancing and typically Broadway music are exactly what you'd expect from a show like this and combined with the art deco set, it's easy for the audience to get drawn in and lost in the 1920s world. Each scene change is done effortlessly, especially the office scene which is simplistic but highly effective.
All in all, Thoroughly Modern Millie is a 'feel good show' of the highest decree. I would highly recommend going to see it for a few hours of escapism and entertainment. The whole cast are outstanding and really seem to be having a wonderful time on stage which comes across in making their performances lively and energetic. The standing ovation received at the end of the show was evident of how much the audience enjoyed it so it's well worth a visit to Thoroughly Enjoyable Modern Millie!
Monday 6 March 2017
Hamlet, Almeida Theatre | Review
Hamlet
Almeida Theatre
Reviewed on Saturday 4th March 2017 by Olivia Mitchell
Reviewed on Saturday 4th March 2017 by Olivia Mitchell
★★★★★
Shamefully, most of my Shakespeare knowledge has come from school English lessons so I'm not the most educated on the Bard but I jumped at the chance to see this highly anticipated production of the great tragedy Hamlet. At almost four hours long you might think you'll lag towards the end but this production is so well done that you'll be gripped and wide awake throughout!
Andrew Scott of Sherlock fame takes on the mammoth feat of playing the iconic, Hamlet. You need skill, stamina and sincerity to carry this very long play and Scott has all of these in spades. He holds the play up and commands every moment, showing a thousand different emotions and really taking the audience on a crazy, dramatic journey. Each word he speaks is filled with emotion. From quiet whispered moments to loud shouts and screams, he manages to involve the audience and create a real sense of intimacy. His performance is absolutely outstanding.
Peter Wight is brilliant as Polonius; nosy and sneaky but still likeable. Jessica Brown-Findlay as Ophelia transforms from joyful innocence to grief-stricken craziness wonderfully and gives a truly moving performance in her final scenes. Juliet Stevenson's Queen and relationship with Angus Wright's Claudius are very convincing and just shocking enough. They work very well together, showing a lot of character development throughout and using the text in new and exciting ways.
Hildegard Bechtler's set is simple but crazily effective. It seems to become more opaque as the play moves on, with the clever use of curtains and screens becoming ingrained in and crucial to the performance throughout. Along with Tom Gibbons' sparse and overwhelming score a sense of drama and being trapped/followed is ever present.
Robert Icke has created a truly brilliant production. From explosive moments to moments of silence, the audience are kept gripped and the four hours goes by in a tick. The performance is humorous and shocking at the same time whilst embodying the eerie intensity that Shakespeare is so well known for. Every crevice of the play has been fully thought through and the character work from rehearsals is clear in every moment on stage.
This is an impeccable production from a stupendously talented and well rounded cast. The show has been brought into the modern world perfectly and effectively. There's light and shade, humour and sadness, love and hate and so much more. Truly brilliant!
Hamlet runs at the Almeida Theatre until April 15th. The production is currently sold out but it's well worth queuing for a return ticket!
Photo by: Manuel Harlan
Sunday 5 March 2017
Swifties,Theatre N16 | Review
Swifties
Theatre N16
Reviewed on Wednesday 1st March 2017 by Esther Matthews
Reviewed on Wednesday 1st March 2017 by Esther Matthews
★★★
Swifties…To start, I didn’t hate it. Overall I could see what the script writer and director were trying to do however somewhere in the mix something went slightly wrong.
Swifties, based on the French play The Maids written by Jean Genet, follows the lives of two girls who claim to be Taylor Swifts “Biggest Fans” and how their attempt to murder the superstar doesn’t quite go the way they wanted. Isabella Niloufar and Tanya Cubric were brilliant as the plays main characters. Their portrayal of two slightly mad teens was humorous but terrifying at the same time. They are ones to watch out for in the wider theatre circle.
Theatre N16 is situated above a pub in Balham, it was the perfect setting for a play like this. The theatre itself was very small with only a handful of chairs to sit on making your experience very inclusive and intimate. The set was very minimal with simple lighting which pulled you into the scene. As an audience member sometimes big sets and props can capture your attention but the actors managed to keep you captivated throughout.
I had a problem with the script. There didn’t seem to be any structure to it. The girls did a good job at improvising but overall the script lacked good dialogue and felt slow. The Maids is rarely done in large venues or professional theatre but I think it is a very relevant story with many important themes. In the current social climate this is the kind of work that needs to be noticed. It highlights the trouble that we as a nation have with race, gender and social media/celebrities.
For such a small stage the director did a good job. Luke Davies has had rave reviews from his previous production and if this play transferred to a larger venue I can understand what his vision would be.
I would recommend seeing Swifties, there are good and bad points to make about this production. It certainly leaves you with questions.
Swifts runs at Theatre N16 until March 11th
Thursday 2 March 2017
Ugly Lies The Bone, National Theatre | Review
Ugly Lies The Bone
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 1st March 2017 by Olivia Mitchell
Reviewed on Wednesday 1st March 2017 by Olivia Mitchell
★★★
Unless you've ever been on a tour of Afghanistan as a soldier, I would assume it's pretty impossible to ever know what it must be like. To experience pain, death and sadness so up close must be truly horrific and coming back to a family and community who have changed and moved on without experiencing that? I can't imagine.
Ugly Lies The Bone, a new play by American playwright Lindsey Ferrentino, aims to shed light on this as well as exploring virtual reality therapy which trials show, has been successful in reducing pain levels in those who have suffered serious injuries.
The play tells the story of Jess played by Kate Fleetwood, who has come home after three tours of Afghanistan to her Florida town in the heart of Nasa county. Awfully disfigured and struggling to deal with the constant pain, she must learn to adjust to her life which is not as she remembers it.
In a bid to move on with her life she agrees to take part in an experimental virtual reality therapy programme which aims to reduce her pain levels. She is taken into a virtual world of snow capped mountains and delicate, falling feathers where she begins to experience life without pain again.
Over the course of 90 minutes we watch the story of Jess and those around her adapting and recovering both mentally and physically.
Kate performs the cynical, frustrated character very well, showing the struggles very truthfully through a stunning performance. Ralf Little is also wonderful as the bumbling Stevie who is facing an internal struggle of his own.
For me, I found the play fell a little flat. Because we didn't get to see Jess before her injuries it was hard to see any character development and therefore hard to see how the virtual reality therapy worked. Overall there was just not enough character development and I felt that there was not enough solid dialogue or storyline to make the audience empathise with them.
The set and stunning design are brilliant and really do immerse the audience in the virtual world but I would have loved a stronger storyline to back it up. The whole cast give extremely solid performances but no real plot means there isn't a final resolution and overall there is a flatness.
Ugly Lies The Bone is on at the National Theatre until June 6th.
Photo: Mark Douet
Tuesday 28 February 2017
Ghost (UK Tour), New Victoria Theatre | Review
Ghost (UK Tour)
New Victoria Theatre
Reviewed on Monday 27th February 2017 by Valerie Field
Reviewed on Monday 27th February 2017 by Valerie Field
★★★★
Despite all the drama and speculation that has been surrounding this show, I thoroughly enjoyed it and found it very moving and well acted. I have never seen the film but know of the story and have heard all about the iconic scene at the potters wheel so I was a bit surprised that more wasn't made of that scene on stage. The fact that this is my only major criticism shows how much I enjoyed the show.
The scenery was great and scene changes were smooth and convincing with each set feeling exactly like the place it was portraying and the characters fit into it perfectly. The special effects were brilliant and really added to the show, although sometimes they did feel a little unnecessary, altogether they added a very nice layer to the performance.
The acting, dancing and songs were great and very entertaining, memorable and enjoyable. Carolyn Maitland was wonderful as Molly and has fabulous chemistry with Andy Moss as Sam. Both their voices are strong and they are convincing as the characters.
Jacqui Dubois as Oda Mae was a definite stand out and was fantastic on stage, stealing the show at points and really showing off her star power. Garry Lee Netley as the Subway Ghost deserves a special mention as he was a great presence on stage and suited the character wonderfully.
My only other criticism is that I did feel sometimes the orchestra was a bit too loud when the solos were being sung as it seem to drown the singer's voices slightly. This was probably just an issue that night.
Apart from that the show was great and I enjoyed it immensely and will definitely recommend it. The cast are strong and well rounded. The sets, costumes and effects fit the show precisely and overall it was a great night out seeing a much loved musical. All in all I think the whole show came together really well and was a very entertaining evening.
Ghost runs at the New Victoria theatre until March 4th and then continues on it's UK tour.
Photo credit: Matt Martin
Saturday 25 February 2017
Lizzie, Greenwich Theatre | Review
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Lizzie
Greenwich Theatre
Reviewed on Friday 24th February 2017 by Olivia Mitchell
Reviewed on Friday 24th February 2017 by Olivia Mitchell
★★★
I've been finding it very hard to write this review because I honestly don't know what I thought of Lizzie. There were parts I loved and parts I didn't but overall I was kind of confused.
I suppose that could be seen as a good thing though. The show seems to get more disjointed as Lizzie's own mind gets more confused and crazy so it seems natural that after a well told story I, as an audience member, should leave feeling affected by the characters. So maybe confusion is a good thing?
Funny story, when I first saw this advertised quite a few months ago, I thought it was my wildest dreams coming true with Lizzie, meaning Lizzie McGuire... I was very wrong! The aforementioned Lizzie is in fact Elizabeth Andrew Borden who allegedly killed her father and stepmother with an axe in 1892. Whilst it's not the obvious choice of storyline, it works well with the rock music and insane lighting.
The show has recently finished a run in Denmark and has now made the transition to the Greenwich Theatre in London where it feels more like an arena concert than a stage show. There are minimal props so we are really able to focus on the story and impeccable voices of the four leads. The show opens with an eerie music-box tune which sets the dark, suspense filled show up perfectly. The powerhouse vocals are out of this world, with the ladies belting higher and higher with perfect technique throughout. The lyrics by Steven Cheslik-Demeyer and Tim Maner are cleverly tweaked and shaped depending on what's happening in the scene or in Lizzie's mind.
The cast are sublime with each woman holding her own and commanding the space. Bjorg Gamst as Lizzie Borden is impeccable, switching from innocence and sweetness to sheer and utter madness. Her eyes portray a thousand emotions and every movement she makes shows her transition to the manic killer who is truly revealed in act 2. Her sister, played by musical theatre royalty, Eden Espinosa, really comes into her own in act 2 and shows off her superb voice wonderfully. I previously saw Jodie Jacobs in 27: The Musical and was blown away by her killer voice. As Bridget Sullivan she gets to show off that voice again but also provides humour in this otherwise dark drama, often indirectly telling Lizzie to kill her parents in witty ways. Although it is unclear what her motivation for this is, she does it very well. Alice Russell, Lizzie's friend is played greatly by Bleu Woodward who again has a stunning voice and works very well with the other ladies. Her performance is tasteful and delicate and often provides a nice contrast to the loud, rage filled numbers in the show.
The lighting fit well with the erratic feeling but I felt at points it was too much with the lights and smoke covering up a lack of plot and coherence. My opinion is that with some developments and tweaks this could be a wonderful production. The cast are there, the songs are there and the basic ideas are there but it need to be refined to make it really flow. Again, the roughness does fit with with the story but to me it felt more like a piece of performance art than a show to come and just sit in your seat watching. If it's going to be performed like this then it would be good to somehow incorporate more audience interaction, like at a rock concert.
However, Lizzie is a fun show and it's wonderful to see a performance led solely by women. With a few tweaks this could be something incredible. I would still go and see it if you can because I guarantee it'll be like nothing you've ever seen before, and the vocals will blow you away!
Lizzie runs at the Greenwich theatre until March 12th 2017
photo credit: Soren Malmose
Lizzie runs at the Greenwich theatre until March 12th 2017
photo credit: Soren Malmose
Friday 24 February 2017
The Girls, Phoenix Theatre | Review
The Girls
Phoenix Theatre
Reviewed on Wednesday 22nd February 2017 by Olivia Mitchell★★★★
I'm going to start off by saying that this musical has flaws but they can be easily overlooked to enjoy this beautifully sweet and touching musical.
The story of The Girls was previously on the West End as a play but this new revival with music by Gary Barlow and Tim Firth, has brought new life to it and really given it star treatment. The score is sweet and full of storytelling, although some parts are a little over the top and very "la la la, I'm going to sing a very literal song about my life now" they all work together to produce a lovely piece of theatre. You are sure to leave feeling inspired, joyous and full of laughter.
This show sums up Britishness. There are fetes, tea drinking, fish and chips and of course the typified version of green Yorkshire. The set is cleverly designed by Robert Jones with a mountain of kitchen cupboards creating the vast hills of England's countryside.
Personally I found the first half of the show dragged just a little as I was waiting for the calendar plan to appear which doesn't in fact happen until act two but the initial setting up of the storyline and many relationships is gracefully and tastefully done. Act two is full of laughs and moves at a much quicker pace with us finally seeing the iconic calendar shoot which is done hilariously!
This story is friendship is truly beautiful and is something that is universally relatable. The cast are all equally talented and their performances are refreshing and genuine throughout. The relationship between Annie (Joanna Riding) and Chris (Claire Moore) is especially touching and makes you value and appreciate your friends even more. The whole cast have wonderful chemistry with one another and really seem to enjoy their time performing.
The whole production is filled with light and positivity as well as showing the trials and hardships of life. In a time when it can often seem like women are always bringing each other down, it's lovely to see a show which restores your faith in friendship and sees such a strong group of women holding each other up and working together to create something beautiful. This is a lovely, reflective, heart-warming production which reminds us that there's always light even when we feel as though we're surrounded by darkness.
The Girls is currently playing at the Phoenix Theatre until July 15th 2017
Photo credit: Matt Crockett
The Girls is currently playing at the Phoenix Theatre until July 15th 2017
Photo credit: Matt Crockett
Aida (UK Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed: Wednesday 22nd February 2017 by Melanie Mitchell
★★★
Being a relatively inexperienced Opera goer, I wondered how an opera this grand and majestic could be brought to life on the relatively small stage of the New Victoria theatre. My concerns were soon banished. Ellen Kent’s touring production of Aida comes to life with the spectacle, majesty and grandeur the opera was intended for.
The Triumphal March with a cascade of golden confetti and fire is particularly spectacular. One of the main highlights is the appearance of Houdini the Black stallion as the war horse of Radames which was a magical moment to see.
The cast were truly magnificent as was the Orchestra of the National Opera and Ballet Theatre of Moldova, conducted by Vasyl Vasylenko, both playing and singing the extremely difficult score with ease and agility.
All the male performers were strong and powerful, however the Spanish tenor, Giorgi Meladze playing the part of Radames is undoubtedly one of the most beautiful, and powerful tenors I have heard. His voice soared effortlessly and the intense emotion of the piece could be heard in every note.
The female leads both gave accomplished and spirited performances. The mezzo-soprano Zarui Vardanean has a beautiful voice and gave a real air of jealousy and malice to the role of Amneris Princess of Egypt.
French Soprano, Olga Perrier as Aida was absolutely amazing, she captivated the audience from the first note and kept them there. Her haunting performance was for me the highlight of the show, full of emotion, passion and vulnerability.
Aida is touring the UK and Ireland until May 10th 2017.
Review written by Melanie Mitchell
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