Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Tuesday 28 November 2023
Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out
Pretty Woman (Tour)
New Victoria Theatre
A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off!
Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…
The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for.
Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together.
Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly. The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence.
With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.
The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire!
Overall, the lightheartedness of the story and the fantastic talent onstage makes for a perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking!
★★★★★
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic
My Neighbour Totoro
Barbican Centre
After a hugely applauded and successful run last year, My Neighbour Totoro has returned to the Barbican Centre and is as highly anticipated as ever. The 1988 Japanese animated fantasy film is much loved around the globe, but having never seen it personally I was intrigued how this stage adaptation would affect me. Thankfully I was blown away by the story and staging and can see why it's a tale so close to people's hearts.
Brought to the stage by producers Joe Hisaishi and the Royal Shakespeare Company, the show is a perfect combination of animation style moments and theatrical wonder. As a whole, it does a masterful job of capturing the essence of childhood wonder and innocence in a way that's relatable to adults and children alike. The colours are vibrant, the details meticulous, and the animation style timeless. From the moment the logo comes to life, the enchanting world of Totoro wakes up and takes the audience on a whimsical, wonderful journey.
The story, a heartfelt tale of two sisters, Satsuki and Mei, and their mischievous encounters with forest spirits, is simple but encompasses a range of emotions. The emotional depth and universal themes of family, friendship, and the magic of nature are portrayed with a subtlety and grace that I'm learning is very typically, Studio Ghibli. It's not the most intriguing of tales and is definitely more of a visual treat but the pacing is perfect, and allows the audience to savour every moment whilst keeping engaged throughout.
Tom Pye's ingenious design, paired with the creative direction of Phelim McDermott, has given life to an awe-inspiring and intricately detailed set, with hidden aspects and elements that come swooping in to create magical moments. The intricacy of this production's design serves as a testament to the limitless potential that the enchanting world of theatre can bring to life and even more special, is how throughout, it also manages to retain a sense of cosiness and intimacy.
The truly mesmerising part of My Neighbour Totoro is of course the astounding puppets crafted by Basil Twist. The production fearlessly showcases the puppeteers, adding a unique layer to the wonder and escapism of the performance. Far from diminishing the magic, the visible puppeteers become an integral part of the spectacle, stopping to bow during the show, often breaking the fourth wallk and culminating in a genius curtain call that is it's own whimsical show that's truly unexpected and brilliant.
The music in My Neighbour Totoro is the beating heart of the production, thanks to the enchanting vocals of Ai Ninomiya. Her performance provides a mesmerising soundtrack that weaves seamlessly with the unfolding events. The original film score by Joe Hisaishi, expertly re-orchestrated by Will Stuart, and the adapted lyrics by Tom Morton-Smith and Hilmi Jaidin which blend delicate Japanese and English verses, all add layersof depth to this beautifully intricate production. The perfect harmony between music and storytelling creates an immersive experience, and furthers the impact of the tale.
The amazing cast assembled feels like a tight-knit family on stage. Mei Mac and Ami Okumura Jones, portray the lively sisters Mei and Satsuki, effortlessly taking the audience on an emotional rollercoaster with their youthful energy and seamless chemistry. Dai Tabuchi and Emily Piggford give endearing performances as the caring parents, Tatsuo and Yasuko. What's truly remarkable is that, beyond their main roles, each cast member (bar Mei and Satsuki) also step into the role of puppeteer, showcasing the incredible versatility and talent that defines this consistently outstanding ensemble.
Whether you're a long-time Studio Ghibli fan or experiencing the magic for the first time, My Neighbour Totoro at the Barbican Centre is an absolute must-see. It's a theatrical gem that touches hearts and transports audiences to a world where imagination knows no bounds. Five stars simply don't do justice for this enchanting experience.
★★★★★
Reviewed on Monday 27th November 2023 by Olivia
Photo Credit: Manuel Harlan
Tickets for My Neighbour Totoro are available at London Box Office
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday 18 November 2023
Jamie Muscato to Perform Solo Concert at Cadogan Hall
Fourth Wall Live, in collaboration with Westway Music, is thrilled to present West End sensation Jamie Muscato live at Cadogan Hall on Saturday, July 21, 2024, at 6:30 pm. Tickets for this exclusive event go on sale starting Monday, November 20, at www.fw-live.com and www.cadoganhall.com.
Renowned for his outstanding contributions to musical theatre, Jamie Muscato, known for his roles in Moulin Rouge and Heathers, will showcase a new solo concert at Cadogan Hall in 2024. Muscato has an impressive repertoire, including performances in Les Misérables, Once In Concert, and Sweeney Todd.
Jamie Muscato's versatile talent extends to TV and film, with notable credits such as Chemistry of Death, Darkness Rising, and The Trial of Christine Keeler.
Fourth Wall Live, recognised for its successful productions like Bonnie and Clyde The Musical In Concert, consistently brings top-tier entertainment to audiences. Their recent shows have featured Broadway favourites like Jeremy Jordan and Audra McDonald, emphasising their commitment to showcasing stars from both the West End and Broadway. Additionally, Fourth Wall Live proudly produced the What’sOnStage Award-winning Bonnie & Clyde The Musical, concluding a successful run at the Garrick Theatre in London’s West End.
Thursday 16 November 2023
SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly
SuperYou! the Musical in Concert
Lyric Theatre
Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.
After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.
What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.
Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.
Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.
Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling.
There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.
Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons.
In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere.
Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene.
★★★
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 15 November 2023
Give the Gift of Theatre with London Box Office | ad
*This post contains sponsored content*
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Friday 3 November 2023
Lizzie at the Southwark Playhouse (Elephant) Review: A Bloody Good Time
Lizzie
Southwark Playhouse (Elephant)
A transfer from the Hope Mill Theatre, Lizzie boasts a cast that impresses with their strong vocals and well-defined characterisations. The performers do an excellent job bringing their characters to life and infusing the show with their energy and passion, making it an engaging experience for the audience.
The musical takes inspiration from the infamous Lizzie Borden case and the story revolves around Lizzie Borden and her sister; exploring the mysteries and events leading up to the gruesome murders of their parents. It delves into themes of murder, mystery, and the complexities of human nature, all set against a rock opera backdrop. With a gripping narrative, powerful performances, and a thrilling atmosphere, Lizzie invites the audience to step into a world where dark secrets are uncovered, and the truth is as elusive as the swing of an axe.
One of the standout features of Lizzie is the striking lighting design and stage setup by Andrew Exeter, which, particularly during the climactic moments of Act One, leave you breathless with its deathly allure. The lighting and set design effectively create an atmosphere that's visually captivating and in keeping with both the rock musical vibes, and the traditional 1800s setting of the story.
While William Whelton's choreography wields a sharp blade and is executed very well, it sometimes feels like it's hacking away at a different story, leaving us with a tenuous connection. It adds some movement and visual appeal, but it doesn't fully meld with the narrative.
Direction wise though, Whelton has approached the show at a fun angle, melding massive arena concert energy with traditional musical theatre techniques. The energy is consistently high and despite knowing the ending, you're still on the edge of your seat, awaiting the next thrilling act. The use of handheld microphones is a cool twist on the storytelling, and hung in holsters at their sides it's almost as if the ladies are wielding them as potential murder weapons. However, when they're actually in use, it doesn't always make sense within the context of the show, I think it would be more effective if it was made clear that they were symbolising inner most thoughts or something of the like.
This really is a girl power musical and each character in the production is well-defined, allowing the audience to connect with their individual stories and motivations. The attention to detail in the character development adds depth to the overall performance, revealing layers like peeling back the pages of a forbidden diary.
The cast deliver exceptional performances, with each woman commanding the stage with finesse. As this performance, Lizzie Borden was played by Emma Louise Hoey who seamlessly transitions from innocence and sweetness to sheer and utter madness. Her expressive eyes, and body tics convey a myriad of emotions, and every movement she makes skilfully illustrates her transformation into the manic killer fully. There's also a real level of innocence woven throughout the character and despite her gruesome act and obvious manipulation, you can't help but root for her. Vocally, Emma is marvellous, providing literal killer vocals with ease and conviction.
Shekinah McFarlane shines as Lizzie's sister, particularly in Act 2, showcasing her superb vocal prowess, that peaks and troughs in all the right places. For vocal masterclasses, this truly is the show to see. It's certainly a trend, as Mairi Barclay also astounds with her killer voice, as Bridget Sullivan. Barclay not only gets to showcase her impressive vocal range but also adds a touch of humour to this otherwise dark drama, often subtly encouraging Lizzie to commit the heinous acts in clever and witty ways, even if her motivations remain somewhat ambiguous. As Lizzie's friend Alice Russell, Maiya Quansah-Breed's performance is nuanced and heartfelt, offering a soothing contrast to the intense and rage-filled numbers that punctuate the show.
Rachel Tansey's costumes are notably well-executed, dressing the characters for their gruesome deeds and helping transport the audience back in time to the historical setting, where every outfit feels like a well-prepared disguise.
Musically Steven Cheslik-Demeyer and Tim Maner have created songs which sound great in the moment but aren't particularly memorable. Lyrically they are fast-paced and super action packed, sometimes to their detriment. So much is crammed in that you don't know what to focus on so things come across somewhat disjointed.
However, despite its minor shortcomings, Lizzie manages to transform the intimate Southwark Playhouse into a high-energy rock concert experience that's a crime of passion, making it a unique and memorable theatrical event that keeps you on edge and engaged.
★★★
Reviewed on Thursday 2nd November 2023 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 1 November 2023
Bat Boy the Musical at the London Palladium Review: A Campy Delight
Bat Boy the Musical in Concert
London Palladium
I had the pleasure of spending Halloween at Bat Boy the Musical in concert at the iconic London Palladium, and it was truly a wild, wacky, and wonderful show. The talented cast, which included Jordan Luke Gage, Jodie Steele, and Trevor Dion Nicholas, delivered an electrifying performance that left the audience thoroughly entertained.
The campy nature of the production was evident from the get-go, and it added to the overall charm of the show. The exaggerated characters, over-the-top antics, and quirky humour all contributed to a delightfully eccentric atmosphere that had the audience in stitches. Victoria Hamilton-Barritt in particular is a complete comedic superstar, perfectly bouncing off the crowd and having everyone in stitches from the smallest movement or expression.
However, it wasn't all smooth sailing. There were some noticeable sound issues throughout the performance. Missed lines and an uneven balance between the orchestra and vocals meant that, at times, it was challenging to hear the lyrics properly. While these technical hiccups did momentarily detract from the overall experience, they were overshadowed by the sheer fun of the show.
For those unfamiliar with the story, Laurence O'Keefe's Bat Boy the Musical is a quirky tale about a half-human, half-bat creature who is discovered in a cave and taken in by a family in a small town. The musical explores themes of acceptance, prejudice, and the complexities of human nature, all while delivering it with a humorous and satirical touch.
Despite the sound issues, the show's humor and the cast's stellar performances shone through. The witty one-liners and comedic timing of the actors had the audience roaring with laughter, making it easy to forgive the occasional technical glitch.
Jordan Luke Gage gave an endearing performance as the title Bat Boy, showcasing stupendous vocals as well as really well done and hilarious characterisation; continually rising to new heights, I cannot wait to see what he takes on next. Jodie Steele's portrayal of the struggling sister balanced superbly with Gage's and had some solid development and growth throughout. Completing the family pack, Trevor Dion Nicholas gave a vocal powerhouse performance and made the morally wild father a stand out performance. Tosh Wanogho-Maud was a complete powerhouse, giving some of the best vocals of the night, despite not having a hugely developed character. The entirety of the supporting cast and choir also did an excellent job of bringing the Bat Boy world to life.
One aspect that truly stood out was the effective and simple staging. The use of minimal sets and props allowed the audience to focus on the characters and the story. It was remarkable how such a straightforward approach could be so striking and immersive. This also allowed Rhys Wilkinson's well thought out and adapted movement to really shine and add a finessed element to this one night only performance.
Bat Boy the Musical was a wild, blood filled, hoot of a musical, with a fantastic cast and an abundance of humour. While the sound issues were a minor drawback, the overall experience was thoroughly enjoyable, leaving the audience with smiles on their faces. A hilarious and campy musical done so well!
★★★★
Reviewed on Tuesday 31st October
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 24 October 2023
The Bodyguard the Musical on Tour Review: Starts with a bang and thrills throughout!
The Bodyguard the Musical (Tour)
New Victoria Theatre
Demanding your focus from the very first second, The Bodyguard the Musical has it all! Romance, rivalry, and iconic music for all ages to enjoy.
As per the 1992 movie of the same name, the show tells the story of a famous superstar finding herself to be the unwanted attention of a threatening stalker. As a solution, her team decided to hire a bodyguard to keep her and her family safe. It’s not long before he becomes more invested in his employer than he ever has before.
The leading role of Rachel Marron was made famous by the legendary Whitney Houston. Needless to say, the bar has been set rather high. Multi-platinum recording artist, Emily Williams (also known as ‘Queen of the High C’s) performs the role with phenomenal ease. Her vocal range is staggering! Emily performs Whitney’s iconic songs so beautifully, whilst making sure to add her own touches here and there.
Ayden Callaghan portrays the role of Frank Farmer (the Bodyguard) in a distinguishable manner. His character is stern and unwavering, yet begrudgingly, he shows a softer side as his feelings for Rachel grow. Ayden and Emily have fantastic chemistry together, making their romantic storyline so believable!
Manasseh Mapira, who plays Rachel’s son Fletcher, is an absolute delight to watch. His dancing, vocals and overall charisma have the audience in love! A star in the making…
After a slower-paced first half, things really begin to move in Act Two. The ensemble have a larger part to play, which they do so well; whether it be whilst playing some tone-deaf karaoke singers, or Rachel’s back-up dancers, the energy lifts when they are on the stage.
The set and costume design by Tim Hatley fit the era and flavour of the musical well. It would have been more effective to see the stage space utilised more, but the potential is definitely there!
The use of dramatic sound effects and lighting/projections are what you would expect from a 1992 movie. Whilst the connection to the original movie rings true, some modernisation here may have been beneficial.
Overall, the vocal talent of the cast, the iconic music originally given to us by the one and only Whitney Houston, and the passionate storyline, sells this thrilling musical so well. Highly recommend!
★★★★
Reviewed on Monday 23rd October 2023 by Grace Dickinson
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 20 October 2023
Dear England at the Prince Edward Theatre review: An Ode to the Nation
Dear England
Prince Edward Theatre
It could be argued that James Graham is the master of creating works which capture the intricate fabric of contemporary Britain, and his most recent opening, Dear England does just that, emerging as a heartfelt, thought-provoking piece. This engaging production eloquently delves into British identity, the echoes of history, dreams for the future, and the nation's relationship to football.
Dear England artfully blends past and present, transporting audiences through time in a seamless and captivating manner. This storytelling technique offers a unique lens through which we can view the profound influence of history on our present. The play focusses on Gareth Southgate's journey as manager of the England football team, linking in his own personal history, as well as the histories of his team and England as a whole. It's a very cleverly done show which feels completely relevant, modern and necessary.
The characters, portrayed by a talented ensemble cast, come alive with vibrant, authentic performances. These characters represent a rich tapestry of contemporary Britain, showcasing immigrants, soldiers, activists, and politicians. Joseph Fiennes outstandingly leads the show as Gareth and helps to cultivate the entire cast's emotional depth, forging a genuine connection between the characters and the audience.
Es Devlin's set design is typically National Theatre and incredibly well done, seamlessly transporting us from one time to another. The use of multimedia elements, including videos, adds depth and texture to the storytelling. With each shift in the backdrop, the mood and ambiance evolve, underscoring the diversity and complexity of the themes explored.
Graham's writing is sharp and insightful, with sprinkles of humour throughout to balance the gravity of the themes. Dear England explores national identity, migration, patriotism, and the ever-relevant question of what it truly means to be British. The dialogue is simultaneously poetic and genuine, prompting the audience to reflect on their own connection to the nation.
It's fair to mention that the play occasionally teeters on the edge of trying a bit too hard, with the odd scene not being as impactful as you'd hope. Nevertheless, this is a small price to pay for a production that aims to encapsulate the very essence of a nation and overall Dear England is a touching and timely exploration of the British identity. It masterfully navigates the waters of history, politics, and human experience, leaving audiences with a deeper understanding of what defines their nation.
This production is a testament to the incredible power of theatre to mirror, challenge, and celebrate our shared story. With its compelling storytelling, exceptional cast, and innovative design, Dear England is a need-to-see performance, that hopefully will engage and resonate with both regular and not so regular theatregoers.
★★★★
Reviewed on Thursday 19th October 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
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