Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Thursday 21 September 2017
35mm: A Musical Exhibition, The Other Palace Studio | Review
35mm: A Musical Exhibition
The Other Palace Studio
Reviewed on Wednesday September 20th 2017 by Olivia Mitchell
★★★★
I assumed that each photo and song would follow on from one another but they are actually not linked, instead they each tell a personal tale or capture a fragment of time told through music. However, as the show progresses there are some connections as well as juxtapositions, with each song blending into one another to create the idea that we are all the same in our overall experiences. Whilst the photos may look different to our own and even abstract in some cases, the stories behind them are often very similar to each of us and the magic of music and photography is that they can capture that and hold it as a memory. These memories allow us to reminisce but also grow.
The music itself, written by Ryan Scott Oliver is an amalgamation of styles which are performed wonderfully by the outstanding cast made up of Maisey Bawden, Gregor Duncan, George Maguire, Christina Modestou and Samuel Thomas. Each member gets a chance to shine and take centre stage with their own story and the varying emotions from joy to anger to hatred are shown wonderfully by the small but extremely powerful cast.
I particularly enjoyed 'Leave Luanne' and 'The Ballad of Sara Berry' both of which were dramatic and emotive and worked wonderfully with the quick, sharp movements of the cast. 'Stop Time' opened the show in an interesting way, with sounds of swaying and movement as if we were travelling. To me it came across as a very unique form of music with the use of unusual sounds creating an impressionistic vibe which worked well in the intimate space. The religious choral section were also stunning with flawless harmonies which resonated wonderfully in the space.
Musically the songs are complex and layered which is a great contrast to the fairly simplistic looking photos. Most of the photos by Matthew Murphy are pretty basic looking with minimal action so it's wonderful to delve into them and bring out meaning with the music. Joe Bunker leads the six-piece band very well and pulls off each genre perfectly.
The movement is also brilliant, with sharp, quick steps which flow and pop exquisitely with the music. The studio is small but seems bigger because of how easily the cast move with one another, never seeming like they're running out of room but instead working the space and using it to add to the story.
At seventy minutes through, a unique show, a great cast and variety of musical genres you can't really go wrong and I would definitely recommend going along to The Other Palace Studio to see it.
35mm: A Musical Exhibition runs at The Other Palace Studio until September 30th.
photo credit: Brittain Photography
The Addams Family (UK Tour), Bristol Hippodrome | Review
The Addams Family (UK Tour)
Bristol Hippodrome
Reviewed on Tuesday 19th September 2017 by Isobelle Desbrow
★★★★
Full disclosure this show is a must see for all, with a mixture of pure wit, funny lines and the occasional sexual innuendo underpinned by a fabulous musical score, everything hit the right notes, especially the actors.
The scene changes were smooth, and visually or musically pleasing, never a dull moment. The acting was exquisite, Cameron Blakely as Gomez was the perfect mix of enthusiasm and misguided sentimentality. Morticia played by the stunning Samantha Womack was perfectly caste, an incredible voice matched with brilliant characterisation. Carrie Hope Fletcher played a very powerful Wednesday Addams, with pitch perfect harmonies, she was a thrill to watch. The relationship she portrayed with Lukas Beineke played by Oliver Ormson was magical. ‘Crazier than You’ was spectacular with perfect vocals and staging.
Without giving away too much Lurch certainly didn’t leave much to imagination with well timed movements and grunts, Dickon Gough is definitely a wonderful addition to the cast, especially towards the end!
A special mention must go to Scott Paige who stepped into rather large shoes to play Uncle Fester as Les Dennis was out for the evening. Scott was one of my highlights for the evening as he had wonderful vocals and characterisation, he brought so much to the character and I would love to see him one day stepping out into more of a leading role.
The music was well played and perfectly underpinned the drama of the musical. The costumes perfectly brought to life the outrageous, kooky Addams family world, especially with the exceptionally detailed ancestors. Each of whom were played fantastically by the ensemble and it was clear how much character development had been done in the rehearsal room. They also added a whole other dimension to full cast pieces such as ‘When You’re an Addams’ and ‘Full Disclosure’.
Overall this show is witty, modern and leaves nothing to the imagination. With updated jokes, amazing vocals and spooktacular acting it is a must see for all!
Saturday 16 September 2017
Gate, Cockpit Theatre | Review
Gate
Cockpit Theatre
Reviewed on Friday 15th September 2017 by Alex Saddiqi
★★★★
Written and produced by Artemis Fitzalan Howard and presented by Deadpan Theatre, Gate is based around an average Thursday morning at ‘The Gate’ in Wapping and, like every first-born child in the generations before her, Eve (portrayed by Emma Dennis-Edwards) is guarding it carefully. It’s going to be a busy day- there are four new appointments booked in. The trouble is none of the clients knew they were coming… because to reach the gates you have to be dead.
The piece is set in the round which immediately I was really intrigued by. It made the piece more immersive and I was interested on how they were going to use the space and questioned “will it be as open to each side of the audience than I initially thought it would be?”. To answer this question, I would say that the actors used the space very well and opened up to the audience as much as physically possible in the space. Dependant on where you sit in the round, some moments and visuals can be lost during certain scenes but it does open up again eventually once more.
There was stunning detail to set which really added to the production; from the waiting room tables to the cluttered computer desk, down to the Facebook pages that were made up purposely for the show. The use of levels was very clever and gave us a break from looking straight ahead of us and also added to the immersive feel.
The vocals of the ensemble who were mainly situated above really resonated throughout the entire theatre and added to the vibe of the piece- the sound was stronger and more precise. Vocals and harmonies were distinctive, precise and beautiful but sometimes got lost when some overpowered others, this, however, can be easily resolved. Overall the entire company had amazing musical timing and it was a pleasure to hear them.
The piece is very humorous and Eve, a character who stood out to me is very comical throughout. She held great power and status throughout the scenes especially in the opening; showed one of the strongest character developments throughout and was my personal favourite. However, as previously mentioned, the round space meant I was blocked from seeing her face and expressions at times but she tried her best to include the people in the back in a natural way that is still true to the scene.
Each actor crafted strong characters and kept the pace and commitment up throughout. There is a great contrast of characters and each actor bounced off each other very well which made the situation feel more real. Each is relatable in the fact that everyone in the audience would know someone like one of five of the characters and they all had their own defiant traits, quirks and personalities that were made clear to the audience exceptionally. The whole cast had excellent comedy timing and it really showed through the audiences reaction. The audience reaction/response seemed very positive and they all seemed to love the piece as well.
I found that the overall storyline was easy to follow and the piece is such a brilliant concept. It's a nice fresh take on an afterlife/religious styled piece. The backstory of the characters was well presented. We learnt more about them as the story developed and it didn’t feel like an overload of information. The build up in some scenes felt a little rushed in but the tension and objective of the scenes were held well. There were a few prop and costume mishaps but the actors all carried on and played used them to add to the comedic effect.
I would definitely recommend to see this play and I would even go as far as saying that it’s one of the top ones I’ve see this year. The company are outstanding and give a spectacular performance of a brilliant play.
Gate runs at the Cockpit Theatre until September 24th
photo credit: Lidia Crisafulli
Friday 15 September 2017
Deathtrap (UK Tour), Theatre Royal Brighton | Review
Deathtrap (UK Tour)
Theatre Royal, Brighton
Reviewed on Wednesday September 14th 2017 by Melodie Hornett
★★★
Deathtrap felt a little unsteady from the offset. It opened with an unnecessary and horrifically loud sound effect. There were moments when I felt unsure of the intention - comedic or serious. The play itself is interesting and able to hold an audience throughout thanks to it’s plot twists and unexpected turns but there is a certain degree of repetition when the characters recount the events just passed. Sometimes, however, there seem to be too many twists, making it a little predictable. The very final scene feels unnecessary and unlikely, however the majority of the play works well and is highly enjoyable.
I would like to have seen stronger US dialects from the two leads as this was rather distracting. Particularly from Paul Bradley, who’s performance as playwright Sidney Bruhl was stellar, yet made unconvincing at times through slipping in and out of accent. His energy combined with his dedication to the character kept his performance afloat and he remained very enjoyable. The audience could clearly connect with his character and he is well cast in the role.
This is somewhat of a mismatch with Jessie Wallace however. She made a good effort in the role of Myra and showed she is capable of moving away from the familiar typecasting, however there was little connection on-stage between her and Bradley. She also felt detached from the audience, not really allowing us an opportunity to empathise with her. I feel she could have been a little braver with her performance and created a stronger character. She wasn’t greatly missed during Act 2 when the character is absent.
Sam Phillips’ portrayal of Clifford was well acted and demonstrated appropriate naivety in places. He shows great commitment to the role and is able to flick back and forth between alter-ego’s effectively. He shone out as particularly capable in this role and was well cast.
Julien Ball as Porter is unfortunately, unmemorable. He could have made this character much more commanding even verging on sinister, yet came across as weak.
The star performance without doubt came from Beverly Klein, who’s obvious stage background showed real command of the audience and the space she worked in. Great characterisation of Helga ten Dorp, perfect comedic timing throughout, a real joy to watch. She provided light-relief from some of the heavier scenes that was much needed.
Technically, the sound effects were far too loud in several places and music/sound used for dramatic effect seemed cheap, uninventive and predictable. The set looked great, was functional with the appropriate weapons clearly on display and some clever trickery used during fight scenes. Interesting use of thriller film clips between scenes, with a slightly kitsch opening picture frame, concealing the projector. A little more care needed to be taken with masking on-stage trickery, such as hiding of the dagger thrown across the stage.
Overall I did enjoy the piece, however felt that the casting of television celebrities in the majority of roles in Deathtrap was a mistake. I would recommend watching, turn a blind eye to some of the details mentioned above and you won’t fail to enjoy.
Thursday 14 September 2017
Five Guys Named Moe, Marble Arch Theatre | Review
Five Guys Named Moe
Marble Arch Theatre
Reviewed on Wednesday September 13th 2017 by Olivia Mitchell
★★★★
Five Guys Named Moe premiered at the Theatre Royal Stratford East in 1990, ran for over four years, transferred to Broadway and won the Olivier Award for Best Entertainment. Despite this, it's a fairly unknown musical so is an exciting addition to the London scene which is currently made up of a lot of long running classics.
The rise of new and unique theatrical experiences is ever growing, with pop-up theatres and immersive events offering unusual theatrical adventures. Cameron Mackintosh has grabbed this trend by the horns in his new venture with the specially built Marble Arch Theatre. The theatre is simple on the outside but completely brilliant on the inside; as you walk in it's like entering the tardis. You're brought into a large 360 bar complete with a live band above and a wonderful selection of drinks to get your night started in the perfect way.
Written and directed by Clarke Peters, the show charts the story of Nomax, whose girlfriend Lorraine has left him. With no money and booze as his best friend, he meets Big Moe, Four-Eyed Moe, Eat Moe, No Moe and Little Moe as they emerge from his 1930s-style radio to guide and comfort him as they sing the songs of saxophonist and songwriter, Louis Jordan. Personally I found the story pretty pointless. At times it felt that the songs didn't really fit and I didn't feel emotionally attached enough to either Nomax or Lorraine to care whether they got back together or not.
Despite this not so stellar story, the music is spectacular. Each song is playful, catchy, foot-tapping and filled with warmth and affection for one another. The five Moe's are energetic and throw themselves into the fast paced, jazzy pieces and choreography by Andrew Wright with joy and exuberance. The on stage band showcase the rhythm and complexity of the music well and are particularly impressive during their solo moments.
The Moes are Four-Eyed Moe (Ian Carlyle), Little Moe (Idriss Kargbo), Know Moe (Dex Lee), Big Moe (Horace Oliver) and Eat Moe (Emile Ruddock). The Moes are banterous with one another and seem like the kind of guys you'd have an amazing night out with. They are all equal, sharing solos with one another and each having their own personalities which bounce off one another and work together seamlessly in moments of tight harmony. All five men have absolutely outstanding voices as well as sleek, sharp dance moves which are showcased in a smooth and stylish way. Similarly, Edward Baruwa is fantastic as Nomax, his effortless, strong voice soars and he manages to be emotional, funny and contemplative at times.
As previously mentioned, the venue is very cool, however, I don't feel like it's ideal for this show. The round space doesn't really add anything to the story and due to the un-raked seating there are moments missed by the audience. I was sat in the third row of the stalls which sounds fine but with three tall people in front and no varying levels it was very difficult to see and I often found myself craning my neck to try and see through the gaps- something which could've been avoided with even a slight rake between rows. The screens used around the sides of the space are a very nice touch but felt underused. It would be exciting to have them at other points, as long as they don't become gimmicky.
Overall I did enjoy this show though. The story is nothing special but I adored the music and it's certainly a brilliant, toe-tapping show with flawless performances all round and perfect for a fun, light-hearted night out. It you want catchy songs and first-rate singing in a very neat London venue then this is the show for you! So let the good times roll and hop along to the Marble Arch Theatre!
photo credit: Roy Tan
Hairspray (UK Tour), Bord Gais Energy Theatre | Review
Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray
★★★★
Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.
Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.
Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).
Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.
As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.
While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.
The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.
While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.
However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.
Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.
However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).
Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.
If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.
All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.
Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.
Photo Credit: Darren Bell
Tuesday 12 September 2017
Grease (UK Tour), Edinburgh Playhouse | Review
The turn of Grease at the Edinburgh Playhouse transformed the theatre into a lively hothouse of hand jiving, bomber jackets and 50s nostalgia. With hundreds of costume changes, multiple set changes and an enviable line-up of cast and crew, including Tom Parker of The Wanted fame, this production of Grease was far from an understated affair.
The first surprise in the production came when the curtain initially lifted to reveal an exposed upper mezzanine level to the stage, where the live band was on display for all to see. With charismatic showmanship, the flamboyant conductor introduced each of his band members with the flick of the wrist, while they in turn stood up and gestured to the audience to boast their musical prowess. As far as warm-up acts go, this one was pretty spectacular.
Cut and the band are once again hidden from view (only to emerge later in a few choice scenes), with the show’s two star-crossed lovers emerging from opposite ends of the stage, raised on pedestals in a creative use of staging. Danielle Hope astounded the audience as Sandy from the very first note, captivating even the back seats with her commanding theatrical voice, with seemingly endless levels of range and depth. Tom Parker successfully portrayed the too-cool-for-school attitude of well-loved character Danny Zucko, but the powerful contrast at play between his boy-band tones and Danielle’s finely trained voice was at times, very clear to see. His “Sandy” solo was less than electrifying, whereas Danielle’s solo performances had the audience clinging onto every perfectly delivered note.
The supporting cast in this musical raised the energy levels tenfold; hand-jiving, flipping and jesting their way into the audiences hearts. Jan (Rosanna Harris) and Roger (Oliver Jacobson) were transformed from sideline characters into firm audience favourites. Each couple’s voices were paired to perfection, making for some harmonious duets. Special mention goes out to Alessia McDermott, who was standing in for ChaCha on the evening we attended; she high-kicked and smouldered her way through the show, leaving the audience clueless as to why she was only an understudy in the first place!
As far as performances go, this one was extremely physical, but the young cast kept pace the whole way through. It will come as no surprise to any viewer that the dance scenes were the brainchild of Strictly’s Arlene Phillips – the couple’s competition at the school dance featured more lifts and swings than you could shake a baton at. The razor-sharp choreography throughout was a real highlight of this performance, with not a single cast member slipping up during the lightning-speed handjiving sequences.
In a nutshell, this show was both ambitious and energetic in equal measure. The flashes, bangs, fire and sparks during the Greased Lightning song resulted in a real show-stopping moment, while Danielle’s voice reached dimensions far beyond what Olivia Newton-John could deliver in the movie version. Whether it was down to delivery or acoustics, some of the snappy tongue-in-cheek comments were unfortunately difficult to hear, and many of these jokes were as a result missed by the audience.
Overall, this was a very well-assembled production of an old school classic, delivered with such youthful energy and accompanied by great staging - viewers of any age or gender are guaranteed to get swept up by the excitement and extravagance of this show.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
In Conversation With... Marta Jorgensen | Donny and the Sun King | Interview
I am all about helping new writing because who doesn't want something fresh? So when Marta Jorgensen contacted me about her show which she has written and is currently trying to raise funds for, I was very intrigued and excited to talk to her about her process and what she's trying to do...
What got you into writing?
In my thirties I was married to a songwriter who ran off with his songwriting partner. In the beginning the urge to write was spurred on by wanting to get even. But as time goes by, one realises that revenge is a dish best left in the ice box. I was ready to throw it out and just write. Screenplays, songs, a lot of political writing and opinion pieces.
I found it nice to be published until… well you know, then you get a rebuttal. I ran for political office in the US and wrote extensively for that. Sustainability, Straight Talk and Citizen Activism. Politics is like theatre and that inspired several songs about politics and media. From those songs came the play.
Has it always been a passion of yours?
No, but singing has been since watching tiny Michael Jackson onstage at a young age singing like an adult. I wanted to be on stage at six years old. I caught a fame bug.
Can you explain what Donny the musical is about?
Donny is done as a play within a play or a kind of Metatheatre. I use this literary device; it is Rhoda’s inner workings, her mind and her thoughts, her emotional state. Freud talks about the dream within a dream and Shakespeare used it with success. The play talks about itself and is aware of itself. In the story she brings her family into her imagination, they sing about it, she sings about how she wants to write an ending she can live with. Rhoda in her dialogue calls attention to the plot and how it is not going her way. Characters give advice to her about what others should do.
Rhoda Haynes, a quirky New York playwright has a grudge against Frenchy King and his lying King Media Empire. Rhoda and her family are suing King Media over fake stories written about them. She can’t do anything or say anything to jeopardise it. But, she wants to get even. Hubert, Rhoda’s husband tells her to write and get it off her chest. So Rhoda, sitting at her desk, starts banging away on an old fashioned typewriter. She starts a play called “Donny and the Sun King”. Here is the story as she creates it - inserting herself and her family members, husband Hubert Haynes, daughter Blaze Haynes, as themselves (Rhoda Haynes, a playwright, Blaze Haynes, Rhoda’s daughter, a famous singer and Hubert Haynes, a Congressman). Just like in real life, the character family debates with Rhoda about plot issues involving them. Rhoda wants an ending she can live with so she tries to write one.
What made you write this show?
From the 80’s to now media has evolved and taken over our lives to an extent that we have lost control of it. Standing at the checkout counter you see name after name splashed there about some affair or travesty they had, then later you read the paper got sued for writing a fake story. Now everyday it’s on the Internet. I started this play three years ago with just that in mind. Now it’s done and we have Mr. Trump in office and all anyone talks about is fake news. So I have tapped into the zeitgeist of the times. But to tell you the truth, I have a fascination with the tabloid world. I love headlines like I married Bigfoot; Aliens are Living in my Basement. Frenchy King sings about these kinds of stories.
The subject is extremely relevant, what made you choose it?
The subject chose itself. How can you not write about it? It is today’s reality. How else can you write about Perry’s Poorhouse, Rhoda’s concept of Hell, a combination of Don Giovanni and Married with children and get away with it. Tabloid media lends itself to fanciful worlds and situations.
You’re raising the money for a score through Hatchfund, can you tell us a little about that?
Yes, Hatchfund is an arts crowd funding organisation. You have to submit to get accepted. They give you an account manager who baby sits you through the crowd funding process. They have a 75% success rate. I am raising money to hire a studio in Santa Barbara CA, Hidden City Studios and its owner, Elliot Lanam, to help flesh out the play songs and other music.
It’s a long process and the biggest part of producing a musical of course. I need $4000 to $5000 to meet my goal by October 31, 2017. There are 19-20 songs with names like My Story, Ratings R Us, Donny’s Lament, Hope and Pride, Perry’s Poorhouse, Babel, Ball and Chain, What’s in a Word, Lower Slobovia. The music is a mix of styles, kids have their sound, the media upper class have their sound and the Rhoda and her family have a sound of their own. All pulled together by a thematic through line.
Did you model the characters on anyone you know?
Well yes, but I might not be able to divulge that. LOL. I don’t want to be sued. That would be too much like the story acting out itself.
But I have to say there is a lot of Rhoda Haynes in me. If you want to know what parts you will have to read the play and donate to the cause. Then I might reveal it.
If you could sum the show in 5 words what would they be?
Beware of writers with grudges.
Hilarious, satirical and very entertaining.
What’s your best piece of advice for aspiring writers?
Go to school and learn it right. Treat writing like a job but be yourself. Or if you are not yourself, after you write for awhile you will find yourself. Then maybe you might want to lose yourself.
Listen to the small still voice in your head at 5 AM saying get up I have a scene I want to work on. That’s the muse. Or it could be the TV. Most of my work comes while walking in nature. Writing is channeling the universe. A wise man once said that and I find it to be true.
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