Posts with the label theatre
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Tuesday 23 January 2018
Sunset Boulevard (UK Tour), New Victoria Theatre | Review
Sunset Boulevard (UK Tour)
New Victoria Theatre
Reviewed on Monday 22nd January 2018 by Olivia Mitchell
★★★★★
The recent trend in my life seems to be watching things about the golden age of Hollywood and actresses who can't face the loss of fame. If you watched Ryan Murphy's recent television series, Feud, you'll notice the strong similarities between the life of fictional Norma Desmond and film royalty Joan Crawford. Both women were stars of the silent film era and the embodiment of Hollywood glamour, however as they grew older and their fame and fans disappear, they fall into a draining game of always trying to appear young and live as though their glory days aren't over.
In Andrew Lloyd Webber's adaptation of Billy Wilder's 1951 film, Sunset Boulevard, we meet a reclusive Norma who's in a dark phase of her life as she's trying to get back into the film world. Enter Joe Gillis the struggling screenwriter desperate to get his lucky break who somehow ends up in Norma's sprawling mansion.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
The staging is slick and perfectly evocative of the 40s/50s, helped hugely by Douglas O'Connell's spectacular video and projections which not only add to each scene and song but make the whole thing cinematic and help to blur the line between reality and film which Norma struggles to deal with.
The show, like it's characters, is full of melodrama and power. Ria Jones takes on the role of the narcissistic, fading Norma Desmond with masterful skill. Her performance is truly remarkable and she embodies the role with every fibre of her being. Commanding the stage and audience with her every word and whacking Andrew Lloyd Webber's huge numbers out of the park. Jones puts in everything the has to earn her extensive standing ovation at the end.
As the handsome, aspiring screenwriter Joe, Dougie Carter is outstanding and versatile. From fairly innocent at the start to dark and tortured. He is absolutely faultless, with his rendition of Sunset Boulevard gripping the audience at the start of Act 2 along with is sharp, engaging chemistry with Ria Jones.
Special mention must go to Adam Pearce who deftly plays the Phantom-esque role of Max Von Myerling and superbly balances his endearing and chilling sides whilst delivering some top class vocals that almost steal the show.
This production is a musical theatre masterclass that perfectly charts a story of obsession, drama, age and lust. It's a must see for any musical theatre fan, with Ria Jones' performance worth the ticket price alone.
Sunset Boulevard runs at the New Victoria theatre until January 27th before continuing it's tour.
Saturday 13 January 2018
Strangers in Between, Trafalgar Studios | Review
Strangers in Between
Trafalgar Studios
Reviewed on Friday 12th January 2018 by Shaun Dicks
★★★★★
As a member of the LGBT community we all face our fair share of struggles. One of those struggles is the loss of family, whether its you leaving them or they sever ties with you. Strangers in Between tackles the subject of creating your own family with wit, humour and wonderful storytelling. It’s the story of Shane, a 16-year-old boy who runs away from his home and family in suburban Australia to Kings Cross, Sydney. The story follows Shane as he tries to navigate these new surroundings and new friends whilst carrying old baggage.
The story and message is a very relatable one; one that is very well crafted by Tommy Murphy. Murphy’s crafting of the story and characters is genius, the script is witty and humorous without even trying. The writing is outstanding, modern scriptwriters please take note. The direction from Adam Spreadbury-Maher is masterful, the show being slick, punchy without being over bearing.
Now we come to the cast. No words can be used to describe how outstanding the all-male cast of three are. You can tell that the relationship between them is strong. They are comfortable with each other and they have an undeniable chemistry. Roly Botha as Shane was truly endearing, creating a gem of a character. Dan Hunter as Will/Ben was charming as Will but complex as Ben. Hunter’s ability to change between roles was brilliant. The best I’ve saved until last, Stephen Connery-Brown as haggard old queen with a heart, Peter was simply perfection. Peter was witty, humorous, serious, kind and loving; the complete character. Connery-Brown isn’t just talented, he is an actor young performers should look up to. He gives a masterclass on how theatre should be done. These men took this script, ran with it and then some.
As a gay man myself, I relate to this story. It didn’t make me feel just for a second but a very long while. It made me emotional and think for hours after the show. That is a signifier that it is excellent theatre. The Kings Head Theatre is renowned for producing brilliant LGBT theatre, Strangers In Between falls into that bracket and is more than deserving of its West End transfer to Trafalgar Studios. Everyone needs to see this show. Support the wonderful Kings Head Theatre, support Strangers In Between. It deserves to be seen. It deserves to be recognised. It is the best thing you will see.
Tell your friends, family and work colleagues. Everyone needs to see Strangers In Between!
Strangers in Between runs at the Trafalgar Studios until 3rd February 2018
photo credit: Scott Rylander
Thursday 11 January 2018
Lobster, Theatre 503 | Review
Lobster
Theatre 503
Reviewed on Wednesday 10th January 2018 by Shaun Dicks
★★★
Theatre 503 is renowned for new writing. Its reputation precedes itself for creating fresh, innovative and thought-provoking work. Tonight, their offering was Lobster, not the food, but the new play by Lucy Foster. The thing with new work, especially previously untested work, is that it can be very hit or miss. Lobster is like an edge to first slip, it was neither a hit or a miss.
Lobster is the story of J and K, two young professional women in London. We follow them throughout this story as they narrate through their relationship history. J (Alexandra Reynolds) is the loveable geek who is almost unbelievably nice. Reynolds did a decent job playing J but it felt like it all fell on one note with her. It didn’t feel like a completely realised character and needs more work to really capture who J is as a character. Overall she felt quite bland. However, K (Louise Beresford) felt like a slightly more well-rounded character. Despite the character being very stiff, there is a dry humour about her that as an audience member you can’t help but laugh. K is a more well-rounded character because of her inability to let herself be happy, she is her own saboteur.
The story itself is a good one, it is one that needs to be told. In the modern age of technology, dating and relationships have become so much harder. It’s a minefield. But the script itself, though humorous, needs work. It needs tightening up in certain places and would benefit from a workshop or two and a fresh set of eyes. The direction from Kayla Feldman is standard but needs to be developed and worked further so that it can become special.
This show has the potential to be something special, the story is there, but there are certain aspects that need tightening or a metaphorical jolt in the arm. There is too heavy a reliance on modern culture for humour to land, the characters need development and the overall presentation of the piece needs work. If the show is to go any further, changes need to be made. The show as it is now is ok but it deserves to be better.
Lobster runs at Theatre 503 until January 20th 2018
photo credit: Ali Wright
Friday 5 January 2018
Bananaman The Musical, Southwark Playhouse | Review
Bananaman The Musical
Southwark Playhouse
Reviewed on Thursday 8th January 2018 by Nicola Louise
★★★
Since his first appearance in 1980 Bananaman has become somewhat of a cult classic and it’s not hard to see why. A relatively geeky young kid eats a banana and he turns into a superhero known as Bananaman, a super strong, super fast, spandex dressed muscle man with not many brain cells.
With the book, music and lyrics by Leon Parris and directed by Mark Perry, the legend of Bananaman comes alive in this comic musical. From the moment you walk into the theatre you’re transported into the world of comics: Acacia Road, Beano Town where Eric Wimp and his mother live.
The show opens with the bad guys; Dr Bloom played by Mark Pickering and General Blight played by Carl Mullaney, both of whom worked well together and it felt like they had walked straight out of a comic strip into the real world; bouncing off each other perfectly. Pickering is considerably smaller then Mullaney which just adds to their evil comedy duo.
Eric Wimp is the boy who can turn into Bananaman himself, but as his original self, he’s a small skinny boy who has trouble saying hi to the girl he likes. With a cast full of adults playing 15-year-olds you’re always worried how well it’s going to turn out, are you going to believe it? Will it start to get old real quick? Luckily this was not one of those times, Mark Newnham played a very convincing 15-year-old and a strangely convincing geek, he showed real emotion when he thought everyone hated Bananaman and it got you feeling sorry for him.
Bananaman himself was completely different to Wimp and Matthew Mckenna brought the cartoon hero to life, he was tall and handsome and worked well to bring comedy to those one-liners. Seeing this show with my 9 year old nephew really got me to see it from the shows intended audiences side and although he may not have gotten all of the jokes in the show he did say; "It’s the way he said them made them funny". Kids aren’t going to get everything, we know this, but if you can make something sound funny for them and have the adults laugh, you’ve done a good job
Now every hero needs a sidekick right? Bananaman did, although most sidekicks are not necessarily talking birds, or Crows, in this case. That’s right, Bananaman’s sidekick is a talking crow and it’s not until Eric is hit with lightning that makes him able to turn into the superhero is he able to talk to him. I love that they’ve used a puppet for this with Jodie Jacobs as the puppeteer. I thought she brought the Crow to the front of the show and she became my main focus... even if she wasn't really meant to be! This is the same when it came to Jacobs singing, a wonderful voice and she hit every note perfectly, but I feel toning it down just a little would have taken the focus off of herself and her character and allowed the audience to focus more on what was happening on stage around her.
Other main characters included Wimps love interest, Fiona Mullins, played by Emma Ralston who played the non-damsel in distress perfectly, Chief of Police: Chief O’Reilly played by TJ Lloyd, Lizzii Hills who plays Mrs Wimp & Brian Gilligan who played the Mad Magician. All of whom worked well together to make you feel like the Acacia Road was a real community of people who will always look out for each other no matter what.
I would recommend this show for children 8+ and adults alike, especially those adults who remember the cartoon, the music and lyrics of this show which fit in perfectly with the comic book feel whilst the fight scenes are a perfect ode to the old style comic books.
Bananaman runs at the Southwark Playhouse until January 20th 2018
photo credit: Pamela Raith
Top Hat, Upstairs at the Gatehouse | Review
Top Hat
Upstairs at the Gatehouse
Reviewed on Wednesday 3rd January 2018 by Becca Cromwell
★★★★★
Based on the 1935 RKO Musical, Top Hat, starring Ginger Rogers and Fred Astaire and featuring music from Irving Berlin, this stage adaptation of the beloved musical brings sparkle to a tiny but beautiful fringe theatre in Highgate, London. Upstairs at the Gatehouse has built a reputation of being one of the leading fringe theatres in London, and you can see why.
The stage, or lack of it, really made this production work. You were inches away from the characters from beginning to end, which made it feel as if you were truly there with them. The show opens with Puttin’ on the Ritz and within seconds, the entire room was mesmerised. With direction from John Plews and choreography from Chris Whittaker, this adaptation of the musical was bound to be fantastic.
The set was very cleverly designed and hidden away under a raised platform at one end of the stage. With just the addition of a table or two, we were transported from London to Venice and from room to room. As the audience were seated on both sides of the stage, I was unsure as to how it would quite work, but it did. The cast very cleverly managed to play to both sides of the room at once, which takes some skill.
Jerry is a star, and he knows it. When he travels to London to open in a show in the West End, he meets Dale Tremont a model and fashion superstar, played by Joanne Clifton (Flashdance, Thoroughly Modern Millie). The two fall in love through a frustratingly good plot, in which mistaken identity, a camp Italian fashion designer, a butler turned spy and a well-known theatre producer play a big part.
Joanne Clifton wowed as Dale, tap dancing her way into the audience’s hearts. Joanne, of Strictly Come Dancing fame, put her well-known dance skills to good use and her acting and singing abilities astonished the audience, myself included. Having recently toured the UK with Flashdance, she moved quickly onto Top Hat over the Christmas period, and returns to Flashdance soon.
Joshua Lay starred as the ever-so-charming Broadway star Jerry Travers, and gave an impressive performance. His dancing was sublime, giving Fred Astaire a run for his money. Lay held his own amongst the superbly talented cast, which is to be admired.
Darren Benedict played Horace Hardwick, a popular theatre producer who enlists Jerry for his latest show. Darren provided comedic relief throughout, which was thoroughly entertaining.
Samuel Haughton played Bates, Horace’s butler. Haughton’s comedic timing was perfect and helped move the show along nicely, making us chuckle in between the more serious scenes.
Fashion designer Alberto was played by Australian born Matthew James Willis and much to the audience’s delight, gave a hilarious performance, bad jokes included.
Ellen Verenieks as the sharp-witted Madge gave a vocally impressive performance. Although only properly introduced to Madge in act 2, Ellen ensured that the character was memorable through her fantastic performance.
The ensemble consisted of Rhys Ashcroft, Marcus J Foreman, Leanne Groutage, Grant Jackson, Olivia Sinclair and Grace Usher. All of the ensemble gave outstanding performances, with each of them taking on three or four different roles.
Top Hat runs at Upstairs at the Gatehouse until Jan 28th. If you can get a ticket, I urge you to go.
photo credit: Darren Bell
The Wizard of Oz, Capitol Theatre | Review
The Wizard of Oz
Capitol Theatre, Sydney
Reviewed on Thursday 4th January 2017 by Faiza Rahman
★★★★★
Andrew Lloyd Webber would have been over the rainbow with the Sydney premier of The Wizard of Oz. From the moment the stage curtains opened, the audience were captivated. Personally, just for a moment, I forgot whether I was watching a movie or a show because of the pure essence of the way that the stage was set and the way digital media was used to give the audience a feeling of inclusion in the story and world of Oz.
Samantha Dodemaide does a whimsical job of taking us into the land of fantasy (apart from Dorothy’s red shoe coming off her foot when it was supposed to be stuck!) This slip up was ignored with grace from Samantha as the audience giggled and quickly forgot, whilst she continued to perfectly capture the golden-age naivety. Lucy Durack as Glinda won me over with her witty one-liners and effervescent outfit. Eli Cooper’s Scarecrow act was certainly not spineless – his bendy limbs wrapped us in admiration; alongside John Xintavelonis’ Cowardly Lion’s witty and ‘scary’ roar and Tin Man’s (Alex Rathgeber) heartless love and robotic movements. The Wicked Witch of the West (Jemma Rix) – well, that laugh explains why she was the perfect person to embody her character, for not one moment did I not adore her evilness, as weird as that may sound- she was brilliant!
The star of the show was the costume and set design by Robert Jones, supported by Jon Driscoll and Daniel Brodie’s engrossing video and projection work. Vorticist projections were used to evoke the Kansas cyclone that took Dorothy into the dreamworld and took us there too. The lighting and effects used on the walls of the theatre enhanced the experience and created an ethereal atmosphere that delved us straight onto the yellow brick road and at times I really felt like I was a part of the show.
The costumes were visually appeasing – what particularly impressed the audience was when Dorothy’s dress changed colour as she conducted a twirl across the stage from her regular dress to a sparkly green version as she entered Emerald City. The screens used to create the feeling of depth were perfectly controlled and used well to create the feeling of distance to emerald city. My highlight was when Dorothy, Tin Man, Cowardly Lion & Scarecrow were put in the dome by the Wizard – it looked so 3D and realistic, everyone was astounded.
I was taken back to my childhood through the music. Samantha Dodemaide’s voice projects an innocence yet heart wrenching power, like a force leading her back home to Kansas. Although since 1939, The Wizard of Oz has taken on many variations, this one stays grounded in the characters and echoes that there is no place like home, even with its modern twist.
The Wizard of Oz runs at the Capitol Theatre until 4th February 2018
photo credit: Jeff Busby
Wednesday 20 December 2017
The Grinning Man, Trafalgar Studios | Review
The Grinning Man
Trafalgar Studios
Reviewed on Tuesday 19th December 2017 by Shaun Dicks
★★★★
Trafalgar Studios, in the heart of the West End. We find ourselves in Studio 1, welcomed by a carnival aesthetic. The stage is set like the title, grinning. From corner to corner a grim, dark eternal smile. As we take our seats, there is a feeling of eeriness and darkness, setting the tone for the rest of the show. A demonic gong sounds, and the show begins.
The Grinning Man - originally written by Victor Hugo - and adapted into a movie but now a musical, is a story of a young man who as a boy was given a permanent smile by metal. The story follows him as he becomes an orphan, and a series of events leads us through his childhood. His aim to find the people who gave him a permanent smile.
Like Hugo’s other West End adaptation this show is a success; it is tight, slick and seamless. The show is littered with dark humour throughout but is also hauntingly uplifting and optimistic in places. The use of puppetry was absolutely magical throughout, the skill of the puppeteers plain to see for all. The narrative of the show is a strong one, backed up with beautiful music, sadly the book and lyrics seemed a little basic. Within the show you can spot the many Musical Theatre influences that influenced the writers.
The cast of the show was a strong one, there wasn’t a weak link within the bunch. The harmonies, puppetry and movement was tight, obviously well-rehearsed. The characterisation was spot on with everyone as they all smashed down the fourth wall of the stage. A particular highlight was Julie Atherton as Queen Angelica, whose comedic timing was on point as always. Julian Bleach as Barkilphedro really drove home the element of dark comedy but also presented a well-rounded and multi-dimensional character that really thrilled until the very last second. Amanda Wilkin as Josiana was also a highlight. The standout however was Louis Maskell as Grinpayne, his skill set fully on display in this show, his versatility within the show shone as his voice soared.
If you’re looking for a glamorous West End show this isn’t for you. The Grinning Man is a dark and alternative show. It’s different. Its differences are what makes this show so great. This show is something fresh and new in a world full of revivals. The show is a must see. You’ll be gutted if you miss it.
The Grinning Man runs at the Trafalgar Studios until February 17th 2018.
photo credit: Helen Maybank
Friday 15 December 2017
War Horse, New Theatre Oxford | Review
War Horse
New Theatre Oxford
Reviewed on Wednesday 13th December 2017 by Donna Meredith
★★★★★
I came to this production having read the Michael Morpurgo novel, on which this adaptation by Nick Stafford is based, several times with my children. I relished the prospect of finally getting to see how this beloved story would translate from the page to the stage, and how the characters of Joey and Topthorn in particular would be brought to life in puppetry.
Since its premiere on 17th October 2007 War Horse has been mesmerising audiences across the world and I now know why. This 10th Anniversary tour is made more poignant by its timing following the recent 100 year anniversary of armistice day.
The production depicted the extraordinary and deeply moving story of the relationship between the central character, Albert Narracott played by the superb Thomas Dennis, and his beloved horse, Joey.
On one hand, the tale of a young man’s unwavering quest to find his adored horse after it was requisitioned for the WW1 war effort. On another, this tells the story of how horses were used and sacrificed in huge numbers on the French battlefields.
Alberts quest to be reunited with Joey takes us on a journey as he enlists and goes off to war. The reality of war is brought to life on stage to dramatic effect, the sound effects and imagery at times alarming in their honesty and intensity. The stirring music and songs, alongside the visual imagery projected on stage add to the powerful impact.
We see how relationships develop both on the home front and on the bloody battlefields and how the war effects different characters. A poignant example is the friendship between Friedrich Muller played by Peter Becker and young Emilie played by Joelle Brabban. As the horrors of battle take their inevitable toll on Muller we see him lose his grip on reality and develop an almost childlike quality.
However the standout stars of the show, in my opinion, are the Handspring Puppet Company who bring amazing puppetry and skill to the stage. To describe the horses as 'puppets' doesn't do justice to how amazing they are. Even with the puppeteers in full view of the audience, the horses appear 'real'. They come to life before you, galloping, charging, breathing . I was immersed in the story and the realism of what was portrayed on stage.
Complex, intense and disturbing yet gentle and moving in equal measure. I would recommend this wonderful production to theatre goers of all ages. A enduring story of humanity and friendship and a timely reminder of the futility of war and the sacrifices made by those that have gone before us.
War Horse runs at the New Theatre Oxford until 6th January 2018.
Thursday 14 December 2017
Pinocchio, National Theatre | Review
Pinocchio
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 13th December 2017 by Olivia Mitchell
★★★★
Disney have given the stage rights of the Oscar-winning Pinnochio score to the team at the National Theatre who are on a mission to create their next theatrical spectacle. Based on the fable by Carol Collodi, this show tells the story of a Geppetto, a puppeteer who longs for a child. One night he is visited by a mystical lady who commissions a new puppet to be made out of her own enchanted wood. This puppet needs no strings and is for all intents and purposes, a boy... except for the fact he's made of wood!
Marketed towards "Brave 8 year-olds and above" this show is definitely darker and more sinister than the Disney classic. Featuring a strange Fox who's tail is full of magic and a host of other not so kind characters, this definitely has more depth than expected. I was throughly entertained by by both the child-aimed and adult-aimed jokes, of which there was a good mix and all were pulled off well.
The use of oversized puppets (designed by Tom Olie) is absolutely wonderful. The actors and puppets become one through their synchronised makeup and the way they move together. At first I was a little confused by the fact that the puppets mouths don't move as they speak, however, this issue melted away almost instantly and I found the lack of movement especially striking in first act when Stromboli became deathly angry; the contrast between the dramatic voice of and the sinister smile on the puppet make my skin crawl.
As Pinoccio, Joe Idris-Roberts starts out throughly annoying, doing as he pleases with no care for his actions, however as he grows and develops he becomes more likeable and his journey of self realisation is wonderful. He cleverly embodies childlike qualities and shows his 'wooden' side well, despite having no physical pointers.
As his conscience, Audrey Brisson is hilarious. Dramatic and obsessive she manages to warm the audience to her whilst remaining extremely humourous. Again the link between her and her puppet, helped along by another puppet master is absolutely outstanding.
Mention must also go to Mark Hadfield who is sincere but strong as Geppetto (along with David Kirkbride). Especially in the opening scenes his acting and voice are really shown off and he gives a lovely performance. Dawn Sievewright also deserves notice for her energetic performance as Lampy in Pleasure Island (however I do think this scene could've been cut down slightly).
This is a magical, heart-warming production which uses a variety of theatrical devices in the purest and most masterful way. I'd certainly urge you to get to the National to experience it for yourself and be reminded of the importance of love and family.
Pinocchio runs at the National Theatre until April 2018.
Photo credit: Manuel Harlan
Jack and the Beanstalk (Pantomime), New Wimbledon Theatre | Review
Jack and the Beanstalk (Panto)
New Wimbledon Theatre
Reviewed on Tuesday 12th December 2017 by Olivia Mitchell
★★★★
Now I must admit, I'm not the biggest panto fan but I thought I'd give it a go this year so popped along to Wimbledon to see Jack and the Beanstalk and I was pleasantly surprised! Festive favourite and seasoned Dame, Clive Rowe takes on the role of Dame Trot whilst comedian Al Murray is a panto newbie as the landlord, Al.
Directed by Thom Southerland, Jack and the Beanstalk focusses on the humourous rapport between Rowe and Murray rather than an actual storyline. Panto isn't Shakespeare and of course the plot isn't meant to be dramatic or emotive, but at times it did feel a little too bare and in-cohesive and was somewhat of a let down. However, the witty one liners and and magical moments saved the show.
Despite some of his jokes falling a bit flat, Murray is hilarious as the Pub Landlord and his audience interaction is fantastic. He really knows how to warm and audience up. I also appreciated how much he was able to not take himself seriously and just brush off when a joke doesn't work. Clive Rowe as Dame Trot is fantastic and again, works the audience wonderfully. The two are really a winning pair; bouncing off one another and pushing each other to corpse at every possible moment. I loved this interaction and they really made the show.
I personally wasn't a fan of the music used. The songs are forgettable and felt put in for the sake of it. The children involved however, seemed to be having the time of their lives which was lovely to watch. Liam Tamne was great as Jack but I would've liked to see more of him. Despite being the title role, he was barely in the show and his relationship with Princess Apricot came and went at lightning speed. The second half especially felt like a mad dash to rap up the story.
The special effects were magical and definitely make the show for the children and adults alike. The dramatic helicopter scene at the end of Act 1 was unexpected and exciting and the 3D scene in act 2 added another level of interest.
At the end of the show everyone was buzzing and seemed to have really enjoyed their night at the panto. Don't expect a masterpiece, but for a fun, lighthearted show full of one-liners and audience interaction, take a trip to the New Wimbledon Theatre and experience this show for yourself.
Jack and the Beanstalk runs at New Wimbledon Theatre until January 14th.
photo credit: Craig Sugden
In Conversation With... Matt Addis | Remarkable Invisible | Interview
Matt Addis is currently starring in Remarkable Invisible, he sat down with me to chat all about the show, theatre he's recently loved and more...
For anyone that doesn’t know, can you explain a little about your career and what your highlight have been so far
For anyone that doesn’t know, can you explain a little about your career and what your highlight have been so far
I’ve been acting professionally for ten years, after escaping a blossoming career in corporate sales. Playing Nicholls in the international tour of War Horse was a delight, especially the shows for township kids in South Africa, where the puppets originated.
Have you always aspired to be a performer or did you have a different dream when you were younger?
I always aspired to be James Bond, but after reading John le Carré I decided acting was maybe a less tedious career.
Have you got any hidden passions you’d like to pursue?
Rally driving, although I’ll need a few more well-paid jobs to really make that happen.
What can people expect when they come and see Remarkable Invisible?
A deftly-woven, delicate portrait of a family. Beautiful naturalistic dialogue and some hard home truths.
What drew you to the role of Christopher in Remarkable Invisible- are the two of you alike in any ways?
It’s a beautiful play, deftly painted onto a very small canvas. I was enchanted by the quality of the writing, which feels so beautifully fresh. Christopher is an emotionally stunted millionaire architect who lives in San Francisco and likes good bourbon. I like good bourbon.
Can you sum up the play in five words?
Family. Moving. Home. Lies. Truth.
Is there a play or musical you’ve seen recently that you loved?
Iphigenia in Splott, with Sophie Melville at the NT has to be the finest piece of theatre I’ve seen in years. Excoriating, visceral and evocative. Sophie’s worked here at Keswick before, and I hope she’s back very soon.
What’s a fun fact people might not know about you?
I once played Dame Edna Everage in an episode of Hollyoaks.
What’s your best piece of advice for an aspiring performer?
Listen to all the advice you can find, and disregard everything that gets in your way. Believe in yourself with a passion stronger than any obstacle. Find joy in the present, wherever that is!
A huge thank you to Matt for taking the time to chat to me. Make sure you catch him in Remarkable Invisible as well as any future projects!
Interview by Olivia Mitchell, Editor
A huge thank you to Matt for taking the time to chat to me. Make sure you catch him in Remarkable Invisible as well as any future projects!
Interview by Olivia Mitchell, Editor
In Conversation with Jonathan Andrew Hume | Alice in Winterland | Interview
Jonathan Andrew Hume played the lead role of Simba in The Lion King and is set to star in the Rose Theatre's production of Alice in Hinterland, alongside the Rose Youth Company. Jonathan spoke to Rewrite This Story about the show and all things Christmas...
What have some of your career highlights been?
I have been blessed with some great career opportunities. Two of my career highlights have been playing the lead role of Simba in Disney’s The Lion King in the West End, and also working with Emily Blunt, Lin-Manuel Miranda and director Rob Marshall in the upcoming movie Mary Poppins Returns.
What attracted you to this production of Alice in Winterland?
Our director Ciaran McConville has written a great take on Alice’s adventure. After reading excerpts of Ciaran’s script adaptation for my audition, and hearing Eamonn O’Dwyer’s great song the Blue Caterpillar sings, I knew this was going to be a fun project to work on, and I’m so glad to be a part of it.
What can we expect from the show?
You can expect a brand new and exciting adaptation of Lewis Carroll’s iconic story. A thrilling and sometimes mad adventure into Wonderland, taking you on a journey of Alice’s self-discovery and with the help of her new-found friends, realisation of what strength and power lies inside her.
You play the Caterpillar/Knave, what’s the funnest part about playing these roles?
Playing the extravagance and edgy lethargies of the Blue Caterpillar are the most fun. He’s such a great character to play. However, quite frankly, playing the Knave is also fun because I play a villain! I’ve always wanted to play one of the bad guys, and there is a certain satisfaction in getting “booed” by the audience at the end. You definitely know you’ve done your job properly... or at least I hope that’s what they’re “booing” for!!!
Who in the show do you think is most like their character?
I think our four talented young actresses sharing the role of Alice (Ellie Clark, Madeline Lynes, Gaia Mondadori and Hannah Wilkinson) have become most like their characters. All four of them are living the role each night they go on, and they do it with ease. Seeing them grow as actresses through this rehearsal process has been a privilege to watch. Their acting choices are natural and personal, and they make Alice so relatable that you cannot help but feel with her, the love, anguish, pain and joy she goes through before your eyes.
When it’s 'Time for Tea', what’s your biscuit of choice?
Oooh, that’s a hard one! I’d probably have to say it’s a tie between an Oatmeal and Raisin Cookie and an Oreo.
On a scale of 1-10 how much of a Christmas lover are you?
Probably a '9’. I love spending time with family, gift giving, singing carols and getting into the spirit of Christmas. I take away one point because as beautiful as winter can be, especially when snowing, I’m not the biggest fan of the cold!
If you could spend Christmas with anyone dead or alive (other than your family), who would you choose?
Wow! Another hard question. I think I would actually like to spend Christmas with the Hatter from the show, because it would definitely be the craziest, funniest (and messiest) Christmas dinners ever!
Give us your best sales pitch as to why people should come and see Alice in Winterland!
Alice in Winterland is an extraordinary Christmas show which people both young and old will enjoy. Be ready to be taken on an adventure into Wonderland that is like no other. With enchanting scenery and costumes, extraordinary puppetry and memorable songs, all put together by an amazingly talented creative team and performed by a brilliant cast!
A huge thank you to Jonathan for taking the time to do this interview. Alice in Winterland runs at the Rose Theatre until January 7th.
Interview by Olivia Mitchell, Editor
photo credit: Mark Douet
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