Posts with the label uk tour
Showing posts with label uk tour. Show all posts
Showing posts with label uk tour. Show all posts
Thursday 16 September 2021
Bat Out of Hell (Tour), Manchester Opera House | Review
Bat Out of Hell (UK Tour)
Manchester Opera House
Reviewed on Saturday 11th September by Hope Priddle
★★★★★
Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend. A stunning realisation of Jim Steinman’s life’s work and Meat Loaf’s iconic trilogy, the rock-opera is set in the dystopian city of Obsidian, a wasteland governed by the despotic Falco in the wake of a chemical war. Falco embarks upon a campaign to rebuild his metropole, which has since been overrun by a gang of feral, mutated youths – The Lost - frozen forever at the age of eighteen. As their leader Strat falls for the tyrant’s daughter Raven, an epic drama unfolds.
Bat Out Of Hell has undergone numerous changes across its various iterations; this new touring production is no exception, having been understandably shortened and scaled back. The book, which was already somewhat nonsensical, has suffered because of this. Amendments to the script, which were clearly made to clarify and accelerate the storyline, are overly literal, with clunky dialogue often betraying the visceral atavism of Steinman’s poetry. However, it’s foolish to think that anyone coming to see Bat Out Of Hell is after a refined and sophisticated narrative. Bat Out Of Hell is bursting with knowing irony and sarcasm – it has its tongue firmly situated in its cheek throughout. It’s a magical fever dream that invites you to suspend your disbelief.
Incoherency is irrelevant when you have a cast as stellar as this one - a cast who perform with such raw passion and hunger, you absolutely cannot take your eyes off them. As the black-hearted leader of The Lost and ultimate manic pixie dream boy, Glenn Adamson is mesmerising as Strat. His powerful performance of the titular song blew the roof of the Manchester Opera House. Adamson shares sizzling chemistry with Martha Kirby, our atypical teenage ingénue Raven, who perfectly captures the character’s fearless spirit and delivers flawless vocals. Rob Fowler and Sharon Sexton triumph as Raven’s parents, Falco and Sloane. While the couple are outrageously comic and camp, their failing marriage inspires genuine pathos as they reflect upon What Part of My Body Hurts the Most. Sultry and savvy, Joelle Moses embodies the role of Zahara; James Chisholm is charming as tough yet huge-hearted Jagwire, and Killian Thomas Lefevre plays a wholly endearing Tink, the youngest member of The Lost. Whilst supporting characters Valkyrie (Kellie Gnauck) and Ledoux (Danny Whelan) demonstrate stunning vocal prowess, the loss of an all-male rendition of Objects In The Rear View Mirror during the second-act, is felt massively. In previous productions, the number provided an emotional antidote to examples of sexually-charged masculinity and it was always refreshing to see raging machismo tempered by platonic male love.
The ensemble are electric, executing Xena Gusthart’s dynamic choreography with real attitude. They are complimented by a spectacular use of multi-media effects, including live video. Action is televised, Big-Brother style, across the auditorium, with an on-stage camera woman magnifying the drama. Given that the cast have free-reign over Jon Bausor’s multi-levelled post apocalyptic playground, this technique proves highly effective in capturing every little detail. The show is a huge assault on the senses, in the best way possible; expect a cacophony of colour, light, sound (and fire)!
If you’re after an evening like no other, exploding with hedonistic pleasure and unadulterated euphoria, head out on your Harley and get yourself a ticket…before they’re too hot to handle.
Bat Out of Hell is currently touring the UK and Ireland
photo credit: Chris Davis Studio
Wednesday 22 July 2020
Grease UK Tour starring Peter Andre to return in 2021
The producers of the first new production in 25 years of Jim Jacobs & Warren Casey’s iconic musical Grease, are delighted that the show will tour the UK and Ireland in 2021. The musical was due to tour in 2020 but had to be postponed due to COVID-19.
Following his success starring in the UK and Ireland tour in 2019, Peter Andre will star in the 2021 tour at certain venues and performances (Plymouth, Cardiff, Bristol, Milton Keynes, Dublin, Liverpool, Bromley, Southampton, Nottingham, Manchester, Dartford, Canterbury and Birmingham). As well as reprising the role of Teen Angel, Andre will also play Vince Fontaine.
The 2021 tour will begin at Theatre Royal Plymouth, running from 22 – 30 January, and will then play Wales Millennium Centre, Cardiff from 1 – 6 February, Bristol Hippodrome from 8 – 13 February, Edinburgh Festival Theatre from 16 – 20 February, Norwich Theatre Royal from 22 – 27 February, Milton Keynes Theatre from 1 – 6 March, Bord Gais Energy Theatre, Dublin from 16 – 27 March, The Alhambra Theatre, Bradford from 29 March – 3 April, Liverpool Empire from 5 – 10 April, Sheffield Lyceum from 12 – 17 April, Churchill Theatre, Bromley from 19 – 24 April, Stoke Regent Theatre from 3 – 8 May, Mayflower Theatre, Southampton from 11 – 15 May, Grand Opera House, Belfast from 18 – 22 May, Theatre Royal Nottingham from 24 – 29 May, Royal & Derngate Northampton from 31 May – 5 June, Palace Theatre Manchester from 7 – 19 June, The Orchard Theatre Dartford from 21 – 26 June, The Marlowe Canterbury from 28 June – 3 July, The Sands Centre, Carlisle from 6-10 July and The Alexandra, Birmingham from 12 – 17 July.
Andre said "I was so thrilled to have been returning to Grease this year as I had the most wonderful time last year working with our incredible cast and creative team. Sadly, this year's tour had to be postponed due to COVID-19 but I'm overjoyed that we can return in 2021. Grease is joyous and will truly allow you to escape to a different time, with show-stopping dance routines and some of the most iconic songs of all time. It's a show about solidarity and it celebrates friendship. As the song goes, We Go Together!"
Grease is directed by Nikolai Foster and choreographed by Arlene Phillips, with designs by Colin Richmond, orchestrations and musical supervision by Sarah Travis, lighting design by Ben Cracknell, sound design by Tom Marshall and 2021 tour casting by Kay Magson CDG, with original tour casting by David Grindrod CDG.
This new production of GREASE is produced by Colin Ingram, InTheatre Productions, Donovan Mannato, Playing Field, Hunter Arnold, Araca and Curve.
photo credit: Manuel Harlan
Tuesday 25 February 2020
On Your Feet! (UK Tour), New Wimbledon Theatre | Review
On Your Feet (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 24th February 2020 by Olivia Mitchell
★★★★
Currently embarking on a UK tour after a summer stint at the London Coliseum, On Your Feet! is a celebration of Gloria Estefan continually thriving in the face of adversity. The musical has a flawed book, but there's heart in spades, glorious music and a real life story of endurance that is enough to warm your heart.
Transporting us from Gloria's childhood in Cuba, to her recording career and near fatal accident, it's truly inspiring to see how she rebuilt herself after physical trauma as well as always remaining true to what she believes in, even under the pressures of the music industry. The fairly small cast do an excellent job of filling every inch of the stage and perform with the energy and enthusiasm you could expect to see on the streets of Cuba. Consistently full out and precise in their movements, the cast are very impressive in their performance of Sergio Trujillo's intense choreography.
It's the pacing of this musical that is the biggest downfall. Of course it's based on real life events, but Alexander Dinelaris' book often lacks development and therefore depth. The main focus is on the lighthearted moments, meaning the more intense scenes are sometimes glossed over quickly. Act two packs much more of a punch in terms of emotional impact, with Gloria's scenes with her mother proving particularly moving. Again, this is a musical which reminds up to stick up for our values and beliefs. This idea is woven throughout but is especially effective in the scenes where the Estefans are at odds with their record producer (played excellently and humourously by Robert Oliver).
As the Miami diva herself, Philippa Stefani excels, bringing Gloria to life with a truthful performance. She engages the audience and never falters in energy or performance. Stefani's transition from shy teenager to commanding performer is masterful to watch and really showcases her as an actress. More so than anyone, Stefani uses the limited book hugely to her advantage and performs as though she really is on a huge, sell-out headline tour.
Stefani's chemistry with George Ioannides as Emilio Estefan is believable and romantic. Since seeing the show at the Coliseum, it seems George has really grown into the role as he gives a suave, vocally assured performance. Vocal powerhouse and legend of the stage, Madalena Alberto gives an exceptionally strong performance as she simmers ready to bubble over in anger or despair at any time. Vocally she is fantastic and her interactions which every character, especially her daughter, are truly enjoyable to watch.
The set design by David Rockwell is effective as it allows the action to transition from Cuba, to the USA and from kitchen to tourbus in a very simplistic but effective way. Quite a lot is left up to the imagination which, alongside having the band visible on stage, allows the true focus to be on the music. Like the ensemble, the band are full of an energy which fills the theatre and transmits amongst the audience. Kenneth Posner's bold lighting and Emilio Soso's bright costumes bring a carnival feel to the whole production which engages and entertains.
There are flaws to this musical for sure, but it's an uplifting piece of theatre which brings a little bit of Cuban sunshine to the streets of Wimbledon. For fans of Gloria Estefan this is a must-see, and for everyone else, it's a chance to tap your feet and imagine you're basking in the Miami sun. For a celebration of music, life and heritage, get On Your Feet and conga your way to see this tour.
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
Friday 21 February 2020
Laura Baldwin on The Importance of Female Led Musicals | Beautiful: The Carole King Musical | Interview
A jukebox musical with a book by Douglas McGrath, Beautiful: The Carole King Musical tells the story of the life and career of Carole King, using the songs she wrote as well as others by people she knew or were influential in her life.
Taking on the role of one of these, is Laura Baldwin who plays Cynthia Weil, King's best friend and writing rival. Having previously starred in Waitress, Laura is no stranger to female led stories, she sat down to tell us why these stories are so important and what people can expect from this musical...
Give us the lowdown on Beautiful, what can we expect?
Well you can expect a story of what went on behind the music surrounding the life of Carole King, told by an AMAZING cast. You’ll hear incredibly nostalgic songs and hopefully you’ll leave feeling elated, inspired and a little bit warm inside.
Whats your favourite song from Beautiful and why?
God that is SO hard! The Locomotion is definitely up there but it has to be Walking in The Rain. It’s just such a stunning song and it feels so lovely to sing.
You’re playing Cynthia Weil, what do you draw from in your own life and what research do you do to play a real person?
So Cynthia Weil is the first character I’ve played that I don’t feel anything alike. I couldn’t find any similarities for a while so that was a new challenge for me. It did however feel really refreshing to become someone completely different and, play parts of her that don’t come naturally to me. Now we’re well into the run I do see myself in her, like I love making people laugh, so does she! We’re both very ambitious and love our work. It was great to finally identify with her in some way.
I researched lots about Cynthia! I watched so many interviews and we talked extensively with Ed Goggin our director, all about the characters lives and motives throughout the show. I wanted to make sure I do her justice!! Hopefully I’m doing enough!
You previously starred in Waitress, another musical about female empowerment, what do you think makes these musicals so important and special?
Because we need women to be seen as the hero’s that they are and have always been! Waitress was a human story and Beautiful is a real life story, both with an underdog message. The characters find strength from within and that is always incredibly special to watch. Sara Bareilles is a power house as is Carole King. Their stories and music should be heard simply because of the talent behind them. I am honoured to be a small part of their work and portray the characters that are so dear to them, and inspiring to women and to everyone.
If a musical was going to be made about your life, who would you like to play you?
Oh Amy Adam’s or Kristen Wig just because I love them!!
What’s your best piece of advice for aspiring performers?
Keep the gorgeous people around you who lift you up! ALWAYS treat yourself after an audition. You will constantly struggle to balance everything and things will get hard but that’s okay. There will be highs and lows but the lows make it worth it. Stay humble, find ways to reconnect with yourself, book the holiday and know that your career doesn’t define you. I also feel like being yourself is HUGE and the moment I started accepting my weird crazy self, everything started to fall into place :) stay strong! x
Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22nd February before continuing its tour
Interview by Editor, Olivia Mitchell
photo credit: Helen Maybanks
Wednesday 19 February 2020
Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review
Beautiful: The Carole King Musical (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 18th February 2020 by Olivia Mitchell
★★★★
Beautiful opens with music icon, Carole King sitting alone on stage at a piano, singing to a sold out audience at Carnegie Hall. In an instant the piano moves out of view and we are taken to a Brooklyn apartment where a 16 year old Carole, with songs sing sell and dreams to dream, arrives on stage.
It's from here that we follow King through the trials and tribulations of her life from the vivacious teen, to young mother, wife, divorcee and eventually solo Grammy Award winner. From the outset Daisy Wood-Davis is engaging and endearing; giving a performance as Carole which certainly blooms throughout the musical and ends on a high. Her unique Brooklyn accent is strong, and whilst her performance is not always completely convincing, Wood-Davis does a solid job at bringing the legend to life.
What's impressive about this musical is how cleverly the scenes transition from the song-writing to the actual performances. The famous artists appear to perform the songs as the final lyrics and chords are written and highlight just how fast the music world moves. At times, some of the ensemble are a little lacklustre in their performances, but it's still nice to get a chance to hear the music of The Shirelles and The Drifters.
Aside from the music, the show mainly focusses on the relationship between Carole and her husband/lyricist Gerry Goffin. Played by Adam Gillan, Gerry is equal parts endearing, fragile and gushy. His vocals are strong and the chemistry between the pair, especially in the young love phase at the start, is very enjoyable to watch. We also see writing rivals/best friends Cynthia Weil (Laura Baldwin) and Barry Mann (Cameron Sharp) who want to succeed in all aspects of their lives. The pair give great vocal performances and bounce off one another well.
Many aspects come together to make this such a wholesome and enjoyable musical, including the excellent set design by Derek McLane which seamlessly transforms the stage and provides a welcoming backdrop for every moment. Alejo Vietti's costumes are also highly detailed and it's great to see how fashions changed as well as the music. Also, giving standout performances are Susie Fenwick as Carole's witty New York mother; Jordan Fox who shines in his vocal moments and Carly Cook who draws the eye throughout and gives an excellently polished performance all round.
A sentimental musical which captures all generations and celebrates the talent and drive of Carole King, and showcases the music industry Beautiful is certainly worth the watch.
Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22 February and then continues its tour
photo credit: Helen Maybanks
photo credit: Helen Maybanks
Tuesday 11 February 2020
Five Reasons To See Once the Musical
A beautiful, heartfelt story of an unlikely friendship between a Dublin busker and a Czech musician, we present five reasons why you should see Once on it's current UK tour...
The Pre-Show
Before the show even begins, Once offers a unique experience and welcoming atmosphere as the audience enter the theatre. The fantastic cast made up of actor-musos (more on that later) are performing a number of joyous Irish songs as if in a local Dublin pub. I particularly enjoy The Auld Triangle which Susannah van den Berg leads wonderfully. Also worth mentioning is the seamless transition from the lively pre-show tunes, to the haunting opener Leave, which settles the audience and paves the way for the journey of Once.
It's Surprisingly Funny
When I first saw this show, I didn't expect to laugh as much as I did. From the start there is a warm humour that feels (mostly) natural and realistic. Little giggles between the cast as they bounce off one another are enjoyable to watch, as are the jokes between Guy and Girl. From their first interaction, the pair (Daniel Healy and Emma Lucia) have an engaging relationship full of banter, sarcasm and honesty that's endearing to watch and brings light to the sometimes deep emotional moments.
Emma Lucia's Accent
Yes, this is an unconventional reason to see a show, but I was so impressed by Emma Lucia's excellent accent that I had to mention it! The combination of Czech with twangs of Dublin mixed in is so excellent. Emma is a magnetic performer, who we instantly warm to. The character of Girl is so optimistic that you can't help but root for her, and Emma brings this gleeful optimism to life fantastically.
The Power of Ensemble
Once is one of the most wonderfully ensemble fuelled pieces I've ever seen. Often the cast move like one entity, all invested in each others stories. These group transitions bring a motion to moments which could otherwise run the risk of falling flat. The reprise of Gold is a truly exceptional moment in musical theatre, as the entire cast come together as if using one breath to sing.
The Musicality
Of course you can't talk about Once without mentioning the music and those that perform it. The folk/rock score is what put the original film firmly on the map, with Falling Slowly becoming a staple on any musical theatre playlist. Not only is Once a love story in terms of romance, but it's also a love letter to music, with every song carefully thought out and performed. It's amazing to hear the folky, Irish, guitar led music, and it's even more impressive to watch it performed live by a cast of actor-musicians. Every cast member is an incredibly talented musician and it's sensational how they are able to tell a story and really engage the audience through music.
Once is currently playing at the New Victoria Theatre until 15 February and then continues its tour
Monday 10 February 2020
Emma Lucia talks life on tour in Once The Musical | Interview
Beginning life as a low budget feature film, Once, the story of a Dublin street busker and a Czech musician who bond over their love of music, has enthralled audiences since it was released. Audiences are now getting the chance to see it live on a UK tour.
Emma Lucia plays Girl, in this simplistically beautiful production. We chatted to her about her role, life as an actor-muso, her tour essentials and much more...
Give us the lowdown on Once, what can audiences expect?
Once is such a tricky show to explain because it’s really unique, but it’s essentially a play about an Irish guy and a Czech girl
who meet in Dublin and form a really special friendship based on their love for music. The show is packed with Irish/folk
music and each song is played by the 16 actors on stage - there are about 30 instruments in total so the sound is really
something! Anyone watching the show for the first time can expect to laugh (a lot), cry (a bit) and leave feeling really uplifted.
You play Girl, what’s she like as a character? Are you alike in any ways?
Girl is SUCH a fun character to play. She’s ridiculously optimistic, hilariously blunt and incredibly kind which is quite
inspiring because they’re all qualities that I love in a person. I think I’m quite a positive person (or at least I try to be… I
sometimes struggle on Mondays…) so I guess we have that in common!
The cast is made up of amazing actor-muso’s, what’s it like being surrounded by music all the
time both on and offstage?
Oh it’s amazing - these guys are sooo talented! It’s so inspiring to share a stage with such incredible
musicians and they’re all so lovely which makes it even better. Everyone’s constantly practising or
working on new material for the pre-show jam - there is literally no peace and quiet but I love it!
If your life was going to be made into a folk musical, who would you want to play you?
I love this question. Mmm probably Jessie Buckley because she has the most beautiful voice and she
seems like an equally beautiful person! And she has fabulous hair. I’m aiming high here.
This is an ensemble led piece, with every cast member invested in every moment. What was
the rehearsal process like to create such a tight-knit group?
We actually gelled really quickly in rehearsals. A lot of people had worked together before so most
people already knew each other, and I remember sitting on our lunch break on day one and thinking
that we’re going to have a lot of fun on this tour. I also think it helps that it’s such an ensemble-led piece
because it means there’s a constant feeling of it being a team effort - no one actor is more important
than another and that keeps us all really grounded and connected.
What's your favourite moment in the show?
It has to be When Your Mind’s Made Up in Act 2. It’s my favourite song in the whole show and it’s so
fun to play! I really struggle to describe why I love it so much but there’s a point where the lyrics stop
and the whole cast just hold their notes, and I remember hearing that moment for the first time when I
watched the show in the West End and understanding exactly what they were all feeling - even though
they weren’t actually saying any words. It’s bizarre how music can make you feel connected in a way
that words sometimes can’t.
What are your tour essentials?
Hmmm… I have a sleep mask which is an absolute life-saver - it means I can nap just about anywhere!
I also like to have lots of pictures/positive quotes to put up in my dressing room and an unlimited supply
of rescue remedy for when I feel particularly nervous. Oh and berocca. Lots of berocca.
Other than the beautiful music, what do you think makes Once such a special and enduring piece of theatre?
Other than the beautiful music, what do you think makes Once such a special and enduring piece of theatre?
I think it’s because it’s such a simple and realistic story - the characters (aptly named Guy and Girl)
could literally be anyone. Falling in love is wonderful but it doesn’t always work out the way you want it
to - life sometimes gets in the way and I think a lot of people can relate to this. Once isn’t hugely
romanticised and I think that’s what people love about it.
What’s your top piece of advice for aspiring performers?
Without a doubt: have confidence in yourself. There’s so much criticism and rejection in this industry -
it’s all part of the job, so you have to make sure that you believe in yourself otherwise you’ll never be
able to enjoy it! Even if you have to fake it for a while, it’s so important that you compliment and
congratulate yourself for achieving the tiniest of goals or even just for being brave enough to have a go!
I think most actors go through phases of having imposter syndrome, where they don’t think they’re “good
enough”, and I really struggle to take my own advice sometimes… but it really is the most powerful thing
- if you believe in yourself, nine times out of ten so will everybody else.
Once next plays at the New Victoria Theatre and then continues it's UK tour
Interview by Editor, Olivia Mitchell
Once next plays at the New Victoria Theatre and then continues it's UK tour
Interview by Editor, Olivia Mitchell
Wednesday 5 February 2020
Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review
The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell
★★★★
Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.
With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.
What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.
Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Tuesday 14 January 2020
Peter Pan Goes Wrong (UK Tour), New Victoria Theatre | Review
Peter Pan Goes Wrong (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 14th January 2020 by Olivia Mitchell
★★★★
The masters of laughter, Mischief Theatre are back at it again with a gut wrenchingly funny touring version of Peter Pan Goes Wrong, which takes everything theatrical and jumbles it into a mess of impassioned, choreographed mayhem.
The Goes Wrong franchise has achieved an astounding amount of success. From a Fringe company, they have taken over the West End, with new productions regularly being released and a series recently beginning on BBC One. Their timeless form of physical comedy, provides excellent entertainment, as well as a celebration of the intricacies of theatre.
Previously televised, this raucous version of Peter Pan, performed by the most bumbling amateur dramatic group ever, is as amusing as ever as it journey's around the UK. It's slapstick of course, but more than that, it is a precisely executed piece of theatre, full of well thought-out characters and exuberant joy. From the pre-show that audience are involved in the mayhem and it's quite excellent how the cast are able to mould us to laugh both at and with them.
During the show, there are missed cues, comedy falls, props malfunctioning, wires crossing and many, many casualties. Mischief Theatre wonderfully balance physical and visual gags, and never cross the line of overdoing their jokes. That's not to say all the gags are highly original, but they're pulled off so seamlessly that this farce is almost comedic perfection.
Tonight's performance was a real testament to understudies, as they really saved the day for the show. Amongst the host of theatrical parodies are Katy Daghorn as Wendy who boastfully struts around the stage and gives a completely stellar performance. Chris, the grandiose director who also plays Hook and Mr Darling, is expertly portrayed by Tom Babbage who bounces back and forth with the audience as he insists the show is not a pantomime. Stepping in as Trevor, Ava Pickett is a complete joy to watch and Christian James' Peter is likeable and dynamic as he dizzily flies around the stage.
This is clearly a physically demanding piece of theatre, which is expertly performed by the entire cast, of which there are zero weak links. A genuinely entertaining show, this is a definite family pleaser and a great night out at the theatre. The company may get everything wrong, but in the end it all seems so right.
Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour
photo credit: Alistair Muir
Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour
photo credit: Alistair Muir
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