Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts
Saturday, 11 October 2025
Be More Chill Reunion Concert Returns to London with Original West End Cast
London audiences are in for a treat as Be More Chill returns for a one-night-only reunion concert at the Arts Theatre on 10 November 2025.
The cult-favourite musical, featuring a Tony-nominated score by Joe Iconis and a book by Joe Tracz, follows a socially awkward teen who takes a mysterious pill that promises instant popularity with chaotic results.
The concert marks the debut production from Teal Moon Productions and features much of the original West End cast, including Scott Folan, Miracle Chance, Blake Patrick Anderson, and Grace Mouat. They’ll be joined by Brandon Lee Sears, Eve Norris, Gabrielle Hinchcliffe, Jessica Lim, Christopher Fry, and Miles Paloma.
Musical direction comes from Louisa Green, with Christopher D. Clegg directing. The event is co-produced by Jeff Neuman (JJN Solutions) and Chance, with all profits donated to Young Minds, supporting youth mental health.
This special concert promises a night of infectious energy, hilarious storytelling, and the heartfelt message that made Be More Chill a phenomenon on both sides of the Atlantic.
Thursday, 9 October 2025
Emma Kingston to Lead the Global Wicked Singalong Live from The O2 with Young Voices
Young Voices are thrilled to announce that Emma Kingston, one of the West End’s most dynamic and versatile leading ladies, will headline the Wicked Worldwide Singalong on Thursday 22 January 2026, broadcast live from The O2 in London.
Currently starring as Elphaba in the West End production of Wicked, Emma has captivated audiences with her soaring vocals and magnetic stage presence. Hand-picked by Andrew Lloyd Webber to play Eva Perón in the international tour of Evita, her credits also include In the Heights, Heathers: The Musical, Fiddler on the Roof and Les Misérables, establishing her as a true global theatre star.
At the Wicked Worldwide Singalong, Emma will lead hundreds of thousands of young singers around the world in a specially arranged Wicked Medley, celebrating the show’s timeless messages of friendship, courage, and self-belief.
“We are over the moon to have Emma join us for this special event,” said Ben Lewis, CEO of Young Voices. “Her talent and energy will inspire every child and choir taking part across the globe.”
Emma added:
“It’s an incredible honour to be part of the global Wicked Singalong. Knowing that children everywhere will be singing together with me in real time is magical—a true celebration of how music unites us.”
The Wicked Worldwide Singalong will connect schools and choirs across continents through a live broadcast from The O2, allowing participants everywhere to join simultaneously for free. Registered schools receive exclusive learning materials, including sheet music from Hal Leonard, rehearsal tracks, and classroom resources from Twinkl and Wicked.
📅 Date: Thursday 22 January 2026
🕒 Time: 3 pm GMT / 10 am ET / 7 am PT
🎟️ Sign up for free: youngvoices.co.uk/join-wicked-worldwide-singalong
National Theatre Announces Exciting 2026 Season with New Productions in London and New York
The National Theatre has unveiled further details about its 2026 season, marking a bold next chapter in the vision of Co-Chief Executives Indhu Rubasingham and Kate Varah to make world-class theatre accessible to audiences everywhere.
Deputy Artistic Director Robert Hastie will lead two major productions in spring 2026. In London, he directs Nina Raine and Moses Raine’s new adaptation of Maxim Gorky’s Summerfolk in the Olivier Theatre, a sharp, satirical look at class and complacency. Across the Atlantic, Hastie’s acclaimed production of Hamlet will transfer to BAM (Brooklyn Academy of Music), the first show in a new partnership that will see National Theatre productions transfer to BAM’s Harvey Theater and National Theatre Live screenings hosted at BAM’s Rose Cinemas.
Alongside performances, the National Theatre’s Learning team will collaborate with BAM on its (Re) Centering Theater) programme, giving Brooklyn students the opportunity to create, develop, and perform new work inspired by Hamlet. A free exhibition at BAM’s Rudin Family Gallery will also explore the legacy of Hamlet at both BAM and the National Theatre.
This collaboration with BAM and The Shed strengthens the National Theatre’s long-standing relationship with the US, celebrating 60 years of international productions. Further details about upcoming projects with The Shed will be announced soon.
“It feels deeply fitting to bring Hamlet to BAM next spring, especially as we mark 60 years of staging productions in the US”
said Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre.
Kate Varah, Executive Director and Co-Chief Executive, added:
“Our goal is simple yet bold- to make world-class theatre accessible to everyone, everywhere. Through new partnerships with BAM, The Shed, and the Educational Theatre Association, we’re reaching thousands of schools and streaming our productions into homes across the US. This is theatre without borders.”
National Theatre 2026 Productions
Olivier Theatre: Summerfolk
From 6 March to 29 April 2026, Robert Hastie directs a fresh adaptation of Maxim Gorky’s Summerfolk by Nina Raine (Consent) and Moses Raine (Donkey Heart). Set in 1905 Russia, it follows a group of privileged friends whose summer of indulgence masks a looming storm of social change. The creative team includes Peter McKintosh (set and costume), Paul Pyant (lighting), and Nicola T. Chang (composer).
Lyttelton Theatre: Les Liaisons Dangereuses
From 21 March to 6 June 2026, Marianne Elliott (Angels in America) returns to direct a powerful new revival of Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ classic novel. The cast includes Lesley Manville, Aidan Turner, Monica Barbaro, and Gabrielle Drake, in a dazzling exploration of love, manipulation, and power.
Dorfman Theatre: Man and Boy
From 30 January to 14 March 2026, Anthony Lau (The Crucible) makes his National Theatre debut with Terence Rattigan’s Man and Boy, starring Ben Daniels and Laurie Kynaston. Set in 1930s New York, this gripping tale of ambition and betrayal follows a financier facing ruin during the Great Depression.
Dorfman Theatre: The Authenticator
From 26 March to 9 May 2026, award-winning writer Winsome Pinnock (Leave Taking) reunites with director Miranda Cromwell (Death of a Salesman) for The Authenticator, a gothic psychological thriller starring Rakie Ayola, Sylvestra Le Touzel, and Cherrelle Skeete. Set in a mysterious country estate, it explores buried secrets, artistic legacy, and truth’s dark corners.
Brooklyn Academy of Music (BAM), New York: Hamlet
From 19 April to 17 May 2026, Hiran Abeysekera (Life of Pi) reprises his role as Hamlet in Robert Hastie’s acclaimed production at BAM’s Harvey Theater. This bold interpretation of Shakespeare’s timeless tragedy launches the National Theatre’s new partnership with BAM, bringing British theatre excellence to New York audiences.
Tickets for all 2026 National Theatre productions go on general sale from 23 October 2025.
National Theatre 2026 season, National Theatre productions, National Theatre London, National Theatre New York, BAM Hamlet, Robert Hastie Hamlet, Nina Raine Summerfolk, Les Liaisons Dangereuses National Theatre, Marianne Elliott, Winsome Pinnock The Authenticator, Ben Daniels Man and Boy, Hiran Abeysekera Hamlet, Indhu Rubasingham, Kate Varah, National Theatre BAM partnership, British theatre in New York, National Theatre tickets, Olivier Theatre, Lyttelton Theatre, Dorfman Theatre, London theatre 2026
Wednesday, 8 October 2025
Sheridan Smith and Romesh Ranganathan to star in Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre
The West End will get a dose of sharp wit and emotional depth this Christmas as Sheridan Smith stars in a brand-new revival of Alan Ayckbourn’s Woman in Mind. The acclaimed psychological comedy opens at the Duke of York’s Theatre from 9 December 2025 to 28 February 2026, before touring to Sunderland Empire (4–7 March 2026) and Theatre Royal Glasgow (10–14 March 2026).
Smith returns to the Duke of York’s following her sell-out run in Shirley Valentine; in Woman in Mind, she takes on the role of Susan, a woman whose reality fractures after a head injury, leading her to navigate two worlds: one mundane and one imagined. As the boundaries blur, Ayckbourn’s trademark humour and heartbreak come vividly to life.
Joining Smith in the cast are Romesh Ranganathan as Bill, Louise Brealey as Muriel, Tim McMullan as Gerald, Sule Rimi as Andy, Chris Jenks as Tony, Safia Oakley-Green as Lucy, and Taylor Uttley as Rick. Katie Buchholz and Michael Woolfitt complete the ensemble.
Ranganathan, making his professional stage debut, said:
“I’m honoured to be stepping onstage for the first time since primary school alongside the incredible Sheridan Smith and company. It’s both thrilling and terrifying in equal measure. Woman in Mind is an amazing play, and I can’t wait to help bring it to life- especially as I’m playing a doctor, which might finally make my mum proud!”
Directed by Michael Longhurst, the production features set and costume design by Soutra Gilmour, lighting by Lee Curran, sound by Paul Arditti, and casting by Jim Carnahan and Liz Fraser. It is produced by Wessex Grove and Gavin Kalin Productions.
Tickets are on sale now for what promises to be one of the most exciting West End productions of winter 2025.
Monday, 6 October 2025
Rachel Zegler London Palladium Review: A Luminous 5-Star Concert
Rachel Zegler
London Palladium
I honestly don’t even know where to begin with this review because yesterday’s concert at the London Palladium was nothing short of magical. If you’ve followed me for a while, you’ll know that my love for Rachel Zegler goes way back, right to 2017, when I stumbled across her cover of Anyway by Kerrigan and Lowdermilk. (I even featured her in a website post at the time.) Since then, I’ve been following her outrageously amazing career from YouTube videos in her bedroom to, well… global stardom. It’s somewhat depressing how little I’ve achieved in that same time while Rachel has basically achieved world domination… but hey, we won’t harp on that hahaha.
What I will harp on about is how utterly luminous she was on that Palladium stage during her debut solo concert. And luminous really is the word.
We all knew Rachel’s voice was spectacular; her run in Evita was proof enough of that (I’m still mourning the show's closing). But this concert felt like a complete vocal masterclass. Her tone is crystal clear, her breath control flawless, and the strength and health of her voice is something to marvel at. Every note rang out like it was the easiest thing in the world, yet full of emotion and nuance. Rachel’s voice doesn’t just sound beautiful, it feels like it’s telling you a story, every single time.
The setlist was an absolute dream. We got theatrical classics like Jason Robert Brown’s I Can Do Better Than That, a stunning duet from Sunday in the Park with George with none other than Ramin Karimloo (Phantom fans rise up), and a heartfelt tribute to her Taylor Swift YouTube cover days with You’re On Your Own, Kid.
She also gifted us with a gorgeous Amy Winehouse/Ariana Grande mashup (Just Friends/we can’t be friends) which was an inspired blend of styles. On top of all that, she introduced two original songs, both of which were glorious, beautifully written, and made it so clear that Rachel isn’t just an interpreter of music, she’s a creator too.
I truly loved all the choices, with tributes to key parts of Rachel’s career and life so far. There were nods to The Hunger Games, to her being a literal Disney princess, to her Broadway debut in Romeo and Juliet, and to the musical theatre legends who have shaped her artistry. It was like watching her personal and professional journey unfold in song. A reminder of just how much she’s done, and how much she loves what she does.
As dazzling as her voice is, what made this concert unforgettable was Rachel herself. Her banter, her humour and her vulnerability; she was so open, joyful, and clearly utterly in love with theatre and music. As long as I've followed and chatted to Rachel, she has always been so incredibly kind and giving, and that same spirit filled the Palladium. You didn’t just see a star performing; you saw a human being sharing herself with the audience, and it was beautiful.
Rachel joked at one point that Javert is a role she’d never get to play but honestly, having watched how she’s manifested the rest of her career, I wouldn’t be surprised in the slightest if it happens someday. She’s unstoppable.
This concert was a testament to everything Rachel Zegler is: luminous, powerful, generous, and truly unique. She is a once-in-a-generation talent, and I have no doubt she will continue to soar and shine (hopefully back on a West End stage in the not too distant future). Until then, I’ll keep cheering her on, as I always have, from that first Anyway cover in 2017 to now. Here's to continued Rachel Zegler world domination!
★★★★★
Reviewed on Sunday 5th October 2025 by Olivia
Photo Credit: Danny Kaan
Thursday, 25 September 2025
50 First Dates Musical World Premiere Review: A Fun, Heartwarming New Rom-Com for the Stage
50 First Dates the Musical
The Other Palace
Walking into the world premiere of 50 First Dates: The Musical, I didn’t really know what to expect. I haven’t seen the original film, so I came in with fresh eyes and no preconceptions. What I got was a fun, heartwarming tale full of laugh-out-loud comedy, sweet romance, and a cast that truly pours their energy into every moment. It’s not perfect, but it’s definitely a crowd-pleasing new addition to the musical theatre scene.
The story follows Lucy, played by Georgina Castle, who is utterly charming in the role. She brings warmth, humour, and vulnerability to a character who could easily feel one-note. Opposite her, Josh St Clair shines as Henry, balancing comic timing with a sincerity that makes their relationship believable. Together, they make a likeable pairing, grounding the show’s quirkiness with genuine chemistry.
For me, though, the standout was Chad St Louis as Sandy, a Disney-loving character who lights up the stage every time he appears. His vocals are sublime, soaring, effortless, and memorable; and his comic flair makes him the kind of scene-stealer audiences will talk about afterwards. Natasha O’Brien is also perfectly cast as Delilah; she’s hilarious, bold, and brings a spark of chaos that keeps the momentum rolling. The rest of the ensemble is equally strong, with every performer pulling their weight to create a show that feels tightly knit and well-rehearsed.
At just one act and around 100 minutes, the show is lean and well-paced, managing to pack in both big laughs and tender moments. However, the ending does feel a little rushed, as if the creative team were racing to tie everything together before the curtain falls. Another ten minutes of breathing space might have allowed the conclusion to land with more emotional weight.
The music is fun and infectious in the moment, and the cast performs it with absolute gusto. The problem is that, like Lucy’s forgetful condition, none of the songs really stick in your head after you leave the theatre. They’re enjoyable while you’re watching, but there aren’t any standout motifs or melodies that elevate the show into instant-classic territory. A stronger, more memorable score would take 50 First Dates from enjoyable to unmissable.
Visually, the production is bright and colourful, with clever set design that helps transport the audience into its tropical, playful world without overcomplicating things. The choreography is light, cheeky, and matches the tone of the show, keeping things lively throughout.
In the end, 50 First Dates: The Musical is close to being exactly what you’d want from a rom-com on stage: it’s funny, heartwarming, and full of charm. The cast is excellent, the pacing is snappy, and there’s a lot of joy to be had in watching it. It might not yet be destined for the status of a theatrical classic, but it’s certainly a promising and highly entertaining premiere.
★★★
Reviewed on Wednesday 24th September 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: 50 First Dates musical review, world premiere 50 First Dates stage show, Georgina Castle Lucy 50 First Dates, Josh St Clair Henry 50 First Dates, Chad St Louis Sandy Disney 50 First Dates, Natasha O’Brien Delilah 50 First Dates, new musicals 2025 review, rom-com musical UK premiere.
Saturday, 23 August 2025
Evita at the London Palladium: Rachel Zegler Soars in Jamie Lloyd's Bold, Electrifying Revival
Evita
London Palladium
Sometimes you sit in a theatre and know you are witnessing something truly historic. That’s exactly how it felt watching Jamie Lloyd’s new production of Evita at the London Palladium. This isn’t just another revival of Andrew Lloyd Webber and Tim Rice’s political rock opera, it’s a seismic moment in musical theatre, led by a cast who feel destined for greatness.
At the centre of it all is Rachel Zegler, who delivers a performance so thrilling, it’s hard to believe this is her London stage debut. I’ve followed Rachel’s journey since 2017, from YouTube covers to West Side Story, and to see her now, utterly at home on the Palladium stage, is nothing short of awe-inspiring. She looks and sounds like she was born for this exact role at this exact moment in theatrical history. Her Eva Perón is fierce, vulnerable, ambitious, and magnetic; and every note of “Don’t Cry for Me Argentina” soared as though it were written for her. We are watching the rise of a star, and how lucky we are to be along for the journey.
Alongside her, Diego Andrés Rodriguez is astonishing as Che. Wry, commanding, and vocally electric, he narrates Eva’s rise and fall with biting precision. At times sardonic, at times full of fire, his performance anchors the show with clarity and bite. Rodriguez is a talent I need to see as Jesus in Jesus Christ Superstar one day, his presence and vocals would be unforgettable. James Olivas also gives an excellent turn as Juan Perón, balancing political ambition with quiet tenderness. The chemistry between Zegler, Rodriguez, and Olivas is magnetic, their trio of performances form the show’s beating heart.
Musically, Evita remains as bold as ever. First staged in 1978, Lloyd Webber and Rice’s rock-opera score brings Eva Perón’s rise to power and enduring legacy to life with urgency and flair. From the bombastic “A New Argentina” to the delicate “Another Suitcase in Another Hall,” the music is at once energetic and informative, serving as both history lesson and thrilling theatre. What makes Jamie Lloyd’s revival so fascinating is its refusal to spoon-feed. The production embraces ambiguity, encouraging the audience to interpret rather than simply receive. For newcomers to the show, this approach might feel a little confusing at times, but for me it was exhilarating. It felt intelligent, trusting the audience to piece together the threads for themselves.
Visually and technically, the production is equally impressive. Jon Clark’s lighting is stark and expressive, shaping scenes with atmosphere and tension. Fabian Aloise’s choreography is muscular, dynamic, and precise. The ensemble moves like a single organism, their synchronicity so tight it’s genuinely breathtaking. Every gesture feels purposeful, from the smallest flick of a wrist to the explosive full-company numbers. The ensemble themselves are powerhouse performers, bringing passion and intensity to every scene. Their strength and unity echo the fervour of Eva’s Argentina, adding another layer of urgency to the storytelling.
Equally vital is Adam Fisher’s sound design, which balances the soaring vocals and Lloyd Webber’s powerful score beautifully. In a theatre as grand as the Palladium, clarity can sometimes be an issue, but here every lyric, every guitar riff, every heartbeat of percussion landed perfectly.
For those unfamiliar with Evita, the show traces the life of Eva Perón, Argentina’s First Lady from 1946 until her death in 1952. Born into poverty, Eva clawed her way into the limelight, first as an actress and then as wife of President Juan Perón, becoming a powerful, controversial figure adored by the working classes and reviled by the elite. Lloyd Webber and Rice’s score examines her legacy with both admiration and critique, embodied in the narrator Che’s cynical commentary. It’s part biography, part cautionary tale, part celebration and in Lloyd’s hands, it feels fiercely relevant once again.
This Evita is not just a revival; it’s a reinvention. Jamie Lloyd has stripped away the excess and laid bare the story, allowing the music, the cast, and the raw energy of the ensemble to speak for themselves. The result is electrifying- a production that feels both timeless and urgently modern.
Walking out of the Palladium, I couldn’t shake the feeling that I had just witnessed a career-defining moment for Rachel Zegler and a bold new chapter for Evita. It is an intelligent, gripping, and emotional triumph. Simply put, this is theatre at its most alive.
★★★★★
Reviewed on Tuesday 22nd July 2025 by Olivia
Photo Credit: Marc Brenner
Keywords: Evita London Palladium review, Jamie Lloyd Evita review, Rachel Zegler Evita London, Diego Andrés Rodriguez Che Evita, James Olivas Juan Perón Evita, Fabian Aloise choreography Evita, Jon Clark lighting design Evita, Adam Fisher sound design Evita, Evita 2025 revival London.
Thursday, 22 May 2025
Review: Shucked at Regent’s Park Open Air Theatre: A Theatrical Kernel of Joy
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
Tuesday, 25 March 2025
Five Reasons Why Austenland is Going to Be Your New Favourite Musical
Austenland
Savoy Theatre
Last night, I had the absolute pleasure of attending the world premiere concert version of Austenland: The Musical- though calling it a 'concert' feels like a stretch. Directed fantastically by Jonathan O'Boyle this was an almost full-fledged, gloriously staged spectacle, complete with choreography, costumes, and a cast who threw themselves into the period-drama-meets-modern-romcom chaos with raucous enthusiasm. The result? An evening of sheer delight that left me grinning ear to ear.
So with that being said, here’s why Austenland is about to be your next musical obsession:
1. The Songs Are Instantly Addictive
From swooning ballads to toe-tapping ensemble numbers, Austenland delivers a diverse soundtrack that sticks with you long after the final bow. Thanks to the creative team- Jodi Picoult (co-librettist), Timothy Allen McDonald (co-librettist), Elyssa Samsel & Kate Anderson (song writers)- the score feels fresh, interesting and exciting. At times it's a little bit too try hard for me but whether it’s the Regency-style waltz that morphs into a pop anthem or Manly's hilariously over-the-top song dripping with melodrama, every number feels like a hit waiting to happen.
2. It’s Jane Austen… But Make It Hilarious
Austen adaptations often lean into the drama, but this musical leans hard into the comedy- and it absolutely works. The show revels in the absurdity of Austen-obsessed tourists attempting to live out their fantasy in a Regency holiday retreat, complete with exaggerated social etiquette, scandalous misunderstandings, and a delightful send-up of brooding leading men.
3. The Cast Brings the House Down
The performances were electric, blending impeccable comedic timing with genuine heart. Lucie Jones (who I would quite literally listen to if she sung the phonebook) as leading lady Jane delivered a pitch-perfect mix of modern cynicism and romantic longing, while the ‘perfect’ Mr. Darcy-esque love interest (Oli Higginson) was both swoon-worthy and delightfully self-aware. Laura Baldwin and Cassidy Janson were gloriously funny as Miss Heartwright and Aunt Carolyn/Wattlesbrook. As Elizabeth Charming Alex Young was an absolute scene-stealer, milking every single moment for maximum comedic effect. Not a second of stage time was wasted- she wrung every syllable of the script dry, crafting a performance that was equal parts razor-sharp and utterly ridiculous in the best way. As Manly, Idriss Kargbo also took every moment and ran with it in the best way, infusing every moment with energy and draaaaaama. The entire ensemble did a wonderful job, especially given the short rehearsal time and were truly impressive.
Of course, we don’t yet know who will be starring in future productions, but with this incredible cast laying the groundwork, Austenland is already shaping up to be a must-see hit.
4. A Feast for the Eyes
Even in this so-called ‘concert’ setting, the production values were on point. The period-inspired costumes added flair, while clever staging and super fun choreography (Joanna Godwin) gave the show a dynamic, refreshing feel. Mention must also go to the sound (Sound Quiet Time), which was the best I've heard in a concert version in a long time! If this was just a taster, I can’t wait to see what a full-scale production will look like.
5. It Balances Romance and Satire Perfectly
Austenland manages to poke fun at the tropes of romance novels while also delivering a genuinely satisfying love story. Just when you think it’s all ridiculous escapism, the show hits you with a moment of sincerity that reminds you why we all love a good Austen-inspired romance in the first place. Plus of course, all of us romance girlies get what we crave, a swoony story with a Hand Flex included.
Now, I won’t say Austenland is a flawless masterpiece just yet. The pacing needs a little fine-tuning, some songs need altering and a few jokes could land better with some tweaking. But with a few adjustments, this could very well be a 10/10 musical the next time we see it. And honestly? I can’t wait for that moment.
Article written by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
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