Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts
Friday 23 November 2018
West End Live Lounge, The Other Palace | Review
West End Live Lounge
The Other Palace
Reviewed on Sunday 18th November 2018 by Olivia Mitchell
★★★★★
We all know by now that West End Live Lounge concerts are in my top ways to spend a Sunday, and last weeks 90s extravaganza was no different! A host of the West End and theatre in generals finest, took to the stage at The Other Palace to perform some remixed and refreshed versions of 90s classic hits as well as some less remembered tunes.
Ever humourous and energetic, Vikki Stone and Paul Taylor Mills presented the night, which raises funds for a different charity each month, with banter and bounce. Opening the show, Matthew Harvey treated us to a laid back version of the secondary school music class classic, Wonderwall which perfectly set the tone for the night of nostalgia.
A string of vocally flawless performances followed with Sam Coates' arrangements doing justice to the performers, venue, musicians and audience. As always he breathes fresh life into music and manages to balance warmth and energy in everything he touches. Particular stand outs included Lauren Drew's spine tingling rendition of I'm Your Baby Tonight, Sharon Sexton's All About Soul which had the entire audience bopping along, and Brady Isaacs Pearce's Hallelujah which brought Carrie Manolakos vibes and a whole lot of heart and power.
The buzz was clear during the interval, from the beaming faces, to bopping heads and general chipper vibes, the anticipation for act two grew and we all knew we were in for another series of musical treats.
Vocal powerhouse and sultry queen Danielle Steers gave ballad realness with Don't Speak whilst Divalution brought their usual sass with their epic 90s mash up. All the ladies have not only voices for days, but for months. Some icy vibes were given to the evening by Jordan Luke Gage's dark and vocally incredible performance of You Oughta Know.
Sophie Isaacs also performed a lovely mash up, whilst, accompanied by gasps from the audience, Rob Fowler and Sharon Sexton joined forces to perform the well loved song which was cut from Bat Out of Hell: It Just Won't Quit. Every single performance of the night had something special and it's really magical to experience such diversity come together to celebrate music and talent.
As always, if you weren't at this West End Live Lounge, you missed a whole lot of brilliance but don't fret because there will be future concerts and it's clear from the Union Theatre to now, that the only way is up for Shaun McCourt and West End Live Lounge!
Keep up to date with West End Live Lounge on twitter
photo credit: Leigh Lothian
Wednesday 14 November 2018
In Conversation With... Rachel Izen | Funny Girl | Interview
Rachel Izen has starred in a number of shows on the West End, Broadway and on tour. Recently, Rachel played Mrs Brice in the UK tour of Funny Girl, which follows Fanny Brice on her journey from wannabe actress to reknowned performer. Funny Girl was recently screened at cinemas, Rachel talked to us about the show and how a filmed version breathes new life into it...
Can you tell us a little bit about your experience playing Mrs Brice in Funny Girl?
This was a very personal experience as I identified Fanny and Rose’s relationship to that of my own.
Funny Girl is a much loved story and show, do you think this filmed version will bring new life to the show and welcome a new audience to it?
This version is heart felt and explores successful women’s turmoil trying to balance career and personal life, so very current today.
What's your favourite memory from your time in Funny Girl?
Dancing to the overture in the wings every show.
Can you sum up Funny Girl in 5 words?
Luckiest people in the world!
If you could bring any other shows which you've been a part of to screen, which would you choose?
The Witches of Eastwick
If you had a magic wand, what would you do next in your career?
I would love to tv series filmed in front of a live audience recreating my favourite musical theatre moments.
What's your top piece of advice for aspiring performers?
Be a sponge. See everything, listen to everything, be practical, take classes. Just because you may have gained a degree and acquired an agent doesn’t mean the world owes you a living.
Thanks so much to Rachel for chatting with us.
Interview by Editor, Olivia Mitchell
Saturday 10 November 2018
Monstersongs, The Other Palace | Review
Monstersongs
The Other Palace Studio
Reviewed on Tuesday 6th November 2018 by Olivia Mitchell
★★★★
The Other Palace played house for the UK premiere of Rob Rokicki's Monstersongs, a theatrical experience that combines rock music, theatre, graphic novels and technology. Taking form as part song cycle, part staged show, Monstersongs is a journey into the minds of often misunderstood 'monsters' and 'baddies'. The music flips the switch on the traditional monster narrative and welcomes us to look at the alternative side of a story and the humanity which unites us all.
This show has the potential to be performed in a number of venues and formats so it will certainly be exciting to see how it evolves and progresses. In its current iteration, we see a series of stories introduced by the young narrator, Bradley Riches who welcomes the creatures to centre stage as well as becoming the Dragon in the rousing song, Reluctantly.
Aside from the vocal performances, the live band are the stars of the show. Providing enough oomph for the rock feel but not becoming overpowering, even in the intimate space of The Other Palace Studio. David O' Neill's graphic novel artwork is also it's own character, with projections adding another layer of interest to the story and helping create the multi-sensory feel of the performance.
Sinéad Wall and Amanda Flynn give a stand out performance with Blood and Brains which is equal measures humourous and gruesome. Sinéad also performs Say Goodbye, a moving number about the pain of Medusa as she freezes another man to stone, with vocal ease and power; whilst Amanda is suitably heartbroken and wicked at the scorned witch in Hell Hath No Fury. Tyrone Huntley is a vocal powerhouse in Down and Under which tells the story of the troll under the bridge and Right Through You is performed with chilling smoothness by Cleopatra Higgins. Another stand out is certainly George Damms in both his first number, The Plans, where he is extremely witty as Igor and his second solo, I'm Sorry in which he showcases his superb vocals.
Whilst I wouldn't say Monstersongs is an immersive show right now, it certainly has the potential to be one and it could definitely do well as a musical which becomes a sort of art installation. It's a 60 minute rock musical about monsters, that provides vocal greatness and heartfelt (if at times predictable) stories- what more could you ask for?
Friday 9 November 2018
Lands, Bush Theatre | Review
Lands
Bush Theatre
Reviewed on Thursday 8th November 2018 by Shaun Dicks
★★★★
Absurd. Absurd is a multifaceted word. It’s volatile, malleable and powerful. Absurd is the word to describe Lands. Produced by the incredible company Antler, Lands is a story of two women, puzzles and a trampoline. We follow their story as one tries to finish their puzzle, while the other tries to give up their addiction. This show is very metaphorical, conceptual and symbolic. You’re in for a ride.
The shows main strength is its humour. The scripted humour throughout this entire piece is brilliant, the use of situational, physical and verbal humour is so perfectly pitched that it’ll make you snort. But not just snort, but loud and ugly snort. You’ll cry because you’re laughing so much. You’ll laugh so much it’ll hurt.
Mainly, this is because of the wonderful leads: Leah Brotherhead as Leah and Sophie Steer as Sophie. They are a wonderful duo, who are great together. They know how to play and bounce off each other and both look like they are having fun together on stage. They interact well with the audience and their stage manager Rachel Darwood throughout. My favourite thing about them was when they were silent. They use silence perfectly. They aren’t afraid to use it.
The direction of this piece by Jaz Woodcock-Stewart is very well done and evident throughout the piece. The set design by Charlotte Espiner is interesting, extremely industrial and cold. The lighting design by Rajiv Pattani is simple and subtle but well presented and constructed. And the use of sound is another highlight, specifically the song choices dotted throughout. My favourite moment in the entire show is a certain dance break. Try and make the connection.
Lands by Antler is a show where you need an open mind. It’s barmy, bonkers and brilliant. It’s just absurd on so many levels. So, you have to go watch it! Do yourself a favour and go laugh for 80 minutes, because you will at Lands.
Lands runs at the Bush Theatre until December 8th 2018
photo credit: Helen Murray
Saturday 3 November 2018
Girlfriends, Bishopsgate Institute (LMTO) | Review
Girlfriends
Bishopsgate Institute
Reviewed on Friday 2nd November 2018 by Olivia Mitchell
★★★
The London Musical Theatre Orchestra are taking a short residency at the Bishopsgate Institute whilst they perform a concert version of Howard Goodall's Girlfriends which follows a group of women as they join the Women's Auxiliary Airforce during World War Two.
Complete with new orchestrations specifically for the LMTO, Girlfriends has some beautiful virtuosic moments which are wonderfully showcased by the orchestra, led by Freddie Tapner. As always, the orchestra give a sleek performance, however, compared to previous concerts where the LMTO have had solo showcase moments playing musical interludes such as the police scene in Mack and Mabel, there weren't any moments where we could purely appreciate the orchestra. These concerts always tend to provide a platform to appreciate stripped back music which of course we could still do, but this particular production lacked some of the "wow" orchestral moments previously experienced.
Whilst the orchestrations are lovely, a lot of the music feels similar and there are a lot of songs which are repetitive. Many of the melodies are catchy but when heard time are time again, become ineffective in conveying the mood/drama they intend to and I believe the whole piece would be much more moving emotionally and technically sleek if it was cut down and smoothed out. That's not to say that there weren't some outstanding moments, especially when the women join together for tight choral moments of chromatic harmony which effectively push the pain and confusion felt by everyone during the war.
The cast are the best of the best who work well as a team and individually. As best friends leaving their "ordinary" lives to join the WAAF, Lucie Jones and Lauren Samuels show off their divine vocals and natural chemistry with effortless talent. Natasha Barnes is vocally stunning, whilst Vikki Stone gives both a humourous and heartbreaking performance and Bronté Barbé gives a memorable performance of The Chances Are. Rob Houchen and Chris McGuigan both give strong performances which showcase their talents whilst perfectly framing the women, as they should in a show focussed on female strength.
Despite the dramatic content, the show itself never reaches a boiling point and somewhat lacks intensity. During act one, I couldn't help but think the show was romanticising war with the various love affairs that formed; however, a moment of text in act two changed that view and brought the stark reality of war back to the heart. Victoria Gosling MBE explains that she was born in a free world and grew up hearing "All You Need is Love" whilst for her grandparents, "All They Had is Love". This reminds us the importance of relationships both romantic and non-romantic as well as how lucky we all are to be able to watch this show without having experienced the pain and turmoil that accompanied the women featured.
Despite this not being my favourite production form the LMTO, there is no denying that the wealth of talent on offer gave remarkable performances. The melodic, complex music does provide moments of power and if anything, this show serves as a fantastic celebration of women and the crucial roles they had in the Second World War.
photo credit: Nick Rutter
The Funeral Director, Southwark Playhouse | Review
The Funeral Director
Southwark Playhouse
Reviewed on Friday 2nd November 2018 by Shaun Dicks
★★★★★
“We all need to be brave, otherwise nothing will change.”
The illustrious Papatango writing prize is now in its excellent ninth year. It’s brought to light some wonderful pieces of work like Tomcat by James Rushbrook and Trestle by Stewart Pringle. This year it is The Funeral Director by Iman Qureshi.
Here we follow the story of Ayesha, a Muslim funeral director who gets a client that forces her to confront a secret she wasn’t ready to face, one she was ready to take to the grave. Here we confront Gender, Religion and Sexuality. Hotbeds of discussion and dissection. Here we need to be brave together.
Iman Qureshi's script is pitch perfect. The dialogue is slick, tight and meaningful. There is a wonderful balance of humour, poignancy and seriousness. The humour is a highlight, as it is all culturally relevant and well thought out. The direction by Hannah Hauer-King is perfection. Also, the set, lighting and sound design by Amy Jane Cook, Jack Weir and Max Pappenheim is flawless and compliments one another.
The best part of the show though is the people that bring it to life. Every actor, Aryana Ramkhalawon (Ayesha), Maanuv Thiara (Zeyd), Tom Morley (Tom) and Jessica Clark (Janey) present such well thought out and multi-dimensional characters. They each play their part in a very affecting story. But the star of the show is Clark as Janey. Clark is an absolute force. Her freedom on stage is refreshing. Her comedic timing is just brilliant, but her skill shown when having to present tender moments is astounding.
The crowning glory of this show is the story. It’s poignant, affecting and necessary. The crossing of gender, religion and sexuality is a very hot topic in modern times. When tackling them it is hard to pitch it right. The Funeral Director pitches it perfectly. There are a few scenes that just hit you. They strike you with a message and emotion. They are worth the ticket price alone. Everything else is just a bonus.
The Funeral Director runs at the Southwark Playhouse until 24th November 2018
photo credit: The Other Richard
photo credit: The Other Richard
Monday 22 October 2018
In The Studio with Sharon Sexton and Rob Fowler | Vision of You
Stars of Bat Out of Hell the musical Rob Fowler and Sharon Sexton are currently in the process of recording their debut duets album, Vision of You. The album is not only a celebration and showcase of their glorious vocals, but tells the back story of Sloane and Falco, the characters they play in the show.
I went along to the recording studio for a sneak peek at the process and to chat to the pair about the album and how the journey has been so far:
Alongside Sharon and Rob is pianist extraordinaire, Steve Corley who provides the beautiful accompaniments for the pieces and brings a warmth and real feel to the music. Sharon describes the album as "a box of chocolates" which has something for everyone and the pair hope it will be a treat for both fans and non-fans of Bat Out of Hell.
Vision of You features music from a number of artists, including The Civil Wars, Lady Gaga, Jim Steinman and Glenn Hansard, all artists whom Sharon and Rob have been inspired by.
From what I've seen so far of Vision of You, I know that it's going to be an incredibly raw, heartfelt and moving piece of work. For updates on the album keep an eye on Rob and Sharon's social media accounts and be sure to pick up your copy, either digitally or at the Dominion Theatre when it's released!
Full video interview and sneak peek at Poison and Wine is available here
Wednesday 17 October 2018
Company, Gielgud Theatre | Review
Company
Gielgud Theatre
Reviewed on Tuesday 16th October 2018 by Olivia Mitchell
★★★★
Marriage is the order of the day with Marianne Elliot and Chris Harper's gender-switched version of Company. Bobbi (formerly Bobby) has reached aged 35 and is surrounded by an endless barrage of questions about why she's single and when she's gong to become 'whole' and partner up.
Bunny Christie's set design is artwork of its own in the way it reflects the isolation one can feel in life, especially when living in a city which can make you feel small. The set is make up of cool neon framed cubes which interconnect to make up the various parts of Bobbi's life. The set also works well as its own character to contrast Bobbi. The cold stage is perfectly balanced by Bobbi's vibrant red dress so she always stands out amongst the others.
The show avoids a formal linear structure and instead jumps from tableau to tableau, which are linked by a reoccurring surprise birthday party. The spitfire force that leads the show is Rosalie Craig who is humourous, enticing and charming in the lead role, Bobbi. On stage for pretty much the entire show, Rosalie performs with the stamina and vocal agility of a true star and will no doubt receive much acclaim for her portrayal.
Our leading lady's married friends are an amusing group who have been given a modern makeover and been switched up to be more fitting for a contemporary audience. As the loving but smothering Paul and neurotic Jamie, Alex Gaummond and Jonathan Bailey are outstanding. Bailey's performance of Not Getting Married is a stellar tutorial in how to perform a patter song and he's a complete revelation in the role. The scene is entirely heightened and wholly hilarious. As the couple who are always playing a game of push and pull Sarah and Harry, Mel Giedroyc and Gavin Spokes are witty and very well performed. Susan (Daisy Maywood) and Peter (Ashley Campbell) are questioning whether marriage was the right choice for them whilst Jenny (Jennifer Saayeng) and David (Richard Henders) are settling and changing to keep one another happy. Our final couple are Joanne and Larry who mirror Bobbi a huge amount. As Larry Ben Lewis is sweet and giving, whilst his partner Joanne, played by musical theatre veteran Patti LuPone warns Bobbi of the downfalls of falling into what society expects of you and how life can be empty if you simply become a wife and a lady who lunch. As expected, she is a scene stealer who brings earth shattering vocals.
Bobbi's three boyfriends are played uniquely and faultlessly to highlight some of Bobbi's issues and struggles, whilst bringing a realness to the show that is easily relatable. Matthew Seadon-Young plays Theo, who has a past with Bobbi but their snaps with each other quickly bring to light why they didn't work out. Richard Fleeshman plays the dim but kind flight attendant, Andy very well; and George Blagden is the most hisptery-hipster ever in his portrayal of PJ. All three men deliver some stellar vocals and well rounded characters despite not having a huge amount of solo stage time each. The moment they join forces in You Could Drive a Person Crazy, with sleek choreography and super sharp Barber Shop harmonies, is one of the stand out moments of the production.
Company is a show for a 2018 audience. Well directed with boat loads of humour and an equal amount of subtlety, its opens up the question of whether marriage is for everyone and prompts us to examine our own choices. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.
photo credit: Brinkhoff/Mögenburg
Saturday 13 October 2018
Lucie Jones, Live at Zedel | Review
Lucie Jones (Concert)
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell
★★★★★
One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.
The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.
Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.
I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.
Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!
We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.
I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.
photo credit: Olivia Mitchell
Sunday 7 October 2018
Bat Out of Hell, Dominion Theatre | Review
Bat Out of Hell
Dominion Theatre
Reviewed on Thursday 4th October 2018 by Becca Cromwell
★★★★★
All Revved Up with somewhere to go, I was excited as I made my way to the Dominion Theatre to see one of my favourite musicals, Bat Out of Hell.
Bat Out of Hell is a jukebox musical based on the music made famous by the beloved Meatloaf, written by Jim Steinman. Featuring hits such as Two Out of Three Ain't Bad, Paradise by the Dashboard Light and its namesake Bat Out of Hell, it's a larger than life extravaganza, perfect for fans of Steinman/Meatloaf.
The electric Bat Out of Hell burst onto the theatre scene in early 2017 when it opened in Manchester. Since then it has been through a number of iterations, making its West End debut at the London Coliseum last summer, performing a run in Toronto and returning to London at its current home, the Dominion Theatre. The show is also set to take off on a US tour as well as other productions worldwide.
The story (or lack of) is set in Obsidian; a post-apocalyptic version of Manhattan, which has been ravaged by chemical wars. These caused a group of teens (the Lost) to become frozen at the age of 18. The main story focuses on Strat, the leader of the Lost and Raven, the daughter of Falco, the tyrannical leader of the city. The two fall in love a la Romeo and Juliet, and the rest is history.
The plot is based on both Romeo and Juliet and Peter Pan, but the whole thing is very thin. If you go to this show wanting a proper story, you will be let down, but if you go into it for the spectacular aspects of amazing performances and unreal special effects then you'll love it.
Christina Bennington leads the stellar cast as the rebellious teen Raven, alongside Jordan Luke Gage who recently took over the role of the blond haired, blue eyed, black hearted, Strat. Both give wonderful performances and have great chemistry with one another. Like the entire company, Jordan and Christina both have exceptional vocal skill. On this particular performance, Zahara was played by Rhianne-Louise McCaulsky, who was astounding, and Ledoux was played by Sam Toland, who gave a fantastic performance. As Raven’s parents Falco and Sloane are Rob Fowler and Sharon Sexton, who both give outstanding performances, and add comedic elements which are highly entertaining.
The ensemble really bring the show together with pitch perfect harmonies and notes to die for. My personal favourite part of the show is Objects In The Rearview Mirror, where the ensemble bring me to tears with their heartfelt performances.
During this performance there appeared to be some microphone issues but these were only minor and did not distract much from the fantastic performances.
From start to finish this show is a hit. The vocals are flawless and Emma Portner's choreography (as wacky as some of it is) is phenomenal. Each and every person in this show is a superstar. The lack of story is certainly made up for by the intensity and emotion with which the full cast perform.
With the show remaining in London until January 2019, and a major US tour about to begin, I thoroughly recommend Bat Out of Hell for an entertaining night out.
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Specular
Friday 14 September 2018
Misty, Trafalgar Studios | Review
Misty
Trafalgar Studios
Reviewed on Thursday 13th September 2018 by Olivia Mitchell
★★★★★
Misty is an outstanding, relevant, vibrant and moving piece of theatre written and performed by a theatrical genius. Arinzé Kene's use of spoken word, movement, rhythm and singing is masterful and makes you feel as though you are with him every step of his journey.
Despite being in a formal setting of audience separate from the performer, this show feels immersive and the regular breaking of the fourth wall feels natural and fresh. It's evident that this show is so intricately planned, that it feels unplanned. We find ourselves constantly questioning whether an action was an accident but it soon becomes clear that everything is part of the beautifully woven fabric of the show.
The dual-narrative script written by Kene is a masterclass in effect. The balance between political/racial tensions, intensity and passion is perfectly found and combined with laugh out loud humour magnificently. The structure of the entire piece is so exhilarating and exactly what the West End needs right now.
Kene is one of the most deft storytellers I have ever encountered. The way he captivates the audience and wraps us around his finger with a faultless intensity and honesty is an impeccable thing to witness. His performance pulls together a number of theatrical/storytelling devices which create a visceral performance that gives visibility to crucial issues that constantly need addressing. The fact that this is only the second black British play to be in the West End is enough to show that change is needed and I sincerely hope and believe that Misty will reach those that are able to influence change and will be a step towards opening conversations that will lead to positive outcomes.
The stunning performance of Kene is accompanied by incredibly deft musicians: Shiloh Coke and Adrian McLeod. The lighting (Jackie Shemesh), sound (Elena Peña) and video (Daniel Denton) are all part of creating the perfect package of Misty.
Misty is unique, theatrical perfection, written and performed by a master of his craft. This show needs to be seen and experienced. Don't miss it.
Misty runs at Trafalgar Studios until 20th October 2018
photo credit: Helen Murray
Thriller Live! (4000th Show Gala), Lyric Theatre | Review
Thriller Live! (4000th Show Gala)
Lyric Theatre
Reviewed on Wednesday 12th September 2018 by Emma Gradwell
★★★★
This week Thriller Live! celebrated its record breaking 4000th performance with a glittering Gala Night featuring special guest performer Peter Andre for one night only.
It was also the launch of a year long collaboration with The Prince's Trust with proceeds from tickets sales to be donated, and a commitment from the Thriller Live! team to provide experiences and mentoring over the next year, which will help to support young people to develop the confidence and skills they need to realise their ambitions through workshops, art projects, Q&A sessions and opportunities to experience the show.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
For anyone not familiar with Thriller Live!, the show is a nostalgic and fond journey through Michael Jacksin's musical career from the early days of Motown and The Jackson Five to beyond his Bad album.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
My only criticism of the show is that some of the high energy performances are very clearly lip synced to a backing track and with so many great vocal performances it's hard to understand why that is. However, this really was a THRILLING night. The audience loved it, the partnership with The Princes Trust is to be applauded and I am sure the show will continue to entertain in the future.
Thriller Live! is booking at the Lyric Theatre until 7th April as well as a UK Tour
photo credit: Betty Zapata
Friday 7 September 2018
Five Reasons to see Eugenius
I've been lucky enough to see Eugenius throughout it's journey, from it's first public concert at the London Palladium, to its first stay at The Other Palace and now at its triumphant return. It's wonderful to see such a fun British show become an audience favourite and a cult classic. At risk of full on repeating myself, instead of reviewing the show again, I bring you a list of reasons why should see it...
It's the Definition of Catchy- If you're a fan of upbeat, 80s inspired music and heartfelt ballads then this show is for you. If you don't find yourself humming "go Eugenius" or "Don't shoot for the stars, shoot higher" basically all the time after seeing the show, then you are very good at escaping musical earworms! (It's in my head even just from writing those words)
The Cast are Superstars- The talent on the stage of The Other Palace is unreal. Rob Houchen perfectly embodies the geeky Eugene who loves comics more than life and dreams of a brighter future where he will "inherit the earth". Laura Baldwin's voice is complete perfection as she balances angst, humour and joy with ease. Dan Buckley is the ultimate musical theatre comedian and Scott Paige brings the ideal level of sass to The Other Palace. Basically, this cast are astronomical and deserve to be seen.
It Allows us all to be G.E.E.K Geeks- However hardcore we try and be, deep down (or not deep down in my case) we're all geeks. This show allows us to embody this whilst living our best 80s lives. The message of the show is all about acceptance and inspiring us to strive for more, which is pretty great indeed.
The Whole Show is Pure Fun- Eugenius is one of the most self-aware shows I've ever seen. There are so many parts that are ridiculous and super cheesy and it does have it's faults but it knows that and doesn't try to be anything more than it is, which is a pure fun-fest. For a light-hearted, truly joyous night, get yourself along to Eugenius.
The Fans Are the Best- It's my belief that the fans can make or break a show. Regardless of what critics/reviewers say, a shows fanbase can spread the love and word quicker than wildfire. Sitting in row G I had a wonderful view of the fantastic fans who took up much of the first two rows and who were giving as much to the cast as the cast were giving to the audiences. Their beaming smiles, instant applause, knowledge of every word and action in the show and love on social media is heartwarming to watch. Go see Eugenius purely to see what the fans are raving about!
Eugenius runs at The Other Palace until October 21st 2018
photo credit: Scott Rylander
Wednesday 5 September 2018
Six, Arts Theatre | Review
Six
Arts Theatre
Reviewed on Friday 31st August 2018 by Olivia Mitchell
★★★★★★ (it seems only right)
As someone who grew up spending her weekends visiting Hampton Court Palace, Six is pretty much my ideal musical. Bringing the wives of Henry VIII to us live in concert and changing HIStory to HERstory this show is a celebration of girl power and shows us that there's far more to the rhyme we all grew up hearing.
Written by Toby Marlow and Lucy Moss, Six is fresh, modern and unlike anything I've experienced. The lyrics are fast paced and extremely clever but draw you in so much that at no point do you find yourself struggling to understand them. Each Queen has a distinct style which works fantastically. From the jazzy feel of Catherine Parr's solo to Catherine of Aragon's Beyoncé style song, all the music feels relatable and makes you feel you could be friends with any of the Six ladies.
Each Queen is inspired by current pop-stars with the cast bringing clear influences from pop culture as well as making the roles truly individual and memorable. As their respective wives (Ex-Wives *mic drop*) Jarneia Richard-Noel, Millie O'Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed are outstanding. It's unfair to talk about them individually as they all bring so much to the show and despite having solo's, make this show the united, ensemble piece it's meant to be.
The Ladies in Waiting aka the on stage band bring energy and even more power to Six. Emma Bailey's set is simplistic in the tiny space of the Arts Theatre but extremely fitting, with the black box almost becoming a chapel where we can worship these powerful women. Tim Deiling's lighting helps achieve the pop concert vibe and is especially effective in Haus of Holbein where Anna of Cleves' tells her story accompanied by strobe lights and fluorescent neck ruffs.
Carrie-Anne Ingrouille's choreography is sharp and fills the space extremely well. Alongside Gabriella Slade's fabulous and flirty costumes and Jimmy Jones' chiselled makeup looks, the ladies really do own the Arts Theatre and become the hottest girl group in London.
Six is inventive, coherent, uplifting and full to the brim with talent. The varying tempos and genres make the piece continually engaging and the "Britishness" of it all is truly wonderful when so much of the West End is currently/soon to be dominated by imported shows. Henry VIII may have been the Tudor King, but these Queens are the rulers of London theatre.
Six runs at the Arts Theatre until 14th October, and then tours around the country
photo credit: Idil Sukan
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