Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts
Thursday 24 January 2019
Vision of You: Live with Rob Fowler and Sharon Sexton, The Space at Studio 88 | Review
Vision of You: Live
The Space at Studio 88
Reviewed on Thursday 24th January 2019 by Olivia Mitchell
★★★★
After releasing their album Vision of You, back in December, Rob Fowler and Sharon Sexton have taken their exploration of the backstories of Falco and Sloane (the pair's characters in Bat Out of Hell) to new levels with a series of concerts about how the duo came to be.
Featuring a mixture of the Vision of You album and additional songs, the evening is an entertaining and dramatic look at two well loved Bat characters and is certainly a fitting antidote for the fans still mourning the loss of the show at the Dominion Theatre. Starting from when Falco and Sloane meet with 'Falling Slowly' and ending with a bittersweet duet about the couple's life and romance, 'Always Remember Us This Way', Rob and Sharon do a brilliant job of storytelling and taking the audience on a journey.
Of course, both Rob and Sharon are vocal powerhouses and they don't fail to deliver top notch performances that are gritty but controlled. Combined with Steve Corley's magical, musical skills and the intimate but booming Space at Studio 88, the couple are able to show various sides of their voices and complement each other remarkably.
The ups and downs of the Falco Family relationship are brought to life further by Erin Ong's beautiful artwork which is projected between songs to fill in the story gaps. There are a number of aspects of the artwork, staging, lyrics and costumes that directly mirror Bat Out of Hell, and avid fans will have a great time picking out the subtle references to the show. Fans will also hear some familiar people accompanying the artwork, with Georgia Carling, Katherine Hare, Jordan Luke Gage and Patrick Sullivan lending their voices to dramatic points in the plot and bringing their Bat characters to the screen.
The love Sharon and Rob have for the characters they have created is evident through their album and live performances, and the work they have put into these concerts is so visible. It's clearly a labour of love for the duo and it's only right that all three performances at The Space have sold out. Bat fans will love this character development, but even if you're not a fan of the show, there's no way you'd be underwhelmed by the incredible talent and dedication the pair exude.
If you want vocal gymnastics, raw performances, drama, angst and romance, then Vision of You, both live in concert and recorded is for you.
photo credit: Specular and Olivia Mitchell
Wednesday 23 January 2019
Showstopper! The Improvised Musical, The Other Palace | Review
Showstopper! The Improvised Musical
The Other Palace
Reviewed on Wednesday 23rd January 2019 by Olivia Mitchell
★★★★★
It's. So. Good.
Showstopper! The Improvised Musical is exactly what it says on the tin, a musical that is created new every night by audience input and the amazing, fast thinking and uber talented cast. Every show is different and every show is a celebration of the amazing improv performers. Tonight was the 1000th performance of Showstopper but you could've been at every single one and seen something unique every time; that's the joy of the show.
Tonight's show, titled The Cream of Yorkshire, was set in a soup kitchen and featured songs inspired by Singing in the Rain, Oklahoma, The Producers, The Rocky Horror Show, Cabaret, Joseph and Bat Out of Hell. It was wild and wonderful.
The cast work together to create priceless, drama filled and absolutely wild shows. Up to seven performers appear at each performance, with each one having an unrivalled amount of comedic and improvisational talent. They create a show, and command an audience who are in the palm of their funny hands from the second they step on stage.
Despite the full improv of this show, it's so well planned it's unreal. The cast know each other and their movements so intensely that they pick up every innuendo and make it into a polished, laugh out loud performance.
This is top dollar entertainment that will have you laughing your socks off and feeling inspired to create. Showstopper! is a magical, mysterious and wonderful show that needs to be seen... and then seen again!
Showstopper! The Improvised Musical is at The Other Palace until March 16th 2019
Showstopper! The Improvised Musical is at The Other Palace until March 16th 2019
photo credit: Savannah Photographic and Alex Harvey-Brown
Tuesday 22 January 2019
Violet, Charing Cross Theatre | Review
Violet
Charing Cross Theatre
Reviewed on Monday 21st January 2019 by Olivia Mitchell
★★★
Based on Doris Betts' short story The Ugliest Pilgrim, featuring music by Jeanine Tesori and libretto by Brian Crawley, Violet follows a disfigured woman as she embarks on a Greyhound Bus journey from Spruce Pine, North Carolina to Tulsa, Oklahoma, to be healed by a famous television healer.
The musical opened to critical acclaim off-Broadway in 1997, spawned various productions in the US and is making its UK debut at the Charing Cross Theatre before transferring to Tokyo and Osaka.
The Charing Cross theatre has been completely transformed as it becomes a theatre in the round, with a sleek and interesting set designed by Morgan Large. The space is so versatile and this is an especially unique set which works well to display the physical and mental journey our lead goes on. The musical features a number of flashbacks which are mirrored on the stage itself by the actors but also helped by the wonderful lighting from Howard Hudson. The present is bathed in warm light, whilst the flashbacks are much cooler and starker; a clever detail which helps the motion of the show.
Violet features a superb cast, led by Kaisa Hammarlund as the scarred Violet, giving a stunningly open performance that feels grounded and truthful. As her younger self, Amy Mepham does a great job. As love interest number one Monty, Matthew Harvey gives a vocally outstanding and all round enthralling performance. Harvey manages to bring the various sides of Monty to life with ease and talent. Love interest number two, Flick, is played with a beautiful vulnerability by Jay Marsh who provides the smoothest and warmest vocals. Marsh could sing the phone book and receive applause.
Despite its wonderfully strong cast, the story of Violet feels bland and somewhat uninspired. Nothing really happens and a lack of character development means the audience don't root for the characters as much as they should. The slow moving show is very plot based, rather than character based but the plot is extremely predictable and leaves much to be desired.
The cast are stellar but unfortunately the book falls flat in this revival.
photo credit: Scott Rylander
The cast are stellar but unfortunately the book falls flat in this revival.
photo credit: Scott Rylander
Monday 21 January 2019
Songs for Nobodies, Ambassadors Theatre | Review
Songs for Nobodies
Ambassadors Theatre
Reviewed on Friday 18th January 2019 by Olivia Mitchell
★★★
Taking the form of a one woman show which tells the stories of the unheard meetings with famous performers, Songs For Nobodies is a wonderful display of vocal ability and performance from Bernadette Robinson.
A series of five monologues show the power and effect of celebrity and examine how individual people's lives can be altered by even a brief, chance encounter. Robinson's vocal aptitude allows her to create almost uncanny performances of famous singers. A career headed journalist interviews Billie Holliday, a Nottingham librarian recalls her family connection to Edith Piaf and A New York bathroom attendant has an inspiring meeting with Judy Garland.
Each story has a heart, and thanks to Robinson's performance, they all feel truthful, however, at times Joanna Murray-Smith's book feels bland. Of course it's supposed to mirror real life which isn't all sparkles and boldness but the one-level feel of the stories does lead to an at times, un-engaging piece of theatre.
With the space and Robinson's abundant talent, it just feels that a little more work on the 'nobodies' to give them more well-rounded stories, could create a truly captivating show. The simplicity of the show works well though, with the cabaret vs drama aspect maintaining a good balance and keeping Robinson at the forefront and heart of the whole thing.
Robinson's talent is undeniable and she is certainly a master of her craft but Songs For Nobodies does a predictable job of showing her off.
photo credit: Nick Brittain
Tuesday 8 January 2019
Christina Bennington, Live at Zedel | Review
Christina Bennington (Concert)
Crazy Coqs, Zedel
Reviewed on Monday 7th January 2019 by Olivia Mitchell
★★★★
The wounds are still fresh for Bat Out of Hell fans, who had to wave goodbye to their beloved show at the Dominion Theatre just two days ago; but the Bat love was still strong as Christina Bennington took to the stage in a one night only couple of concerts. As usual, the Zedel provided a cosy and relaxed backdrop for a night of pure vocal entertainment and we felt welcomed into the songbook of Christina's life and career.
After performing Jim Steinman's huge musical numbers for the last couple of years, it was enthralling and refreshing to hear Christina show off the other shades of her voice, with her lilting soprano contrasted wonderfully against her powerful belt and buoyant performance. Some stand out numbers included Green Finch and Linnet Bird, I'm With You and Salley Gardens which each showed a different aspect to the vast range Ms Bennington beholds. Act One closer, Raven was another highlight as Christina's voice soared over the audience and enchanted us all through the power of a beautiful song.
Alongside sweet anecdotes we also heard from two guest performers: Danielle Steers and Dan Buckley. Good Girls Go To Heaven performed by Danielle and Christina was met with elation from the audience who were wrapped around the performers fingers, whilst, Happy Days Are Here Again/Get Happy illustrated the friendship between the duo and how their voices complement each other so well. Daniel played the Disney Princes in the pairs mini Disney mash-up and reminded us of just how much talent is on offer in the West End with his beautiful rendition of You Matter To Me from Waitress; it's lovely to see two friends really seeming to have fun on stage.
Superbly talented Musical Director Noam Galperin took charge of the nights musical proceedings, leading his outstanding band with musical fluidity and providing some unique and interesting arrangements of well known songs.
It's interesting to see Christina outside of the rock musical format not only as a showcase of her versatile vocals but also her depth as a performer. Christina's comedic choices, especially during Stupid With Love from Mean Girls were highly entertaining. Equally her performance of Princess was immensely moving. The way Christina physically embodies a song is truly wonderful to see and it's clear why they say "the eyes are the key to the soul" as she conveys a single emotion or thought with a mere twitch of her eyes.
Closing the show with Heaven Can Wait and All Coming Back to Me Now was a wonderful way of rounding off, what must have been a whirlwind few years for Christina, and felt like a fitting way to put Raven away for now, and open doors for new ventures.
If you want to witness a master of acting through song and a beautiful songbird, don't miss Christina Bennington's future performances as she is sure to shine and astound.
photo credit: Joseph Sinclair
Monday 31 December 2018
Olivia's Top 10 Shows of 2018
2018 has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in an order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats. 2019 is the year of change for West End theatre as a lot of beloved shows close and we get a number of new shows and shows from across the pond. I can't wait to see what next year provides and if we get anything like the treats from this year, it's going to be truly wonderful...
This was one of the wackiest nights out at the theatre. Alan Menken's score, accompanied by the changing natural light, a dancing tongue (shoutout Billy), and a host of standout performances, you couldn't help but smile and laugh at this treat of a summer show.
My heart was torn out and I ugly cried most of my train home but this was a magical theatrical experience. Highlighting the struggles of grief, this production cleverly used simplistic, ensemble staging to create a highly moving, highly polished, yet still raw piece of theatre.
This is one of the most truthful productions I have ever seen in my life. The outstanding cast seemed as if they were living the show for the first time as they travelled through Nine Nights of mourning with humour and depth in perfect balance.
This show deserved better. Mythic was a whole host of self-aware-hilarity accompanied by the catchiest music. A modern twist on the Greek Gods, it was 90 minutes of unadulterated brilliance and I can only hope 2018 isn't the last time this show graces the stage.
Robert Hastie's revival of The York Realist was 130 minutes of theatrical perfection. Handled with genuine care and a real attention to detail, this was a beautiful exploration of love, class and life.
All I can say is that London is not ready for the perfection that this show is. Book your tickets NOW.
Toby Marlow and Lucy Moss are the best thing to happen to British theatre in a long time. Telling the stories of the wives of Henry VIII, Six uses modern musical styles, mixed with laugh out loud one liners, out of this world performances from the Queens and it's just spectacular. It's a show for all ages that is sure to wow audiences for years to come as they keep coming back for their royal fix.
This is another gem of a show from Trafalgar Studios. Arinzé Kene gave the most devoted and energy fuelled performance I've ever seen. Misty is vibrant and fresh as it uses the dual-narrative structure perfectly to leave you wordless.
If The Rink was a person, I would've married it by now. Caroline O'Connor gave a masterclass in acting and this show needs to come back right now. Roller blades, delightful music and fabulous staging made this a faultless production.
I saw Hadestown twice this year but if I could've made it 20, I would have. I truly can't describe how special this show is; the lighting, staging, choreography, ensemble, leads and music come together to create an emotional journey and spectacular theatrical experience. The entire show is painfully relevant and the whole spectacle of it is exceptional.
So there we have my Top 10 Shows of the year, do you have any of the same ones? I'd like to give mention also to Bat Out of Hell which became a huge part of my year and provided some wonderful memories; and the BTA who put on two fantastic shows: Spring Awakening and Bring it On which featured stellar performances from the stars of the future.
For me, this was the year of female led performances and a real forward movement in the showcasing of diversity in theatre which are two huge positives in the industry. Lets hope for a continuation of these changes in 2019! Wishing you a the stagiest of stagey 2019s!
-Olivia x
-Olivia x
Tuesday 11 December 2018
A Christmas Carol (LMTO), Lyceum Theatre | Review
A Christmas Carol (LMTO)
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell
★★★★★
The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.
Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life.
Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions.
Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.
As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances.
The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice. David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.
I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.
The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.
The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre.
A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm
photo credit: Nick Rutter
Saturday 8 December 2018
Nine Night, Trafalgar Studios | Review
Nine Night
Trafalgar Studios 1
Reviewed on Friday 7th December 2018 by Olivia Mitchell
★★★★★
Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief.
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.
Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.
It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.
This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more.
photo credit: Helen Murray
Friday 7 December 2018
In Conversation With... Sophie Isaacs | Cinderella | Interview
Fresh from starring in the hit musical, Heathers, Sophie Isaac's is getting festive and tackling Panto with Cinderella which opens tonight in Woking at the New Victoria Theatre. Olivia sat down with Sophie for a festive chat...
You've just finished playing Heather McNamara in Heathers, tell us a bit about that...
It was possibly the best experience I've ever had. Seeing a job from workshops, then to a sold out run at The Other Palace and then transferring to the West End; to see a show develop from the start like that has been incredible and also, it's such a special show that I just adore it.
Heathers has obviously already been on, but you basically created this version of Heather Mc yourself, so what was the hardest part?
Probably just getting to grips with the character and her journey because she starts off being a Heather, with the not nice aspect of that but her journey means her character changes throughout the show and her interactions with different people affect her. Especially with Veronica (Carrie Hope Fletcher) and that friendship, which really develops. So getting that journey is the most important in terms of making sure she had heart at the beginning, even though it was a little hidden, and gradually bringing that out.
Did you get a lot of say in the changes in your production of Heathers?
Yeah, we were really lucky. The creative team were unbelievable; so gracious and open to us saying "it doesn't feel natural" but honestly, generally they knew what was right and what was best. They've been with the show for ten years but they were absolutely open to discussion and seeing what works and what doesn't.
Heathers audiences were very different in terms of their live reactions compared to other musical audiences, what was that experience like and do you think it prepped you for the interactive aspect of Panto?
Yes, Heathers was like a rock concert and it's nice because I now won't be put off by people suddenly shouting at me or cheering or being very very involved. We always said that the Heather's audience was the fifth Beatle and pantomime has the fifth Beatle as well, so it was very good prep.
We didn't know how Heathers would land going from 300 seats at The Other Palace to the much bigger, Haymarket but it was bigger and better which was amazing.
So, Cinderella the Panto- are you excited?
Yes! I put the dress on today and I just cannot wait. The shoes are just stunning, jewelled everywhere, with a monster jewel on the front. I am possibly the biggest Christmas fan on the planet so any opportunity to get festive, I love!
What are your favourite parts of Christmas, do you have any traditions?
Of course the whole, advent calendar and chocolate for breakfast everyday thing. My favourite things are generally food related! Mulled wine, piggies in blankets, I love a buffet.... oh and love a mince pie! Just all of it!
I was out of the country last year for Christmas and it was awful, I was just so sad cause I wanted to be here with my family so I thought to myself, "what's the most Christmassy thing I can do next year?" and here we are... Panto!
Are you a big Panto fan?
Yeah I love it, absolutely love it. I haven't been in one for years and years and years but the last one I saw was Cinderella. It was in Swindon and my friend was playing Cinderella so it's nice to be doing this now.
So why should people come and see Cinderella in Woking?
You should come to the Panto because it's an amazing night out, it's a time to have a lot of fun with your family; it's festive; there are jokes that mums and dads will get, and jokes that the children will get, so it's fun for all and I think it's going to be incredible!
Cinderella runs at the New Victoria Theatre until January 6th 2019
Interview by Editor, Olivia Mitchell
photo credit: Grahame Larter
Wednesday 5 December 2018
Hot Gay Time Machine, Trafalgar Studios | Review
Hot Gay Time Machine
Trafalgar Studios 2
Reviewed on Tuesday 4th November 2018 by Olivia Mitchell
★★★★
Fun, flamboyance and festivity, Hot Gay Time Machine is probably the most fun you'll have at the theatre this year (and next year when it'll no doubt be ruling the West End and the world). Conceived by Zak Ghazi-Torbati, Toby Marlow and Lucy Moss, this show is a ridiculously humourous look and laugh at life as a hot (privileged) gay. With a pink carpet and sparkles abounding, Trafalgar Studios becomes the time machine as Zak and Toby travel through a series of iconic moments in their lives, accompanied by a catchy, riotous soundtrack.
Zak and Toby have done an outstanding job of creating a show that feels fresh, modern, exciting, wild and amusing but also has moments that are moving and informative. Alongside innuendos and outright unruly behaviour there are sweet moments about gay-splaining and coming out which are looked at with sincerity and fun.
Asides from the fantastically witty writing, it's the chemistry between the pair which makes this show a surefire success. The duo bounce off one another as if the whole show is impromptu, and there are a number of moments where they ad lib and give one another knowing glances that just add to the already extra humour. Toby deftly plays the piano whilst singing his soul off and Zak provides vocals for days as well as witty one liners and harmonies to give you life.
In all honesty there's not much more I can say about this show other than: GO SEE IT. If you want to laugh your face off and have 75 minutes of pure, unadulterated, gay fabulousness alongside absolutely stellar performances, Hot Gay Time Machine is the show you need in your life. Go now or commit a small hate crime.
Hot Gay Time Machine runs at Trafalgar Studios 2 until January 5th 2019
photo credit: Pamela Raith
Monday 3 December 2018
Carmen, Royal Opera House | Review
Carmen
Royal Opera House
Reviewed on Friday 30th November 2018 by Olivia Mitchell
★★★
Twisting Carmen on it's head, the Royal Opera House's revival of Barrie Kosky's production brings modernity, a narrator, simplicity and vibrance together to create a fresh and mostly effective production.
Taking the place of the original dialogue/recitative is new text performed by pre-recorded narrator, Claude De Demo who sounds sultry and gives vibes of Carmen herself. Whilst this narration does bring a flow and more typically theatrical feeling to the show, overall Carmen does feel somewhat un-cohesive as it tries to be a bit too clever for it's own good.
Katrin Lea Tag's set comprises of a vast stair case which covers the stage and prompts us to use our imaginations to see the tobacco factory and other settings. The simplicity effectively highlights the performances and provides a great backdrop for more dramatic and colourful moments of action; although at times it seems in the way of the flow of the show. There are times where the performers are legging it up the deep steps, that it feels there would be much less struggle and more payoff if they were not the main entrance, exit and focal point throughout the entire production.
Performance wise, this is an incredibly strong production. Stepping in last minute as Carmen, Gaëlle Arquez is astounding. From the various sleek costume changes from a pink matador, to a gorilla, to a suit and various dresses; to the elegant way she crosses the stage and of course her powerful but vulnerable vocals, Arquez demands to be seen in the title role. Brian Jagde brings an equally commanding passion to Don José but at times lacks characterisation that would bring a more menacing and psychologically commanding aspect to the character. With his booming bass and charismatic performance Alexander Vinogradov as Escamillo makes it clear why Carmen would choose him over Don José.
Otto Pichler's choreography emphasises the Cabaret theme which runs throughout the show, with six dancers who work hard to showcase various dance styles. There are moments when the choreography really works, creating a frantic, popping energy.
A melting-pot of movie, musical and pop culture references, this production of Carmen does a good job of refreshing and modernising the opera but feels at times that in attempting to be too accessible that it instead becomes unaccessible.
Carmen runs until 22nd December at the Royal Opera House
photo credit: ©ROH. Bill Cooper
Tuesday 27 November 2018
Seussical, Southwark Playhouse | Review
Seussical
Southwark Playhouse
Reviewed on Tuesday 27th November 2018 by Olivia Mitchell
★★★★
Seussical is a colourful whirlwind of a musical which takes the works of Dr. Suess and winds them into a magical, heartfelt story of acceptance and love. We follow JoJo, a Who with a larger than life imagination who, along with the rest of the Whos, live on a tiny speck of dust which is found by Horton the elephant. Horton vows to protest this speck with all his might which leads to a story of ups and downs and a whole host of characters.
Aesthetically this is a beautiful production. The pops of colour both in the set (Justin Williams and Jonny Rust) and the costumes (Rachel Cartlidge) really emphasise the story book feel and bring this wacky world to life in an over the top but never tacky, way. The costumes cleverly differentiate the characters without becoming cliched or predictable.
Marc Pickering leads the cast sublimely as the Cat in the Hat. Absolutely commanding every inch of the stage he touches and demanding the audiences attention with every brow raise and smirk; he is utterly hysterical and clearly born to be seen. Amy Perry is sincere and relatable as Gertrude, Anna Barnes is suitably energetic as JoJo and Adam Dawson and Daisy Steere are outstanding as Mr and Mrs Mayor and they totter around the stage with humourous aplomb.
Scott Paige is endearing and vocally faultless as the lovable Horton and it's great to see him helming a show after standing out in Eugenius and The Addams Family. Paige brings a heart and warmth to this story that makes it the perfect show for a cold winter evening. The entire cast are enthusiastic and full of life from the get go; with tasteful audience interaction, energetic, sharp and fitting choreography (Chris Whittaker) and a boatload of originality, they make the production sleek and engaging.
Captivating and innovative, Seussical is a musical for all the family that is sure to delight and enthral from start to finish. Presenting an over the top look at some crucial and relevant social issues, it's a show for everyone, that is extremely well thought out and will leave you feeling warm inside, with a smile so wide.
Seussical runs at the Southwark Playhouse until 29th December 2018
photo credit: Adam Trigg
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
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