Posts with the label west end
Showing posts with label west end. Show all posts
Showing posts with label west end. Show all posts

Wednesday 8 May 2019

Amour, Charing Cross Theatre | Review


Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell 
★★★

Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor. 

One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...

This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled. 


It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.

Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.

The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.


This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat. 

photo credit: Scott Rylander

Amour, Charing Cross Theatre | Review

Wednesday 8 May 2019

Tuesday 7 May 2019

Man of La Mancha, London Coliseum | Review


Man of la Mancha
London Coliseum 
Reviewed on Friday 20th October 2017 by Olivia Mitchell 
★★

Man of La Mancha is considered a 'rare' revival and from this production it's pretty clear why. The story is highly dated and it's evidently a very hard piece to stage. Whilst the cast do as much as they can with what they've been given, the production feels un-engaging and insufficiently developed.

The structure of 'a show within a show' does little other than make the piece feel static. No context is given for the prison setting and the transition from the damp cell to the dreamlike play is jarring at times. The switches feel bulky and instead of moving on what little story there is, add an unnecessary layer which isn't resolved in any way.

The thin plot follows author Cervantes (Kelsey Grammer) who has been thrown into the prison. In an attempt to save his manuscript of Don Quixote and his worldly possessions, he acts out the novel and allows the other captives to take part. Grammer is good in his roles most of the time but feels unsteady, especially during the fight scenes, and doesn't bring the show's hit song 'The Impossible Dream' to life with much bravado. In general the cast are strong but there are moments of weakness, mostly due to the book itself.


Nicholas Lyndhurst plays both the sinister Governor and boozy innkeeper and is highly entertaining. The story may be strange but Lyndhurst amuses and brings his unsophisticated characters to life. 

Soprano Danielle de Niese plays Aldonza, the local prostitute who Quixote sees as his princess and damsel in distress, Dulcinea. De Niese is vocally strong and brings an entertaining feistiness to the stage, but her incredibly dated role which features a brutal rape scene, again feels discordant. There seems to be a lack of balance between comedy and drama, with whimsical moments suddenly being taken over by shocking social commentaries, that do little to resonate with a modern audience.

There are brief sparkles of greatness in this production: David Seadon-Young stands out among the ensemble, Peter Polycarpou is engaging and whimsical and the gypsy dance is well choreographed. However overall Man of La Mancha feels like a show which cannot be made relevant for a contemporary audience. The bizzare characters are too far removed from anything the audience can sympathise with which makes the whole production feel empty.

If Fotini Dimou's beautifully detailed costumes and David White's superbly virtuosic orchestra are enough for you to fork out the the ticket money then by all means go to this show, but don't expect much more.

For more information and tickets, visit https://www.londonboxoffice.co.uk

photo credit: Manuel Harlan

Man of La Mancha, London Coliseum | Review

Tuesday 7 May 2019

Saturday 4 May 2019

Disney's Aladdin, Prince Edward Theatre | Review


Aladdin
Prince Edward Theatre 
Reviewed on Wednesday 21st May 2019 by Olivia Mitchell 
★★★★

There's always room for a little injection of Disney magic and Aladdin which is booking at the Prince Edward Theatre until July 27th 2019, is just that. It's not a life-altering, thought-provoking piece of theatre but it's a whole lot of fun, mountains of sparkle and enough magic to enthral children and adults alike. 

If you're unaware of the story, Aladdin follows a street urchin who is hustling his way through life. That is, until he meets the Princess of Agrabah and his life becomes a little more wild. As the prophesied 'Diamond in the Rough', Aladdin gets his hands on a lamp which contains a magical Genie, who will grant him three wishes. Aladdin ventures to find love and escape the dark characters who are on his tail in this mystical story.

Aladdin (played by Matthew Croke) is lovable and charming in all the ways you could desire. With a beautiful voice and fantastic stage presence he leads the show perfectly. Croke's rendition of 'Proud of Your Boy' is truly moving and a wonderful moment of calm among an all-singing, all-dancing musical. His Jasmine is played by Courtney Reed who is dazzling and brings a feminist, sassy quality to the character that transfers fantastically on stage. Reed's vocal performances are equally as enchanting and when the pair join for the iconic duet 'A Whole New World' they not only do the film version justice, but put their own mystical spin on it.

The rest of the cast are highly talented, as shown by the various dance numbers which are performed with enthusiasm and precision. Similarly to the film, it's the Genie (played by Trevor Dion Nicholas) who utterly steals the show. With incredible comedic flair and dramatic prowess, Nicholas earns rapturous applause in every scene. Act One closer 'Friend Like Me' is a glistening gem in this production.

A spin of colour, created by Bob Crowley's sets and Gregg Barnes' costumes, Aladdin is a feast for the eyes as well as the ears. The sides of the stage do feel a little underused as they are completely bare, but the black box effect strangely makes the stage look like a television which works for this show.

There are times when the show does feel a bit pantomime-esque, but there's no denying that it caters to the vast audience of tourists, theatre newbies, children, theatre regulars and adults very well. Aladdin pleasantly surprises and impresses. 

The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.

Aladdin is currently booking at the Prince Edward Theatre until July 27th

For more information and tickets, visit: www.londonboxoffice.co.uk

Disney's Aladdin, Prince Edward Theatre | Review

Saturday 4 May 2019

Thursday 25 April 2019

Ain't Misbehavin', Southwark Playhouse | Review


Ain't Misbehavin'
Southwark Playhouse
Reviewed on Wednesday 24th April 2019 by Olivia Mitchell 
★★★★

Tyrone Huntley makes his directorial debut with this vivacious production that hasn't been seen in London for almost 25 years. With Oti Mabuse's choreography, the show is a whirlwind of energy which excites and entertains throughout.

Originally conceived by Richard Maltby Jr the show is billed as The Fats Waller Musical. It's more of a cabaret revue than a musical but, thanks to Huntley's direction, the performers have their own characteristics which thread throughout the show and create a fantastic cohesion. Songwriter and pianist, Fats Waller had a hugely successful career which combined jazz, slapstick comedy and gin. However, this show isn't about the man himself, but the music he created.

The powerhouse cast bring spades of energy and vocal prowess with every number. Renée Lamb is sassy and animated, Carly Mercedes Dyer is sweetly comedic, Landi Oshinowo brings spades of soul, Wayne Robinson is smooth and sharp and Adrian Hansel is sleek throughout. Alongside the strong five-piece band, the team give contagious performances.

The set and costume design by takis is glitzy and exuberant, with sparkles and swing embodied on every inch. The Southwark Playhouse is transformed to have an almost speakeasy feel as we are whisked away to a world of jazz and gin.

The 100 minute show is a sexy and sassy celebration of Fats Waller's music, with choreography and vocals to impress everyone. The cast do an outstanding job of selling all of the thirty musical numbers and providing both emotional and hugely comedic moments.

Ain't Misbehavin' runs at the Southwark Playhouse until June 1st 2019

photo credit: Pamela Raith

Ain't Misbehavin', Southwark Playhouse | Review

Thursday 25 April 2019

Wednesday 13 March 2019

9 to 5 The Musical, Savoy Theatre | Review


9 to 5 The Musical
Savoy Theatre
Reviewed on Tuesday 12th March 2019 by Olivia Mitchell 
★★★★

Its almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. Musical adaptation by film creator, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and feel very relevant during the Trump Era and #MeToo movement. 

Despite what you may think, this is not a jukebox musical and apart from the world hit 9 to 5, many of the songs are forgettable although being pleasing to listen to at the time. The arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland are pretty and Lisa Stevens' buoyant choreography keeps the momentum of the show going but the music itself is not the highlight. 

However, Jeff Calhoun's West End production features a fantastic cast who perform Dolly Parton's score with vigour and drive.  Natalie McQueen completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and a vocal powerhouse, Natalie brings life to the role and provides a memorable moment with Backwards Barbie. Amber Davies is charming as the naive Judy Bernly who finds herself throughout the show. Whilst her acting is somewhat lacking at times, Amber retains her charisma and gives a lovely performance of Get Out and Stay Out. 


Caroline Sheen brings a light to the show as the strong and capable, Violet Newstead. Together the three ladies are a  real force as they take drastic measures to stop their sexist boss, Franklin Hart Jnr. (played comedically by Brian Conley) from blackmailing them.  The real show stealer is Bonnie Langford as Hart's devoted assistant who is completely wonderful is her unrequited love for her CEO. Her high-kicking, leg-splitting performance of Heart to Hart is impressive beyond belief and utterly hilarious.

This is a crowd pleasing production that, with a second act of only 45 minutes, flies by with a flash of hair, power-suits and feminism. There's no denying that the principles are dated and it's more of a period piece  than a modern inspirational tale to live by, but it does provide a laugh. Whilst being set in the 80s, the various nods to 2019 allow it to feel more relatable. 9 to 5 is a feel-good show, helmed by powerful performers who allow you to ignore the shortcomings and enjoy it for what it is: a load of female led fun.

photo credit: Craig Sugden

9 to 5 The Musical, Savoy Theatre | Review

Wednesday 13 March 2019

Saturday 9 March 2019

Mamma Mia, Novello Theatre | Review


Mamma Mia
Novello Theatre
Reviewed on Wednesday 6th March 2019 by Olivia Mitchell
★★★

It's a cult classic, it's summery fun, it's the music of ABBA and altogether it's a great night out. It's never going to be the most theatrically enthralling or deeply emotive piece of theatre but Mamma Mia is a boat load of laughs and a perfect carefree way to spend a couple of hours.

In case you've somehow missed it, Mamma Mia is set on a Greek Island where Donna Sheridan lives with her daughter Sophie, who is getting married to ex-banker Sky. Sophie is on a mission to find her dad so invites her three potential fathers to her wedding. What ensues is a journey where past emotions are brought up, and the importance of family is examined and everyone bops out to a bit of ABBA. When it opened in 1999 in London, very few would have imagined the worldwide success of the Mamma Mia franchise and it seems that this success is in safe hands with the current West End cast who are helping it celebrate it's 20th Anniversary.

Having recently taken over the role, Charlotte O'Rourke is super sweet is Sophie Sheridan. Bringing the sweet vocals we all expect as well as power in act two. Alongside Alec Porter as Sky, the pair make a nice duo and give an especially entertaining performance in Lay All Your Love on Me.


Leading lady Donna is a pretty extensive role which requires some big vocal chops. At this performance, Caroline Deverill took on the role and did so with both honesty emotion and exuberant energy. Songs such as The Winner Takes It All and Money, Money, Money were stand outs of the night. As her Dynamos, Jennifer Hepburn (Rosie) and Kate Graham (Tanya) gave spandex filled performances and delivered their witty lines with a freshness that the audience clearly loved.

Sophie's three dads were played by Mark Isherwood (Harry), Stephen Beckett (Bill) and Richard Trinder (Sam). The three get the audience on their side immediately and give wonderfully comedic and heart warming performances. Their complex relationships with each other, Donna and Sophie are well played out and extremely entertaining. 

The ensemble work hard to bring the Greek island to life in terms of choreography as well as providing backing vocals to most of the show. There did seem to be come vocal imbalance throughout, with the leads often being almost silent but this was rectified by the mega-mix ending. 


Mark Thompson's basic set is cleverly used with the addition of props and lighting to simplistically put the story across and compared to other shows does feel a bit dated and overly basic, but it does the job and that's all you can ask for, and expect, with a show like this. 

With the Mamma Mia sequel recently being released and the ABBA love being felt more than ever, it's no surprise that this show continues to be a success. It's not a categorically 'great' musical but it's super energetic, platform filled and as much fun as you wish it would be. 

Tickets for Mamma Mia can be booked via www.londonboxoffice.co.uk

photo credit: Brinkoff/Mögenburg

Mamma Mia, Novello Theatre | Review

Saturday 9 March 2019

Thursday 7 March 2019

Waitress, Adelphi Theatre | Review


Waitress
Adelphi Theatre 
Reviewed on Thursday 7th March 2019 by Olivia Mitchell 
★★★★

Based on the 2007 film of the same name, Waitress is a quirky, sweet, fun show by late comedic legend, Adrienne Shelly. Having taken Broadway by storm, it has now opened in London and is a pastry wrapped parcel of theatrical sweetness. 

With music and lyrics by Sara Bareilles, it's the score that's really the stand out factor of this show. The music is a magical combination of folk, pop, country and musical theatre, and gives the musical a really cinematic element. The contrast between high energy songs, calmer numbers and highly emotive pieces, cleverly matches the way the show emphasises the highs and lows of life. 

As we are welcomed into the Adelphi Theatre with the smell of pie permeating the air, we instantly feel a sense of relaxation and as if we really are visiting the small diner in rural America where most of the show is set. We're introduced to the characters as if they're friends and get to see the great cast at work. 


In Waitress, the ensemble act as though they are one. Of course they scatter the stage and have individual character moments (a particular stand out is Kelly Agbowu as the wonderfully sarcastic Nurse Norma as well as Charlotte Riby who is fantastic as Jenna's mum and really shines during her featured moments) but they really come into their own when they work as a team. Much of the choreography (Lorin Latarro) is ensemble based and features smooth movements as well as perfectly timed motions. The men and women combine at times to symbolise Jenna's internal thoughts, as well as keeping the show fluid and highlighting the connections between people on stage. Natural feeling movements are in reality, highly choreographed but the show still feels pretty free and spontaneous.

Whilst the show is cute and there are various witty moments, the book itself is not particularly strong as a whole. Leading lady Jenna, is pregnant with her abusive husband's child and falls in love with her gynaecologist Dr Pomatter, whilst her work colleagues also have romances of their own. 

The romantic encounters are charming but the consistent cheating which runs throughout the show, feels somewhat jarring. It's not the cheating itself which feels wrong- Jenna wants someone who loves her outside of her abusive relationship, whilst Becky's husband is unwell so she feels tied to him but wants something more- but the lack of resolution to these stories feels unfulfilling. The story is clearly meant to be about female empowerment, but it doesn't seem right that the men are allowed to act in any way they like (and motivate all decisions the women make). Ogie for example, doesn't think twice about hounding Dawn when she says no to seeing him again, whilst Dr Pomatter has no qualms with seducing a vulnerable patient. Of course these things are meant to make us root for them and see it as 'forbidden love' but unfortunately it leaves a bit of a sour taste.


However, the performances throughout are pretty uniformly wonderful and the cast do all that they can with the book they've been given. Katharine McPhee as Jenna, gives a graceful but vivacious performance, which at times feels a little too understated but truly delivers in her stand out moments such as She Used to be Mine and she leads to show with a delicacy that is enviable. David Hunter is suitably geeky and charming and brings a great vocal performance to Dr Pomatter, whilst Jack McBrayer is hilarious but lacks vocal strength and technique as Ogie. Marisha Wallace is sassy as Becky and Laura Baldwin gives a standout performance  both vocally and in terms of characterisation as timid, love-struck Dawn. 

Waitress is a show that takes you off the beaten track and provides a more intimate, less flashy show compared to those we usually see. This nuanced musical is a sweet treat that will warm your heart, purely thanks to it's quirkiness and affectionate score. 

Tickets for Waitress can be booked via www.londonboxoffice.co.uk

photo credit: Johan Persson

Waitress, Adelphi Theatre | Review

Thursday 7 March 2019

Wednesday 6 March 2019

Six, Arts Theatre | Review


Six
Arts Theatre 
Reviewed on Tuesday 5th March 2019 by Olivia Mitchell 
★★★★★(★)

Yesterday, the 2019 Olivier Awards nominations were announced and Six are up for five. For a show which started as a university project, its pretty amazing and inspiring that Six is reaching such levels of stardom, and rightly so. Since debuting with the Cambridge University Musical Theatre Society, showcasing at the Edinburgh Fringe, having a stint at the Arts Theatre, touring and now returning for a pretty open ended run at the Arts, Six has gone up and up, reaching stratospheric levels of brilliance and dazzle. Creators and besties, Toby Marlow and Lucy Moss have somehow managed to capture every type of audience member with their inventive and exciting pop re-telling of Henry VIII's wives. It seems impossible that this show can get better but on my fifth visit, I can confirm: it can!

The concept is that each of Henry VIII's wives sing a song about the hardships of their time with him in the hope of having the most dramatic life story, and therefore becoming the Queen of Queens and leader of the girl group. The setup is the perfect instrument to provide showcase moments for each performer and allow each story to be told with enough depth to keep it interesting and entertaining. This is really an ensemble piece of theatre as each Queen has the opportunity for a solo, as well as backing up the others, so it's only right that all six have been nominated as team for Best Supporting Actress in a Musical. Even the structure of the show, without the songs themselves, upholds the notion of women supporting women.

The Arts Theatre is transformed to a pop concert, Tudor Court with harpsichord remixes of modern songs greeting us as we take our seats. Tim Deiling's pre show lights act like a crown framing the stage and set the tone for the epic lighting that is to come. Of course the music and performances are outstanding but they are taken up several notches by Tim's well thought out and supremely effective lighting. Gabriella Slade's costumes are also spectacular. The clever use of stiff and sparkly fabrics mirror the message of femininity alongside power and are just another tick to add for this show.  The sharp wit of the ladies, is matched by Carrie-Anne Ingrouille's choreography which is modern, pop inspired and oh so sharp. If the Arts  Theatre paid it's bills in sass, this choreography alone would do the job.



Whilst Six does follow real life people, not all the facts are historically correct and everything needs to be taken with a pinch of salt and a peep into a history textbook. However, Marlow and Moss have done an outstanding job of scattering facts here and there and allowing their own writing style, alongside influences from famous pop performers to develop the stories. The composers provide catchy tune after catchy tune as each of the queens tell their stories in their distinctly them style. 

The two queens who got off the lightest (aka they were not killed and had pretty great lives post-Henry) bring fiery, energetic performances. Jarneia Richard-Noel as Catherine of Aragon is the definition of sass as she tells Henry there's No Way he can throw her out like a pheasant carcass (not a direct quote but it sounds like a Tudor insult, right?) Anna of Cleves (Alexia McIntosh) shows her success as she regales us with snippets of her life in her resplendent, Richmond Palace. Both ladies perform their upbeat songs with enough energy to power the entire West End and give their absolute all night after night.

Otherwise, Natalie May Paris gives a completely heartfelt performance as "the only one he truly loved", Jane Seymour who died young in childbirth. Her hilariously awkward one liners bring a like-ability to her character, as does her note perfect, chill-inducing rendition of Heart of Stone. 

Natalie's performance beautifully and painfully highlights the exploitation of women by the men in power. Whilst she proclaims her love for Henry, she also realises that Henry only loved her because she was able to provide him with an heir. Although all the women are treated badly by men, it's Aimie Atkinson as Katherine Howard who gives the most strikingly painful display. All You Wanna Do is a slow building piece which portrays the dark way in which Katherine was essentially groomed her entire life. The way Aimie manages to show a complete character arc in this song, is truly skilful.

Millie O'Connell is utterly dazzling as the super cheeky Anne Boleyn who is equally used by men but employs her wit and sex appeal to fight back. Although this led to her head off demise, it allows for a fantastically well characterised performance which is worthy of every ounce of applause it receives. 



This is an undoubtedly feminist show that inspires women to support each other and reminds us all that we're stronger together. Maiya Quansah-Breed's number towards the end I Don't Need You Love is a pinnacle of the show as it is not only performed perfectly, but wraps up the show and its message so well. The queens combined are an absolute force to be reckoned with and upon leaving the theatre, my friend exclaimed "I've never wanted to be a sassy woman more... I've never felt so empowered!" and that is absolutely true. 

Whilst many deep and pretty dark themes course through the roots of this show, writers Marlow and Moss and co-director (with Moss) Jamie Armitage have done a superb job of never making anything too heavy or overwhelming. They maintain a balance which thrills and moves the audience. 

With various international productions and tours already in the works, there's no doubt that Six will continue to receive acclaim and a posse of adoring fans around the world. This is the history lesson you'll love and want to return to over and over again. Perfectly executed (!) and superbly created, Six is the smash hit you need to see... and see again.

Read my original Six review here

photo credit: Idil Sukan

Six, Arts Theatre | Review

Wednesday 6 March 2019

Sunday 3 March 2019

Disney's Broadway Hits, Royal Albert Hall | Review


Disney's Broadway Hits (Concert)
Royal Albert Hall 
Reviewed on Saturday 2nd March 2019 by Olivia Mitchell 
★★★★★

There's no denying that we all love a bit of magic in our lives and the Royal Albert Hall's latest Disney offering provided the perfect sprinkle of fairy dust on a grey Saturday afternoon. Helmed by the BBC Concert Orchestra, led by Keith Lockhart, alongside West End stars, Ava Brennan, Shaun Escoffery, Willemijn Verkaik and Anton Zetterholm, the audience were treated to an outstandingly well performed showcase of some of the most well loved Disney songs with some hidden gems added in.

With songs from musicals such as Beauty and the Beast, Mary Poppins, The Little Mermaid and Newsies, to name just a few, there was certainly something for everyone. The four performers brought versatility and vocal prowess to each song with standouts including A Change in Me, Shadowland, Elaborate Lives and Let it Go.

With years of Disney content to use, the team have done a wonderful job of creating a programme which provides some surprises as well a the songs we'd expect. Music from King David we welcomed with open arms and gave us a glimpse of what Disney delights could be bought out of the vaults for future revivals. We also go a glimpse into the upcoming West End productions of Mary Poppins and Frozen  which are sure to delight audiences when they open.

Thanks to outstanding lighting design and the elaborate setting of the Royal Albert Hall, this concert provided a dose of brilliance that captivated the audience from start to finish. You couldn't ask for a sweeter theatrical event and I can only hope we get more Disney magic in the future.


Disney's Broadway Hits, Royal Albert Hall | Review

Sunday 3 March 2019

Friday 22 February 2019

Follies, National Theatre | Review


Follies
National Theatre, Olivier Theatre
Reviewed on Thursday 21st February 2019 by Olivia Mitchell 
★★★★

After its sold out run in 2017, Follies is back in true glamourous style as it follows a group of dancers reminiscing and reliving their youth. Mr Weismann's iconic theatre is being turned into a car park, so he's invited his past Follies dancers back to say one last farewell to the space. The walls of the theatre bring back memories and as we see childhood friends Phyllis and Sally reopen chapters they thought were closed, we are taken on a journey where past and present collide.

Dominic Cooke has once again directed a visceral and intense production. At 2 hours 15 minutes with no interval, the piece steadily flows and retains ferocity throughout. Vicki Mortimer's set and costumes are a spectacle in themselves; the crumbling theatre is periodically brought back to life by a subtle change and cleverly used to signify mental changes and journeys as well as the physical flashbacks. The costumes are elaborate and unique to each girl, with the delicate smatterings of jewels and sparkles, shining and flowing as they move around the stage.

Bill Dreamer's choreography brings the best of the Follies era to life  as the girls move around the stage gracefully, as if every movement is strategically planned for attention. Of course, the stand out choreographic moment is 'Who's That Woman' where the young and old combine to create a magical tap routine. Also, particularly striking is the way the young and old follies dancers, reflect themselves across the stage.


In terms of cast, you can't get much better than this one. Tracie Bennett's 'I'm Still Here' is a chill inducing, nuanced filled performance; whilst,  Claire Moore is hilarious throughout, no more so than in her gloriously sung, 'Broadway Baby'. Fellow The Girls alum, Joanna Riding is utterly outstanding as Sally. The transition from excitable girl, to fragile woman is perfectly performed, with 'Losing My Mind' providing a complete masterclass is acting through song and maintaining vocal technique even in moments of peak emotional earnestness. This intensity is mirrored by Gemma Sutton as Young Sally who is perfectly cast, alongside Christine Tucker as Young Phyllis, to show how we change, and how we remain the same.

Janie Dee is striking as Phyllis, whilst husbands, Buddy and Ben have great characterisation and development thanks to Peter Forbes and Alexander Hanson.

Whilst Follies is an outstanding piece of theatre, personally I feel a little far removed from the story; most likely because I lack the life experiences to relate on an emotional level. However, there's not denying that this is one of the most glitzy shows around, with one of Sondheim's finest scores and it's worth a visit to see how theatre should be done. Regardless of being able to relate, this is a marvellous piece of theatre. 

photo credit: Johann Persson

Follies, National Theatre | Review

Friday 22 February 2019

Monday 18 February 2019

Come From Away, Phoenix Theatre | Review


Come From Away
Phoenix Theatre
Reviewed on Tuesday 12th February 2019 by Olivia Mitchell 
★★★★★

Come From Away is a giant hug in a musical which even the most icy of people will be moved by, as it portrays a time of amazing and heroic hospitality under immense pain and pressure.

Discussed as a 9/12 musical, Come From Away is set on and after the horrific events of September 11th 2001, but instead of leaving you downtrodden, it will leave you inspired and probably feeling a little sentimental. Written by Irene Sankoff and David Hein, it is an incredibly well rounded and fluent piece of theatre which provides catharsis whist becoming a celebration of goodness.

The show is set in the small town of Gander in ,Newfoundland Canada, which homes just over 11,000 people. On September 11th 2001, 38 planes were diverted to Gander airport, with 7,000 passengers and crew plus several pets and a pair of chimpanzees who were headed for a zoo. The people of Gander came together to provide shelter, food and friendship to the 'plane people'; and all who were there have incredible stories, bonds and live changing experiences from their time. They may have left Gander, but Gander never left them.


After interviewing many Plane People and Ganderites, David and Irene condensed these stories into a 100 minute show that features sleek role-swapping, musical theatre numbers and catchy Celtic tunes. Christopher Ashley's direction is crisp and to the point but also leaves room for us to study the story further, and of course allows us to look at ourselves and wonder what we would do in the same situation. This is further helped by Tara Overfield-Wilkinson's relentless and sharp choreography and Howell Binkley's striking and mood-evoking lighting. These aspects married with Beowulf Borritt's well thought out space, keep up momentum and evolve the story as simply but effectively as possible.

The heart of this show is community, and like the stories themselves, it is built around ensemble and teamwork.  The typically Newfoundland scenes such as the 'Screech In', feel like we've stepped into a pub and are really experiencing a group of people enjoying life. In such a group led piece, with smooth character changes, amazing use of simple props/set, it is unfair to name standout performances. The cast as a whole bring these people and stories to life and it's truly moving to witness such a wonderful and transformative piece of theatre. 

The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band  (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End. 

Concise and well-rounded, Come From Away is a stunning and poignant reminder of human kindness, which will surely leave you standing a little taller and smiling a little more.

Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Matthew Murphy

Come From Away, Phoenix Theatre | Review

Monday 18 February 2019

Sunday 17 February 2019

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Come From Away is one of the most inspiring and heartwarming musicals to hit the West End in a long time. Telling the story of the planes diverted during 9/11 and what happened to the people on them and those in the place they landed: Gander, Newfoundland. 

One amazing story is that of Nick and Diane Marson who met on a diverted plane and fell unexpectedly in love. Editor, Olivia, got to chat to Nick and Diane about the show alongside their actor counterparts, Robert Hands and Helen Hobson...


Can you sum up Come From Away in 5 words?
Nick Marson: A show about human kindness
Diane Marson: Love and acceptance
Robert Hands (plays Nick): Friendship
Helen Hobson (plays Diane): Human spirit, community


What's it been like seeing yourselves brought to life on stage?
Diane: well it was rather unnerving at first but we're used to it by now. We've seen the show eighty-eight times, in nine cities, in four countries and with four casts, so we're used to it now. But at first it was very unusual to hear your words come back to you.

Nick: When we gave our story to this nice young couple, David and Irene, they were making a musical not a documentary so they could've done anything with our stories, but they kept it very true and I'm very grateful and thankful to them. Our story was in the Washington Post and the reporter said "it has to be true, nobody could've made all of that stuff up!"

Helen: I think that was a clincher for one of our producers, John Brandt. When he was first invited to come and see the show, to find out if he wanted to be part of it, he watched the show and wondered about the love story, he wasn't sure because it seemed too amazing. But, Randy one of the other producers said "come with me, there's a couple you need to meet" and introduced him to Nick and Diane... and John was in!

Diane: At the time it was just our life that was unfolding; it wasn't something we had any designs on producing or writing about, we were just living it.

Nick: Neither one of us got on the airplane that day expecting a romantic occurrence



What's it like to bring real people's stories to life onstage?
Helen: It was good because our producer released us from the notion that we would have to do a carbon copy and do an impersonation of these two. He said you do what's in the script and what we put out and yes, you have to learn a Texan accent but that's really about it, so the pressure was off in that way. We were lucky enough to FaceTime them [Nick and Diane] early on in rehearsals which was great and we've improvised and used their real selves in the show.

Robert: They're so natural together so we try and bring that and make it as real as possible without trying to impersonate them as such.



The show is five days condensed into one hundred minutes, are there any stories from those days that are special to you and didn't make it into the show?
Nick: There are many other things that happened. There's the classic one where we went for a walk with another couple, and you see that in the show, but it was actually a man and his wife, the wife was a doctor and she had to turn back because she had sandals on and it was a gravel road. We carried on, and this was a checkmark in my mind because we went into a convenience store to buy a diet coke and some trail mix and normally I would buy it, cause that's what guys do, and Diane whipped it up and paid for it!

Diane: Well I figured if I did that, he'd have to sit on the park bench with me and spend more  time with me so there was method behind the madness!

Nick: Also, the show gloss' over it but the next year we go back to our lives and for me it was an emotional rollercoaster. I was thinking "was that real?", "is that woman really how I remember her?... I've got to go back and check it out" which I did and then I proposed to her
Diane: On the phone in November
Nick: and I was working in England and wondered how I was going to get to Houston but fortunately the parent company of mine was based in Houston, so the president of the company in England made it possible for me to transfer to Houston. But I was doing two weeks here, two weeks there and it was an emotional roller coaster itself. So I got to Houston properly in May and was a nobody; I didn't exist, I couldn't get a car or a driving licence, or anything until I had a social security number.

Diane: It was a lot of paperwork! We had to come back here in June and July of 2002 to get him a work visa because without that he couldn't get anything in the United States. We couldn't even get married in the United States.

Nick: It's a huge mountain to climb to move countries and basically, I saw this lady, threw my life up in the air and went off to America! It sounds very romantic but it was also stressful and took quite a toll on us. Of course it was worth it though!


How has the show been going so far?
Nick: The first time we saw the show here, there was a line of Delta Airways stewards behind us and they were a mess! When they found out who we were they were even more of a mess! And the lady behind us couldn't stop crying, so I said "come here, I've got to give you a hug!"

Whether they come here excited for the show or not really bothered, people are going to leave happy!

Diane: It's a 9/12 show, what happened on September 11th, everyone remembers that, but this is forward and it's a feel good story.


Come From Away runs at the Phoenix Theatre and is currently booking until September 2019

photo credit: Helen Maybanks and Matthew Murphy

In Conversation With... The Real Nick and Diane Marson with Robert Hands and Helen Hobson | Come From Away | Interview

Sunday 17 February 2019

Monday 4 February 2019

MT Fest UK, The Other Palace | Press Launch


Brainchild of Paul Taylor-Mills, MT Fest, opens at The Other Palace in one week's time and is set to provide a host of new and exciting theatrical events. Last week saw the launch of the festival in The Other Palace Studio and featured special performances from Luke Bayer, Evelyn Hoskins and Sooz Kempner

When introducing the festival, Paul explained how he's always wanted to put an event like this on because of the large amount of work he gets sent that doesn't get the chance to be showcased. He told us how many pieces don't lack quality, but can't be developed because there is a "lack of resource and audience appetite"; and how this festival is his way of showcasing hidden gems in musical theatre and allowing composers, writers etc... to be seen by not only a paying audience, but industry professionals who can help them develop their work in the future.

He also reminded us that no one knows what makes a successful musical (and if they say they do, they're lying.) So this whole showcase of musicals is an exploration and adventure to see what works in front of an audience and what doesn't.


The two week event is structured so there's something to see at all times of day, including:

  • The Taster Menu: the main event for showcasing new musicals. Eight semi-staged shows lasting 45 minutes each. Information about the shows and tickets can be found here
  • BEAM Brunches: Shining a light on some of the most talented up and coming musical theatre songwriters. Full listings can be found here
  • Tea for Two: Frank and inspirational afternoon chats with some of the most celebrated people in musical theatre. Including chats about choreographing a musical, the do's and don'ts for auditions and how theatre criticism is changing. Full listings can be found here
  • Night Caps: Informal late night concerts with some of the top musical theatre performers. Paul told us he's also asked the performers to add in a song or two which hints at their next career move which is exciting. To see the performers and book tickets, click here
Evelyn Hoskins described the festival as a "pick n mix of new work" and it certainly seems like there's going to be something for everyone to discover so why not immerse yourself in theatre and attend this event!

MT Fest UK runs from 11th-23rd February 2019. Tickets are available online or from the box office at The Other Palace.

MT Fest UK, The Other Palace | Press Launch

Monday 4 February 2019

Saturday 2 February 2019

Showstopper! The Improvised Musical, The Other Palace | Review


Showstopper! The Improvised Musical 
The Other Palace
Reviewed on Thursday 31st January 2019 by Nicola Louise 
★★★★★

There’s a reason Showstopper! won an Oliver award; there’s a reason why this show (which on the tin has the potential to be messy) has been running for near enough 12 years without fail, and that reason is that it's pure brilliance.

Showstopper! is fun, new and refreshing and a different show every performance means you can go back and enjoy the comedy again and again without boredom setting in. There’s always something new and exciting to watch.

The basic premise of the show is this; Cameron Mackintosh wants a new musical, and he wants it written within the next two hours- as audience members we’re invited to help. Our job is to set the ball rolling and call out places for the setting as well as styles of musicals or composers, then vote which ones we think are the best. We also help with the title of the performance, ours was ‘Austria the Moosical’ (can you guess what that was about??)

We had a range of musical styles within out show, Fiddler on the Roof, Mamma Mia, Les Mis, Titanic, The Sound of Music and School of Rock.

There’s clearly a format which the actors follow but this doesn’t make the show less enjoyable. The story and songs are made up on the spot with the band doing very well to keep up with the styles of musicals being called out by the producer who’s sat on stage and helps move the story forward.

From scene to scene there seems to be a leader within the improv group, who the cast refer to for leads. The company work very well together and apart from a couple of actors speaking at the same time,  there’s nothing bad to say about this show.

Improv is always going to worry some theatre goers: "Are they going to be boring?", "Are they going to now know what to say next?". But personally I feel improv adds a whole other level to shows. Even scripted shows which include some improv always feel unique and special.

The cast on stage clearly love what they do and this comes through from the moment they step on stage and the first word is spoken. They enjoy the laughter their improv brings and you can see the hard work and dedication they put in to performing a new musical every night.

I wasn’t too sure what I’d make of this show when I first heard about it, but from the moment the show started, I realised that my worries were just that of how I’ve seen previous improv shows performed.

If you’re questioning whether to see this show or not ... STOP! This show defies theatre as we know it and will bring a smile to our face from beginning to end. I’ve already informed friends that they need to see this show, I suggest you run out now and buy the tickets, you won’t regret it.

Showstoppers! The Improvised Musical is currently playing at The Other Palace until the 16th March 2019. Tickets can be purchased via London Box Office here

Showstopper! The Improvised Musical, The Other Palace | Review

Saturday 2 February 2019