Showing posts sorted by relevance for query Love Story. Sort by date Show all posts
Showing posts sorted by relevance for query Love Story. Sort by date Show all posts
Wednesday, 12 June 2024
Magic, Love, and Books 'A Novel Love Story' by Ashley Poston Enchants | BOOK REVIEW
A Novel Love Story by Ashley Poston
Published: 25th June 2024 by HQ
Ashley Poston’s A Novel Love Story is a delightful dive into the whimsical world of Eloraton, where books are not just read, but lived. This book is a love letter to every book lover out there, capturing the joy, escape, and sense of home that only a good story can provide.
The story follows our protagonist, Eileen Merriweather, who discovers the mysterious and quaint town of Eloraton—a place that gives off major Once Upon a Time vibes. Here, books are not mere objects but gateways to a world where characters come to life, in fact the whole town and its inhabitants are taken straight from her favourite book series. Eileen’s journey intertwines with the enigmatic and charming Anderson, whose minty eyes and brooding personality grow endearing over time. Together, they uncover secrets that bridge the magical and the real, leading to a plot twist that, while somewhat predictable, still feels satisfying.
Now, I can see how A Novel Love Story could be a marmite book. Some might find the magical realism a bit perplexing, or the plot holes a tad frustrating. But I’m firmly on the loving side of this divide. Poston's magical realism is reminiscent of Carrie Hope Fletcher’s style—grounded yet sprinkled with magic. Even if I didn’t fully understand all the magic, I believe that was sort of the point, adding to the charm and whimsy of the narrative.
The characters’ small acts of service and quiet signs of love were heart-melting. Anders’ minty eyes may have been mentioned a few times too many, and his “sweetheart” endearment seemed to come out of nowhere, but these quirks added to the unique charm. And let’s not forget the sheer celebration of books. The story encapsulates the pure joy and escape that books offer, a sentiment every bookworm will resonate with.
While I guessed the big plot point early on, it didn’t detract from my enjoyment. The journey was filled with so many quotable lines and tender moments, that guessing the twist felt like being in on a delightful secret rather than a spoiler.
I’ve never experienced those intense feelings for a book series where the characters felt like family, except maybe during my The Fault in Our Stars phase (which we won’t talk about). However, A Novel Love Story gave me a glimpse into what that might feel like. It made me think of how fans describe their love for the Addicted/Calloway sisters books and the Boys of Tommen series—real-world versions of Eloraton.
In short, if you’re a lover of books and magic, A Novel Love Story by Ashley Poston is a must-read. It’s a heartwarming celebration of the magic found in the pages of a book, filled with endearing characters and enchanting moments. Highly recommended!
Reviewed by Olivia
{AD PR product- book gifted by publisher}
Friday, 5 November 2021
Full Cast Announced for Love Story in Concert
Michael Matus (The Phantom of the Opera, La Cage Aux Folles) will replace Peter Polycarpou as Phil
Cavilleri, who has had to withdraw due to scheduling conflicts.
Simon Green (Titanic, Mrs Henderson Presents, Priscilla Queen of the Desert) will play Oliver Barrett IV.
Completing the cast is Jenna Boyd (Come from Away) as the Doctor.
The Ensemble features Simbi Akande
(The Prince of Egypt), Jordan Cunningham (Priscilla Queen of the Desert), Alison Driver (What’s New
Pussycat?), Charlie-Jade Jones (West Side Story), Maximillian Murphy (Parade), and Nikhil Singh Rai (Les
Miserables, Mountview).
Love Story celebrates the 10th Anniversary of Love Story’s premiere at Chichester Festival Theatre and
subsequent transfer to the West End’s Duchess Theatre.
Based on the 1970 New York Times #1 bestselling novel by Erich Segal - which was adapted into one of the
highest grossing films of all time - Love Story follows Oliver Barrett IV, a Harvard jock, and Jenny Cavilleri, a
gifted musician studying at Radcliffe.
Love Story was Olivier-nominated for Best Musical, Best Actor in a Musical (Xavier) and Best Actress in a
Musical (Williams). Since its West End run in 2010, the show has been performed in the USA, Russia, The
Netherlands, Belgium, Brazil, South Korea, Italy, Germany and Bolton Octagon Theatre.
Tuesday, 21 February 2017
Bitter Harvest (Film) | Review
Bitter Harvest tells the harrowing tale of the Holodomor, a man-made famine which occurred in Ukraine in 1932-33, killing an estimated 2.5-7 million people. I, like many people had never even heard of this catastrophe and feel ashamed of that fact, so it was truly shocking to see the atrocities play out on screen.
Bitter Harvest sheds light on this widely overlooked tragedy in such a way that it is both provoking and shocking but at the same time brings warmth through the love story of Yuri (Max Irons) and Natalka (Samantha Barks). The whole story is told through the eyes of these young lovers as they struggle through imprisonment, famine and torture; battling to reunite with one another and to fight for a free country.
The film is visually stunning and quite literally sheds light on this devastating chapter of modern history. Douglas Milsome has added a whole layer to the story just through the lighting and has created a truly cinematic experience. We first see the warm lights and sky which quickly become dark and bleak. Particularly effective was the contrast of the bright Kiev when Yuri first got there to the muted grey of Yuri and Natalka's village. Truly striking.
The authenticity is so clear in this film, through not only the fact that it was filmed in true to life locations, but through the way the stellar cast play their roles so truthfully. Both Barks and Irons show the deep and dark complexities of their characters incredibly well, with their chemistry shining through to emphasise the reality of pain and loss throughout. Each moment is heart-wrenching and the whole film is beautifully shocking. The cast also includes Tamer Hassan, Barry Pepper and Terence Stamp, all of whom play their roles honestly and perfectly.
George Mendeluk has directed a visually striking film which is sure to educate people and get discussions going. There are parallels happening right now in Ukraine so this film has come at the perfect time to get people talking and to educate people so that nothing like this ever happens again. Although the love story is somewhat cliched, it works well in this film to provide a root for the story rather than being overpowering at every moment. The script is well written to make the actual event of the Holodomor the main focal point with the romance more of a reference point. The love story is beautiful and played out so well but it doesn't detract at all from the pain and suffering that was really happening.
The story of this devastating famine is hard to watch but knowing and seeing the truth is necessary and Bitter Harvest is rightfully bringing this overlooked Ukrainian tragedy to the forefront of media in a way it never was at the time. I already am and will continue to recommend this film to everyone I see because it's honestly incredible. Truthful, painful, beautiful and powerful. The cinematography, story, acting and honesty make Bitter Harvest a must see. ★★★★
Watch my vlog of the premiere: https://www.youtube.com/watch?v=We9bFF1mCBs
Bitter Harvest is released in the UK on February 24th.
Part of this review was used on the cover of the UK DVD so keep an eye out for it!
Review by Olivia Mitchell
Part of this review was used on the cover of the UK DVD so keep an eye out for it!
Review by Olivia Mitchell
Friday, 8 November 2024
Miss Saigon Returns to the Stage: A Legendary Musical Reborn in a New UK Tour
The powerful love story of Miss Saigon returns as Michael Harrison, in collaboration with Cameron Mackintosh, brings Boublil and Schönberg’s legendary musical back to the UK in a brand-new, contemporary touring production. Opening at Newcastle Theatre Royal on October 4, 2025, this reimagined Miss Saigon commemorates the 35th anniversary of its West End debut with fresh creative energy, captivating a new generation of audiences.
Following Newcastle, the production will tour to renowned venues including the Playhouse Theatre in Edinburgh, Palace Theatre in Manchester, The Alexandra in Birmingham, Grand Theatre in Leeds, and New Theatre in Oxford, running until early January 2026. Additional dates, full casting, and production team details are set to be announced soon, with priority booking available at miss-saigon.com.
In this epic musical set during the final days of the Vietnam War, 17-year-old Kim finds herself working in a bar run by a complex character known as The Engineer. There, she meets and falls in love with Chris, an American GI, but the fall of Saigon tears them apart. Unbeknownst to Chris, Kim bears his child and embarks on a powerful journey of survival, determined to reunite her family. Miss Saigon is filled with themes of love, resilience, and sacrifice, and features a score that has resonated with audiences worldwide.
Reflecting on this milestone, Cameron Mackintosh remarks:
Thirty-five years after Miss Saigon first opened to international success, I am delighted that this powerful, heart-wrenching love story has remained timeless around the world. This tale of two young people, an American soldier and a Vietnamese girl, who fall in love amid the devastation of war, has touched hearts and sparked connection worldwide.”
Inspired by a recent, critically acclaimed Sheffield Crucible production, this tour brings new life to the show’s intimate moments and grandeur alike, expanding to theatres beyond the reach of the original. Michael Harrison shares the excitement:
It is thrilling to be collaborating with Cameron on a brand-new production of Miss Saigon. Millions have been moved by its messages of family, love, and resilience, and now we have the opportunity to share it with audiences across the UK in a contemporary new form.”
Since its debut, Miss Saigon has won 75 major awards, including Olivier and Tony Awards, and has been performed in 378 cities, translated into 15 languages, and seen by over 38 million people globally. This extraordinary revival directed by Jean-Pierre van der Spuy promises to carry forward its legacy with modernised staging, fresh direction, and the enduring, iconic score by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil.
As Miss Saigon prepares to soar once more, this tour promises audiences the chance to experience one of the world’s most acclaimed musicals in a whole new light, bringing the sweeping story of love and sacrifice to life for theatergoers across the UK.
Wednesday, 22 October 2025
Hot Mess a New Musical Review: A Pop-Fuelled Cosmic Love Story that Shines at Southwark Playhouse
Hot Mess: A New Musical
Southwark Playhouse Elephant
From the creative team behind 42 Balloons comes Hot Mess: A New Musical, a witty, vibrant, and surprisingly heartfelt new show that blends pop, science, and heartbreak with impressive charm. Produced by the Birmingham Hippodrome in association with Vicky Graham Productions, the show arrives in London following a sold-out Edinburgh Fringe run, and it’s already clear why audiences are falling for this offbeat, intergalactic romance.
Written and directed by Ellie Coote, with music and lyrics by Jack Godfrey, Hot Mess turns the relationship between Earth and Humanity into a metaphorical love story for the ages. After “a billion years of bad dates,” Earth finally finds her match in Humanity, and for a while, everything seems perfect. Life blossoms, technology advances, and things look bright... until, inevitably, the cracks begin to show. What starts as a cosmic honeymoon quickly spirals into a climate-conscious breakup, full of laughter, longing, and self-reflection.
The story may sound abstract, but the execution is wonderfully grounded. Playing at the Southwark Playhouse Elephant, the production thrives in an intimate setting, bringing the larger-than-life concept down to something beautifully human. The small space amplifies both the humour and the heartbreak, making it feel as though the fate of the planet is unfolding right before your eyes.
At the centre of the show are two knockout performances. Danielle Steers (Six The Musical, Bat Out of Hell) is magnetic as Earth; playful, warm, and commanding, with vocals that could shake tectonic plates. She brings both power and vulnerability to the role, embodying a planet who loves too deeply and gives too much. Opposite her, Tobias Turley (Mamma Mia! I Have a Dream, Mamma Mia! West End) makes a charming and nuanced Humanity, capturing the curiosity, creativity, and recklessness that define the character. His beautiful voice also gets a chance to soar as he gives a versatile performance, we're defnitely watching the rise of a powerhouse leading man. The duo's chemistry is undeniable- playful one moment and devastating the next.
The music, by Jack Godfrey, is a major highlight. It’s contemporary pop with theatrical intelligence. The songs are catchy enough to get stuck in your head, but layered with meaning. Each song adds emotional depth, moving the story forward rather than simply decorating it. What's also brilliant is that the sound feels fresh yet familiar, echoing the spirit of today’s best modern musicals while finding its own distinct identity.
Visually, Shankho Chaudhuri’s set and costume design make clever use of the intimate Southwark Playhouse. The stage evolves with the characters, what begins bright and vibrant gradually shifts into something darker, mirroring the show’s emotional journey. It's a great set up where minimalism meets playfulness, making the production feel much bigger than its modest footprint.
Hot Mess succeeds because it balances wit with sincerity. It’s self-aware and funny, but never cynical. The climate-change metaphor is present, but never heavy-handed, allowing the emotional story to take precedence. If anything, it’s a show about relationships. Between people, between us and the world we live in, and between idealism and reality.
There are moments when the pace could use tightening, and a few scenes feel like they could dig even deeper emotionally, but these are small quibbles in an otherwise glowing night of theatre. For a musical that manages to make audiences laugh, think, and even feel a little guilty about their recycling habits, Hot Mess is a rare gem.
If you love smart new writing, pop-driven scores, and musicals that wear their heart (and humour) on their sleeve, this one’s for you. It’s inventive, touching, wonderfully entertaining, and proof that sometimes the biggest stories can thrive in the smallest spaces.
★★★★
Reviewed on Wednesday 22nd October 2025 by Olivia
Photo Credit: Helen Murray
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 11 July 2018
It Happened in Key West, Charing Cross Theatre | Review
It Happened in Key West
Charing Cross Theatre
Reviewed on Tuesday 10th July 2018 by Nicola Louise
★★★
Sometimes you walk into a show and you know exactly what to expect and sometimes you don’t have a clue... It Happened in Key West was the latter for me.
Based on a true story, it follows the story of Count Carl von Cosel (Wade McCollum), a scientist from Germany who washes up on a beach in Key West, Florida and finds him self working as a radiologist in the local hospital, there he finds his true love, Elena (Alyssa Martyn), who’s suffering from tuberculosis.
When you walk into the theatre you’re greeted with a character on stage playing a guitar; the sea projected on the wall behind him and the sounds of waves and seagulls can be heard. This sets the scene and creates an air of excitement and intrigue for what's to come.
Reading the beginning synopsis of this musical, you'd expect a love story, however, when Elena dies that’s where this show starts to get a bit... different.
Von Cosel, a real life character, dug Elena's body up and lived with it for 7 years and this show follows that story from beginning to end.
McCollum worked well with what he was given. He portrayed the friendliness, the longing and the hurt of his character yet he was still funny, and Martyn was great as the innocent young Elena.
You could tell throughout that writer, Jill Santorillo, wanted to add comedy to an otherwise dark story and she does so with brilliant effect. The show is genuinely funny, however there’s a song called 'At the End of the World’ which I found unnecessary; I didn’t feel like it added anything to the story and I felt myself cringing at the whole performance.
Honestly, I’m still trying to figure out how I feel about this musical. I’ve never walked out a show wondering what had just happened but I did with this. Despite being a wacky story, I’m not sure it's a musical that needed to be made and although the actors were 5* the musical was not.
If you’re in the Charing Cross area, want a bit of a laugh and want to see a wild story on stage, I would suggest It Happened in Key West, however, I wouldn’t go out of my way to see it.
It Happened in Key West is currently playing at the Charing Cross Theatre until 18th August.
photo credit: Darren Bell
Monday, 10 July 2017
Yank! The Musical, Charing Cross Theatre | Review
Yank!
Charing Cross Theatre
Reviewed on Monday July 10th 2017 by Olivia Mitchell
★★★★★
Tonight marked the West End premiere of the 2010 off-Broadway musical, Yank! which tells the true story of two men who fell in love during World War II. Since making its UK premiere at the Hope Mill Theatre in Manchester, Yank! has been a highly anticipated transfer as people were eager to hear the story that didn't make the history books and last night it opened to staggering applause and a standing ovation.
Set during the time when homosexuality was frowned upon and defined by the development of modern psychiatry to treat the 'illness', this is an extremely important story to be told. It's so powerful that whilst fighting for their country and lives, men were also fighting for their right to love. Particularly poignant just after the celebration of love seen with London Pride and also during a time when American politics seems to be repressing 'non-traditional' men and women, it's thought-provoking to see these issues played out on stage.
The story is told through the eye's of the young Stu (Scott Hunter) who journaled his whole journey through the war. He feels that he is not a proper man and feels ashamed to not be as strong as the other men in his squad. He finds comfort in his journal which narrates the show in a truthful, emotional way and allows the audience to connect of a much more personal level. Stu becomes friends with, and eventually starts a rocky relationship with fellow soldier, Mitch (Andy Coxon) who constantly fights back that he is not a 'fairy'. Struggling with this denial, Stu leaves the army squad and becomes a reporter for Yank! magazine.
The story is told in the style of an MGM musical, with the tradition and romanticism of Rodgers and Hammerstein. There is a stunning mix of dance and a rich, emotive score. Particularly entertaining is when Stu meets photographer, Artie (Chris Kiely) who he discovers through a glorious tap number 'Click' is also gay as he explains the ways to identify other gay men during war. Sarah Louise-Young is fantastic as the many female fantasy characters who lead the MGM style.
Chris Cuming's choreography works alongside and also contrasts the beautiful solos and duets of the score perfectly, with each piece impressively and smoothly choreographed. This balance makes the piece truly engaging and adds a level of humour which is welcomed so as not to make the piece too heavy and draining. There is a perfect balance between seriousness and sweet sincerity. Especially heart-wrenching was the interrogation scene in act two, which coupled with the heat of the theatre, had everyone on the edge of their seats, sweating in tension.
Scott Hunter is faultless as Stu; rarely off stage he gives his all and touchingly shows his immense character development throughout. Starting as the weakest of the squad and eventually becoming the strongest for fighting not only the war but for his love till the very end. He is charged with emotion and it's touching to see his journey play out in front of our eyes. As his love interest, Andy Coxon is tough and charismatic whilst still showing a vulnerable side. Both actors bounce off of each other and have a beautiful chemistry on stage. It's so lovely to see a male led company who work together faultlessly and create a harmonious feeling.
Yank! is touching, honest, genuine, fluid and overall a heart-wrenching look at love and tragedy.
Yank! runs at the Charing Cross theatre until August 19th.
Yank! runs at the Charing Cross theatre until August 19th.
Thursday, 19 May 2022
Bonnie and Clyde, Arts Theatre | Review
Bonnie and Clyde
Arts Theatre
Reviewed on Wednesday 18th May 2022 by Olivia Mitchell
★★★★
After over a decade of waiting, Frank Wildhorn, Don Black and Ivan Menchell's Bonnie and Clyde has finally entered the West End and has done so with a bang. Telling the story of the eponymous duo who became outlaws before being killed together, the romanticised musical is exciting and features some of the strongest performances seen in a long time.
Based on the semi-true story, we follow Bonnie and Clyde from their childhood dreams (her to be a movie star like Clara Bow, and he to be an outlaw like Billy the Kid) to their first flukey meeting, their following life of crime and eventually their downfall and death. Running in parallel to this story is an unrequited love plot as well as some glimpses into the economic depression of the time which highlight why turning to crime was in some ways, necessary, at least for the Barrow Brothers.
At times the book is a little jumbled and some things are over explained, whilst others lack a little development. However, it is equally brilliant in its comedy, especially in the snarky exchanges between Blanche and Bonnie. Aside from the few issues, this is a really wonderful production that is spirited and exudes intensity.
As the leading characters, Frances Mayli McCann and Jordan Luke Gage completely own the stage. McCann is a certified star and she brings her clear as glass vocals to life in ballads such as Dyin' Ain't So Bad- a brilliantly dynamic portrayal as Bonnie. Gage is charming and terrifying in equal measure and vocally he fires on all cylinders. Raise A Little Hell is a complete roof raiser that is powerful, thrilling and aggressive. Together the pair balance one another well and are realistic in their juvenile, all encompassing love story. The sizzling chemistry grows from their first meeting and remains so until the very last second.
The entirety of the small cast are equally strong, with Natalie McQueen giving the most hilarious performance as God-fearing Blanche Barrow. You're Goin' Back To Jail is absolutely hilarious and she imbues every moment with wit, even down to her out of time clapping which is brief but wonderful. Alongside her comedy masterclass, she also brings a more mellow moment in the duet You Love Who You Love which is outstanding. As with much of the show, it's the tight harmonies which really bring the house down and have the audience enraptured. George Maguire is also strong as Buck Barrow and Cleve September nicely balances the hostility of Clyde with his smooth and calmer vocals.
As well as the performances, the set by Philip Witcomb takes on a life of its own and makes the Arts feel so much bigger than it is. The set is ambitious and impressive and coupled with great projections bu Nina Dunn and sound design by Tom Marshall make the whole show a real spectacle.
Nick Winston has done an outstanding job with this production and it's so wonderful that it's finally getting the run it deserves. How bout' you dance your way to the Arts Theatre and grab yourself a ticket for this theatrical jewel.
photo credit: Richard Davenport
Thursday, 7 November 2024
The Curious Case of Benjamin Button at the Ambassadors Theatre: A Timeless Tale with Newfound Precision and Radiance
The Curious Case of Benjamin Button
Ambassadors Theatre
The Curious Case of Benjamin Button the musical at London’s Ambassadors Theatre isn’t just a production; it’s an unforgettable journey through life’s fragility and beauty, rendered with soul-stirring precision and depth. I previously reviewed the show at the Southwark Playhouse and I'm thrilled to say that in its current run, this show has transformed into an even sleeker, tighter production, gracefully weaving together heartfelt storytelling with mesmerising visuals and a flawless cast. Every element is fine-tuned and elevated, resulting in a masterpiece that celebrates light over darkness and resilience over despair. At a time when the world is rife with uncertainty, especially on a night as charged as tonight with the outcome of US election, Benjamin Button feels like an essential reminder of hope, love, and the good in humanity. If the title makes you expect a straightforward story about aging backward or something akin to the Brad Pitt film, think again- this adaptation of F. Scott Fitzgerald’s short story blossoms into a beautifully layered, vibrant musical that’s so much more than its name suggests.
From the outset, the cast, led by the astounding performances of John Dagleish (Benjamin) and Clare Foster (Elowen), grounds the fantastical tale with warmth, authenticity, and nuance. Dagleish’s transformation through Benjamin’s reverse aging is breathtaking; he deftly captures the innocence of youth and the weariness of age within a single character arc, making every step of Benjamin’s journey feel genuine and impactful. Foster’s portrayal of Elowen exudes strength, tenderness, and an unwavering belief in love that carries the entire production. Together, their chemistry illuminates the stage, bringing the highs and lows of Benjamin’s unconventional life to vivid reality.
The supporting cast, too, delivers standout performances, each role finely crafted and essential to the show’s tapestry. This ensemble excels in maintaining a delicate balance between humour and emotion, enriching the story and infusing moments of levity that accentuate the depth of the more profound themes. It’s rare to find a cast so collectively committed to a show’s vision, and here, every actor plays a vital role (and instrument) in amplifying the story’s emotional impact.
This really is a theatrical feast and the technical design elements elevate the show even further. The lighting, created by Zoe Spurr, is simply exquisite; it bathes the stage in soft, evocative hues that shift subtly as Benjamin’s life unfurls. From warm sunlight to muted twilight, Spurr’s design captures the moods of both time and place, visually narrating Benjamin's life in a way that feels poetic and hauntingly beautiful. The sound design, crafted by Luke Swaffield, adds another layer of immersion. It gently guides the audience through the ebb and flow of Benjamin’s experiences, using carefully timed soundscapes that accentuate the emotional resonance of each scene without ever overshadowing the actors, as well as keeping us in the world during the pre-show and interval.
From the carefully curated theming of the venue with period-inspired newspaper articles and gentle nods to the show scattered around, to the Cornish-sourced drinks and playful options like Miss Moncreif's teapot cocktails, every touch feels like an invitation to step deeper into Benjamin’s world. The merchandise is equally thoughtful, with unique items that perfectly echo the essence of the production, offering mementos as distinctive as the show itself. What’s truly remarkable, though, is the respect the show affords its audience; it trusts them to form their own interpretations and to find meaning in the visual and thematic patterns woven throughout. Symbolic imagery and clever symmetry appear again and again, enriching the storytelling and leaving subtle clues for the audience to uncover on their own. The love and care that have gone into crafting The Curious Case of Benjamin Button shine through in every detail, creating a rare and unforgettable experience. Shows like this are a rarity, and it feels like a privilege to witness the start of something so genuinely special.
What makes The Curious Case of Benjamin Button particularly profound is its unwavering commitment to showcasing the best of humanity. In a story that could easily become mired in the tragic aspects of aging backward, this adaptation instead emphasises joy, connection, and the resilience of the human spirit. Every moment, whether tinged with sorrow or elation, reflects a radiant optimism that’s both disarming and inspiring. By centring the narrative on life’s beauty, fleeting as it may be, the musical leaves audiences with a renewed sense of appreciation and awe for the world we inhabit.
The score, written by Darren Clark and Jethro Compton, is both folk-inspired and timeless, perfectly complementing the story’s unique narrative. The music serves as an emotional anchor, moving with ease from soul-stirring solos to harmonious ensemble numbers that stay with you long after the final curtain call. Each song feels intricately woven into the fabric of the story, enhancing the unfolding of Benjamin's life and carrying the audience through his journey with grace and sincerity.
Reflecting on this evening's performance- especially set against the tense backdrop of the US election results- I can’t help but feel that Benjamin Button offers something the world desperately needs. It’s a beacon of light, a testament to the resilience of love and the enduring power of human connection. It urges us to look beyond divisions and differences and find solace in the beauty of a shared journey. I left the theatre not only deeply moved but also with an undeniable urge to spread the word about this remarkable production. Theatre this beautiful, this uplifting, deserves to be seen, discussed, and cherished.
In a world that sometimes seems obsessed with darkness, The Curious Case of Benjamin Button chooses to shine, offering a precious reminder of all that is good, kind, and beautiful. It’s a production that demands to be witnessed, not just for its artistic brilliance but for its resounding message: that even in a life bound by time, there’s so much to savour, celebrate, and remember. Don’t miss your chance to experience this exceptional production- it will touch your heart, challenge your perspective, and leave you with a warmth that lingers long after the lights dim.
Reviewed on 6th November 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 16 February 2018
YOU, Vault Festival | Review
YOU
VAULT Festival
Reviewed on Thursday 15th February 2018 by Shaun Dicks
★★★★
We find ourselves in The Pit at the Vault Festival, the sound of trains passing over the theatre and the background noise of excited theatrical crowds. The Pit is a brick and concrete theatre, completed with wooden benches, set up in Traverse, giving it a rustic feel. Tonight’s viewing is You, a narrative based story about adoption. We follow the story of a woman who falls pregnant in her teens and puts up her child for adaption. We then follow the story of the child growing up with their adoptive family. This all builds to the adopted child starting to search for his birth mother.
Mark Wilson’s script is a feast of language. The story and the language is a joy to behold- giving the actors so much to work with. The script is littered with beautiful language, flowing narrative, seamless transitions and humour. The story is so well told by Kathryn O’Reilly and Stephen Myott-Meadows. Their portrayal of such a raw and tender story are near pitch perfect, with both performers giving a well rounded and focused performance.
Ultimately O’Reilly shines the brightest, with her heartfelt and honest portrayal of her characters. The direction from Sarah Meadows is also a highlight, in a space that is plagued with restrictions, she maximises its usage and effectiveness to elevate the piece as a whole. The shows use of music (composed by Benedict Taylor), underscoring the majority of the piece gave a big screen feel, almost giving the audience cues on how to feel during those moments.
You is a beautiful story of love, loss, family and what family is defined as. It’s truly an emotional play that doesn’t shy away from the truth. I personally would love to see a extended version of this play as I feel there is more of this story to be told. I hope there is another run for You, as this story needs to be expressed and deserves to be heard.
If you can, get yourself down to the Vault Festival and see You, you’ll be doing yourself a favour.
photo credit: Nick Rutter
photo credit: Nick Rutter
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
Wednesday, 30 March 2022
Alex Gibson-Giorgio Discusses Playing the Villain and Returning to the Stage | Zorro | Interview
You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting Alex Gibson-Giorgio is set to play Ramon in Zorro the Musical which is set to open at the Charing Cross Theatre this weekend. Pre-opening he chats to us about the rehearsal process, what it's like playing the villain and what audiences can expect from the musical...
Firstly, could you tell us a little bit about what audiences can expect from Zorro?
We all know and love the mask-wearing, sword-wielding bandit who fights for the poor and defends injustice, breaking many a heart along the way; made eternally famous by Antonio Banderas. Well, the musical has all the passion, love and fire of the film, with a little extra heart, all set to the songs of the Gipsy Kings.
It must be great to get back into theatre post-lockdown, especially with such a high energy show, what has the rehearsal process been like?
Being back in the rehearsal room is a huge privilege … it’s definitely one of my favourite parts of putting on a show. The pure magic of a group of actors in a space creating an imaginary world together … it’s so exciting! It’s a place to make bold offers and explore the full range of your character with no judgement … there are no wrong choices, instead there are endless possibilities. As my acting teacher Margot Fenley would say “Be bold and fail gloriously!”
Ramon is a pretty evil character and you’ve previously played Jafar in Aladdin, are you a fan of the villains?
I do love myself a villain. I think they’re the most interesting characters to play because you get to safely explore often darker ways of thinking and existing that are not always socially acceptable in everyday life. In the case of Jafar, it’s just CAMP!
The score of Zorro is by the Gipsy Kings, if you were to have a band write the score for a musical about your life, who would you choose?
Fleetwood Mac for sure. Or Gaga. Maybe James Taylor … this one’s hard.
What song are you most excited to perform for an audience when the show opens?
I love Baila Me … such a good tune! But watching Djobi Djoba and Bamboleo from offstage is a personal highlight for me. We are lucky to have such a talented company who not only sing and act, they also have to play multiple instruments, dance (WHILST PLAYING), shoot guns and sword fight!
Why should people come and see Zorro?
If you love The Gipsy Kings, you will love this show. The music fills your soul! You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting. VIVA EL ZORRO!
Thank you so much Alex for taking the time to chat to us. Zorro opens at the Charing Cross Theatre 2nd April
Interview by Olivia Mitchell, Editor
Tuesday, 13 March 2018
Hairspray (UK Tour), Edinburgh Playhouse | Review
Hairspray (UK Tour)
Edinburgh Playhouse
Reviewed on Monday 12th March 2018 by Michèle Duck & Viv Conway
★★★★★
The funny, daring and radical story of Hairspray truly dances to its own beat. After the last curtain fell at the Edinburgh Playhouse, the residue of hope of change was left in the air. Mark Goucher, Matthew Gale and Laurence Myers present the story of Hairspray with an exceptional cast and orchestra, based on the New Line Cinema film by John Waters.
The musical tells the story of racial segregation in America and the fight for racial equality. From mentions of Rosa Parks and Martin Luther King, the audience are reminded of a struggle that although portrayed as historic, is still relevant today all over the world. The story of bravery, friendship and ‘doing what is right’, is told in a charming and compelling manner through the lyrics of Scott Whittman and Marc Shaiman. The story is told through the bright, naïve eyes of Tracy Turnblad and her passion for dancing. As Tracy’s understanding of herself and world widens, her ambition grows into a galvanising desire for change.
It is hard to know where to start with such a talented and energetic cast. Every cast member brought life and vitality to the performance and executed the complex choreography with vigour, precision and enjoyment in equal measure.
A particularly captivating and poignant performance from Motormough Maybelle (Brenda Edwards) in I Know Where I’ve Been, caused the audience to tangibly hold a collective breath. Her words wove a story of segregation which although targeted to the 1960s, still rings true in the current global climate. This song tells a heartfelt story of loss and struggle and the promise of a better life. One wonders when we may truly get to the ‘Promised Land’ that Martin Luther King described in his speech the day before he was assassinated.
Edna and Wilbur Turnblad (Matt Rixton and Norman Pace) were a down to earth, honest and side-splitting double act, which really brought life and humour to the show. Whether forgetting their lines was intentional or not, their realistic and relaxed roles bounced (literally) off each other in a light-hearted and warm rendition of You’re Timeless to Me.
Annalise Liard-Bailey brilliantly executed her goofy portrayal of the ‘best-friend’, Penny Pingleton with perfect mix of humour, talent and relatableness. Laird-Bailey is one to watch.
However, the stand out performance of the show came from Seaweed (Layton Williams). Williams brought his character to life, and before the audience knew it, Seaweed became the leading man. Between his back flips, his energetic and sensual rendition of Run and Tell That, William’s raw talent and clear love of musical theatre shone though, infecting the audience with his energy. This leading role take-over was very appropriate considering the shows storyline of the journey to equality.
Overall, the 2018 cast of Hairspray tells a family friendly and warm hearted story. Through its upbeat songs (who doesn’t love a singalong encore), the audience are left with the important underlying message of standing up for what you believe is right, no matter your size. After all, all that really matters is the size of your heart.
Hairspray runs at the Edinburgh Playhouse until March 17th before continuing it's tour.
photo credit: Darren Bell
Tuesday, 23 August 2016
In Conversation With... Natasha O'Brien | Children of Eden | Interview
Last week I had the pleasure of sitting down and chatting with Natasha O'Brien who is currently starring as Eve/Mama Noah in Children of Eden at the Union Theatre (which I reviewed here.) Natasha is an incredible performer and I got to pick her brains about all things stagey, see what we discussed below:
For anyone that doesn’t know, can you explain a little what Children of Eden is about?
So Children of Eden is, its a show in two parts, its almost like, each act, they're very closely related but they’re almost like two separate shows. The first act is the story of Adam and Eve and Father, the creation and act two is the story of Noah, and the Ark, and all the animals. But ultimately Christian Durham the director wanted to stray away from the tendency to get too religious with the show and he wanted to make the show about family and parenthood and what it means to create something and to raise something and ultimately the difficulty of letting it go to become its own thing.
Have there been any challenges with bringing this script to life?
I think trying to make this show palatable for a wide audience can be a challenge sometimes, especially nowadays the show has a tendency to be picked up a lot of religious amateur groups and it really lends itself well to those kinds of theatre groups but to take it into a broader arena maybe with a more professional cast and crew can be a challenge. I think Christian’s done a really good job making the themes very universal and just making the material watchable.
Are Eve and Mama Noah anything like you?
Yeah totally, we all bring elements of ourselves to our characters, you have nothing else to go on than your own experience. Mama Noah, she’s definitely very no-drama , she’s very chilled out, very grounded and i elected to make her that way because thats what I immediately took from her and I mean that was just sort of my first impression and I branched from that to create her. With Eve I think her precociousness and her, I don’t wanna say petulance but just a little bit of cheekiness, I really identified with that. More so in my younger years, I think that there’s a sense of wonder there that I just admire and love about that character, the way she's written and hows she's so flawed. I mean for all intents and purposes she is sort of the antagonist in the first act. You know, if she didn’t eat that apple… there would be no show, but at the same time you love her for it and you see the humanity of it and she is the embodiment of humanity and their flaws and how we have to learn how to love ourselves in spite of it all.
What will the audience be thinking about in the car as they drive home after this show?
I think the show really goes out with a bang, from my experience, what I’ve witnessed and what people have said to me is that from ‘Ain’t it Good’ onwards you can tell that we’re rapping up the show and there are two really big, beautiful vocal numbers. You know, ‘Ain’t it Good’ is such a big piece, for me personally but just for the whole cast, energetically its really joyous and then ‘In The Beginning’ is just really vocally beautiful, the harmonies are so rich and we really get a chance to showcase the true chemistry and love and fun that we are all having together as a company and that seems to really resonate with audience members. I think vocals and the score are something people remember, they leave the theatre and they’re really happy and singing. At least I hope so!
Can you sum it up in 5 words?
Sum up the show in 5 words?! What! I just got so nervous, I just got so anxious! Okay, Family. Love. Encouragement. Belief. Trust. They’re off the top of my head without thinking too much about it which I shouldn’t anyway!
Have you found any differences between Canadian audiences and UK audiences so far?
Yeah! When I think about it the average theatre goer in Canada is much much older and we don’t have as thriving a theatre scene in one city. In London theatre is so engrained in the culture and so much indie theatre is supported by so many age groups and people from different backgrounds, there’s theatre being produced that is really so marketable, like on the West End you’ve got the massive tourist attractions but on the smaller scale, the local community with come to smaller venues like Children of Eden at the Union Theatre and we just have a much more young, excitable and supportive theatre community here in London. Its incredible and its what helps to keep the theatre industry alive. Its struggling in Canada which is one of the reasons I left, we have such a small populations spread over such a huge land mass and in order to work in Canada you have to travel all across the country, which I did. I worked everywhere from Alberta to Montreal and everywhere in between. Whereas in London you can kind of keep it, if not London based then UK based and have an actual career because there are always interesting projects coming up. There’s an actual scene here. And without an audience there’s no industry, so the audience members are younger, more enthusiastic, more supportive, more critical as well. They’re just more seasoned.
Was being a performer something you always yearned for or did you have a different career path in mind when you were younger?
Yeah. I did my first musical when I was 6 and I just kind of always did musical theatre and have always known that was it for me. There was a brief moment in my life where I had a dalliance with the idea of maybe becoming a lawyer just because I liked the sound of my own voice and I considered quite strongly becoming a paramedic. I think its like that seeking of thriving under pressure and drama, but ultimately I chose musical theatre. But it was definitely what I’ve wanted to do my whole life and something that I’ve always had as a part of my life. I’ve always done shows, I’ve always had music and performance in any form like speech competitions or saxophone exams, just always some kind of performance.
What’s the last thing you do before you step out on stage?
You know what, I always look at myself in the mirror. Not like, “how am I looking?” but I spend a moment, have a sip of water and just focus. Its more to tune out everything around me, sometimes backstage before a show can be quite frenetic, the energy can be quite crazy and especially with this show the energy is so high and everyone is having such a good time and we’re all very much in love with each other but I need to make sure that I’m really focussed because the first act of this show goes by in like 10 minutes for me. I never stop so I just sort of stare and myself in the mirror for a few minutes and zone out, almost like an open eyed meditation in a way. Have a sip of water, make sure I pee and I’m good to go!
If you had a magic wand, what show would you do next?
Oh my god, if I had a magic wand! I would love to be in Wicked, oh god I would love it! When it first came out I was just starting drama school so it was just a part of a really magical, exciting time so my feelings attached to the music and everything, its visceral. And I mean, come on, its Wicked! It’d be amazing although part of me gets scared at the concept of that cause its like ‘oh god, every night!’ its a lot!
Alternatively I’d love to do Into The Woods, I mean any role, obviously I’m too old and too tall to play little red now but I think the bakers wife and one day I would love to play the witch. I would love to do Into the Woods and I really love Urinetown! Its so clever and good and the music just takes the piss out of every musical ever written. I would love to be in Les Mis; speaking of musicals it takes the piss out of, it just rips into Les Mis and I would just love to do it because its just a classic and to play Fantine- have a Wicked first act and then boom done!
Whats your best piece of advice for an aspiring performer?
I will share a piece of advice that Nancy Sullivan and David Thaxton shared with me back in February. There’s this amazing company called W1 workshops who I heard about from my friend Carrie O’Dowd who's also a performer and they run these incredible intensive workshops that are super affordable and always in a centrally located area and Nancy and David are both incredible, well respected established performers.
Anyway, the piece of advice that they gave and this resonated so strongly with me, they said: change your environment, surround yourself with people who are doing what you want to do and join in. Do it. Do the workshops. Take the coachings. Go to the classes. If you want to be in this industry, put yourself in the thick of it and surround yourself with people who are doing what you wanna do.
Its really easy to shy away and get overwhelmed and to let our ego and jealousy kind of cloud us but the most important thing you can do is surround yourself with people doing what you want. Its inspiring, it kicks you in the ass, it gives you an idea of whats going on and from a very practical perspective, you’re networking which is so important. I think networking gets such a gross name but networking is really just talking to people, being a normal, interesting human being with something to say and if I can’t have a conversation with someone and make them feel comfortable then I do not belong on a stage! If I can’t talk and make you feel comfortable, I am not an actor!
So I think that is probably the best piece of advice and it is exactly what has afforded me this opportunity. I mean, I’m brand new to this city, I knew no one in this industry when I moved here and it was just about throwing myself into these workshops, finding them online, going in, shaking hands, getting up with your rep and saying, “Hey Danielle Torento, we’ve never met but I’m gonna sing this song for you now” and you know, follow up emails and just do it!
Change your environment. It might be one thing you do differently a day, just one thing at a time and as you change your environment you start to develop this foundation and confidence in yourself that you are in fact, doing it. Because being an actor isn’t just being on stage, its really hard to explain that to people who aren’t in the industry. I don’t just show up somewhere 9 to 5 and have people tell me what to do, its all offstage. That [the performance] is the holiday, thats the treat, the bulk of the work is an unbelievable amount of groundwork, so, change your environment. That would be the advice… and its not even mine, I’m just passing it along because I think its a golden nugget of wisdom.
A huge thank you to Natasha for a wonderful chat!
Children of Eden at the Union Theatre is booking until September 10th, make sure you book to see this fantastic show! Tickets are available here.
Read my review of the show here.
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