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Thursday 16 November 2023

SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly


SuperYou! the Musical in Concert
Lyric Theatre 

Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.

After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.

What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.

Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.

Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.

Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling. 

There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.

Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons. 

In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere. 

Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene. 

★★★ 
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre

 {AD PR Invite- tickets gifted in exchange for honest review}
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Wednesday 7 December 2022

First Ever Relaxed Performance For Back to the Future The Musical


Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that Back To the Future The Musical will play its first ever relaxed performance at the Adelphi Theatre on Sunday 12 March 2023. Please click here to book.
 
Relaxed performances are open to everyone, but may benefit those who normally find it challenging to access and enjoy theatre. The performance will include reduced volume and lighting states with a laid-back approach to audience movement permitting and encouraging everyone to relax and respond naturally.
 
The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical had its opening night in London on Monday 13 September 2021. The musical recently broke box office records at the Adelphi Theatre for the highest gross sales in one week.
 
Back To the Future The Musical currently stars Cory English and Ben Joyce as ‘Dr Emmett Brown’ (until 3 January 2023) and ‘Marty McFly’ respectively, with Amber Davies as ‘Lorraine Baines’, Oliver Nicholas as ‘George McFly’, Jordan Benjamin as ‘Goldie Wilson’, Harry Jobson as ‘Biff Tannen’, Sophie Naglik as ‘Jennifer Parker’, Gary Trainor as ‘Strickland’, Will Haswell as alternate ‘Marty McFly’ and ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly’.
 
Tony Award winner, Roger Bart, will return to the show on 5 January 2023. His final performance in London will be 20 March 2023 after which he will lead the cast of the Broadway production, which begins performances at Winter Garden Theatre (1634 Broadway) on 30 June 2023 with an official opening on 3 August 2023.
 
Also in the cast are Amy Barker, Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Cameron McAllister, Alessia McDermott, Bryan Mottram, Laura Mullowney, Anna Murray, Jon Reynolds, Melissa Rose, Georgia Tapp, Justin Thomas, Charley Warburton and Tavio Wright.
 
The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available on all formats, including vinyl, and has had over 3 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode. 
 
Back To the Future The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by half a million people and the musical has broken box office records at the Adelphi Theatre.
 
Based on the Universal Pictures/Amblin Entertainment film, Back To the Future The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
 
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown.  But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
 
Back To the Future The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.
 
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
 
Back To the Future The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
 
photo credit: Matt Crockett

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Friday 20 September 2019

Matilda the Musical, Cambridge Theatre | Review




Matilda
Cambridge Theatre 
Reviewed on Wednesday 11th September 2019 by Olivia Mitchell 
★★★★★

On the week of Roald Dahl's birthday, it seems only right that I made a return visit to Matilda to experience the magical story on stage, helmed by a new cast who are bringing it to life with as much energy and wonder as when it opened eight years ago in the West End.

The RSC's production takes aspects of the much-loved original book and film and combines them with theatrical magic to create a show which delights adults and maggots alike. Laughter and beaming smiles fill the Cambridge Theatre as this delightful musical inspires and wows.

Matilda is written by Dennis Kelly, with music and lyrics by the wonderfully wacky Australian, Tim Minchin and direction from Matthew Warchus. The score features intensely catchy melodies and lyrics which are fast, witty and beautiful as well as a book which is filled with humour for adults and children. This combination makes it the perfect treat for the whole family, who will be reminded of the magic and darkness ingrained in Dahl's writing.

The lyrical ingenuity is brought to life through Peter Darling's incredibly precise choreography, which makes use of the entire set and highlights what a well oiled machine this production is. In particular, School Song is a showcase of faultless timing, a stellar cast and innovative lyrics combining in a way which is overwhelmingly wonderful. The entirety of this production is choreographed to the second but each moment still manages to feel fresh and it's clear that the incredibly high standards maintained are what make this show a continual success in London.


Adorned with various alphabet pieces, Rob Howell's set is a star of it's own. Like the characters on stage, each individual piece comes together to create a marvellous wall of colour and interest. Hugh Vanstone's lighting complements the whole production, creating drama and joy and highlighting the contrast between the sweet Matilda, the loud, raucous Wormwood's and terrifying Miss Trunchbull. Extravagance and nuance are used in equal measure to create a pitch perfect piece of theatre.

The cast of this show bring to light just how much talent there is in the West End. Throughout there is not a weak link, and each performance is a stand out in itself. Our young (and tiny) leading lady, Tilly-Raye Bayer is luminous as she rattles through the bold show. Her energy and charisma shine from the outset but she also manages to create intimate moments of peace and sadness. As a character, Matilda is the perfect example of how to get through life. Tenacious, kind and clever, she uses all she has within her to inspire change and bring positivity to those around her. From the young cast, mention must also go to Louie Gray who is astounding as Bruce Bogtrotter.

Sebastian Torkia and Marianne Benedict as Mr and Mrs Wormwood are suitably garish and LOUD. With the pair's fantastic comedic timing they have the audience in hysterics as they show off just how few brain cells they have. Both make their characters bold and slapstick but are tame enough to stop them becoming panto-esque. This is again thanks to the brilliant writing which knows just when to give and take.


As ferocious Miss Trunchbull, Elliot Harper gives his all and his all is certainly enough. There isn't a moment which feels out of character, from repulsive scenes to grossly hilarious comments, Harper brings the headmistress to life exceptionally. With amazing attention to detail and stirring delivery of his dreams of a childless world, Harper is divinely awful.

In contrast Gina Beck is wonderfully understated and, as her name suggests, sweet. The relationship between Matilda and her teacher is touching and the audience really root for the pair. As the Doctor and various other characters Kane Oliver Parry shines vocally. Every single adult performer gives a super sleek performance as they bring multiple characters to life and perform the choreography with pin-stripe precision. Extremely well characterised, they create a real body of sound and action and imbue the show with magic. It should also be noted that Matt Krzan is fantastically flamboyant as Rudolpho; Gemma Scholes is the definition of grace as the Acrobat; and Georgia Carling, Connor Lewis and Ben Kerr really shine in their ensemble tracks. 

In fact, the whole Matilda cast really are Miracles and this is a production you must see at once. Teaching us to be ourselves, stand together, use our imaginations and fight for what we believe in, this is the perfect anecdote to the troubles and worries we face during the current social climate. Take a trip to Crunchem Hall and experience the chocolate box of joy that Matilda provides.

Matilda is currently booking at the Cambridge Theatre, tickets are available at www.londonboxoffice.co.uk
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Thursday 3 February 2022

British Musical Lift Returns To London


Gartland Productions is thrilled to announce that LIFT will be returning to London in Summer 2022. Tickets are on sale now. 

 

Directed by Dean Johnson He/Him (Godspell, BKLYN, Dogfight) with Musical Direction and new arrangements by Sam Young He/Him (White Christmas, The Man in the Ceiling), this brand-new production of LIFT, music and lyrics by Craig Adams and book by Ian Watson, will run at the Southwark Playhouse from Friday 13th May 2022 until Saturday 25th June 2022.

 

The creative team will include Annie Southall She/Her (The Jungle Book, The Boyfriend) as Choreographer, production design by Andrew Exeter He/Him (High Fidelity, Hair in Concert, Jon + Jen), Associate Designer by Natalia AlvarezShe/Her and casting by Pearson Casting. 

 

Developed by Perfect Pitch, LIFT is set in a London underground lift, in one man’s imagination, on its way to the surface during one minute. In the 54 seconds of the lift’s passage, we are taken on a much longer journey that reveals the people behind the masks they wear, the secrets they dare not speak, and the unrealised connections between them. 

 

Dean Johnson, Director of LIFT said “LIFT has been one of those shows that has grown in popularity since the concept album and original production 10 years ago, while the performers involved in that process came to define a generation of British talent.”

 

“A story about individuals lost in the vast ecosystem of London, in many ways it was ahead of its time and reflects the city today just as effectively as it did a decade ago. We are really excited to revisit the piece and unlock that potential in a fully realised revival with a modern retelling and a cast that represents the next generation of diverse talent in the UK.”

 

The world premiere of LIFT ran a limited season at Soho Theatre in 2013. Starring Cynthia Erivo, Julie Atherton and George Maguire. Casting for this new production is yet to be announced, but Gartland Productions is passionate to reflect the diverse and contemporary landscape of 2022 London. 

 

Tickets are available now via Southwark Playhouse website. 

 

Casting to be announced soon.

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Saturday 13 August 2016

Children of Eden, Union Theatre | Review



Children of Eden
Union Theatre
Reviewed on Friday 12th August 2016 by Olivia Mitchell
★★★★★

Inspired by the Book of Genesis, Children of Eden tells the timeless and beautiful story of bringing a child into the world and becoming a parent. It features stunning music and lyrics by acclaimed composer Stephen Schwartz,  who is perhaps most well known for Wicked which continues to play all over the world, and a book by the fantastic John Caird who along with Trevor Nunn, adapted and directed Les Miserables.
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Thursday 1 February 2018

Eugenius, The Other Palace | Review


Eugenius
The Other Palace
Reviewed on Tuesday 30th January 2018 by Olivia Mitchell 
★★★★★

I saw and loved Eugenius back in 2016 at it's premiere concert at the London Palladium, so I was very excited when I read it was returning to The Other Palace. I'm pleased to say I stand by my initial review- I absolutely adored this, unique, hilarious, feel-good show. 

Eugenius tells the story of Eugene, a G-E-E-K who has written a comic book and gets thrown into a crazy Hollywood, space story. Alongside we have Janey who is head over heels in love with him and does everything she can to impress him but has been placed firmly into the friend zone. 

With music and lyrics and a book by Ben Adams and Chris Wilkins, Eugenius is a full on cheese fest of all things brilliant about the 80s. I'm 21 so wasn't alive then but it's so iconic that I couldn't help but feel nostalgic in a weird way. The music is catchy, the dialogue is laugh a minute and the whole show is just a big, joyous delight.


The cast are absolutely outstanding. As Eugene we have West End newbie Liam Forde, who is geeky and charming with a beautiful voice. His chemistry with everyone is great but especially with the delightful love interest Laura Baldwin as Janey. Laura's voice is something else, 'The Future is Bright' is definitely a stand out moment. Equally witty and loving, Laura is perfectly cast in the role.

As the best friend, Dan Buckley is hilarious as Feris. Despite being a comic role, Daniel's vocals shine and he is wonderful throughout. Equally comic is Scott Paige as Theo who is sassy and vocally outstanding. As the mean man, Cameron Blakely is perfectly despicable as Lex. His demeanour and crude actions make you pray for his demise. Ian Hughes is striking as the other, spacey villain, Evil Lord Hector.

This show creates an infectious atmosphere and has everyone bouncing and humming the songs as they leave the theatre. In my initial review I said that "this musical is bound to become a cult classic and pave the way for a whole wave of new musicals" and I think that still sums up my feelings. Eugenius is a unique, humourous celebration of being yourself and embracing your inner geek. With catchy music and a stellar cast, there's not a reason you shouldn't see this show!

Eugenius runs at The Other Palace until 3rd March

photo credit: Pamela Raith
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Tuesday 22 January 2019

Violet, Charing Cross Theatre | Review


Violet 
Charing Cross Theatre
Reviewed on Monday 21st January 2019 by Olivia Mitchell 
★★★

Based on Doris Betts' short story The Ugliest Pilgrim, featuring music by Jeanine Tesori and libretto by Brian Crawley, Violet follows a disfigured woman as she embarks on a Greyhound Bus journey from Spruce Pine, North Carolina to Tulsa, Oklahoma, to be healed by a famous television healer. 

The musical opened to critical acclaim off-Broadway in 1997, spawned various productions in the US and is making its UK debut at the Charing Cross Theatre before transferring to Tokyo and Osaka.

The Charing Cross theatre has been completely transformed as it becomes a theatre in the round, with a sleek and interesting set designed by Morgan Large. The space is so versatile and this is an especially unique set which works well to display the physical and mental journey our lead goes on. The musical features a number of flashbacks which are mirrored on the stage itself by the actors but also helped by the wonderful lighting from Howard Hudson. The present is bathed in warm light, whilst the flashbacks are much cooler and starker; a clever detail which helps the motion of the show.

Violet features a superb cast, led by Kaisa Hammarlund as the scarred Violet, giving a stunningly open performance that feels grounded and truthful. As her younger self, Amy Mepham does a great job. As love interest number one Monty, Matthew Harvey gives a vocally outstanding and all round enthralling performance. Harvey manages to bring the various sides of Monty to life with ease and talent. Love interest number two, Flick, is played with a beautiful vulnerability by Jay Marsh who provides the smoothest and warmest vocals. Marsh could sing the phone book and receive applause. 

Despite its wonderfully strong cast, the story of Violet feels bland and somewhat uninspired. Nothing really happens and a lack of character development means the audience don't root for the characters as much as they should. The slow moving show is very plot based, rather than character based but the plot is extremely predictable and leaves much to be desired.

 The cast are stellar but unfortunately the book falls flat in this revival.

 photo credit: Scott Rylander
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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

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Friday 21 February 2020

Laura Baldwin on The Importance of Female Led Musicals | Beautiful: The Carole King Musical | Interview

A jukebox musical with a book by Douglas McGrath, Beautiful: The Carole King Musical tells the story of the life and career of Carole King, using the songs she wrote as well as others by people she knew or were influential in her life. 

Taking on the role of one of these, is Laura Baldwin who plays Cynthia Weil, King's best friend and writing rival. Having previously starred in Waitress, Laura is no stranger to female led stories, she sat down to tell us why these stories are so important and what people can expect from this musical...


Give us the lowdown on Beautiful, what can we expect?
Well you can expect a story of what went on behind the music surrounding the life of Carole King, told by an AMAZING cast. You’ll hear incredibly nostalgic songs and hopefully you’ll leave feeling elated, inspired and a little bit warm inside.


Whats your favourite song from Beautiful and why?
God that is SO hard! The Locomotion is definitely up there but it has to be Walking in The Rain. It’s just such a stunning song and it feels so lovely to sing.


You’re playing Cynthia Weil, what do you draw from in your own life and what research do you do to play a real person?
So Cynthia Weil is the first character I’ve played that I don’t feel anything alike. I couldn’t find any similarities for a while so that was a new challenge for me. It did however feel really refreshing to become someone completely different and, play parts of her that don’t come naturally to me. Now we’re well into the run I do see myself in her, like I love making people laugh, so does she! We’re both very ambitious and love our work. It was great to finally identify with her in some way. 

I researched lots about Cynthia! I watched so many interviews and we talked extensively with Ed Goggin our director, all about the characters lives and motives throughout the show. I wanted to make sure I do her justice!! Hopefully I’m doing enough!


You previously starred in Waitress, another musical about female empowerment, what do you think makes these musicals so important and special?
Because we need women to be seen as the hero’s that they are and have always been! Waitress was a human story and Beautiful is a real life story, both with an underdog message. The characters find strength from within and that is always incredibly special to watch. Sara Bareilles is a power house as is Carole King. Their stories and music should be heard simply because of the talent behind them. I am honoured to be a small part of their work and portray the characters that are so dear to them, and inspiring to women and to everyone.


If a musical was going to be made about your life, who would you like to play you?
Oh Amy Adam’s or Kristen Wig just because I love them!!


What’s your best piece of advice for aspiring performers?
Keep the gorgeous people around you who lift you up! ALWAYS treat yourself after an audition. You will constantly struggle to balance everything and things will get hard but that’s okay. There will be highs and lows but the lows make it worth it. Stay humble, find ways to reconnect with yourself, book the holiday and know that your career doesn’t define you. I also feel like being yourself is HUGE and the moment I started accepting my weird crazy self, everything started to fall into place :) stay strong! x


Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22nd February before continuing its tour

Interview by Editor, Olivia Mitchell

photo credit: Helen Maybanks
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Friday 18 November 2016

Half a Sixpence, Noel Coward Theatre | Review

Half A Sixpence is just what the West End needs


Half a Sixpence is an oh so British musical which really packs a punch. 

 Half a Sixpence
Noel Coward Theatre
Reviewed on Thursday 17th November 2016 by Olivia Mitchell
★★★★

Whilst this production, opening for the first time in 50 years, is technically described as a revival, I would say its more of a reinvention. With 80% new material including a new score by Stiles and Drewe and a new book by Julian Fellowes, the show is brought into the 21st century in a refreshing and exciting way.


We follow the story of Arthur Kipps who mysteriously inherits a large sum of money and suddenly finds himself flung into a world of garden parties and riches, a far cry from his childhood days in the countryside with his best girl Ann. Caught in between two worlds and two women, Arthur must decide whether he wants half a sixpence or a fortune.

The plot is somewhat simplistic and predictable which is beautiful but annoying at the same time. Of course simplicity is lovely because it makes it easy to follow and really puts the emphasis on the music and choreography but there were some moments which I would have liked to delve deeper into; such as the mysterious uncle, but overall its a sweet story full of joy and humour.

The set is very simple, with a revolving stage supplemented with decorative additions and projections throughout which work wonderfully to move seamlessly between the changing scenes of the show, from bar, to beach, to garden party and more! This simple staging allows Andrew Wright's choreography to be a focal point of the show. The energetic dances create absolute elation throughout and every fresh faced member of the 24 strong  cast put their all into every step, creating a truly mesmorising sight. Of course the show favourite "Flash, Bang, Wallop" was a standout, with a standing ovation and smattering of applause beginning as soon as the last note was sung.

The entire cast are sublime and completely faultless. Ian Bartholomew is hilarious as the larger than life Mr Chitterlow, bringing out some of the biggest laughs of the night, especially through "The Joy of the Theatre" which felt like a big wink to all us press members sat in the audience! Bethany Huckle is fabulous as the sweet but strong-minded Flo who has fabulous chemistry with each character she interacts with. Helen Walshingham is vulnerable, graceful and tiny bit malicious but Emma Williams manages to make us understand why she makes every decision through her clear and well thought out portrayal.


Obviously the ultimate stand out of the show is the exceptional Charlie Stemp who must have a Best Actor in a Musical award waiting for him in the near future. From the moment we witness his charming, boyish grin, we fall in love with Arthur Kipps. Charlie is a true triple threat star, and its a joy to see him shine on stage in moments of humour and love as well as more serious times. Charlie's voice is beautiful, his dancing is effortless and he is just charming. He makes each move quirky and charismatic and absolutely fantastic. Keep your eye on this man because he is going to be a star for a long time!

Half a Sixpence is exciting, infectious, joyful, glistening and a billion other things. Its most definitely a show you should go and see and a production worth far more than half a sixpence! Experience the joy of the theatre and book tickets for this show which is running at the Noel Coward theatre.
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Thursday 7 July 2016

Breakfast at Tiffany's, Theatre Royal Haymarket | Review












Lets start out by saying that Breakfast at Tiffany's at the Theatre Royal is not the same as the 1961 film starring Audrey Hepburn.

Unlike the film, this play sticks very closely to the novel by Truman Capote, therefore, the production, adapted by award winning Richard Greenberg is set in the 1940's as opposed to the 60's, automatically creating a different feel to the film we've grown to love.
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Wednesday 19 January 2022

Bat Out of Hell (Tour), New Wimbledon Theatre | Review


Bat Out Of Hell (Tour)
New Wimbledon Theatre
Reviewed on Tuesday 18th January 2022 by Olivia Mitchell 
★★★★★

There aren’t many touring shows where fire, confetti and belts that melt your faces off are the key selling points, but that’s what makes Bat Out of Hell such a unique and refreshing addition to the touring circuit.

The jukebox musical, with book, music and lyrics by Jim Steinman has had various incarnations since it originally opened in Manchester in 2017. From London to Germany to New York, it’s now entertaining audiences across the country with its larger than life performances.

This certainly isn’t a show that relies on its book which is sometimes hard to follow and all in all is very bare and ridiculous. Instead it is helmed by the stellar effects and outstanding solo and ensemble performances that make it such a high octane and enjoyable show.

Choreography adapted by Xena Gusthart is snappy and incredibly tight as well as being very fitting for the apocalyptic-place-like-no-other Obsidian where the musical is set. This is further helped and developed by Jon Bausor’s grungy set and Patrick Woodroffe‘s lighting which both shocks the audience into watching as well as literally highlighting more tender moments on stage.

Of course over the various productions there have been a number of changes. Perhaps most noticeable with this current iteration, is the smaller cast and cut down set. Despite being somewhat noticeable if you’ve seen the show before, these cuts don’t mean there’s any less oomph or energy and in fact, a Tuesday night performance in Wimbledon, felt like a Saturday show (complete with some audience members who wanted their own solos!) In many ways, it’s a show which thrives off of its audience, with many loyal fans supporting it in every possible way. And despite it sometimes detracting from the performers on stage, it’s quite nice to see and hear people so engaged and uplifted by a performance after so long not having live theatre. It's really a show which encourages community and enjoyment, two things we could all use a little more of.



Bat Out of Hell is very much cast led and excels due to its incomparably talented performers who are full out in every moment. As the caged daughter Raven, Martha Kirby is excellent, showing both a tempestuous side and a softer, head over heels in love side. Alongside this her vocals are extraordinary, with a number of stand out moments including Heaven Can Wait and All Coming Back to Me Now. Matha's stage presence is magnetic and it's just a 10/10 performance all round. Alongside her as the male lead is Glenn Adamson who is bold and boisterous with his performance. He brings a kind of frenzied side to Strat and is utterly engaging, as well as giving vocals that soar and shine.

Another change from past London productions is the reworked  placement and character of Valkyrie who becomes one of the main trio of The Lost. As Valkyrie, Kellie Gnauck is a complete powerhouse who steals the show several times and adds a lovely new dimension to many songs thanks to her fine tuned harmonies. Bat Out of Hell veterans Rob Fowler and Sharon Sexton continue to triumph and delight as Raven's parents, Falco and Sloane. Their comedic timing is marvellous, as are their vocals and ability to switch moods on a dime. It's a joy to watch them perform together and with the other cast members. What Part of My Body Hurts The Most is a real high point of the show.

Everything is brought together by the ensemble who are electric and so in sync with one another. What's also great about this show is how you can watch various mini plot lines unfurl throughout and the ensemble especially do a great job of highlighting anxieties, relationships etc... within the group. 

If it's a sophisticated narrative you're after, this categorically isn't the show for you, but if you want to escape reality, hear top notch vocals and have an evening that's truly like no other, then fly down to see Bat Out of Hell on tour.

Bat Out Of Hell plays at the New Wimbledon Theatre until 29th January before continuing its tour

photo credit: Chris Davis Studio

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