Showing posts sorted by date for query Here and Now. Sort by relevance Show all posts
Showing posts sorted by date for query Here and Now. Sort by relevance Show all posts
Wednesday, 22 October 2025
Freaky Friday The Musical Announces Full Cast Ahead of Manchester HOME Premiere
Manchester audiences are in for a festive treat as Freaky Friday The Musical prepares to make its UK stage premiere at HOME Manchester from 27 November 2025, running through 10 January 2026.
Leading the cast are Rebecca Lock (Heathers The Musical, Here and Now) as Katherine, the overworked mother who finds herself magically swapping bodies with her teenage daughter Ellie, played by Jena Pandya (Come Fall in Love, Bhangra Nation).
They’re joined by a talented ensemble including Ian Virgo (Jesus Christ Superstar) as Mike, Samantha Ho (Cabaret) as Gretchen, and Beth Savill (Hamlet) as Hannah. Making their professional debuts are Jessica Butterworth as Savannah and Ellie Gilbert-Grey as Laurel. The cast also features Max Mirza, Morgan Gregory, Dylan Gordon-Jones, Waylon Jacobs, Tori Scott, Katharine Pearson, James Stirling, and Catherine Millsom, completing a powerhouse company.
Based on the beloved 1972 novel by Mary Rodgers and Disney’s hit films, Freaky Friday The Musical brings the iconic body-swap story to life with warmth, humour, and a vibrant contemporary score. When mother and daughter suddenly find themselves living each other’s lives for a day, chaos, comedy, and compassion collide in a heartfelt exploration of family and understanding.
The musical is directed by Andy Fickman, who famously adapted Heathers from screen to stage, and produced by Paul Taylor-Mills (The Lightning Thief, Heathers The Musical). The creative team includes book writer Bridget Carpenter, music by Tom Kitt and lyrics by Brian Yorkey, the Tony- and Pulitzer-winning duo behind Next to Normal.
With choreography by Alexzandra Sarmiento, designs by David Shields, and musical supervision by Will Parker, the show promises to be one of the most joyful musical theatre experiences of the season.
Expect laughter, heart, and a little holiday magic as Freaky Friday brings its feel-good message to Manchester before, no doubt, charming London theatre audiences next.
Wednesday, 15 October 2025
Here & Now The Steps Musical Tour Review- A Pop-Fuelled Jukebox Ride That Charms
Here and Now: The Steps Musical (Tour)
New Victoria Theatre
Here & Now is a vibrant, glitter-filled night of pop nostalgia that wears its heart- and its sparkly costumes- proudly on its sleeve. Built around the iconic hits of Steps, this jukebox musical takes place in a brightly lit supermarket called Better Best Bargains, where dreams, heartbreak, and friendship collide in equal measure.
At the centre of the story is Caz, played with warmth and power by Rebecca Lock, whose vocals soar through the theatre and whose emotional honesty gives the show its core. When her life takes an unexpected turn, she and her co-workers are forced to re-evaluate their choices and embrace a “Summer of Love” that doesn’t quite go to plan. Alongside her, Blake Patrick Anderson (Robbie), Jacqui Dubois (Vel), Rosie Singha (Neeta) give great performances and their chemistry is lovely to see. River Medway also has some brilliant moments as Jem. Finty Williams is a comic delight as Patricia, the dry, sharp-tongued store boss whose perfectly timed one-liners steal more than one scene, I wish we got a little bit more of her story. The rest of the cast bring great energy and charm, with tight ensemble work that keeps the show lively and fast-moving.
Visually, the production is dazzling. Tom Rogers' supermarket set transforms fluidly, bursting with colour and clever design touches, while Howard Hudson's lighting shifts between campy exuberance and tender intimacy. It’s a feast for the eyes, even if sometimes there’s so much going on that it’s hard to catch every detail. Matt Cole's choreography is slick and punchy, perfectly capturing the upbeat essence of Steps while grounding it in musical-theatre storytelling.
Where the show falters slightly is in pacing and clarity. With so many interwoven storylines and emotional beats, some scenes feel rushed, and the final moments could benefit from a little more breathing room. At times, the sheer spectacle overwhelms the subtler emotional notes, but when it lands, it’s joyous.
Despite its imperfections, Here & Now is a fun, heartfelt celebration of pop, love, and second chances. Rebecca Lock is a standout, Finty Williams adds sparkle and humour, and the ensemble delivers with infectious enthusiasm. It may not reinvent the jukebox-musical format, but it’s packed with enough charm, choreography, and nostalgia to leave audiences smiling and maybe even dancing their way out of the theatre. A glittery supermarket of pop, heart, and pure nostalgia!
★★★★
Reviewed on Tuesday 14th October 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Monday, 6 October 2025
Rachel Zegler London Palladium Review: A Luminous 5-Star Concert
Rachel Zegler
London Palladium
I honestly don’t even know where to begin with this review because yesterday’s concert at the London Palladium was nothing short of magical. If you’ve followed me for a while, you’ll know that my love for Rachel Zegler goes way back, right to 2017, when I stumbled across her cover of Anyway by Kerrigan and Lowdermilk. (I even featured her in a website post at the time.) Since then, I’ve been following her outrageously amazing career from YouTube videos in her bedroom to, well… global stardom. It’s somewhat depressing how little I’ve achieved in that same time while Rachel has basically achieved world domination… but hey, we won’t harp on that hahaha.
What I will harp on about is how utterly luminous she was on that Palladium stage during her debut solo concert. And luminous really is the word.
We all knew Rachel’s voice was spectacular; her run in Evita was proof enough of that (I’m still mourning the show's closing). But this concert felt like a complete vocal masterclass. Her tone is crystal clear, her breath control flawless, and the strength and health of her voice is something to marvel at. Every note rang out like it was the easiest thing in the world, yet full of emotion and nuance. Rachel’s voice doesn’t just sound beautiful, it feels like it’s telling you a story, every single time.
The setlist was an absolute dream. We got theatrical classics like Jason Robert Brown’s I Can Do Better Than That, a stunning duet from Sunday in the Park with George with none other than Ramin Karimloo (Phantom fans rise up), and a heartfelt tribute to her Taylor Swift YouTube cover days with You’re On Your Own, Kid.
She also gifted us with a gorgeous Amy Winehouse/Ariana Grande mashup (Just Friends/we can’t be friends) which was an inspired blend of styles. On top of all that, she introduced two original songs, both of which were glorious, beautifully written, and made it so clear that Rachel isn’t just an interpreter of music, she’s a creator too.
I truly loved all the choices, with tributes to key parts of Rachel’s career and life so far. There were nods to The Hunger Games, to her being a literal Disney princess, to her Broadway debut in Romeo and Juliet, and to the musical theatre legends who have shaped her artistry. It was like watching her personal and professional journey unfold in song. A reminder of just how much she’s done, and how much she loves what she does.
As dazzling as her voice is, what made this concert unforgettable was Rachel herself. Her banter, her humour and her vulnerability; she was so open, joyful, and clearly utterly in love with theatre and music. As long as I've followed and chatted to Rachel, she has always been so incredibly kind and giving, and that same spirit filled the Palladium. You didn’t just see a star performing; you saw a human being sharing herself with the audience, and it was beautiful.
Rachel joked at one point that Javert is a role she’d never get to play but honestly, having watched how she’s manifested the rest of her career, I wouldn’t be surprised in the slightest if it happens someday. She’s unstoppable.
This concert was a testament to everything Rachel Zegler is: luminous, powerful, generous, and truly unique. She is a once-in-a-generation talent, and I have no doubt she will continue to soar and shine (hopefully back on a West End stage in the not too distant future). Until then, I’ll keep cheering her on, as I always have, from that first Anyway cover in 2017 to now. Here's to continued Rachel Zegler world domination!
★★★★★
Reviewed on Sunday 5th October 2025 by Olivia
Photo Credit: Danny Kaan
Saturday, 23 August 2025
Evita at the London Palladium: Rachel Zegler Soars in Jamie Lloyd's Bold, Electrifying Revival
Evita
London Palladium
Sometimes you sit in a theatre and know you are witnessing something truly historic. That’s exactly how it felt watching Jamie Lloyd’s new production of Evita at the London Palladium. This isn’t just another revival of Andrew Lloyd Webber and Tim Rice’s political rock opera, it’s a seismic moment in musical theatre, led by a cast who feel destined for greatness.
At the centre of it all is Rachel Zegler, who delivers a performance so thrilling, it’s hard to believe this is her London stage debut. I’ve followed Rachel’s journey since 2017, from YouTube covers to West Side Story, and to see her now, utterly at home on the Palladium stage, is nothing short of awe-inspiring. She looks and sounds like she was born for this exact role at this exact moment in theatrical history. Her Eva Perón is fierce, vulnerable, ambitious, and magnetic; and every note of “Don’t Cry for Me Argentina” soared as though it were written for her. We are watching the rise of a star, and how lucky we are to be along for the journey.
Alongside her, Diego Andrés Rodriguez is astonishing as Che. Wry, commanding, and vocally electric, he narrates Eva’s rise and fall with biting precision. At times sardonic, at times full of fire, his performance anchors the show with clarity and bite. Rodriguez is a talent I need to see as Jesus in Jesus Christ Superstar one day, his presence and vocals would be unforgettable. James Olivas also gives an excellent turn as Juan Perón, balancing political ambition with quiet tenderness. The chemistry between Zegler, Rodriguez, and Olivas is magnetic, their trio of performances form the show’s beating heart.
Musically, Evita remains as bold as ever. First staged in 1978, Lloyd Webber and Rice’s rock-opera score brings Eva Perón’s rise to power and enduring legacy to life with urgency and flair. From the bombastic “A New Argentina” to the delicate “Another Suitcase in Another Hall,” the music is at once energetic and informative, serving as both history lesson and thrilling theatre. What makes Jamie Lloyd’s revival so fascinating is its refusal to spoon-feed. The production embraces ambiguity, encouraging the audience to interpret rather than simply receive. For newcomers to the show, this approach might feel a little confusing at times, but for me it was exhilarating. It felt intelligent, trusting the audience to piece together the threads for themselves.
Visually and technically, the production is equally impressive. Jon Clark’s lighting is stark and expressive, shaping scenes with atmosphere and tension. Fabian Aloise’s choreography is muscular, dynamic, and precise. The ensemble moves like a single organism, their synchronicity so tight it’s genuinely breathtaking. Every gesture feels purposeful, from the smallest flick of a wrist to the explosive full-company numbers. The ensemble themselves are powerhouse performers, bringing passion and intensity to every scene. Their strength and unity echo the fervour of Eva’s Argentina, adding another layer of urgency to the storytelling.
Equally vital is Adam Fisher’s sound design, which balances the soaring vocals and Lloyd Webber’s powerful score beautifully. In a theatre as grand as the Palladium, clarity can sometimes be an issue, but here every lyric, every guitar riff, every heartbeat of percussion landed perfectly.
For those unfamiliar with Evita, the show traces the life of Eva Perón, Argentina’s First Lady from 1946 until her death in 1952. Born into poverty, Eva clawed her way into the limelight, first as an actress and then as wife of President Juan Perón, becoming a powerful, controversial figure adored by the working classes and reviled by the elite. Lloyd Webber and Rice’s score examines her legacy with both admiration and critique, embodied in the narrator Che’s cynical commentary. It’s part biography, part cautionary tale, part celebration and in Lloyd’s hands, it feels fiercely relevant once again.
This Evita is not just a revival; it’s a reinvention. Jamie Lloyd has stripped away the excess and laid bare the story, allowing the music, the cast, and the raw energy of the ensemble to speak for themselves. The result is electrifying- a production that feels both timeless and urgently modern.
Walking out of the Palladium, I couldn’t shake the feeling that I had just witnessed a career-defining moment for Rachel Zegler and a bold new chapter for Evita. It is an intelligent, gripping, and emotional triumph. Simply put, this is theatre at its most alive.
★★★★★
Reviewed on Tuesday 22nd July 2025 by Olivia
Photo Credit: Marc Brenner
Keywords: Evita London Palladium review, Jamie Lloyd Evita review, Rachel Zegler Evita London, Diego Andrés Rodriguez Che Evita, James Olivas Juan Perón Evita, Fabian Aloise choreography Evita, Jon Clark lighting design Evita, Adam Fisher sound design Evita, Evita 2025 revival London.
Thursday, 5 June 2025
Review: Joseph and the Amazing Technicolor Dreamcoat- A Joyous Revival that Shines Bright on Tour
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Like so many theatre lovers, Joseph holds a special place in my heart. I must have worn out the DVD as a child, rewatching the dazzling colours, catchy tunes, and sheer joy of it all. To this day, I take great pride in knowing every single colour of that famous coat by heart, and one day, I’m convinced it will finally come in handy in a pub quiz.
Seeing the touring production felt like reconnecting with an old friend, and this version couldn’t feel more right for now. There are brief flashes of modern self-awareness that could veer into cringe- a wink here, a gag there- but they never overstay their welcome. It’s one of the rare revivals that manages to feel modernised without being try-hard or losing its sense of self. At its core, Joseph is still what it’s always been: a musical powered by joy, timeless melodies, and that signature blend of heart and humour.
The music, as ever, is the star. From 'Any Dream Will Do' to 'Go, Go, Go Joseph,' the songs are as infectious as I remembered. But what makes this version truly sing is how the whole thing feels so light on its feet. There’s a freshness to the production, a sense of play and invention that keeps it moving briskly and brightly.
Adam Felipe brings a charming sincerity to Joseph, with vocals that land with clarity and ease. He finds both the innocence and confidence in the role, and it’s easy to see why audiences root for him from the start. Joe McElderry’s Pharaoh is a crowd-pleasing standout, leaning into the Elvis pastiche with charisma and a wink that’s impossible not to enjoy. And in the role of the Narrator, Christina Bianco is the glue that holds the whole show together- commanding, warm, commical, and vocally impressive throughout.
Beyond the leads, it was an unexpected delight to watch the ensemble. There’s such care in their performances- it felt like many of them had created full little back stories for their characters. I caught moments between brothers, glances, physical comedy, even subtle through-lines. Honestly, I’d go back just to keep an eye on different people and see what else I might spot.
This show is a proven success, and this production shows exactly why. The audience- young kids, nostalgic adults, and everyone in between- were beaming throughout, myself included. It’s hard not to be swept up by it. This show is a real reminder that it’s a gift to sit in a theatre and just have a great time.
It’s not a reinvention of the wheel, but it doesn’t need to be. Joseph is a show that understands what it is, and this production delivers it with style, heart, and a technicolour sparkle that never fades.
★★★★
Reviewed on Wednesday 4th June 2025 by Olivia
Photo Credit: Tristram Kenton
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 22 May 2025
Review: Shucked at Regent’s Park Open Air Theatre: A Theatrical Kernel of Joy
Shucked
Regent's Park Open Air Theatre
There’s a whole lot to shuckin’ love about Shucked, now lighting up the stage at Regent’s Park Open Air Theatre. In a world that too often feels dark, this radiant, knee-slappin’, corn-fed musical comedy offers a buttery escape- warm, golden, and just the right amount of corny. Under the ever-imaginative direction of Jack O’Brien, this UK premiere pops with joy, brilliant choreography, and heartfelt hilarity that leaves you grinning from corn ear to corn ear.
Originally grown on Broadway, Shucked is a musical that never takes itself too seriously, and that’s its biggest strength. The show, with book by Tony winner Robert Horn and music and lyrics by the Grammy-winning country duo Brandy Clark and Shane McAnally, is a jubilant celebration of community, connection, and corn. Yes- corn. And trust us, you’ll never look at maize the same way again.
Choreograper Sarah O’Gleby, brings her trademark flair for physical comedy and visual storytelling. From toe-tapping hoedowns to sly little winks in the movement, his direction ensures the action never goes stale. Every beat feels fresh and full of flavour. The choreography is sharp and satirical, leaning into the show’s knowingly silly tone without letting it tip into parody. It’s a-maize-ing how balanced the humour is.
The open-air setting is the perfect patch for this rural romp. Regent’s Park Open Air Theatre has always been a magical venue, but here, with Japhy Weideman’s sunshine-drenched lighting design and Scott Pask’s witty, vibrant set, it becomes a heartland paradise. There’s real theatrical alchemy in watching a musical about growing things, bloom under actual summer skies.
The cast are ear-resistible. Sophie McShera leads with pluck and power as Maizy, delivering powerhouse vocals with a wink of mischief. Ben Joyce is gloriously goofy as Beau, while Monique Ashe-Palmer and Steven Webb- playing the narrators- steal scenes with quick-fire delivery and impeccable comic timing. Their banter snaps, crackles, and pops. Georgina Onuorah shines as Lulu, delivering a performance that’s as crisp and charismatic as fresh-popped corn- her powerhouse vocals and razor-sharp comic timing make her an undeniable stand-out amongst a stellar cast.
Musically, the score is an earworm-stuffed delight. The blend of bluegrass, country, and pop feels authentic and catchy, with standout numbers like 'Independently Owned' getting well-deserved rounds of applause. The band, brings an infectious energy to the whole affair.
What makes Shucked more than just a corny joke-fest is its kernel of sincerity. Amid the pun-filled gags and outrageous plot twists, there's a surprisingly poignant message about the power of community and listening- especially when the world feels like it’s cracking at the seams.
Yes, some of the jokes may make you groan before you giggle, and yes, the plot is bonkers. But that’s the whole point of it. This is a show that dares to be joyful- and in these sometimes difficult times, that’s something worth celebrating.
So grab your friends, head to Regent’s Park, and let Shucked butter you up. It might not change the world, but for a couple of hours, it sure makes it feel a whole lot brighter.
★★★★
Reviewed on 21st May 2025 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Keywords: Shucked review, Regent’s Park Open Air Theatre, Drew McOnie choreography, London theatre 2025, Georgina Onuorah Shucked, feel-good musicals London, summer theatre London, West End musicals, drew mconie musical, comedy musical review UK.
Wednesday, 7 May 2025
Bat Out Of Hell 2025 Review: Killer Score, But What Happened to the Set?
Bat Out of Hell (Tour)
New Victoria Theatre
Bat Out Of Hell has never pretended to be a subtle piece of theatre. It’s loud, it’s chaotic, it’s over-the-top, and when it leans into those extremes, it can be glorious. The 2025 tour keeps the heart-pounding spirit of Meat Loaf and Jim Steinman’s bombastic score alive and well. But while the music remains the show’s undisputed heart, this scaled-back tour suffers from a lack of cohesion in its storytelling and staging, and some puzzling creative decisions that dull the production’s edge rather than sharpen it.
Gone are many of the more lavish set pieces from earlier versions. Raven’s once-gothic bedroom is now reduced to a few scattered boxes, and in one unintentionally comic moment, poor Falco is left wheeling on a crate in place of a sofa. It’s a stripped-back aesthetic that might work in a musical with a stronger plot to fall back on, but Bat has never been about narrative clarity. With this reduction, the production’s structural weaknesses are exposed: transitions between scenes are clunky, and what little dialogue remains often feels amateurish and stilted. Without the visual grandeur of past runs to distract us, the cracks are harder to ignore.
Perhaps the most jarring change is the prominent use of handheld microphones. While they work in conjunction with in-ear monitors to create a stunningly well-mixed sound—easily one of the best elements of the show—they’re stylistically out of place. It's never made clear why they’re being used within the world of the show, and watching characters like Tink wave them around during emotional scenes only pulls the audience further out of the moment. They add a layer of disconnect, making it feel more like a concert with awkward scene breaks than a piece of music theatre. In combining the previous tour and the International arena tour, the show has become a weird mish-mash that doesn't quite work.
That said, the score remains killer. Steinman’s songs are packed with drama, emotion, and sheer rock-and-roll punch. Even though they rarely serve the plot in a traditional sense, each number stands on its own as a mini-epic. And the cast? They do not disappoint. Every vocal was delivered with power, control, and intent. The arrangements remain mostly true to form but benefit from the show’s stripped-back nature- revealing gorgeous musical moments that previously got buried in the chaos. A standout example is the delicate piano work in 'What Part of My Body Hurts the Most,' which offered a rare, emotionally resonant pause in an otherwise thunderous night.
Brilliant performances came from Katie Tonkinson as Raven, bringing vulnerability and defiance in equal measure; Harriet Richardson-Cockerline as Sloane, who balanced brittle humour with aching depth; Rob Fowler as Falco, whose vocals were consistently commanding; and Ryan Carter as Jagwire, whose tone and presence added welcome gravitas and provided many of the stand out moments. The undeniable star of this performance was Luke Street as Strat, who fully embodied the anarchic, eternal-teen spirit of the role. His vocals were ironclad, but even more impressively, every movement and line felt fully intentional. Street didn’t just sing the score- he lived it.
There’s still plenty of enjoyment to be found here, especially for fans of the music. If you're coming for the songs, and many are, you’ll probably leave satisfied. But this tour’s theatrical elements feel underdeveloped and inconsistent, giving off the sense of a rock opera that’s lost some of its bite. The bones of the show are still there, but without a coherent structure or compelling visuals to support them, Bat Out Of Hell in its current iteration feels more like a fever dream than a fiery fantasy.
★★★
Reviewed on Tuesday 6th May by Olivia
Photo Credit: Chris Davis Studio
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 25 March 2025
Five Reasons Why Austenland is Going to Be Your New Favourite Musical
Austenland
Savoy Theatre
Last night, I had the absolute pleasure of attending the world premiere concert version of Austenland: The Musical- though calling it a 'concert' feels like a stretch. Directed fantastically by Jonathan O'Boyle this was an almost full-fledged, gloriously staged spectacle, complete with choreography, costumes, and a cast who threw themselves into the period-drama-meets-modern-romcom chaos with raucous enthusiasm. The result? An evening of sheer delight that left me grinning ear to ear.
So with that being said, here’s why Austenland is about to be your next musical obsession:
1. The Songs Are Instantly Addictive
From swooning ballads to toe-tapping ensemble numbers, Austenland delivers a diverse soundtrack that sticks with you long after the final bow. Thanks to the creative team- Jodi Picoult (co-librettist), Timothy Allen McDonald (co-librettist), Elyssa Samsel & Kate Anderson (song writers)- the score feels fresh, interesting and exciting. At times it's a little bit too try hard for me but whether it’s the Regency-style waltz that morphs into a pop anthem or Manly's hilariously over-the-top song dripping with melodrama, every number feels like a hit waiting to happen.
2. It’s Jane Austen… But Make It Hilarious
Austen adaptations often lean into the drama, but this musical leans hard into the comedy- and it absolutely works. The show revels in the absurdity of Austen-obsessed tourists attempting to live out their fantasy in a Regency holiday retreat, complete with exaggerated social etiquette, scandalous misunderstandings, and a delightful send-up of brooding leading men.
3. The Cast Brings the House Down
The performances were electric, blending impeccable comedic timing with genuine heart. Lucie Jones (who I would quite literally listen to if she sung the phonebook) as leading lady Jane delivered a pitch-perfect mix of modern cynicism and romantic longing, while the ‘perfect’ Mr. Darcy-esque love interest (Oli Higginson) was both swoon-worthy and delightfully self-aware. Laura Baldwin and Cassidy Janson were gloriously funny as Miss Heartwright and Aunt Carolyn/Wattlesbrook. As Elizabeth Charming Alex Young was an absolute scene-stealer, milking every single moment for maximum comedic effect. Not a second of stage time was wasted- she wrung every syllable of the script dry, crafting a performance that was equal parts razor-sharp and utterly ridiculous in the best way. As Manly, Idriss Kargbo also took every moment and ran with it in the best way, infusing every moment with energy and draaaaaama. The entire ensemble did a wonderful job, especially given the short rehearsal time and were truly impressive.
Of course, we don’t yet know who will be starring in future productions, but with this incredible cast laying the groundwork, Austenland is already shaping up to be a must-see hit.
4. A Feast for the Eyes
Even in this so-called ‘concert’ setting, the production values were on point. The period-inspired costumes added flair, while clever staging and super fun choreography (Joanna Godwin) gave the show a dynamic, refreshing feel. Mention must also go to the sound (Sound Quiet Time), which was the best I've heard in a concert version in a long time! If this was just a taster, I can’t wait to see what a full-scale production will look like.
5. It Balances Romance and Satire Perfectly
Austenland manages to poke fun at the tropes of romance novels while also delivering a genuinely satisfying love story. Just when you think it’s all ridiculous escapism, the show hits you with a moment of sincerity that reminds you why we all love a good Austen-inspired romance in the first place. Plus of course, all of us romance girlies get what we crave, a swoony story with a Hand Flex included.
Now, I won’t say Austenland is a flawless masterpiece just yet. The pacing needs a little fine-tuning, some songs need altering and a few jokes could land better with some tweaking. But with a few adjustments, this could very well be a 10/10 musical the next time we see it. And honestly? I can’t wait for that moment.
Article written by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 27 November 2024
Now That’s What I Call a Musical: A Fun Nostalgia-Fest with some Flaws | Review
Now That’s What I Call a Musical
New Victoria Theatre
If you’re craving a night of toe-tapping 80s hits and breezy humour, Now That’s What I Call a Musical might be just the ticket. Currently touring the UK, this jukebox musical delivers big on nostalgia, though it stumbles in depth and pacing. With a talented cast and high-energy set pieces, it’s a fun evening out, even if it doesn’t push any creative boundaries.
The first act introduces a 1989 school reunion and a group of ex-students struggling with love, ambition, and nostalgia. However, while the setup is charming enough, the narrative lacks momentum, with the story often feeling like it’s merely an excuse to lead into the next song. Fortunately, the second act ramps up the stakes. Secrets unravel, tensions surface, and the characters finally confront their dilemmas in earnest. While these revelations might not reinvent the wheel, they bring a welcome spark of drama and emotional resonance.
The cast gives it their all, infusing charisma and vocal talent into even the thinnest material. Nina Wadia (as Gemma who feels stuck in her life) brings a heartfelt performance and vocals. Shakil Hussain steals scenes as the sarcastic but brother, delivering some of the show’s best comedic moments. Meanwhile, Chris Grahamson is compelling as Tim, the sleazy player who's got Gemma wrapped around his finger. The standout is absolutely Melissa Jacques who enters just before the end of act one and provides the best vocals and some really emotional moments. Her portrayal of the larger than life April, who went to LA to live her actress dreams is very well characterised and feels like the most developed of them all. Carol Decker makes a guest appearance for one song and showcases her great vocals in her hit song 'China in Your Hand'.
The humour is light and occasionally sharp, with plenty of laugh-out-loud moments and nods to the 80s. The jokes might not land for everyone, but there’s an endearing self-awareness in the script that keeps it from taking itself too seriously. And, of course, the 80s anthems are the real star here. Whether it’s 'Red Red Wine' or 'Every Breathe You Take', the production knows how to use these iconic songs to maximum effect.
The show’s design team deserves applause. The set design, by Tom Rogers, captures the small-town charm with a versatile backdrop that transitions seamlessly between locations. Ben Cracknell’s lighting design adds flair, particularly in the second act’s climactic moments, bathing the stage in dramatic reds and blues that elevate the mood. The sound design by Adam Fisher ensures the music is crisp and immersive, though there were moments where dialogue got lost beneath the score.
If there’s a weakness, it’s in the writing. Pippa Evans' script doesn’t dig deeply into its themes or characters, sticking to predictable tropes and shallow conflicts. While this simplicity might frustrate those looking for a more substantial narrative, it’s clear the focus here is on entertainment, not profundity.
Now That’s What I Call a Musical won’t change your life, but it’s an enjoyable escape. For fans of 80s music, it’s a nostalgic treat, carried by a dedicated cast and vibrant production design. While the story doesn’t say anything new, the show’s heart and humour make it a worthwhile outing. Go for the tunes, stay for the laughs, and enjoy the trip down memory lane.
★★★
Reviewed on Tuesday 26th November 2024 by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 20 November 2024
Wicked Movie Review: Everything we Hoped For and More
Like so many, I’ve been enchanted by Wicked since I was young. The musical shaped my childhood, inspired my imagination, and stayed with me through every stage of life (my dog is literally called Elphie!) When news of a film adaptation first surfaced all those years ago, my heart soared, though tempered with the hope that they would do justice to something so pivotal to me and countless others. It’s been a long yellow brick road, with years of speculation, rumours and anticipation, but now that it’s here, Wicked: The Movie exceeds every expectation and delivers a spectacle that was worth every moment of the wait.
Director Jon M. Chu has not only brought the world of Oz to life- he has redefined what a movie musical can be. This film doesn’t just enchant; it moves, it stirs, and it utterly inthralls. From the first soaring notes of 'No One Mourns the Wicked' to the breathtaking final moments, it’s clear that this team poured their hearts into every frame.
The cast, led by the luminous Cynthia Erivo as Elphaba and the effervescent Ariana Grande as Glinda, is extraordinary. Erivo’s performance is as brilliant as we all expected- her Elphaba is fierce, vulnerable, and heartbreakingly human. Of course, she also imbues every note with raw emotion, making every song a transcendent experience. Grande, meanwhile, brings a sparkling charm and necessary depth to Glinda, perfectly balancing her bubbly exterior with a poignant sincerity. The chemistry between the two is electric, capturing the complexities of friendship and rivalry that lie at the heart of the story, I am already buzzing with anticipation of how the pair are going to develop in Wicked: Part Two. Like with every aspect of this film, you can tell how much love has gone into it, Ariana and Cynthia's performances feel so incredibly lived in, you can tell how much they adore the roles and how they planned and turned every stone in finding their own versions. They feel true enough to the originals but also bring newness and fresh energy. The Winkie Prince doesn't have as developed of a role in Part One but Jonathan Bailey as Fiyero is still masterful. His smooth charisma is utterly swoon-worthy but more than that, his sincerity and depth is enchanting to watch. In my opinion, 'Dancing Through Life' is one of the most edited songs from the original, but it works so SO well. The new musical arrangement is very cool, with a more funkified feel that complements the show, while feeling totally relevant for a 2024 Wicked release; the whole scene is a joy to watch. Supporting performances by Ethan Slater as Boq, Jeff Goldblum as The Wizard and Michelle Yeoh as Madame Morrible round out the ensemble, each actor bringing something fresh to the beloved characters and paving the way for Part 2.
The music, brought to life with lush orchestration and gorgeous vocals, feels both reverent to Stephen Schwartz’s original score and fresh for this new medium. Familiar songs like 'Popular' and 'What is This Feeling' shine anew, while the staging and cinematography elevate them into true cinematic moments.
One of the greatest triumphs of this adaptation is its fidelity to the source material. Despite its aspirations of massive commercial success- evident from the ambitious marketing campaign- it never sacrifices the heart of the story or the integrity of the musical’s themes. This feels like a love letter to the fans who’ve cherished Wicked for years. Seeing the iconic Time Dragon Clock, the enigmatic blobby men (yes, the technical term!), guest star appearances, and subtle musical motifs scattered throughout feels like being reunited with an old friend. I also love how the cast were allowed to play around with riffs throughout the movie, something that's a big part of the Wicked fandom. There are whole YouTube compilations of the best 'Defying Gravity Riffs' and I have no doubt that the movie one will be added alongside all the others that perfectly fit and bring a freshness to the score that delivers on every level.
The world-building is nothing short of spectacular. Every corner of Oz is brought to life with meticulous attention to detail, from the verdant forests of Shiz and the university to the glittering, imposing Emerald City. Each setting feels wonderfully alive, creating a fully realised world that you can’t help but get lost in. It’s a treasure trove of visual and thematic delights, packed with details that will have fans poring over every frame on their fourth, fifth, or tenth viewing.
This is the kind of film that makes you want to shout about it, to grab everyone you know and say, “You have to see this!” Jon M. Chu and the entire team behind this masterpiece have created a work that will fill the hearts of longtime fans while dazzling new audiences with its brilliance.
For those of us who grew up with Wicked, this is more than just a movie- it’s a moment, a celebration, and a dream brought to live. I could go on for hours and I'm honestly still tearing up the morning after seeing this film, but in summary- it's perfect! Congratulotions to the cast, crew, and creators for giving us something so magical, so heartfelt, and so, so Wonderful. 💚
Sincerely, Olivia
Wicked Lover since Age 8
★★★★★
{movie tickets were gifted}
Sunday, 10 November 2024
THEATRE NEWS ROUNDUP 3rd November- 9th November 2024
Happy Sunday! Here's another week of arts news, including concert headliners, a Broadway transfer, contests and lots more. As always, you can find the full stories by clicking the headline...
Noah Kahan Headlines BST Hyde Park 2025 with Special Guest Gracie Abrams
The duo headline BST Hyde Park 2025 for an epic folk-pop experience on July 4th 2025.
Bradley Jaden’s ‘Recorded Live in London’ Album Set for Release
The album captures the magic of his June 2024 Cadogan Hall concert, featuring iconic musical theatre performances and star-studded duets.
Bradley Jaden’s ‘Recorded Live in London’ Album Set for Release
The album captures the magic of his June 2024 Cadogan Hall concert, featuring iconic musical theatre performances and star-studded duets.
Elektra, the electrifying West End revival of Sophokles’s timeless tragedy, directed by Tony-winning visionary Daniel Fish, features an all star cast.
The 2024 Best New Song Prize Concert will feature an incredible cast in a one-night showcase of emerging musical theatre talent at The Other Palace in London.
Experience the wit and charm of The Pirates of Penzance as the production returns to the ENO for a strictly limited season at the London Coliseum.
Experience the acclaimed adaptation of The Lonely Londoners at Kiln Theatre this January, where Selvon’s evocative story of the Windrush generation in 1950s London brings to life the challenges, dreams, and community spirit of Caribbean migrants
The ballet returns for its 30th anniversary tour, bringing an iconic revival to audiences across the UK and Ireland with 29 weeks of performances in 19 cities.
The smash-hit musical brings the glitz and glamour of the Roaring Twenties to London’s West End in spring 2024 at the historic London Coliseum.
Nominations are now open for the WhatsOnStage Awards, where theatre fans can vote for their favourite shows and performers, culminating in a live event at the London Palladium on February 9, 2025.
London’s new Capital Theatre will open in autumn 2025, at Westfield London, Shepherd’s Bush.
Boublil and Schönberg’s iconic musical is set for a fresh UK tour, opening October 2025 with a reimagined production led by Michael Harrison and Cameron Mackintosh.
Join Maddie Moate’s Very Curious Christmas: A Festive Science Adventure in London’s West End
Experience a holiday science adventure full of fun, facts, and festive cheer, live this December.
That's it for another week! Come back next Sunday for your weekly dose of theatrical stories and in the mean time we'll see you on socials. Stay stagey!
Sunday, 20 October 2024
THEATRE NEWS ROUNDUP 13th-19th October 2024
It's been another week of exciting theatre announcements! Here’s a quick recap of the highlights, with links to the full stories:
Craig Wright’s gripping play, The Unseen will open at Riverside Studios next month.
The Lord of the Rings- A Musical Tale to Premiere at Theatre Royal Plymouth in October 2025
The musical is set for an exclusive UK run before embarking on a European tour, following its critically acclaimed performances in Chicago, Auckland, and Australia
Orange Tree Theatre's 2025 season brings an exciting mix of world premieres, classic revivals, and the launch of OT Under 30 Nights, making theatre more accessible to younger audiences with discounted tickets and engaging post-show events.
The auction aims to raise funds to support the charity’s mission of making theatre accessible to young people and their families, especially those facing financial, social, or physical barriers.
Jack and the Beanstalk: What a Whopper! promises to be a wildly entertaining adult pantomime, packed with cheeky humour, outrageous performances, and a fabulously queer twist on the classic tale.
A pop-up costume exhibition in Covent Garden celebrates Tina- The Tina Turner Musical, showcasing iconic looks from the production and honouring Tina Turner’s legacy with a special partnership supporting Women’s Aid.
The 2025 UK tour of Bat Out of Hell- The Musical brings Jim Steinman and Meat Loaf's iconic rock hits to life with a newly announced full cast, kicking off in January and running through September.
A new cast debuted in Harry Potter and the Cursed Child at the Palace Theatre this week, as the production continues its acclaimed run through June 2025.
Deafinitely Theatre has been awarded £273,675 by The National Lottery to fund its Deafinitely Youth Theatre programme for the next five years, continuing its mission to provide free, accessible theatre training for deaf and hard of hearing young people aged 14-21.
This winter, La Clique is celebrating 20 years of thrilling cabaret with a star-studded cast, jaw-dropping performances, and exclusive shows in Leicester Square.
Grammy-nominated NSYNC star JC Chasez teams up with Golden Globe-winning songwriter Jimmy Harry for an exciting new musical theatre concept album, Playing With Fire, inspired by Frankenstein and set to release October 25, 2024.
The UK premiere of Dave Malloy’s Tony-nominated musical Natasha, Pierre & The Great Comet of 1812 is set to debut at Donmar Warehouse from December 9, 2024, featuring a stellar cast led by Declan Bennett and Chumisa Dornford-May.
The 2025 UK tour of Joseph and the Amazing Technicolour Dreamcoat is set to return with an all-star cast, including Donny Osmond as Pharaoh and Christina Bianco as Narrator, starting its magical Christmas run in Edinburgh this December.
Bradley Riches, Amber Davies, and Claudia Kariuki Join Scott Alan in Concert at Cadogan Hall
Renowned songwriter Scott Alan will perform live at Cadogan Hall on Sunday, November 10, 2024, joined by a star-studded lineup including Bradley Riches, Amber Davies, and Claudia Kariuki, along with Amy di Bartolemeo, Oliver Tompsett, and Stuart Matthew Price. Tickets are available now.
101 Dalmatians Cast Teams Up with Guide Dogs UK for a Pawsome Charity Event at Woking's New Victoria Theatre
The cast of 101 Dalmatians the Musical, led by Kym Marsh as Cruella de Vil, met real-life guide dogs and puppies in training during a special charity event at the New Victoria Theatre in Woking. The event raised £2,115 for Guide Dogs UK.
Have a brilliant, stagey week and we'll see you next Sunday for another theatre news roundup! In the meantime, keep an eye out on our socials for live theatre updates.
Sunday, 13 October 2024
THEATRE NEWS ROUNDUP 6th-12th October 2024
This week in the world of theatre has brought exciting updates, casting news, and anniversaries. Here’s a quick recap of the highlights:
The beloved West End concert series West End Does revealed its complete casting. A unique highlight this year is the addition of a Wicked twist, promising an unforgettable holiday event for theatre lovers.
The National Theatre has announced the full cast for its highly anticipated production of Oscar Wilde's The Importance of Being Earnest. The show, headlined by Ncuti Gatwa and Sharon D. Clarke, promises to breathe fresh energy into the classic play.
It's been announced that international pop star Sinitta will join the UK and Ireland tour of Chicago as Mama Morton for a strictly limited run.
To celebrate milestone anniversaries, Les Misérables, Billy Elliot, and other beloved musicals will be screened in cinemas. This gives fans a unique opportunity to experience these iconic shows in a new format.
Full Cast Announced for UK & Ireland Your of Kinky Boots the Musical
Producers ROYO and Curve are thrilled to announce the complete cast for the all-new Made at Curve production of Kinky Boots The Musical, winner of Olivier, Tony, and Grammy Awards. This celebrated musical will tour the UK and Ireland starting from 17 January 2025.
Matilda the Musical is set to embark on a brand-new tour across the UK and Ireland. Initial dates have been confirmed, promising to bring the magic of Roald Dahl’s story to new audiences.
The highly anticipated Titanique has announced its full cast ahead of its West End debut. This parody musical, based on the legendary Titanic film, is set to sail with a star-studded company for its premiere.
The legendary Toyah Willcox is joining NOW That’s What I Call a Musical as a guest star, adding extra star power to the show.
The Lightning Thief musical has confirmed its lead actors for the upcoming production, generating buzz among fans of the Percy Jackson series. The casting announcement has sparked excitement for the stage adaptation which will star Max Harwood in the title role.
The highly anticipated Macbeth, starring David Tennant and Cush Jumbo, will be making its way to cinemas soon. A new clip has also been released, offering a tantalizing glimpse of the intense production.
The musical adaptation of Sing Street is slated for its UK premiere next summer. Based on the hit film, this coming-of-age musical is already generating excitement ahead of its debut.
Tom Fletcher’s family-friendly show There’s a Monster in Your Show will be embarking on a new tour, with its cast now announced. The tour promises to deliver magical fun for younger audiences across the UK.
The revival of Spend Spend Spend has revealed its complete cast ahead of the production’s return to the stage. Fans of the musical can look forward to seeing the show with fresh faces in key roles.
This week has been packed with exciting news and casting announcements that promise a thrilling season ahead in theatre! Join us next week for another wrap up.
Thursday, 27 June 2024
Why Mrs Doubtfire in the West End is a Must-See: Celebrating The One Year Nan-iversary in Style!
Last week, I got to celebrate Mrs Doubtfire the Musical's One Year Nan-iversary (yes, that's a thing now!) It was an evening filled with laughter, nostalgia, and a few tears, all wrapped up in one incredible performance. Whether you're a long-time fan of the beloved film or just looking for a fantastic night out, here are five reasons why you absolutely must see Mrs Doubtfire on the West End!
Its a Heartwarming and Hilarious Story: Mrs Doubtfire the Musical is a perfect blend of comedy and heartfelt moments. The story follows the journey of Daniel Hillard, a loving but unconventional father who disguises himself as a Scottish nanny to stay close to his children after a messy divorce. The show's mix of laughter and touching scenes creates a memorable and emotional experience that appeals to all ages. Of course this is a well loved story and the show remains true enough to the source material to satisfy fans but it also has a number of changes that make it feel fresh and engaging.
It's Full of Stellar Performances: The West End production features an incredibly talented cast who bring the beloved characters to life with charm and depth. Gabriel Vick's transformation into Mrs. Doubtfire is a masterclass in physical comedy and character work, capturing the essence of the iconic role originally portrayed by Robin Williams, but again bringing a freshness that feels perfectly individual. The supporting cast members also shine, delivering strong performances that enhance the overall production. Laura Tebbutt as Miranda Hillard provides a lot of the story's heart and really vocally shines, especially during act 2. As the oldest daughter Lydia, Charlotte Fleming is absolutely wonderful, I'd love to see her take on the role of another Lydia if and when Beetlejuice makes its way across the pond!
The Stage Design is Wonderful: The show’s stage design and special effects are really brilliant and fitting for the show. The creative team have crafted a dynamic and visually engaging set that seamlessly transitions between scenes, bringing the world of Mrs. Doubtfire to life. The makeup and costume changes, particularly for the title character, are executed with impressive speed and precision, adding to the magic of the theatrical experience.
The Score if Full of Toe-Tappers: The musical score by Wayne Kirkpatrick and Karey Kirkpatrick is filled with catchy, original songs that really help to enhance and advance the story. The music ranges from upbeat, comedic numbers to moving ballads, each song perfectly capturing the emotions of the characters.
It Has Timeless Themes and Relatable Messages: At its core, Mrs Doubtfire is a story about family, love, and the lengths one will go to for those they care about. The show touches on themes of parenting, identity, and personal growth, all while maintaining a light-hearted and entertaining tone. Its messages about the importance of family and understanding resonate with audiences, making it a truly timeless piece that speaks to both adults and children alike.
All in all, Mrs Doubtfire is a fast paced, cracker of a show that features all the best elements of musical theatre. Lighthearted joy and laugh out loud humour fill the auditorium and make for a wonderful night at the theatre. Don't miss this fabulous show!
{AD PR Invite- tickets gifted in exchange for honest review}
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}
Monday, 25 March 2024
Priscilla the Party at HERE at Outernet REVIEW: A Glitzy, Camp Night Out
Priscilla the Party
HERE at Outernet
Priscilla the Party is like stepping into a glittering dreamland where every corner is bursting with energy and excitement. From the moment you walk through the doors of the venue, you're greeted by pulsating beats and dazzling lights that promise a uniquely camp and sparkling experience. Following the adventures of three friends as they journey across the Australian outback aboard the iconic Priscilla bus, the plot is a rollercoaster of emotions that has you grinning from ear ear and dancing your way back onto Tottenham Court Road.
The venue itself is impressive, with its adaptable layout and top-notch sound design, HERE at Outernet ensures that every moment of the performance is delivered with crystal clarity. However, if you're on the shorter side, finding the perfect spot to catch all the action might require a bit of manoeuvring, as the stages aren't particularly high. Pro tip: head towards the front near the non-moving stage at the front for a great view and minimal movement.
Now, let's talk costumes. Each sequin and feather is a work of art, adding an extra layer of sparkle to an already glitzy affair. Tim Chappel and Lizzie Gardiner's designs are wonderfully extra, often providing humour alongside shine. There are also full glitter wigs which are just spectacular.
Equally spectacular are the cast who bring all the good vibes and deliver the story of drag queens travelling the outback so well. Leading proceedings, Trevor Ashley, Reece Kerridge, Dakota Starr and Owain Williams are absolute delights, bringing their characters to life with a level of energy and enthusiasm that's infectious; as well as showing moments of vulnerability which really add to the story.
But, as with any show, there are a few bumps along the way. The constantly shifting perspectives of the stages can sometimes make it hard to fully immerse yourself in the storyline, leaving you feeling a bit disconnected. The immersive aspect of the show is exciting and fairly unique but it doesn't always feel necessary with this show, especially when it stands so strongly on its own. While the pre-show performances are entertaining, they do have a tendency to drag on a bit, delaying the main event's grand entrance, plus, the choice of slow songs might not have been the best for getting the party started.
Despite these hiccups, Priscilla the Party delivers on its promise of a night filled with laughter. So, if you're in the mood for a night of joy and unadulterated fun, Priscilla the Party is the place to be. Embrace the campy atmosphere, lose yourself in the dazzling costumes, and get ready for a ride you won't soon forget. Despite its flaws, this glittering extravaganza is guaranteed to leave you with a smile.
★★★
Reviewed on Monday 25th March 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
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