Showing posts sorted by date for query new wimbledon. Sort by relevance Show all posts
Showing posts sorted by date for query new wimbledon. Sort by relevance Show all posts
Wednesday 3 November 2021
Heathers The Musical (UK Tour), New Wimbledon Theatre | Review
Heathers The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 2nd November 2021 by Olivia Mitchell
★★★★
Westerberg High School is back open and this time it's touring the UK, currently playing at the New Wimbledon Theatre. The show's popularity is evident from acclaimed Off-West End and West End runs in 2018, followed by another West End engagement this summer and a newly announced run at The Other Palace. The touring production embodies the same energy and will continue to provide Big Fun until the end of the year.
What works so well about this musical is that it doesn't take itself too seriously; the whole thing is melodramatic and larger than life, focussing on high school stereotypes that are highly stylised and humourous. Alongside this, Heathers does focus on some extremely dark issues such as suicide, sexual assault and bullying, and it does so pretty well, although at times it feels somewhat sloppily handled and it would be great if there were some sort of trigger warnings before the show or placed around the theatre to prepare people for some jarring moments.
However, Andy Fickman does a great job at directing this fast-paced black comedy, which alongside Kevin Murphy and Laurence O’Keefe’s book, music and lyrics provides an energetic and enjoyable night out. Ben Cracknell's lighting does an excellent job of packing the stage with colour and cleverly draws your eye to crucial moments as well as literally highlighting the Heathers in their signature colours and often bathing JD in a cool, eerie shade. David Shields' design effectively transfers us to each plot setting, whilst maintaining the school vibes which course throughout; and the split levels utilise the space as well as working to emphasise the hierarchies of the characters.
Phil Cornwell leads the band to bring the rock soundtrack to life vigorously, Dan Samson's sound design really shines and Gary Lloyd's choreography ties it all together, with some excellent work by the mile a minute ensemble.
As our protagonist Veronica Sawyer, Rebecca Wickes is a powerhouse force. Her vocals are sensational and she maintains her energy and intelligence from start to finish. Barely leaving the stage Rebecca is a joy to watch as she brings a wide array of emotion and has a self-awareness that is magnetic. Simon Gordon as the brooding bad boy JD has equal pull as he sweeps Veronica and the audience up with his suave mystique, only to reveal his true self as the show moves on. Simon's voice is perfectly matched to the role and the pair work brilliantly together.
The three Heathers are played boldly by Maddison Firth (Chandler), Merryl Ansah (Duke), and Lizzy Parker (McNamara). Liam Doyle and Rory Phelan as Kurt and Ram give stand out performances and have a fantastically humourous chemistry with one another. As Martha Dunnstock, Mhairi Angus is heartwarming and vocally outstanding, providing a real starring moment and some calm in an otherwise crazy show.
Overall Heathers is a musical which clearly delights audiences and is top-notch for a modern musical. It ticks the boxes of humour, angst, drama and generally being over the top and is well worth visiting as it tours the country.
photo credit: Pamela Raith
Wednesday 20 October 2021
9 to 5 The Musical (UK Tour), New Wimbledon Theatre | Review
9 to 5 The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 19th October by Olivia Mitchell
★★★★
If a night of carefree fun is what you're after, look no further than the girl-power, 80s musical that is 9 to 5. Telling the tale of a group of women who are fed up of their misogynistic boss, the show is filled with tongue-in-cheek moments, high energy choreography and of course, the Queen of Country herself: Dolly.
Having seen this show in its various iterations, what's quite amazing is how it retains it's intensity and lavishness wherever it's situated. Musically, Dolly Parton's score pared with arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland is catchy and toe-tapping, whilst, Lisa Stevens' buoyant choreography keeps the momentum of the show going and provides there's always action across the stage. Tom Rogers' design which consists mostly of screens which light up various colours and desks which come in and out, is very effective and adds to the upbeat feel of the entire production.
Jeff Calhoun's production features a fantastic cast who perform with vigour and drive. Stephanie Chandos completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and instantly likeable, Stephanie brings warmth to the role and provides a wonderful moment with Backwards Barbie. Vivian Panka is charming as the naive Judy Bernly who becomes an independent woman and finds herself throughout the show. Her rendition of Get Out and Stay Out is a real highlight and her overall performance is top notch. Louise Redhnapp is entertaining and capable as long term office employee, Violet Newstead. Together the trio are a real force as they take drastic measures to show their sexist boss, Franklin Hart Jnr. (played with faultless comic timing by Sean Needham) who's really in charge.
It's almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. But book writer, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and this remains a strong and necessary advocator of workplace (and life) equality. With a second act of just 45 minutes, this is a crowd-pleasing-production which flies by and serves up female-led-feel-good-fun on a shining platter.
photo credit: Pamela Raith
Thursday 9 September 2021
Waitress, New Wimbledon Theatre | Review
New Wimbledon Theatre
Reviewed on Tuesday 7th September by Hope Priddle
★★★★
On the menu at Wimbledon Theatre this week, Waitress the Musical follows Jenna Hunterson (Lucie Jones), an aspiring baker who, with the support of her colleagues and dreamy gynecologist, imagines an escape from her provincial life and unhappy marriage. Based on the 2007 film by the late Adrienne Shelly, Waitress is a bittersweet story of friendship, love and finding yourself, with (nearly) all the ingredients for a tasty theatrical treat.
Music and lyrics by Sara Bareilles add flavour and spice to this quaint story; her playful, folk-pop score is full of frolicking motifs, followed by some gorgeous reflective numbers. They accompany a book by Jessie Nelson which is delightfully witty and whimsical throughout, but sometimes suffers from its more casual tone.
We are introduced to a collective of characters who are wholly endearing yet undeniably flawed, and it is refreshing to spend time with such imperfect and compromised characters. However, their poor choices often lack consequence and the stakes never quite feel high enough. Likewise, the shows treatment of domestic violence is lacking. Her abusive marriage to tip-stealing husband Earl - played by Tamlyn Henderson, who nonetheless deftly balances the fine line between comedic stock villain and insidious manipulator - is explored in a just a few short scenes which are uncomfortably inserted into the narrative. Though pitched as a feminist drama, any moral message is half baked.
Jones steals our heart as weary waitress Jenna, giving a sensitive and nuanced performance which perfectly reflects the heartache, anguish and disappointment of our begrudgingly pregnant protagonist. Her buttery vocals are rich and controlled; her control and clarity unsurpassed. Jones’ soaring rendition of She Used To Be Mine across a silent auditorium scored a well-deserved mid-show ovation.
Jenna’s colleagues are equally well cast. Evelyn Hoskins is totally loveable as the adorably anxious Dawn, whose slow burning affection and excitement for new beau Ogie, brought to life with a welcome touch of innocence and youthfulness by George Crawford, is joyous to watch. Sandra Marvin similarly packs a punch as the feisty, lively yet loyal Becky.
The duo provides comfort and advice to the expectant mother as she cautiously begins to imagine a new life for herself and her baby. Waitress offers such a lovely, intimate insight into female friendship, and it is in these quieter moments that the show really lands. As Dr Pomatter, Jenna’s forbidden love interest, Matt Willis proves himself to be a highly capable actor, capturing the character’s goofy and bumbling demeanour with ease. It is just a shame that his slightly nasally vocals are lost in his duets with Jones.
Lorin Latarro’s choreography is inspired, with instructive and empathetic gesturing by the ensemble used to cleverly mirror the movements of the lead characters. As Jenna goes into labour during Contraction Ballet, a female quartet pulsate and swell perfectly in time. The ensemble is so in sync throughout and are truly mesmerising to watch.
Latarro’s routines are complemented by tastefully restrained lighting design (Ken Billington) that features but a series of coloured spotlights. Likewise, both set (Scott Pask) and costume (Suttirat Anne Larlarb) are simplistic, if not a tad twee, but offer a sense of familiarity and warmth which gives the show heart. A final special mention must go to on-stage band that seamlessly integrate themselves into the diner landscape – you wonder if their music is meant to be diegetic given how often we see into Jenna’s mind as she creates her fantastical pies.
Waitress isn’t perfect, but it most certainly serves the audience with a little slice of happiness pie. Surely they’ll be coming back for second helpings?
Photo credit: Johan Persson
Tuesday 25 February 2020
On Your Feet! (UK Tour), New Wimbledon Theatre | Review
On Your Feet (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 24th February 2020 by Olivia Mitchell
★★★★
Currently embarking on a UK tour after a summer stint at the London Coliseum, On Your Feet! is a celebration of Gloria Estefan continually thriving in the face of adversity. The musical has a flawed book, but there's heart in spades, glorious music and a real life story of endurance that is enough to warm your heart.
Transporting us from Gloria's childhood in Cuba, to her recording career and near fatal accident, it's truly inspiring to see how she rebuilt herself after physical trauma as well as always remaining true to what she believes in, even under the pressures of the music industry. The fairly small cast do an excellent job of filling every inch of the stage and perform with the energy and enthusiasm you could expect to see on the streets of Cuba. Consistently full out and precise in their movements, the cast are very impressive in their performance of Sergio Trujillo's intense choreography.
It's the pacing of this musical that is the biggest downfall. Of course it's based on real life events, but Alexander Dinelaris' book often lacks development and therefore depth. The main focus is on the lighthearted moments, meaning the more intense scenes are sometimes glossed over quickly. Act two packs much more of a punch in terms of emotional impact, with Gloria's scenes with her mother proving particularly moving. Again, this is a musical which reminds up to stick up for our values and beliefs. This idea is woven throughout but is especially effective in the scenes where the Estefans are at odds with their record producer (played excellently and humourously by Robert Oliver).
As the Miami diva herself, Philippa Stefani excels, bringing Gloria to life with a truthful performance. She engages the audience and never falters in energy or performance. Stefani's transition from shy teenager to commanding performer is masterful to watch and really showcases her as an actress. More so than anyone, Stefani uses the limited book hugely to her advantage and performs as though she really is on a huge, sell-out headline tour.
Stefani's chemistry with George Ioannides as Emilio Estefan is believable and romantic. Since seeing the show at the Coliseum, it seems George has really grown into the role as he gives a suave, vocally assured performance. Vocal powerhouse and legend of the stage, Madalena Alberto gives an exceptionally strong performance as she simmers ready to bubble over in anger or despair at any time. Vocally she is fantastic and her interactions which every character, especially her daughter, are truly enjoyable to watch.
The set design by David Rockwell is effective as it allows the action to transition from Cuba, to the USA and from kitchen to tourbus in a very simplistic but effective way. Quite a lot is left up to the imagination which, alongside having the band visible on stage, allows the true focus to be on the music. Like the ensemble, the band are full of an energy which fills the theatre and transmits amongst the audience. Kenneth Posner's bold lighting and Emilio Soso's bright costumes bring a carnival feel to the whole production which engages and entertains.
There are flaws to this musical for sure, but it's an uplifting piece of theatre which brings a little bit of Cuban sunshine to the streets of Wimbledon. For fans of Gloria Estefan this is a must-see, and for everyone else, it's a chance to tap your feet and imagine you're basking in the Miami sun. For a celebration of music, life and heritage, get On Your Feet and conga your way to see this tour.
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
Tuesday 8 October 2019
Priscilla Queen of the Desert (UK Tour), New Wimbledon Theatre | Review
Priscilla Queen of the Desert (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th October 2019 by Olivia Mitchell
★★★
You'd be hard pressed to find a touring production this year which features more glitter, sequins and colour than Priscilla Queen of the Desert, which is an explosion of all things camp and a treat of a night out.
Based on the 1994 movie of the same name, Priscilla tells the entertaining story of a trio of drag queens who venture across the Australian outback in a temperamental bus to put on the show of a lifetime. Along the way they meet a variety of people, some accepting, some not, and realise the importance of friendship and staying true to themselves. Despite appearing superficial, the story tackles some important issues including diversity and acceptance.
Miles Western plays Bernadette, the older drag queen who has seen the world change around her and often spends time reminiscing on her glamourous past. Whilst, Joe McFadden and Nick Hayes star as Tick/Mitzi and Adam/Felicia, the younger queens who are still discovering themselves and following in the footsteps of those who came before them. Behind all the lashes and costumes, the trio have a genuine chemistry on stage and give strong performances throughout. Miles is especially engaging and give a very well rounded and entertaining performance.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
Charles Cusick-Smith and Phil R Daniels' set design is pretty basic, but the show is cleverly scaled for tour. The van Pricilla is a multi-piece design which works well as it's transformed various times. It's the glitzy costumes which are really the visual treats in this show as they create a rainbow coloured, feather filled spectacle on stage. Over the top beyond belief but wonderfully well executed, they are of the highest standard.
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
photo credit: Darren Bell
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
Whilst this production could definitely do with a touch more heart and emotional oomph, it's certainly an enjoyable tour and a thrilling example of highly camp, highly glam show with an important message about tolerance.
Priscilla Queen of the Desert runs at the New Wimbledon Theatre until 12th October before continuing its tour
photo credit: Darren Bell
Wednesday 2 October 2019
Calendar Girls the Musical (UK Tour), New Wimbledon Theatre | Review
New Wimbledon Theatre
Reviewed on Tuesday 1st October 2019 by Olivia Mitchell
★★★★
In 1998, a group of ladies in Yorkshire rallied together to help one of their members when her beloved husband died. They decided to raise money in his memory for the Lukaemia Research fund, by posing naked for a calendar and selling copies. Calendar Girls tells their story of unity as it exudes warmth and joy.
Tim Firth and Gary Barlow spent five years collaborating to create this musical and it has been seen across the UK in a variety of forms. Thanks to their brilliantly witty and heartfelt lyrics and music, the show retains it's heart wherever it goes and will surely continues to bring a smile to faces around the world. What's wonderful about this musical is how it focusses on a number of human emotions and relationships and does so with sensitivity, pathos and simplicity. We are really forced to think about what it means to pushed outside our comfort zones and it's marvellous to see a group of older women completely letting go and having the best time on stage. I can only hope to be as confident as these ladies when I grow up!
In terms of both acting and singing, it took a little while for the performances to really bloom (excuse the pun) as they seemed somewhat reserved and quiet in the opening number. However, once they got into the swing of things, the whole cast gave brilliantly strong, well-rounded and clever performances.
Sarah Jane Buckley brings the silent struggle of grief to light with immense sensitivity and provides some vocal stand out moments, especially during act two. Rebecca Storm as Chris is the embodiment of fizz as she floats around the stage with an energy which can't help but lift spirits. All the ladies of the cast have a fantastic chemistry but these two in particular really do seem as though they've grown up together and seen the highs and lows of life. Judy Holt is great as the traditional leader of the WI, Marie; Julia Hills is hilarious as the tragically overly helpful Ruth; whilst, Sue Devaney delivers some hilarious one liners and vocal gems as Cora. Ruth Madoc really embodies the role of an ex-teacher as she gets the other girls in line with her stern Welsh remarks and Lisa Maxwell is excellent as the brash ex-air hostess trying to fit in with her new found community.
The set design by Robert Jones is basic but completely works for the production. Minimal scene changes are kept entertaining through small tweaks including a sunset in the background and a seasonally decorated piano. The audience are really transported to the Yorkshire dales, village green, hospital and hall and feel as though we've stepped from London to the countryside.
This is a totally British feel-good show which warms the heart, uplifts and entertains. Calendar Girls has something for everyone and is a beautiful portrayal of women supporting women.
Calendar Girls runs at the New Wimbledon Theatre until 5th October before continuing it's tour
photo credit:
Friday 24 May 2019
Amélie (UK Tour), New Wimbledon Theatre | Review
Amélie
New Wimbledon Theatre
Reviewed on Thursday 23rd May 2019 by Olivia Mitchell
★★★★
The cult French film Amélie has been on a long journey to get to the UK and it's finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully.
Audrey Brisson plays Amélie the girl who grew up unloved but came to have a heart of gold as she sweetens the lives of others among the Paris streets. A host of characters surround her as bar staff, neighbours, customers and strangers. They also double as bohemian musicians, an element which really brings the show to life and adds to the floaty feeling of it all.
Elliot Griggs' sepia toned lighting drenches the stage fantastically to create an intimate feeling. Madeleine Girling's set featuring a metro station, a photo booth and two worn pianos, doesn't change but rearranges to create the various atmospheres of the show. Amélie's bedroom is a lampshade lift up and perfectly sums up the sweet life she leads. When Amélie spot Nino (Danny Mac) at the train station, he soon becomes a focal point of romantic attention and the set almost seems to move around him at times. The combination of set, costumes, puppets and lighting all work together in a seamless fashion to bring the surreal imaginative aspects of the show to life.
Daniel Messé's music is fluent and catchy as we are transported around Paris, with Times Are Hard For Dreamers and Stay, providing the most memorable moments. Craig Lucas' book is somewhat wacky with gnomes and figs that come to life, but the fantastical element of it all is very enticing. Whilst there is a good flow to most of the show, it does feel just a tad too long, some splicing here and there would add shine to the gem it is.
Audrey Brisson's beguiling interpretation of the lead character is truly what makes this show special. Her sublime voice and outstanding characterisation make her an ideal lead who enchants from start to finish. Danny Mac is suitably enigmatic and provides some swooping vocal moments. The ensemble throughout are masterful at what they do and this team production really does warm the heart.
This effective musical uses nuance, silence and soaring sound in equal measure as it tells a heart warming tale. For a sweet, whimsical night out, Amélie is certainly one to catch. Follow the blue arrows and check it out for yourself.
photo credit: Pamela Raith
Wednesday 15 May 2019
American Idiot (UK Tour), New Wimbledon Theatre | Review
American Idiot (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 14th May 2019 by Olivia Mitchell
★★★★
Taking Wimbledon by storm, American Idiot is a maelstrom of epic performances, high intensity choreography, a killer score and fantastic acting. Taking the music of Greenday and combining it with a story about three men facing darkness and pain on their journeys to finding something they can believe in; it is a very well constructed show which packs all the right punches.
Sara Perks' design is simplistic but does complete justice to the theme and aesthetic of the show. Screens are cleverly used to show various emotions and flashbacks and to emphasise certain scenes. These also allow original American Idiot cast member Lucas Rush to be cleverly worked into the show as the Rock 'n' Roll Boyfriend, these little details make the show stand out and no doubt are a factor in keeping loyal fans returning time after time.
Tim Deiling's lighting is suitably in your face, but equally precise and emotive in the higher intensity moments of the show. Chris Whybrow also achieves good balance between creating blast-your-ears-off numbers and more acoustic sounding pieces. For a show which on the surface may seem a bit of a mish-mash, it's very well conceived and carried out.
The American Idiot cast are uniformly strong as they perform Racky Plews' choreography with bite and aggression, and give note-perfect vocal performances. Tom Milner is darkly captivating as Johnny who leads the show with spades of commitment. Milner's breakdown moment is act two is utterly superb. The audience can physically feel each others tension as Milner has mastered controlling a crowd with every breath. His well-acted and well-sung performance is impeccable.
Sam Lavery is a vocal powerhouse who brings a sexiness and sadness to the show. He vocals are smooth and captivating. Luke Friend give a manic and electric performance with killer vocals and a performance which crackles and fizzles throughout; and Samuel Pope plays the troubled Will with sincerity and subtlety. As Tunny, Joshua Dowen gives a striking performance with a great character arc.
Another stand out is Glenn Adamson who captures our attention whenever he's on stage and who provides particularly strong vocals in his solo moments. Alexandra Robinson, Shekinah McFarlane and Siobhan O'Driscoll are especially memorable throughout.
Musical highlights include 21 Guns, Wake Me Up When September Ends, St Jimmy and Good Riddance (Time Of Your Life), but the whole score is performed superbly well.
Whether you've grown up with Greenday, or like me just know a few of the most popular songs, you'll certainly enjoy this raucous show. The storyline itself is pretty thin but thanks to the outstanding vocal performances and incredibly emotive and shocking scenes, American Idiot provides a fun, feisty night out.
American Idiot runs at the New Wimbledon Theatre until 18th March 2019 before continuing its tour
photo credit: Mark Dawson Photography
Friday 26 April 2019
Club Tropicana (UK Tour), New Wimbledon Theatre | Review
Club Tropicana (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 25th April 2019 by Olivia Mitchell
★★★★
A whirlwind of big hair, 80s hits, innuendos and humour, Nick Winston's Club Tropicana isn't a musical masterpiece but it is a whole lot of fun and a harmless piece of entertainment.
The storyline is minimal but follows Lorraine who jilts her fiancé at the alter and goes on a friend holiday to drink and dance away her blues. Her fiancé also goes on a friend holiday... to the same Spanish hotel....
Said hotel is in the running to be awarded a prestigious award so they're doing their best to impress the hotel inspector. Featuring a host of humourous characters and larger than life performances, the gaps in the book are made up for with verve and energy.
Diego Pitarch's set doesn't have much depth to it, but does its job exactly and brings the colour of the show to life well. Making clever use of the space, as well as using the more basic elements for comedic effect, Pitarch has done a great job. Equally, his costumes are very 80s and effective.
The cast are the life of this show, performing the 20 well-known 80s bops wonderfully. As entertainment manager Joe McElderry shines. A great voice, fab comic timing and well done audience interaction, McElderry makes a stellar addition to the cast. Neil McDermott is entertaining, if a little underused as Robert, but his performances alongside the hilarious Emily Tierney as double-crossing hotelier Christine, and lovestruck Amelle Barrabah as Serena are great. The extremely well characterised Consuela, is a sure stand out thanks to Kate Robbins' completely hilarious portrayal, which provides laugh out loud moments every time she's on stage.
As leading man and lady Cellen Chugg Jones and Karina Hind are marvellous. Their strong vocals are well showcased and the pair work well together.
Mention must also go to Rebecca Mendoza, Tara Verloop and Kane Verrall who give fabulous performances. The entire cast are superbly invested throughout and with Nick Winston's choreography and Charles Ingles' musical direction, do a stellar job of keeping the energy alive throughout.
Club Tropicana has the feel-good factor and is sure to bring a bounce to your step. For a self-aware, super cheesy but well done production, take a trip to Hotel Tropicana and laugh the night away.
Club Tropicana runs at the New Wimbledon Theatre until 27th April before continuing its tour.
photo credit: Darren Bell
Wednesday 17 April 2019
Matthew Bourne's Swan Lake (UK Tour), New Wimbledon Theatre | Review
Matthew Bourne's Swan Lake (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 16th April 2019 by Olivia Mitchell
★★★★
Matthew Bourne's Swan Lake premiered in 1995 and has since received critical and audience acclaim. Bourne's Swan Lake which replaces the female swans with an ensemble of skilled, menacing men, is one of the most groundbreaking ballet retellings and remains fresh and innovative today.
In typically Bourne fashion, the storyline is dark but with many injections of humour and fine attention to detail (the adorable Corgi which crosses the stage is just one example). The set is extravagant and luxurious enough to make you forget you're watching a touring production. Equally, Lez Brotherston has done an outstanding job with the delicately designed costumes which conjure up the atmosphere of each scene and setting wonderfully. Particularly impressive are the glamorous ballroom scenes where everything sparkles and shines; and the sinister hospital scene where masks bring a nightmarish world to life against stark white.
The entirety of this ballet is fantastically nuanced, with every emotion interpreted perfectly. The balance between dance, comedy and drama is exquisite and there are often so many brilliant things happening at once that you don't know where to look. This production is truly a feast for the eyes.
Tchaikovsky's score also provides a feast for the ears. The Swan Lake Orchestra's lush, virtuosic recording shines and soars exactly as one would wish. The recognisable music, accompanied by masculine dance has the audience transfixed from open to close.
Max Westwell as The Swan is outstandingly multi-faceted. At times he is menacing as he rears up, but equally calm and regal as he defensively bows down. The contrast is amazing to watch as is the way the Price (Dominic North) complements him. The pair are both strong and delicate as they create a thrilling union on stage.
Nicole Kabera is suitably regal as the queen, with Freya Field a complete contrast, constantly stepping on toes and causing laughs as the Girlfriend. Both ladies are highlights of the production.
Swan Lake is a sumptuous production full of glorious moments which you'd be hard pressed not to revel in. A powerful, intricately choreographed and danced show, this is a must see for ballet regulars and newbies alike.
Swan Lake runs at the New Wimbledon Theatre until April 20th, before continuing its tour.
photo credit: Johan Persson
Friday 29 March 2019
Hair (UK Tour), New Wimbledon Theatre | Review
Hair (UK Tour)
London Palladium
Reviewed on Thursday 28th March 2019 by Olivia Mitchell
★★★½
Having first premiered in 1967, Hair doesn't have much of a story but focusses on hippies, LGBTQ+ rights, Black Live Matter, women's equality, the anti-war movement, freedom and so much more. Despite being a piece of it's era, these are issues and themes which resonate with a contemporary audience. The book loosely follows a group of hippies in New York City as they navigate life and their political views during the Vietnam War. More of a think piece and political statement, than a story, Hair successfully shows insights into real life struggles and celebrates living.
This revival which began at the Hope Mill and continued to become a semi-immersive experience at The Vaults, is now a vast production. This transfer in venue size means the show has lost some of it's authenticity and spark but retains its exciting, enthusiastic performances and energy. Natalie Green is the absolute stand out of the cast as she provides killer vocals; both belting her face off and providing glorious soprano moments. Natalie also showcases her supremely versatile acting with a number of accents and personas which are all faultless and she gives an entirely wonderful and memorable performance.
Kelly Sweeney also gives a fantastic performance in her solo moments as Crissy. After Unexpected Joy its great to see Kelly continuing on what's sure to be an outstanding career. Superb vocal moments are delivered by Alison Arnopp and Marcus Collins. As Woof Bradley Judge is well developed and entertaining to watch.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
The hippie commune and various hallucinations are brought to life marvellously by Ben M Rogers' lighting which is vibrant, contrasting and superbly done. William Whelton's choreography is loose and well done, with the tribe effectively becoming one at times. The theatre is bright and hallucinatory thanks to Maeve Black's set and costumes. Streamers adorn the stage in an in-your-face manner that is dynamic and impressive.
Whilst it does drag a little, Hair is an easy watch that thrills the eyes and ears and remains relevant to this day. Outstanding performers make the most of a limited book and play to the theatre almost as if they're in an intimate space. Despite not being as revolutionary as it was fifty years ago, Hair is still an exciting piece of theatre and the rousing chorus of 'Let The Sunshine In' is enough to leave you feeling free and uplifted.
Hair runs at the New Wimbledon Theatre until March 30th before continuing its tour.
photo credit: Johan Persson
Tuesday 12 March 2019
Benidorm Live (UK Tour), New Wimbledon Theatre | Review
Benidorm Live (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 11th March 2019 by Olivia Mitchell
★★★★
Camp, crude and cheesy, Benidorm Live has brought the popular TV programme to life in a fantastic way. Derren Litten's stage adaptation completely captures the feel-good essence of the programme and has the audience laughing out loud throughout.
Almost taking the form of an episode from the TV, Benidorm Live follows the staff and holidaymakers at the tattered and tacky beyond belief, Solana Resort in Benidorm. Famous faces from the series Liam (Adam Gillen), Mateo (Jake Canuso), Joyce (Sherrie Hewson), Kenneth (Tony Maudsley), Jacqueline (Janine Duvitski) and Sam (Shelley Longworth), fight to reveal and impress the undercover hotel inspectors who could lead to the shut down of the resort. The story is basic but extremely well put across; what the narrative lacks, is made up for with performance and wit.
Mark Walters' cleverly designed set, brings the hotel to life with cheer and brightness, featuring a pool side, Neptune's Bar, the hotel reception and the Blow'N'Go salon. The transitions from scene to scene are well done, especially when mini dance interludes draw the audience away from the set changes completely. By the end of the show, you almost forget you're not watching the TV, or even that you're not sitting on a Benidorm beach yourself.
Whilst the hugely enjoyable design of the show is great, it's the utterly hilarious cast who really bring it to life. Sherrie Hewson prances about barking orders to no avail. As the sleazy but adored Mateo, Jake Canuso is outstanding and he tries (and fails) to seduce the hotel's guests. Particularly impressive is the link to Canuso's past, where he shows off some of his sharp, supported dance. Janine Duvitski gives one of the wittiest, most innuendo rife performances ever. Her play on words and general larger than life persona, makes her a definite audience favourite, gaining laugh after laugh. Adam Gillen's Liam is endearing and wonderful, as is his partner in crime, Kenneth, played as camply as possible by Tony Maudsley. Asa Elliot as himself, provides some great vocals. As the middle-class holidaymakers who find themselves at the Solana when their dream hotel is overbooked, Tricia Adele-Turner and Bradley Clarkson give buoyant performances as Sophie and Ben.
Derren Litten's stage debut should be applauded as he creates a rowdy night out that is easy to follow but still highly entertaining. A saucy, seaside postcard of a show, Benidorm Live is sure to delight fans of the series and newbies alike as they take a carefree, innuendo-filled trip to sunny Spain.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Friday 1 March 2019
Rock of Ages (UK Tour), New Wimbledon Theatre | Review
Rock of Ages (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 28th February 2019 by Olivia Mitchell
★★★
Lets start by saying that this is not a musical masterpiece by any means, but it is a super self-aware, high intensity, fun and crazily well performed show, that'll definitely have your toes tapping to some of the most well-loved rock classics.
The story, which is highly basic, follows small town girl, Sherrie and city boy Drew, who meet on the sunset strip whilst trying to achieve their Hollywood dreams. When German developers sweep into town, they threaten to ruin the rock n roll fairytales of everyone and the gang have to fight (and sing) for the the strip.
Rock of Ages absolutely doesn't take itself seriously, and instead revels in the cliches and nostalgia of the 80s with power ballads, rockers, shoulder pads and skimpy costumes. The minimal storyline is made up for with epic performances and a whole lot of fun. You can expect cheesy backdrops and props, tongue in cheek choreography, a rocking score and sexy rock chicks peppering the stage.
The flimsy script is brought to life by animated and intense performances from the cast. As Sherrie, Jodie Steele belts out power ballads with vocal skill and ease, whilst her love interest Drew, is played incredibly well by Luke Walsh who has an outstanding voice. Zoe Birkett delivers completely stellar vocals in her small role as Justice and Kevin Kennedy brings vibrance and humour to Dennis who could easily command the stage as a bigger role. Kevin Clifton brings a surprisingly well rounded performance as the embodiment of sex and drugs and rock n roll, Stacee Jaxx.
Also keeping up the humour and energy is Rhiannon Chesterman as Regina who's voice is criminally underused but she does a great job with the script she's given. As German duo, Vas Constanti and Andrew Carthy are caricature's to the extreme but completely know how to work to the audience.
The ensemble of skimpily clad men and women add moments of interest away from the main action and make the simplistic stage feel full and vibrant. It's Lucas Rush as Lonny who really steals the show with his charismatic performance and natural audience banter. He breaks the fourth wall with ease and seems to constantly be thinking of ways to entertain, and these pay off!
Nick Winston's direction and choreography is pretty strong throughout, although at time it feels like too much is happening at once, and what little story there is, becomes even more shadowed by other movement or action spread across the stage. At the same time, that does kind of sum up the show which is essentially a wacky showcase of some hit songs that have you not sure where to look or what to think.
Rock of Ages is thick with cliches, crudeness and semi-nudity but it's certainly fun. If you want a moving, dramatic narrative and a PG show, this is absolutely not for you. But, if you want great performances and a pretty electric atmosphere and some raucous, rocking fun, then pop along and have a fun night!
Rock of Ages runs at the New Wimbledon Theatre until March 2nd before continuing it's UK Tour.
photo credit: Richard Davenport
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