Friday, 23 February 2024
Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances
Just For One Day: The Live Aid Musical
The Old Vic
Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.
With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.
The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.
Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.
Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.
Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichéd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.
Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.
Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.
Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.
★★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 22 February 2024
Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell
Hadestown
Lyric Theatre
There are musicals that touch your soul and for me that’s Hadestown. I first saw the show in 2018, where I went in completely blind and came out gob smacked and awed. Tonight after the official West End opening night, I feel equally awed as well as inspired, moved, astounded, heartbroken and overjoyed. There really aren’t adjectives to describe how heartfelt and special this show is. Not only is it a piece of fantastic quality theatre but it’s also a poem, a concert, a celebration of life and humanity, an ode to music and above all, a love story.
Hadestown tells the tale of young Orpheus and Eurydice as their tales intertwine. It's a musical retelling of the ancient Greek myth of the duo and follows the journey of Orpheus as he descends into the underworld, determined to rescue his beloved Eurydice from the clutches of the charismatic but menacing Hades. Despite the various iterations and productions this musical has gone through, one constant is how scarily relevant the themes it explores feel in our modern world. Hades, ruler of the underworld and the mines, ostensibly grants "freedom" through employment while simultaneously confining his subjects behind a barrier. Why We Build The Wall is certainly one of the most pertinent songs of the production, its relevance hits all too close to home in the current world.
The musical borders the line between acting as "the world we live in, and the one we dream about", in thanks part to Rachel Hauck's set. Scaled down slightly from the National Theatre production, it still evokes Depression-era vibes and cleverly frames the story. Bradley King's lighting literally highlights some of the most astounding moments of the show, especially during Hades' peak moments, as well as casting shadows to create an almost cinematic feel; overall it's just an incredibly cohesive show that has a vibe and aesthetic that matches it so well.
This undefined world is perhaps best showcased by Anaïs Mitchell's incredible score which combines so many styles a creates such special storytelling. The intricate lyrics allow layers upon layers of emotions to form as Anaïs weaves a musical tapestry that is charming and delightful at times, but gritty and painful at others. Mitchell has truly crafted a musical masterpiece that transcends time and genre and creates a theatrical experience like no other.
At it's core this is a story about people, and the people who lead it are wonderful. As the headstrong Eurydice, Grace Hodgett Young is everything you could ask for in a leading lady, her calm is as strong as her passion and she fills every moment with charisma. There’s often mention of “stage presence” but it’s rare you see the phrase as outwardly displayed as with Grace who commands even the smallest of moments. Of course she’s also vocally dreamy, showcasing all layers of her voice and perfectly bringing the vocal grit that’s so necessary for the role. Her easy swagger and playfulness is a perfect balance to Orepheus' more nervous persona. Taking on the role of this heartstrong counterpart, Donal Finn is delightfully whimsical and charming. Donal's Orpheus truly comes into his own during act two when his passion for his partner and also his music are on full display and his voice becomes a beacon of hope cutting through the darkness of despair. It's utterly heartbreaking when we reach the expected conclusion, a testament to the emotion the cast pour out to get us to that point.
As the enigmatic Hermes, Melanie La Barrie is all parts wonderful, her presence commanding the stage with every word and gesture and bringing humour and gravitas in equal measure. Her performance weaves together the threads of myth and legend with an all knowing wisdom that seems to transcend time, she truly gives everything on stage and is a marvel to behold.
Hadestown is more than a musical—it's an experience, a testament to the enduring power of art to touch the very depths of our souls. It's a rare gem that shines brightly in the landscape of contemporary theatre, a reminder that sometimes, even in the darkest of times, there is still beauty to be found.
In the hallowed halls of the Lyric Theatre, you can bear witness to something truly extraordinary. Hadestown is a triumph in every sense of the word and it needs to be seen.
★★★★★
Reviewed on Wednesday 21st February 2024 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday, 17 February 2024
The Addams Family Concert at the London Palladium REVIEW | A Kooky Show with a Killer Cast
The Addams Family in Concert
London Palladium
Since premiering in the UK in 2017, The Addams Family has been somewhat of a regular feature on our theatre scene with a number of tours that garnered great reviews and a fanbase who couldn't help but be charmed by the kooky family. This week, the London Palladium housed the latest iteration with three concert versions of the show that told the wacky, romantic tale so many have grown to adore.
Witnessing their daughter Wednesday fall in love with a "normal" boy, the Addams family finds themselves grappling with the challenge of acceptance. In an effort to bridge the gap, Wednesday takes it upon herself to arrange a dinner party, inviting both families to come together. What unfolds is a delightful blend of hidden secrets, eccentricity, and a whirlwind of kooky chaos, showcasing the unique charm and humour of the Addams family universe.
As is the case with many "concert" versions, this was really an almost fully staged production, complete with costumes, sets, choreography and more. These sort of shows are always a real testament to the hard work of the entire team both onstage and backstage, to put together such sleek, well-rounded performances, with extremely limited rehearsal time.
This was a wonderfully sleek production, framed by Ben Cracknell's fantastically striking lighting and Diego Pitarch's suitably outlandish set and colour matched costumes. Taking most of the elements from the touring production, the whole concert embodied the vibes of the unconventional Addams family, highlighting the important parts of the storyline and making the whole thing feel much more elevated than a traditional concert. Having not had a permanent home, the show has had to create a design that fits within the confines of moving around the country every week so I do think if it were to find a permanent home in the West End, it could really lean into the lavish grandeur of the Addams Family, and perhaps bring Central Park to life a bit more, to really step things up and give it the wow factor.
In terms of casting this was a star studded affair. Ramin Karimloo took on the role of Gomez Addams, the suave protective father who just wants to do right by his family; giving a performance that was nothing short of wonderful. With hilarious line delivery and of course those smooth, powerful vocals we all know and love, Ramin showcased a hilarious side that I'd love to see more of. We must also mention the collective audience gasp when he took his blazer off, if you know, you know! As his partner in crime, Michelle Visage made Morticia Addams her own. Whilst her performance wasn't always the most exciting, with the dialogue being a little one note (even for Morticia), her look and the way she carried herself was perfect for the role. Just Around the Corner was a really brilliant theatrical moment and I think given time, Michelle could really develop and refine her Morticia.
As the love struck teens, Wednesday and Lucas, Chumisa Dornford-May and Ryan Kopel were wonderfully paired. Having only recently graduated Chumisa already has an impressive resume and it's certainly set to expand, given her absolutely out of this world vocals. She not only hit every note perfectly but her tone and diction were noticeably brilliant and everything sounded so healthy, I can't wait to see her succeed and shine! The role of Lucas isn't particularly developed but Ryan did a wonderful job of bringing him to life and created some lovely moments. Another stand out was Kara Lane who astounded as mother Alice Beineke, giving vocals that pretty much blew the roof off of the London Palladium. Sam Buttery was charming as Uncle Fester, Nicholas McLean a great addition as Pugsley and Dickon Gough a wonderful dose of comedy. The rest of the ensemble brought the other characters and ancestors to life really well and helped form the world of Addams.
Book wise I do think this is a show with flaws and the pacing isn't always perfect but it has heart, charm and a number of earworms that make it a really easy watch that you go back to again and again.
It's not the most sophisticated piece of theatre but, The Addams Family in Concert was a ghoulishly delightful experience. With outstanding performances, this concert truly captured the essence of the Addams Family legacy. Whether you were a die-hard fan or new to the Addams universe, this concert provided a spooky, kooky night of fun and paved the way for the show to continue enrapturing audiences.
★★★★
Reviewed on Tuesday 13th February by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Monday, 12 February 2024
Initial Casting Announced for Spring Awakening Reunion Concert
Producers Jack Maple and Evelyn Hoskins are thrilled to unveil the initial cast for the 15th Anniversary concert of the groundbreaking West End production of Spring Awakening, the acclaimed musical by Steven Sater and Duncan Sheik, based on Frank Wedekind’s iconic play.
This special event, marking the 15th year since the original London production, will reunite many of the beloved original cast members for a one-night-only celebration on Sunday, June 2, 2024, at the Victoria Palace Theatre. Tickets are available for purchase now.
Returning to the stage from the original West End production are Lucy May Barker as Ilse, Natasha Barnes as Anna, Harry McEntire as Ernst, Hayley Gallivan as Martha, Evelyn Hoskins as Thea, Edward Judge as Otto, Jamie Muscato as Melchior, Jos Slovick as Georg, and Charlotte Wakefield as Wendla. Additionally, Chris Barton, Natalie Garner, Mona Goodwin, Gemma O’Duffy, and Richard Southgate will reprise their roles.
The original London band, including Huw Davies, Don Richardson, Matthew Senior, Vicky Matthews, Charlie Brown, and Rachel Robson under the musical direction of Nigel Lilley, will accompany the cast.
Spring Awakening chronicles the tale of adolescent rebellion against societal constraints, set to a captivating score that has enthralled audiences worldwide.
Originally premiering on Broadway in 2006 and subsequently transferring to London in 2009, Spring Awakening has garnered critical acclaim and numerous awards, including Tony and Olivier accolades.
Duncan Sheik expressed his excitement about the anniversary concert, reminiscing about the joyous memories of the original London production. Steven Sater shared his gratitude for the opportunity to bring back the beloved show for this special occasion.
In addition to celebrating the musical's legacy, this concert will serve as a fundraiser for Imogen Kinchin, a pivotal figure in the original production, who is battling Stage IV Bowel Cancer. The company of Spring Awakening has generously decided to donate the proceeds from the concert to Imogen's Fund.
Directed by Jamie Armitage and featuring musical direction by Nigel Lilley, Spring Awakening promises to be a poignant and unforgettable event, honouring both the musical's impact and the resilience of its community.
Thursday, 8 February 2024
Kathy and Stella Solve A Murder! transfers to the West End
Francesca Moody Productions, Kater Gordon, Wessex Grove and Fiery Angel are delighted to announce that award-winning smash-hit murder mystery musical Kathy and Stella Solve A Murder! will transfer to the Ambassadors Theatre in the West End for a strictly limited season from 25 May - 14 September after thrilling audiences in Edinburgh, Bristol and Manchester. Tickets are now on-sale at www.kathyandstella.com with 5000 under £25 and a ticket lottery to be announced.
Bronté Barbé and Rebekah Hinds will reprise their roles as Kathy and Stella alongside Imelda Warren-Green who will once again play Erica. Further casting is to be announced.
Originally brought to the stage by Francesca Moody Productions and Kater Gordon Kathy and Stella Solve A Murder! won Musical Theatre Review’s Best Musical Award at the Edinburgh Festival 2022. The production reunites the writing and musical talents of Jon Brittain - Book and Lyrics / Co-Director and Matthew Floyd Jones - Music and Lyrics who previously collaborated on the critically acclaimed, Fringe First award-winning A Super Happy Story (About Feeling Super Sad). Fabian Aloise Co-Directs and Choreographs.
BFFs Kathy and Stella host Hull's least successful true crime podcast. When their favourite author is killed they are thrust into a thrilling whodunnit of their own!
This big-hearted, laugh out loud musical follows the unlikely crime-fighting duo as they put their friendship on the line to become part of the story. Can they crack the case, (and become global podcast superstars) before the killer strikes again…?
Todrick Hall to play Sean and Michael Mather will play Jackson in Burlesque The Musical
Todrick and Michael join the already announced Jess Folley as Ali Rose, Olivier Award-winning George Maguire as Vince, Billie-Kay as Sophia, B Terry as Georgie, West End favourite and TikTok and social media sensation Jess Qualter as Daphne, Yasmin Harrison as Brenda/Dance Captain, Lily Wang as Fifi, Hollie-Ann Lowe as Summer and Alessia McDermott in the Ensemble.
Other cast members announced today are: Ope Sowande as Trey, Lewis Easter in the Ensemble, with Callum Aylott, Lucy Campbell and Amber Pierson as Swings.
Steven Antin said:
"Todrick Hall’s kinda genius is singular. The kind you rarely see. His work is prolific and masterfully entertaining. The songs he wrote for the show are in a word…iconic. The role of Sean is an anchor/entertainer who has poetry and is wickedly funny. So it was abundantly clear we had to get Todrick to play Sean. And sometimes I dunno if I wanna kiss him or slap him. ❤️ But I DO know I’m a very lucky guy to have him in our show. Very."
Todrick Hall, who has also written brand new songs for this new production of Burlesque the Musical added:
“The movie of Burlesque was so iconic to so many of us — to now be working with both Steven Antin and Christina Aguilera who are reuniting for this new musical is a dream come true.I am beyond excited to be returning to my first love, musical theatre, in such a special way. My first original role and my theatrical composing debut. To be able to bring music that I wrote to life, to share the stage and the writing credit with the star that is Jess Folley is a dream come true! I'm blessed, honoured, flattered and ready to dust off the old heels and let the kids have it 8 shows a week!”
War House to Embark on New UK Tour
The acclaimed War Horse production, adapted from Michael Morpurgo's beloved novel and originally directed by Marianne Elliott and Tom Morris, is set to embark on an extensive 18-month UK Tour starting from September 5, 2024, and continuing until 2026.
Opening at the New Wimbledon Theatre from September 5 to 14, the tour will then move to various venues including The Lowry in Salford (September 18 to 28), Mayflower Theatre in Southampton (October 8 to 19), The Marlowe in Canterbury (October 22 to November 2), Sunderland Empire (November 5 to 16), Theatre Royal Plymouth (November 26 to December 7), and New Theatre Oxford (December 10, 2024, to January 4, 2025), with additional dates and locations to be announced.
Led by Tom Morris and revival director Katie Henry, with redesigned sets by Rae Smith and additional music by Adrian Sutton, the production features puppetry by Basil Jones and Adrian Kohler, lighting design by Rob Casey, and movement choreography by Toby Sedgwick. Animation and projection design are by Nicol Scott, while John Tams provides musical contributions and Christopher Shutt manages sound design. Casting details are yet to be announced.
Having premiered at the National Theatre in 2007, War Horse has since captivated audiences worldwide, with productions spanning across continents. For more information and ticket bookings, visit WarHorseOnStage.com. The tour will also include visits to Theatre Nation Partner venues, such as The Lowry in Salford and Sunderland Empire, with assisted performances available throughout the run at each venue.
Tuesday, 6 February 2024
Cruel Intentions: The 90s Musical extends its season at The Other Palace
Bill Kenwright Ltd is delighted to announce that the London premiere of Cruel Intentions: The ‘90s Musical (“Sexy, smirky... a fast, funny guilty pleasure” - Evening Standard) will extend its acclaimed season at The Other Palace by 5 weeks to Sunday May 19th.
Step-siblings Sebastian Valmont and Kathryn Merteuil, manipulative monsters flushed with their own sexual prowess, engage in a cruel bet: Kathryn goads Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter. Weaving a web of secrets and temptation, as the two set out to destroy an innocent girl - and anyone who gets in their way - their vengeful crusade wreaks havoc on the students at their exclusive Manhattan high school and the diabolical duo become entangled in their own mesh of deception and unexpected romance, with explosive results...
Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet
The Jamie Lloyd Company today announces its new West End production of Shakespeare’s Romeo & Juliet, starring Tom Holland as Romeo, and directed by Jamie Lloyd. Romeo & Juliet runs at the Duke of York’s Theatre, Saturday 11 May – Saturday 3 August 2024.
Further casting to be announced. Tickets go on sale to those signed up for priority booking and ATG+ members on Tuesday 13 February at 8am; general booking opens on Tuesday 13 February at 12pm.
Sign up for priority booking here: www.romeoandjulietLDN.com
The Jamie Lloyd Company also continues its commitment to accessibility, offering 10,000 tickets priced at £25 and under, with 5,000 of these exclusively for under 30s, key workers and those receiving government benefits. Further information to be announced.
Jamie Lloyd said today:
“Tom Holland is one of the greatest, most exciting young actors in the world. It is an honour to welcome him back to the West End.”
Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham; Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael 'Mikey J’ Asante; Casting Director: Stuart Burt CDG; Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate
Violent delights have violent ends.
Violent delights have violent ends.
Photo Credit: Isaac Anthony / AUGUST
Monday, 5 February 2024
Cara Delevingne and Luke Treadaway to join the cast of Cabaret | THEATRE NEWS
The award-winning West End production of Cabaret at the Kit Kat Club is thrilled to announce that actress and model Cara Delevingne will play Sally Bowles, and Olivier Award-winning actor Luke Treadaway will take on the role of The Emcee from March 11 to June 1, 2024. Delevingne expressed her excitement about making her stage debut, while Treadaway is thrilled to join the Kit Kat Club production.
The show is booking until February 2025, and Cara Delevingne will have specific dates when she won't be performing*. They join Michael Ahomka-Lindsay as Clifford Bradshaw, Beverley Klein as Fraulein Schneider and Teddy Kempner as Herr Schultz. Nic Myers plays the role of Sally Bowles once a week.
Completing the company are Wilf Scolding as Ernst Ludwig, Jessica Kirton as Fraulein Kost/Fritzie, Liv Alexander as Texas, Natalie Chua as Frenchie, Taite-Elliot Drew as Hans, Damon Gould as Victor, El Haq Latief as Helga, and Travis Ross as Bobby, joining Laura Delany as Rosie, Grant Neal as Herman/Max and Hicaro Nicolai as Lulu. The cast is completed by Rebecca Lisewski, Ela Lisondra, Nic Myers, Andy Rees, Toby Turpin and Patrick Wilden.
The prologue company are Rachel Benson, Ami Benton, Onyemachi Ejimofor, Joseph Hardy, Liz Kamille, Andrew Linnie, Aine McLoughlin, Jack William Parry, Jazmyn Raikes, Oliver Stockley and Ena Yamaguchi.
Cabaret, praised as the ultimate theatrical experience, opened in December 2021 and won seven Olivier Awards in April 2022. The Broadway production featuring Eddie Redmayne and Gayle Rankin is set to open at the Kit Kat Club in April.
Transforming the theatre with an in-the-round auditorium and reimagined spaces, the Kit Kat Club invites guests to enjoy pre-show entertainment, drinks, and dining. The musical, featuring iconic songs like "Wilkommen" and "Don’t Tell Mama," is directed by Rebecca Frecknall, with set and costume design by Tom Scutt and choreography by Julia Cheng. The production promises a unique and immersive experience for audiences.
*Cara will not be performing on the following dates - Wednesday 13 March (matinee), Thursday 21 March (evening), Wednesday 27 March (matinee), Thursday 4 April (evening), Tuesday 9 April (evening) Wednesday 10 April (matinee and evening), Thursday 11 April (evening), Friday 12 April (evening), Thursday 18 April (evening), Wednesday 24 April (matinee), Thursday 2 May (evening), Monday 6 May (evening), Tuesday 7 May (evening), Wednesday 8 May (matinee and evening), Thursday 16 May (evening), Friday 17 May (evening), Saturday 18 May (matinee and evening), Wednesday 22 May (matinee) and Thursday 30 May (evening).
Photo credit: Jay Brooks and Emilio Madrid
Thursday, 1 February 2024
Bronco Billy the Musical at the Charing Cross Theatre REVIEW | A Delightful Musical Romp
Bronco Billy the Musical
Charing Cross Theatre
Bronco Billy the musical, is a rollicking ride through the Wild West, that brings a unique blend of sincerity and high camp to the Charing Cross Theatre. It's a show so full of heart, you can't help but be charmed by it, as it provides a theatrical escape that is genuinely marvellous.
As the title suggests, the musical tells the tale of Bronco Billy, a performing Cowboy as he leads his troupe around America, aiming to make enough money to keep them afloat. Along the way he meets Antoinette, an heiress who's on the run from her money grabbing stepmother and a host of other characters wishing for her demise. It's as random and wacky as it sounds but truly it's a tale of heart, friendship and dreaming, all wrapped up to create a rootin' tootin' good show that thrives through it's melodramatic highs.
The cast are full of absolute joys. Star on rise, Emily Benjamin shines as the chocolate heiress on the run, Antoinette, injecting the role with gumption, charm and vulnerability, plus sweltering vocals to match. Her delightful partnership with Tarrin Callender as Bronco Billy, provides some of the show's standout moments. Callendar's effortless charisma and soaring baritone vocals fill the Charing Cross Theatre, making it evident why the troupe is so drawn to him, and showcasing a performance that is beautifully vulnerable and volatile.
The leading duo are complemented by a supporting cast of well-defined characters, each with small arcs and interests that really bring them to life. Between them, the group also showcase a variety of killer circus tricks, from juggling, to supremely impressive rope-wielding and magical wild-west wizardry. A big part of the show is the aspect of found family and the entire cast do a really fantastic job of portraying this loving unit, and together bring some sweet, sincere moments to an otherwise wild show.
Heaps of praise must go to Victoria Hamilton-Barritt portraying the gold digger, murderess stepmother, Constance, as she delivers a performance that is nothing short of perfection. Her comedic timing rivals the best in the business, and her astounding physicality, faultless facial expressions, and hilarious vocal inflections create a dynasty-esque portrayal that keeps the audience in stitches. Barritt's magnetic stage presence draws in the crowd, and she expertly milks every moment for maximum laughs and somehow still leaves us yeehawing for more.
Amy Jane Cook's set design and Sarah Mercade's costumes are commendable, wonderfully capturing the essence of the Wild West with authenticity and providing some surprising moments whilst utilising all of the limited space available. Alexzandra Sarmiento's choreography is undeniably fun and while there's potential for more in a larger space, it fits the Wild West vibe exceptionally well and is two-step away from perfection, though I'd trade my hat for an encore tap dance number.
The upbeat score by Chip Rosenbloom, John Torres and Michelle Brourman is continually engaging, with a number of quirky ear-worms and vocal gems. It may not be a musical masterpiece, but it's intelligent and inventive enough to fit perfectly with the style of the show and deliver exactly what it needs to.
Bronco Billy is a delightful musical extravaganza that successfully balances sincere moments with high camp theatrics. It isn't groundbreaking, but with charismatic leads, touching found family dynamics, and a hugely fun Wild West atmosphere, it is a silly stampede of a show that guarantees you'll leave with a prairie sized grin and joy to share. Who knew that what London theatre needed was a disco cowboy musical?!
★★★★
Reviewed on Wednesday 30th January 2024 by Olivia
Photo Credit: The Other Richard
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 26 January 2024
Here & Now a Musical by Steps to Debut This Year
UK pop sensation Steps is over the moon to reveal the world premiere of their fresh musical, Here & Now. Set to the beats of their iconic music and featuring an original storyline by Shaun Kitchener, the musical will debut at The Alexandra, Birmingham, running from November 9 to 24, 2024. Produced by Steps and ROYO with Pete Waterman, directed by Rachel Kavanaugh, and choreographed by Olivier Award winner Matt Cole, Here & Now promises a spectacular showcase of Steps' timeless hits.
Casting details are yet to be unveiled, but here's a sneak peek into the musical's plot: Step into the lively aisles of seaside superstore Better Best Bargains on a Friday night, where the atmosphere is electric, and everyone's dancing. However, when Caz discovers that the shelves are filled with deceit, the anticipated Summer of Love turns into a heartbreaking tale. Will they miss their shot at 'happy ever after,' or does love have another twist in store?
Steps members (Claire Richards, Faye Tozer, Ian ‘H’ Watkins, Lee Latchford-Evans, and Lisa Scott-Lee) expressed their excitement about the musical, sharing, “We’ve searched for the perfect story for our music, and we’ve found it in the aisle of a seaside superstore. It’s a story of friendship, romance, and community, packed with our biggest hits. We can’t wait to see you there!”
With 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams, and 11 sold-out national arena tours, Steps is the UK’s most successful mixed-sex pop group. Their chart-toppers like Tragedy/Heartbeat, Stomp, One For Sorrow, Better Best Forgotten, 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, and Chain Reaction will be featured in the musical.
Steps' 2017 comeback tour was a massive success, selling out all 300,000 tickets, and the band has continued to make waves with new music. Their 25th-anniversary celebration included a headline summer tour and the release of the #1 album Platinum Collection, solidifying their status alongside ABBA, Rolling Stones, and Stereophonics as one of the few groups to score #1 albums in four consecutive decades.
Join Steps for a journey filled with laughter, tears, and dance in the aisles.
Thursday, 18 January 2024
Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony
Rehab the Musical
Wyndham's Theatre
Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.
The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.
Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.
However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.
The undeniable chemistry between Maiya Quansah-Breed (Lucy Blake) and Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.
Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.
Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.
A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments.
While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.
★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Sunday, 17 December 2023
Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW
Stranger Things: The First Shadow
Phoenix Theatre
As someone who ventured into the realm of Stranger Things: The First Shadow without much prior experience with the series, aside from watching a few episodes and a recap, I was pleasantly surprised and thoroughly captivated by this spectacular supernatural spectacle. The Duffer Brothers, with Jack Thorne and Kate Trefry have crafted a story that effortlessly drew me into the mysterious world of Hawkins, Indiana, even as a newcomer to the Stranger Things universe.
From the very first applause inducing scenes, I found myself immersed in the gripping narrative that skilfully combines elements of suspense, nostalgia, and the supernatural. The show's ability to seamlessly introduce me to its characters and the intricacies of their relationships made it easy to connect with the story, and I was quickly invested in the fates of these intriguing personalities.
The prequel introduces both beloved characters and fresh faces, each receiving substantial development and individuality. The performances are exceptional, characterised by universally nuanced and emotionally charged portrayals. Louis McCartney, in his striking West End debut as Henry Creel, delivers a chilling performance that combines twisted actions with an alarming charm. McCartney's masterful physicality, full of spasms and contortions, adds an extra layer of intensity to the role- I can only imagine how much physio he'll need during the run! Isabella Pappas embodies Joyce with fierce brilliance, seamlessly incorporating Winona Ryder's iconic traits while infusing the character with her own spin. Pappas creates a captivating, headstrong persona that garners unwavering support. Alongside her, Oscar Lloyd portrays James Hopper Jr. with suave charisma, delivering witty one-liners and exuding an aura that captivates throughout.
The brilliance of this show lies in the meticulous attention and craftsmanship dedicated to shaping the intricate backstories of every character. Each member is endowed with distinct intentions and personality traits, allowing for intrigue at every turn. There isn't a single weak link to be discovered, but special recognition is deserved for the performances of Christopher Buckley as the endearing Bob Newby and Michael Jibson, who delivers haunting moments as the tormented Victor Creel. Max Harwood as Alan Munson, injects copious amounts of humour, energy, and vitality into the narrative, fashioning a persona that practically begs for its own enthralling spin-off storyline; whilst Patrick Vaill brings eerie menace to the stage as Dr Brenner.
In the hands of Stephen Daldry and Justin Martin, the play unfolds like a blooming flower, or more aptly, the opening mouth of a demogorgon. It moves seamlessly between the whirlwind of action and the rich tapestry of each thoughtfully crafted scene. High-school hallways and bathrooms, the mundane backdrop of everyday life, transform into breathtaking alternate worlds in the blink of an eye, all thanks to the nimble touch of Miriam Buether's set design. Jon Clark's lighting is like a choreographed dance, shifting between mysterious shadows and warm sunlight, mirroring the transformative journey of the characters.
The story takes a deep dive into the shadows, embracing a genuinely dark undertone with jumps and eerie sounds reminiscent of horror films, all expertly blended into the production by Paul Arditti's exceptional sound design. Yet, within the darkness, there's a contrasting brightness—a nostalgic, retro Americana that permeates the air. Sprinkled with snippets of song, it adds layers of emotion and complexity to this multidimensional theatrical experience, making it a journey that feels both supernatural and believable.
Stranger Things: The First Shadow is a testament to the storytelling prowess of its creators. As someone unfamiliar with the series, I can confidently say that this instalment stands alone as a brilliant and engaging piece of theatre. It has ignited my curiosity about the series as a whole, and I am now eager to explore the it to uncover the mysteries that follow this captivating chapter. Whether you're a seasoned fan or a newcomer like myself, this show is a spectacle that you must see. Full of drama, amazing performances and genuine sincerity, it's a Creel-y Creel-y great piece of theatre.
★★★★★
Reviewed on Friday 15th December 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
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