Thursday, 19 May 2022
Bonnie and Clyde, Arts Theatre | Review
Bonnie and Clyde
Arts Theatre
Reviewed on Wednesday 18th May 2022 by Olivia Mitchell
★★★★
After over a decade of waiting, Frank Wildhorn, Don Black and Ivan Menchell's Bonnie and Clyde has finally entered the West End and has done so with a bang. Telling the story of the eponymous duo who became outlaws before being killed together, the romanticised musical is exciting and features some of the strongest performances seen in a long time.
Based on the semi-true story, we follow Bonnie and Clyde from their childhood dreams (her to be a movie star like Clara Bow, and he to be an outlaw like Billy the Kid) to their first flukey meeting, their following life of crime and eventually their downfall and death. Running in parallel to this story is an unrequited love plot as well as some glimpses into the economic depression of the time which highlight why turning to crime was in some ways, necessary, at least for the Barrow Brothers.
At times the book is a little jumbled and some things are over explained, whilst others lack a little development. However, it is equally brilliant in its comedy, especially in the snarky exchanges between Blanche and Bonnie. Aside from the few issues, this is a really wonderful production that is spirited and exudes intensity.
As the leading characters, Frances Mayli McCann and Jordan Luke Gage completely own the stage. McCann is a certified star and she brings her clear as glass vocals to life in ballads such as Dyin' Ain't So Bad- a brilliantly dynamic portrayal as Bonnie. Gage is charming and terrifying in equal measure and vocally he fires on all cylinders. Raise A Little Hell is a complete roof raiser that is powerful, thrilling and aggressive. Together the pair balance one another well and are realistic in their juvenile, all encompassing love story. The sizzling chemistry grows from their first meeting and remains so until the very last second.
The entirety of the small cast are equally strong, with Natalie McQueen giving the most hilarious performance as God-fearing Blanche Barrow. You're Goin' Back To Jail is absolutely hilarious and she imbues every moment with wit, even down to her out of time clapping which is brief but wonderful. Alongside her comedy masterclass, she also brings a more mellow moment in the duet You Love Who You Love which is outstanding. As with much of the show, it's the tight harmonies which really bring the house down and have the audience enraptured. George Maguire is also strong as Buck Barrow and Cleve September nicely balances the hostility of Clyde with his smooth and calmer vocals.
As well as the performances, the set by Philip Witcomb takes on a life of its own and makes the Arts feel so much bigger than it is. The set is ambitious and impressive and coupled with great projections bu Nina Dunn and sound design by Tom Marshall make the whole show a real spectacle.
Nick Winston has done an outstanding job with this production and it's so wonderful that it's finally getting the run it deserves. How bout' you dance your way to the Arts Theatre and grab yourself a ticket for this theatrical jewel.
photo credit: Richard Davenport
Tuesday, 17 May 2022
Grease The Musical, Dominion Theatre | Review
Grease The Musical
Dominion Theatre
Reviewed on Tuesday 17th May 2022 by Olivia Mitchell
★★★
It’s a cult classic that’s got the word, got the groove, it’s got meaning, and in its current West End run at the Dominion Theatre, Grease provides a high energy, fun night out that’ll have you feeling good and tapping your toes.
The production which previously toured the UK features all the iconic moments and songs from the film, but shuffles them around and combines them with their original stage versions. For example The T Birds are now back to their og name of the Burger Palace Boys. These small tweaks allow the audience to be more engaged as they don’t quite know what’s coming. However, other attempts to somewhat modernise the book fall a little flat. You would assume that ending the show with the punchline of the girl changing herself so the boy likes her, could’ve been switched up a little but it remains the same as the movie and certainly feels dated. This version of Grease does give Sandy's character more of a backbone but it would be nice to see just a bit of dialogue added to give her a bit more autonomy at the end.
The West End cast is chockablock with strong performers who bring the array of characters to life incredibly well. As the leading lady, Olivia Moore is a delight as Sandy. Her powerhouse voice soars every time she opens her mouth and she gives a dynamic and endearing performance. Leader of the Burger Palace Boys, Danny Zuko is played well by Dan Partridge who really comes into his own in the angsty number How Big I'm Gonna Be and also provides great humour and vocals in Stranded at the Drive In.
Other standout performers include Jocasta Almgill, who’s rendition of There Are Worse Things I Could Do, is heart-wrenching and transforms the song to be heard in a new light. Mary Moore is also a gem as Jan and Eloise Davies is wonderfully witty and whimsical as the Beauty School Dropout, Frenchie. Paul French’s Kenickie is rough and brooding but sometimes lets his softer side show and is a delight to watch.
If you’ve seen the adverts for this show, you’ll have probably seen Peter Andre who is starring as Vince Fontaine and Teen Idol. Whilst only appearing briefly in act one, in act two he comes to life and is highly entertaining and will certainly please audience members who are fans!
There are a few moments in the show where the energy lulls or jokes fall a bit flat but it’s the full ensemble sections that really bring it back up and make it soar. The Hand Jive and We Go Together are especially good moments that ooze energy and almost create electricity in the auditorium. This is in a big way thanks to Arlene Phillips' outstanding choreography that is fresh and exciting but completely in keeping with what we know and love as typically Grease.
As a whole the cast are top notch and work really well together. It's great to see how much characterisation work has gone into each role, so that no matter who you're looking at one stage, you can always see a story or relationship developing with them.
Despite a few shortcomings, the musical is a real laugh and a nice, hand jiving escape from reality. It's not groundbreaking but Grease The Musical does what it says on the tin and delivers iconic scenes and songs that fans of the film will love. So, all you crazy cats better get booking!
Saturday, 14 May 2022
Prima Facie, Harold Pinter Theatre | Review
Prima Facie
Harold Pinter Theatre
Reviewed on Friday 13th May 2022 by Olivia Mitchell
★★★★★
Anyone who's seen Jodie Comer in her multifaceted performance in Killing Eve understands why she is such a well loved and in demand actor. In her one-woman West End debut in Prima Facie, Comer lives up to every expectation and delivers a performance that astounds and stays with you long after the curtain comes down.
What's so impressive with Comer is not only how she brings interesting and enticing vocal intonations to the script, but how she physically embodies every moment. The high-voltage emotions which run through the piece are literally carried by Comer and she imbues every moment with intensity and expressiveness. You can just tell how much work has gone into crafting such an intelligent and wonderful portrayal, even from small details such as becoming slightly posher when she's presenting in court compared to talking to her mother. Comer never flags for a second of the 95 minute show and whether she's shattering you with heart-breaking moments, or having you laugh out loud with her witty performance, she has you wrapped around her finger in a phenomenal way.
Of course this performance wouldn't exist without Suzie Miller's script which is so expertly crafted and focusses on the heartbreaking realities of sexual assault and how difficult it is for women to get closure via successful prosecutions in a court which is based on archaic rules written by men and does very little to support or empathise with victims.
Comer's character Tessa is a barrister who rose from being the underdog at university to being one of the top defence lawyers for men accused of sexual assault. The play opens with her revelling at being great in court and later on contrasts this by showing flashbacks to her younger self full of doubt as to whether she could succeed when surrounded by all the private school classmates who she cannot relate to. Her excitement and razor sharp cross examination skills show how she can sew the seed of doubt that the victim may have in fact given consent and that the man was doing what he believed she wanted. The way she talks about it almost gets you on her side until she herself is raped by a colleague and realises how messed up the whole system and court process is.
Natasha Chiver's lighting design and Justin Martin's direction really hammer this message home, with folders creating a blank canvas for the action but also becoming part of the story at times. Gradual lighting changes bring further gravitas to the mood changes and the clever closing monologue which breaks the fourth wall is so well done. As a whole this production is a sleek treat which discusses a dark matter but has you feeling uplifted by the talent and skill displayed on stage and behind the scenes.
In a stunningly moving performance, Jodie Comer shows her emotional range and magnetic stage presence which makes her the wondrous performer she is and makes this an unmissable piece of theatre. Beg, borrow, or steal a ticket if you can find one, or book to see Prime Facie in cinemas!
Thursday, 12 May 2022
Jeremy Jordan to Perform Live in London
Fourth Wall Live is thrilled to announce that Broadway star Jeremy Jordan will be performing a solo show live in London at Theatre Royal Drury Lane on Monday 29 August 2022. Pre-sale sign up is open now. www.fw-live.com/jeremy
This marks Jeremy’s fourth solo engagement in London after three previous sold-out runs as well as the sold-out Bonnie and Clyde in Concert at Theatre Royal Drury Lane in January of this year. The show is an opportunity for Jeremy to celebrate the some of music he is most loved for performing as well as personal favourites both old and new.
Jeremy Jordan is a Broadway performer who is best known for Newsies (Tony, Grammy, Drama Desk nominations), Bonnie and Clyde (Theatre World Award), American Son, Little Shop of Horrors, West Side Story, Waitress and Rock of Ages. On television he has appeared as a series regular on Supergirl, Smash, and Disney's Tangled. His film credits include The Last 5 Years, Joyful Noise, American Son, Newsies. He will soon star as the tenacious record industry giant, Neil Bogart, in the upcoming feature film, Spinning Gold. Jeremy is also a singer-songwriter whose concerts and cabaret shows have won awards and acclaim worldwide.
Benjamin Rauhala is one of the Broadway community's most trusted music directors and collaborators. He is the Music Supervisor and co-creator of Disney Princess - The Concert, touring over 90 cities in North America throughout 2022. He was named Best Musical Director at the 2020 Broadway World Cabaret Awards. He has toured the world as the music director for Jeremy Jordan, the Tony-nominated star of Broadway's Newsies and The CW's Supergirl. He is also the music director for Academy Award Winner Ariana DeBose, Halston star Krysta Rodriguez, Tony nominees Derek Klena, Jennifer Damiano, Kathryn Gallagher, Nashville star Kyle Dean Massey, and Frozen stars Caroline Bowman and Austin Colby. He was the Associate Music Director for the world premiere of The Secret Life of Bees at the Atlantic Theater, directed by Sam Gold, with music by Duncan Sheik. He worked on the music team for both Bartlett Sher's Broadway revival of Fiddler on the Roof and the Broadway production of Duncan Sheik's American Psycho simultaneously during the 2016 season. His Off-Broadway credits include David Byrne’s Joan of Arc: Into The Fire at The Public Theater and The Marvelous Wonderettes at Theater Row. He previously served as music director for Hit List, the meta-musical from the NBC television show SMASH and is an Original Programming Producer at Feinstein's/54 Below, where he has created dozens of sold-out concerts, including the Broadway Loves Series, that has famously honoured Britney Spears, Demi Lovato, Selena Gomez, Celine Dion and many more beloved pop icons.
Fourth Wall Live (FWL) is a live entertainment company that produces events, concerts and on-stage shows. This January FWL presented Bonnie & Clyde the musical in concert for two nights to a sold-out audience at Theatre Royal Drury Lane starring Broadway favourite Jeremy Jordan. This concert broke Drury Lane box office records selling out a 2-night run in less than 6 minutes.
FWL regularly brings Broadway artists to the UK, previous concerts include Broadway and TV regulars Chita Rivera, Keala Settle, Laura Benanti, Sierra Boggess, Kelli O’Hara, Laura Michelle Kelly, Megan Hilty, Tituss Burgess, Jeremy Jordan, Matthew Morrison, Erich Bergen, Eden Espinosa, Julia Murney and Cynthia Erivo. Other concerts include West End and UK Stars solo concerts including Michael Ball, Matt Cardle, Kerry Ellis, Oliver Tompsett, Hannah Waddingham, Sharon D Clarke, Bonnie Langford and Jenna Russell.
Tori Amos’s musical The Light Princess was presented to critical acclaim, as a special one-off concert in the summer of 2018. Rodgers + Hammerstein’s Cinderella and Zorro The Musical were presented with musical-all-star-casts in 2019 and 2020 respectively to sold out audiences.
Fourth Wall Live also regularly partners with the Hippodrome Casino, in November-December 2020 they produced 25 nights of socially distanced entertainment, proudly being the first live concert event post lockdown in the UK. Season two at the Hippodrome concerts ran from September 2021 to December 2021 and featured 20 nights of musical entertainment from the world of musical theatre and pop cross over.
Thursday, 5 May 2022
Bat Out of Hell Returns to the West End
The producers of Jim Steinman’s Bat Out of Hell – The Musical, featuring Jim Steinman and Meat Loaf’s greatest hits, are delighted to announce the musical’s return to London in 2023. The show, which is currently touring the UK and Ireland, will play a limited season at the Peacock Theatre with performances from 17 February, ending on 1 April 2023.
Bat Out of Hell – The Musical will also have a residency at Paris Las Vegas Hotel & Casino from 27 September 2022.
Casting for both productions to be announced.
Bat Out of Hell – The Musical wowed critics and public alike when it played limited seasons at Manchester Opera House, London Coliseum and London’s Dominion Theatre from 2017 to 2019. The musical also ran successfully in Canada, Germany and at New York’s City Centre in 2019. The current UK and Ireland tour began performances at Manchester Opera House on 11 September 2021 and has been playing to sold out houses and great critical acclaim.
Bat Out of Hell – The Musical won the Radio 2 Audience Award for Best Musical at the Evening Standard Awards and was nominated for 8 WhatsOnStage Awards, including Best New Musical. Bat Out of Hell became one of the best-selling albums in history, selling over 60 million copies worldwide. 16 years later, Steinman scored again with Bat Out of Hell II: Back into Hell, which contained the massive hit I’d Do Anything for Love (But I Won’t Do That).
For the stage musical, the legendary and award-winning Jim Steinman incorporated iconic songs from the Bat Out of Hell albums, including You Took the Words Right Out of My Mouth (Hot Summer Night), Bat Out of Hell, I’d Do Anything for Love (But I Won’t Do That) and Two Out of Three Ain’t Bad, as well as two previously unreleased songs, What Part of My Body Hurts the Most and Not Allowed to Love.
The electrifying rock songs of Mr Steinman propel an epic story of rebellious youth and passion as Strat, the immortal leader of The Lost, has fallen in love with Raven, the beautiful daughter of the tyrannical ruler Falco.
The UK & Ireland Tour of Bat Out of Hell - The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography adapted by Xena Gusthart, with musical supervision and additional arrangements by Michael Reed, set and costume design by Jon Bausor, original costume designs by Meentje Nielsen, original wig designs by Linda McKnight, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestration by Steve Sidwell, original casting by David Grindrod CDG and UK Tour casting by Anne Vosser.
Bat Out of Hell – The Musical is produced by David Sonenberg, Michael Cohl & Tony Smith, with executive producer Julian Stoneman.
This tour is dedicated to the memory of Jim Steinman, who sadly passed away on 19 April 2021, and Meat Loaf, who passed away on 20 January 2022.
Website: www.BatOutOfHellMusical.com
Twitter, Facebook & Instagram: @BatTheMusical
photo credit: Chris Davis Studio
Thursday, 21 April 2022
The Cher Show (Tour), Leicester Curve | Review
The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★
After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.
This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.
The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.
As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.
It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.
Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.
Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.
The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.
photo credit: Pamela Raith
Wednesday, 20 April 2022
Matthew Bourne's Nutcracker (Tour), New Victoria Theatre | Review
Matthew Bourne's Nutcracker
New Victoria Theatre
Reviewed on Tuesday 19th April 2022 by Angie Creagh-Brown
★★★★★
The Nutcracker Suite is an old and much beloved family Christmas favourite. Matthew Bourne's version, however is a somewhat different take on the classic.
What can I say about it? Well it was just wonderful!!! The New Victoria Theatre is a large, modern and inviting building, which at this performance welcomed an audience of all ages; there were some young children (well-behaved) and the ambience was happy and inviting, a taste of the sweet treat evening to come.
Bourne takes the original story of a well to do family celebrating Christmas Eve with friends and family and turns it completely round; his version starts in an orphanage, the cast are dressed in grey, the scenery is grey - no light, no joy. The teenage children are preparing to 'enjoy' their meagre Christmas Eve and are joined by the owner, Dr Dross, danced by Danny Reubens, his wife the Matron, Daisy May Kemp, son Fritz, Dominic North and their very spoilt daughter Sugar, Ashley Shaw.
The children manage to find a Nutcracker, which had been locked away in a cupboard, and they escape to a wondrous scene of falling snow, ice-skating and snowballs. To add to their excitement the Nutcracker miraculously changes from a toy to a handsome, well-muscled and talented young man, (Harrison Dowzell) to the delight of the children and the leading lady.
The ensemble dancing was lovely, there were comic moments, surprises and hints of jealousies to come. The dancers were performing with large smiles on their faces, which in turn put joy onto the faces of the audience.
Act Two opens with a kaleidoscope of colour which is The Road to Sweetieland. Clara, beautifully danced by Cordelia Braithwaite, is desperately trying to gain entrance to Sweetieland aided by the The Cupids, wonderfully portrayed by Enrique Ngbokota and Shoko Ito. She is still dressed in her undergarments and they find a pretty dress for her, but it does not compare in any way to that worn by her nemesis, Sugar.
There is a lot of humour in this act. Superbly bright costumes and a plethora of well-known sweets dancing wonderfully. It's a visual treat like no other.
The cast is very diverse, which would mirror the children in an orphanage. The story has been re-written in a modern way. This means it would possibly not be suitable for very young children on whom the innuendoes would be lost, but in terms of aesthetics it's sure to appeal to all ages.
The staging, set design, lighting and costumes all added wonderfully to the most enjoyable evening which finished with a standing ovation and joy abounded both on the stage and in the auditorium.
The Nutcracker plays at the New Victoria Theatre until 23rd April
photo credit: Johan Persson
Wednesday, 13 April 2022
Zorro, Charing Cross Theatre | Review
Zorro
Charing Cross Theatre
Reviewed on Tuesday 12th April 2022 by Hope Priddle
★★★★★
Last seen in London in 2008, Zorro is back and ready to bring a taste of Spain to the Charing Cross Theatre! Set to a legendary soundtrack by the Gipsy Kings, this sizzling show follows the mysterious masked vigilante El Zorro in his efforts to defend the Pueblo of Los Angeles from a ruthless autocratic leader. Written by Stephen Clarke and Helen Edmundson, the book is pacey and exhilarating. Whilst drama and action undeniably motivate this production, it really shines in the quiet moments of passion and pathos between our central lovers.
Ben Purkiss is perfectly cast in the titular role. He is utterly endearing as the charismatic and courageous Diego, but he transforms into the suave crusader with ease. Alex Gibson-Giorgio gives an accomplished performance as the tormented tyrant, and Diego’s estranged brother, Ramon. Gibson-Giorgio masterfully conveys Ramon’s internal conflict, inviting sympathy despite his character’s irredeemable actions. Special mention must go to Marc Pickering as Garcia, who is tremendous as our comedic antagonist. Not only does he play the fool, but his character has real heart and displays a truly rewarding arc.
Despite its name, this production is all about its women. Phoebe Panaretos is a complete tour-de-force as the sensual, strong-willed Gyspy queen Inez. Her voice is rich and full-bodied, stealing the showing on more than one occasion. Panaretos leads a rousing rendition of Bamboleo at the end of Act One, captivating her audience in every way possible. Paige Fenlon is similarly exquisite as Diego’s childhood friend Louisa. Louisa may appear innocent on first introduction, but a fire quickly ignites inside of her as she leads the Pueblo uprising. Fenlon’s heavenly vocals soar as her character finds her voice.
Panaretos and Fenlon are supported by a searing female ensemble who truly are the lifeblood of this production. Their vital choreography and visceral harmonious drive the action forward. During Libertad, the ensemble cries sympathetically as one, moving as a single pulsating body under sanguine lighting designed by Matthew Haskins.
Creative elements work in harmony to create a production which is immersive and evocative. The traverse staging, admittedly typical of productions at this venue, works to enclose the Pueblo and create a homely, intimate feel. Set and Costume Designer Rosa Maggiora does a tremendous job of world building. A multi-levelled set elevates the action, whilst aisles and doorways are used effectively for either flamboyant or stealthy entrances and exits. An actor-muso approach greatly compliments this production. Talented ensemble members play classical guitar and trumpets, recreating the sounds of 19th Century California. Moreover, the very stage itself becomes an instrument, integral as brass or string. As the cast stamp and stomp across the floor, they ‘play’ the boards and percussive sound fills the rafters.
With thrilling stage combat (Renny Krupinski) and impactful flamenco routines (Cressida Carre) led by the commanding Ajjaz Awad, this dynamic production is packed full of colour, texture and noise. It fully embraces its audience, sweeping them up into the spirited world of Spanish Gypsies and swashbuckling heroes.
photo credit: Pamela Raith
Friday, 8 April 2022
Fashioning Masculinities: The Art of Menswear | Victoria and Albert Museum | Review
Fashioning Masculinities: The Art of Menswear
Victoria and Albert Museum
Reviewed on Thursday 7th April 2022 by Olivia Mitchell
★★★★
In its current exhibition, the Victoria and Albert Museum celebrates the growth and evolution of male aesthetics with Fashioning Masculinities: The Art of Menswear. A vast collection of outfits from throughout history and interspersed with paintings, photographs, sculptures and video clips to offer up a look at how masculine fashion has changed and moved with the times. It looks at the times when the 'traditional' or 'accepted' view of masculinity has been challenged and how these deviations have paved the way for move fluidity and freedom in fashion.
The exhibition is displayed in a fairly structure free way, allowing you to make your own path and experience it however you wish. The loose structure is organised by trends and themes, much like the fashion industry itself. Of course we know that trends repeat themselves but it's interesting to see it laid out physically before you. As you enter you are greeted with naked bodies, specifically those of Apollo and Hercules, the original male ideals of beauty. The section points out how anatomical research and a desire to look a certain way, led to the understanding of wearing more tightly fitting or tailored pieces to showcase the body.
As mentioned, the showcased cyclical nature of fashion is key to this exhibition with almost every style returning in some way, at some point. It's interesting how the original, puffy shirt worn during the regency era has yet to make a comeback despite corsets coming back with a vengeance; perhaps the new season of Bridgerton will take us back to those roots!
It's also great to see how small changes and reinterpretations to a classic outfit can have such a huge impact. For example: the suit. A staple in wardrobes for most people, the way in which celebrities have elevated it is well showcased. The addition of leather trousers may seems simple but when you see it in the context of Fashioning Masculinities it's quite amazing how it set off a domino for development and freedom.
The main aspect of the exhibition is how men's fashion is evolving so much now in terms of gender fluidity, with some of the most eye-catching outfits being those from the brilliant designer Harris Reed as well as those at the very end: Billy Porter's tuxedo dress worn at the 2019 Oscars and the iconic blue Gucci dress worn by Harry Styles on the cover of US Vogue. Both these outfits sparked many conversations, even for those who don't follow either the stars or the fashion.
Sponsored by Gucci, a lot of the exhibition is indulgent and luxurious but it's a real eye opener on how high street fashion keeps up with trends and how deviations in the norm can have effects which reach all of us eventually without us even realising. Fashioning Masculinities is by no means an exhaustive exploration but it certainly whets your appetite to find out more and shines light on how diversity and uniqueness can be captured through male clothing.
Fashioning Masculinities: The Art of Menswear runs at the V&A Museum until 6th November 2022
Monday, 4 April 2022
La Traviata, Royal Opera House | Review
La Traviata
Royal Opera House
Reviewed on Saturday 2nd April 2022 by Olivia Mitchell
★★★★★
Richard Eyre's production of Giuseppe Verdi's La Traviata is certainly a landmark one, having stood the test of time and remaining a timeless version in its 28th season since 1994. The opera encompasses all the swooping storylines you'd expect, with grandeur, passion, sex, family, betrayal, romance and tragedy sewn into every moment. Of course there's also the key element: Verdi's stunning melodies. Even if you haven't listened to the opera before you'll surely recognise a few pieces and as operatic works go, it's very accessible for opera newcomers. This is evident in the audience attracted, with a variety of ages filling the auditorium at the Saturday morning performance.
It's quite clear why this is such a well-loved production. The entire thing is completely opulent and so visually impressive. Gloriously detailed period costumes transport the audience to a 19th-century Paris which feels worlds away from Covent Garden. Despite the grandeur, there's also a subtlety that comes alongside the proceedings. Whilst yes, it is dramatic and luxurious, Bob Crowley's set is also cosy and makes the Royal Opera House's auditorium feel small and inviting. This is also helped by the cast, namely leading lady Violetta, played by Pretty Yende who grabs the attention of all and wraps you up in her tragic story from the moment she steps on stage.
La Traviata tells the tale of a famed Parisian courtesan Violetta Valéry. Seemingly carefree, she is secretly struggling with tuberculosis so when she meets and falls in love with Alfredo, she believes she gets a new chance to live and be happy. They run away together and life off of her money and sale of her property. However one day Alfredo's father Giorgio Germont appears and begs her to leave his son as he is disgracing his family. Due to her strong love, she agrees and from there further drama and pain ensues.
As Violetta, Pretty Yende is a perfect fit. A fantastic soprano, she embodies the role fully and completely shines both vocally and as an accomplished actress. Yende's technique is faultless and she soars throughout with beautifully spun lines, breath control that grasps the audience and complete accuracy on every note. She is completely in command throughout and is especially wonderful in Addio del passato in the final act.
Partnered with Stephen Costello as her suitor, the pair work together nicely. Costello at times is overpowered but really comes into his own towards the end when he shows more outward intensity that is mirrored in his vocal performance and really captures the romantic majesty.
Giacomo Sagripanti conducts the orchestra with the perfect amount of sensitivity and creates an atmosphere like no other.
This is a version of La Traviata that will surely run for another 28 seasons and is a must see for opera lovers and opera newbies.
photo credit: Tristram Kenton
Wednesday, 30 March 2022
Alex Gibson-Giorgio Discusses Playing the Villain and Returning to the Stage | Zorro | Interview
You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting Alex Gibson-Giorgio is set to play Ramon in Zorro the Musical which is set to open at the Charing Cross Theatre this weekend. Pre-opening he chats to us about the rehearsal process, what it's like playing the villain and what audiences can expect from the musical...
Firstly, could you tell us a little bit about what audiences can expect from Zorro?
We all know and love the mask-wearing, sword-wielding bandit who fights for the poor and defends injustice, breaking many a heart along the way; made eternally famous by Antonio Banderas. Well, the musical has all the passion, love and fire of the film, with a little extra heart, all set to the songs of the Gipsy Kings.
It must be great to get back into theatre post-lockdown, especially with such a high energy show, what has the rehearsal process been like?
Being back in the rehearsal room is a huge privilege … it’s definitely one of my favourite parts of putting on a show. The pure magic of a group of actors in a space creating an imaginary world together … it’s so exciting! It’s a place to make bold offers and explore the full range of your character with no judgement … there are no wrong choices, instead there are endless possibilities. As my acting teacher Margot Fenley would say “Be bold and fail gloriously!”
Ramon is a pretty evil character and you’ve previously played Jafar in Aladdin, are you a fan of the villains?
I do love myself a villain. I think they’re the most interesting characters to play because you get to safely explore often darker ways of thinking and existing that are not always socially acceptable in everyday life. In the case of Jafar, it’s just CAMP!
The score of Zorro is by the Gipsy Kings, if you were to have a band write the score for a musical about your life, who would you choose?
Fleetwood Mac for sure. Or Gaga. Maybe James Taylor … this one’s hard.
What song are you most excited to perform for an audience when the show opens?
I love Baila Me … such a good tune! But watching Djobi Djoba and Bamboleo from offstage is a personal highlight for me. We are lucky to have such a talented company who not only sing and act, they also have to play multiple instruments, dance (WHILST PLAYING), shoot guns and sword fight!
Why should people come and see Zorro?
If you love The Gipsy Kings, you will love this show. The music fills your soul! You’re in for a night of heartfelt story telling full of passion, love, swashbuckling and sword fighting. VIVA EL ZORRO!
Thank you so much Alex for taking the time to chat to us. Zorro opens at the Charing Cross Theatre 2nd April
Interview by Olivia Mitchell, Editor
Singin' in the Rain (Tour), New Victoria Theatre | Review
Singing in the Rain
New Victoria Theatre
Reviewed on Tuesday 29th March 2022
★★★★
It's been 10 years since Jonathan Church's stage version of Singin' in the Rain was brought to life at the Chichester Festival theatre, showering the front rows during the title number and delighting audiences with its sheer spectacle. The show is a fast-footed feast which is full of charm and keeps its wow factor after all these years.
This UK tour which opened with a run at Sadler's Wells closely mirrors the original film in which Gene Kelly created some iconic moments, including his joyful tap dancing through puddles. This scene and many others are performed brilliantly by Adam Cooper as the lead Don Lockwood. A former Royal Ballet dancer, Adam has been with the show since the start and is enthralling in the role of the silent movie star making the transition to 'talkies'.
His famous counterpart, Lina Lamont (played hilariously by Faye Tozer) doesn't make the move quite so seamlessly, with her poor singing voice and harsh, shrill speaking voice not quite delighting audiences. So, at the suggestion of Cosmo Brown, Don's real life love interest Kathy Selden is drafted in to dub the voice and vocals.
Alastair Crosswell plays the highly energetic Cosmo Brown in the most engaging and entertaining way. His incredibly hard working performance provides great slapstick moments alongside stellar dancing. As Kathy Selden, Charlotte Gooch is a sleek, stunning, star. Her magnetic aura is a delight to watch and she never falters for even a second.
What's so impressive about this touring production is the sheer scale of it. It's amazing how such a detailed and technical show can go on such a quick turnaround tour- major props to all the backstage team! Simon Higlett's set is brimming with art deco features and feels like it goes on far beyond the stage of the New Victoria Theatre; and the costumes are utter treats.
This is a complete spectacle of a show that feels sleek and refreshed. Comedic moments including the re-creations of stilted silent films contrast beautifully with Andrew Wright's larger than life choreography which floats and fills the stage with the elegance you dream of. This is a decadent production that really stands the test of time and provides a treat for all the senses.
Singing in the Rain plays at the New Victoria Theatre until 2nd April and then continues its tour
Tuesday, 29 March 2022
Tom Felton, Mandip Gill, Beatriz Romilly and Sam Swainsbury to Join Cast of 2:22 A Ghost Story
Producer Runaway Entertainment is delighted to announce casting news for the transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 - A Ghost Story for a third season to the Criterion Theatre. The run at the Criterion follows two record breaking runs at the Noel Coward and Gielgud Theatres and three Olivier Nominations including Best New Play as well as winning the Best New Play category in the Whatsonstage awards.
Tom Felton will play the role of Sam. Having made his breakthrough as ‘Draco Malfoy’ in the Harry Potter series of films, Tom has gone on to star in award winning films The Rise of the Planet of the Apes, A United Kingdom, and Belle, television series The Flash, Netflix filmThe Forgotten Battle and was most recently seen on screen in SKY’s Save the Cinema. Coming up, he will star in Independent Film Burial.
Tom Felton said: “I’m incredibly excited about getting to play in 2:22. I first started acting age 6 in a local theatre group and I haven’t trodden the boards since. I love the play, I’ve taken all my family to see it & everyone leaves with a smile. I’m thrilled to be part of this summers cast and will have a lot of fun with it.”
Mandip Gill will play Jenny. Mandip played companion Yasmin Khan in series 11, 12 and 13 of Doctor Who opposite Jodie Whittaker. She also played Phoebe McQueen in Hollyoaks and has appeared in Cuckoo, Doctors, The Good Karma Hospital and Casualty.
Mandip Gill said: “I am thrilled to be making my West End debut as part of the new cast of an already successful show. I am equally scared of ghosts so this should be fun”
Beatriz Romilly will play the role of Lauren. Beatriz was born in Spain. She is best known for her work in Assassin's Creed Valhalla, Final Fantasy XIV: Shadowbringersand War of the Worlds. She has also appeared on stage at Chichester Festival Theatre, Shakespeare’s Globe and The Bush Theatre.
Beatriz Romilly said: "I’m delighted to be returning to London and joining the new 2:22 company. I feel very lucky to be working with Matthew Dunster again, and getting a chance to dive into Danny Robins nail biting script with such a wonderful creative team and cast.”
Sam Swainsbury will play Ben. Sam is known best for his roles as Jason in the BBC sitcom Mum and Rowan in the 2019 film Fisherman's Friends. In 2015, Swainsbury featured in the film Thor: The Dark World, In 2017, Swainsbury appeared on Fearless, In 2019, he appeared in Victoria as Dr John Snow.
Sam Swainsbury said: “It's such a privilege to be joining the 2:22 company! I was really drawn to the script. It's engaging, funny, exciting and poignant, but… there was something else. Something I can’t put my finger on. Drawing me to it. Almost like… like a voice. From another place. That’s normal, right?!”
Matthew Dunster said: “Planning our 3rd iteration of 2:22has been just as exciting as the first two; working with Danny and my Co-Director, Isabel Mar, and our brilliant casting directors to re-imagine the characters once more. It’s such a privilege to do that and to know audiences are excited about ‘who’s next?’ We have a wonderful cast that once again is loaded with surprise, excitement and West End Debuts. People love watching this show and we love making it.”
After breaking all box office records for a new play at the Noel Coward Theatre; described as the theatre event of the year and the hottest ticket in the West End; and after weeks of sell-out performances, the show transferred for another record breaking run at the Gielgud Theatre. The run there ended in February and a third season, this time to the Criterion Theatre, was immediately announced.
2.22 - A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?
“There’s something in our house. I hear it every night, at the same time.”
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.
Danny Robins said "I'm overjoyed to have a cast of this outrageously exciting calibre for our new season. Tom and Mandip are stellar talents who I have admired for years, Sam is awesome and will be known and loved by comedy fans and Beatriz is someone I know is bursting with ability and on the cusp of stardom. Each new cast unlocks new surprises and thrills for me as a writer, each actor bringing their own distinctive take to the play. If you haven't seen 2:22 before, there's never been a better reason to come, if you have seen it, come back and see it again with this exciting line-up!”
2:22 - A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, co-direction by Isabel Marr, casting by Jessica Ronane CDG and illusions by Chris Fisher.
2:22 - A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon.
Gemma Collins to Star as Mama Morton in Chicago
David Ian in association with Barry and Fran Weissler are delighted to announce TV personality Gemma ‘The GC’ Collins will star as ‘Mama Morton’ in the acclaimed UK and Ireland tour of the international smash hit musical Chicago. Gemma will join the tour at the Sunderland Empire from Tuesday 31 May 2022, ahead of playing Cardiff New Theatre, Blackpool Winter Gardens, Sheffield Lyceum, Norwich Theatre Royal and New Theatre, Oxford.
David Ian said today, “We were completely stunned by Gemma’s audition for the role. She’s an undeniable force both on and off stage, and we can’t wait to see her portrayal of ‘Mama Morton’ on tour. Audiences across the country are in for a treat.”
Gemma Collins is best known as a media personality and businesswoman, having first featured in the reality series The Only Way Is Essex. She was awarded the 2021 winner of the Best Female Personality at the National Reality Television Awards. Since ‘Essex’ Gemma has appeared in numerous television shows including, I’m A Celebrity, Get Me Out of Here!, Celebrity Big Brother, Dancing on Ice and All Together Now in which she was a finalist. Most recently Gemma was seen on screens with her intimate Channel 4 documentary, Gemma Collins: Self-Harm & Me. Before finding fame on The Only Way Is Essex, Gemma was a keen performer having studied dance and winning a place at the renowned Sylvia Young Theatre School.
Gemma joins Faye Brookes as ‘Roxie Hart’, Djalenga Scott as ‘Velma Kelly’, Jamie Baughan as ‘Amos Hart’ and B.E. Wong as ‘Mary Sunshine’. The role of ‘Billy Flynn’ will be announced soon. Full tour schedule below. www.chicagothemusical.com
The cast is completed by Ishmail Aaron, Michelle Andrews, Gabby Antrobus, Delycia Belgrave, Joel Benjamin, Tanisha-Mae Brown, Daniel Clift, Callum Fitzgerald, Emily Goodenough, Billie Hardy, Aaron Jenkins, Liam Marcellino, Theo Reece, Hollie Jane Stephens and Harrison Wilde.
Faye Brookes (Roxie Hart) reached the final of last year’s series of ITV’s Dancing On Ice. She is best known for her role as Kate Connor in ITV’s Coronation Street, for which she won a National Television Award. Her theatre credits include Princess Fiona in Shrek and Elle Woods in Legally Blonde, both on national tour, Ann/Edna in That Day We Sang directed by Victoria Wood at Manchester’s Royal Exchange, Liesl in The Sound of Music at Regent’s Park Open Air Theatre and Frenchy in Grease at the West End’s Piccadilly Theatre. Faye’s other TV credits include Agnes Franklin in Our Girl and Helena in Atlantis, both for the BBC.
Djalenga Scott’s (Velma Kelly) West End credits include Lily St Regis in Annie at the Piccadilly Theatre, Joseph and the Amazing Technicolor Dreamcoat at the New London and Chicago at the Adelphi, Cambridge and Garrick Theatres. Her other credits include Anita in the national tour of West Side Story, Rizzo in Grease at Curve Leicester, Magenta in The Rocky Horror Show and Carmen in Fame, both on European tours, the US tour of Batman Live and Bombalurina in Cats at Kilworth House. Djalenga’s screen credits include Scarlett/Esme in Trapped for the BBC and Alexandra in the film I Give It A Year.
Set amidst the razzle-dazzle decadence of the 1920s, Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today's tabloids.
Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, Chicago’s sexy, sassy score includes the show-stopping songs “Razzle Dazzle”, “Cell Block Tango”, and “All That Jazz”. Winner of six Tony Awards, two Olivier Awards and a Grammy, Chicago is the longest running American musical in Broadway and West End history.
Since it opened in New York in 1996, Chicago has played in 36 countries worldwide and has been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Italian, French, Danish, Japanese and Korean. Worldwide it has been seen by an estimated 33 million people, grossed over $1.7 billion and played over 32,500 performances.
Chicago, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb. The 1996 Broadway revival of Chicago was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.
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