Wednesday, 13 September 2017
Hairspray (UK Tour), Bord Gais Energy Theatre | Review
Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray
★★★★
Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.
Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.
Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).
Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.
As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.
While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.
The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.
While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.
However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.
Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.
However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).
Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.
If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.
All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.
Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.
Photo Credit: Darren Bell
Joseph and the Amazing Technicolor Dreamcoat (UK Tour), New Victoria Theatre | Review
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Reviewed on Tuesday September 13th 2017 by Olivia Mitchell
★★★
I think I'm probably in a theatre minority of people who actually like Joseph and the Amazing Technicolour Dreamcoat. I know it's kind of cheesy and a mishmash of things but I grew up watching the recorded version and absolutely loved it; looking back Donny Osmond was probably my first childhood crush and all I aspired to be when I grew up was Maria Friedman! I was in a school production of Joseph and I did see a touring production of it when I was about 10 but I honestly don't remember it so this was really my first experience of seeing it live.
From the outset it was exactly what I expected: cheesy but fun. There's no getting around the fact that its a childish show but what they've done really well with this production is really play on that childish humour. The usual moments which are more sexy or grown up, have been changed to suit a younger audience and it really works. This is never going to be a show aimed at adults who want a life-changing theatrical experience so why not make more kid friendly?!
Whilst the general vibe is like a children's TV programme, the cast are grown up and outstanding. Joe McElderry as Joseph is wonderful and he performs the role with conviction whilst adding his own spin. Joe's voice is stunning and rings out with emotion and power throughout, especially in the classic, 'Close Every Door'. Trina Hill plays the narrator fantastically. She is suitably animated as if telling children a bed time story and her voice is out of this world. Contrastingly to Maria Friedman, Trina belts for her life and completely wows the audience. Her technique is sensational and I was honesty blown away at how clear and strong her voice is.
The rest of the cast and ensemble work well together to create the somewhat magical and crazy world in which the story takes place. A special mention has to go to Matt Jolly (Gad) who has a beautiful solo moment during 'Those Canaan Days' which was just lovely.
Sean Canvanagh's staging is simple with just a few moving parts and mostly props brought on and off to show various changes. The children's choir who provide the backing vocals are sat either side of the stage for the majority of the show whilst joining in for some sweet choral moments. Nick Riching's lighting works well, adding warmth and drama to the action although the "flash of light" does get a little repetitive.
As I say, this show is definitely more for kids than adults and I know it won't be everyone's cup of tea but it's a great way to spend a couple of hours and the cast do an impeccable job from start to end.
Tuesday, 12 September 2017
Grease (UK Tour), Edinburgh Playhouse | Review
The turn of Grease at the Edinburgh Playhouse transformed the theatre into a lively hothouse of hand jiving, bomber jackets and 50s nostalgia. With hundreds of costume changes, multiple set changes and an enviable line-up of cast and crew, including Tom Parker of The Wanted fame, this production of Grease was far from an understated affair.
The first surprise in the production came when the curtain initially lifted to reveal an exposed upper mezzanine level to the stage, where the live band was on display for all to see. With charismatic showmanship, the flamboyant conductor introduced each of his band members with the flick of the wrist, while they in turn stood up and gestured to the audience to boast their musical prowess. As far as warm-up acts go, this one was pretty spectacular.
Cut and the band are once again hidden from view (only to emerge later in a few choice scenes), with the show’s two star-crossed lovers emerging from opposite ends of the stage, raised on pedestals in a creative use of staging. Danielle Hope astounded the audience as Sandy from the very first note, captivating even the back seats with her commanding theatrical voice, with seemingly endless levels of range and depth. Tom Parker successfully portrayed the too-cool-for-school attitude of well-loved character Danny Zucko, but the powerful contrast at play between his boy-band tones and Danielle’s finely trained voice was at times, very clear to see. His “Sandy” solo was less than electrifying, whereas Danielle’s solo performances had the audience clinging onto every perfectly delivered note.
The supporting cast in this musical raised the energy levels tenfold; hand-jiving, flipping and jesting their way into the audiences hearts. Jan (Rosanna Harris) and Roger (Oliver Jacobson) were transformed from sideline characters into firm audience favourites. Each couple’s voices were paired to perfection, making for some harmonious duets. Special mention goes out to Alessia McDermott, who was standing in for ChaCha on the evening we attended; she high-kicked and smouldered her way through the show, leaving the audience clueless as to why she was only an understudy in the first place!
As far as performances go, this one was extremely physical, but the young cast kept pace the whole way through. It will come as no surprise to any viewer that the dance scenes were the brainchild of Strictly’s Arlene Phillips – the couple’s competition at the school dance featured more lifts and swings than you could shake a baton at. The razor-sharp choreography throughout was a real highlight of this performance, with not a single cast member slipping up during the lightning-speed handjiving sequences.
In a nutshell, this show was both ambitious and energetic in equal measure. The flashes, bangs, fire and sparks during the Greased Lightning song resulted in a real show-stopping moment, while Danielle’s voice reached dimensions far beyond what Olivia Newton-John could deliver in the movie version. Whether it was down to delivery or acoustics, some of the snappy tongue-in-cheek comments were unfortunately difficult to hear, and many of these jokes were as a result missed by the audience.
Overall, this was a very well-assembled production of an old school classic, delivered with such youthful energy and accompanied by great staging - viewers of any age or gender are guaranteed to get swept up by the excitement and extravagance of this show.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
In Conversation With... Marta Jorgensen | Donny and the Sun King | Interview
I am all about helping new writing because who doesn't want something fresh? So when Marta Jorgensen contacted me about her show which she has written and is currently trying to raise funds for, I was very intrigued and excited to talk to her about her process and what she's trying to do...
What got you into writing?
In my thirties I was married to a songwriter who ran off with his songwriting partner. In the beginning the urge to write was spurred on by wanting to get even. But as time goes by, one realises that revenge is a dish best left in the ice box. I was ready to throw it out and just write. Screenplays, songs, a lot of political writing and opinion pieces.
I found it nice to be published until… well you know, then you get a rebuttal. I ran for political office in the US and wrote extensively for that. Sustainability, Straight Talk and Citizen Activism. Politics is like theatre and that inspired several songs about politics and media. From those songs came the play.
Has it always been a passion of yours?
No, but singing has been since watching tiny Michael Jackson onstage at a young age singing like an adult. I wanted to be on stage at six years old. I caught a fame bug.
Can you explain what Donny the musical is about?
Donny is done as a play within a play or a kind of Metatheatre. I use this literary device; it is Rhoda’s inner workings, her mind and her thoughts, her emotional state. Freud talks about the dream within a dream and Shakespeare used it with success. The play talks about itself and is aware of itself. In the story she brings her family into her imagination, they sing about it, she sings about how she wants to write an ending she can live with. Rhoda in her dialogue calls attention to the plot and how it is not going her way. Characters give advice to her about what others should do.
Rhoda Haynes, a quirky New York playwright has a grudge against Frenchy King and his lying King Media Empire. Rhoda and her family are suing King Media over fake stories written about them. She can’t do anything or say anything to jeopardise it. But, she wants to get even. Hubert, Rhoda’s husband tells her to write and get it off her chest. So Rhoda, sitting at her desk, starts banging away on an old fashioned typewriter. She starts a play called “Donny and the Sun King”. Here is the story as she creates it - inserting herself and her family members, husband Hubert Haynes, daughter Blaze Haynes, as themselves (Rhoda Haynes, a playwright, Blaze Haynes, Rhoda’s daughter, a famous singer and Hubert Haynes, a Congressman). Just like in real life, the character family debates with Rhoda about plot issues involving them. Rhoda wants an ending she can live with so she tries to write one.
What made you write this show?
From the 80’s to now media has evolved and taken over our lives to an extent that we have lost control of it. Standing at the checkout counter you see name after name splashed there about some affair or travesty they had, then later you read the paper got sued for writing a fake story. Now everyday it’s on the Internet. I started this play three years ago with just that in mind. Now it’s done and we have Mr. Trump in office and all anyone talks about is fake news. So I have tapped into the zeitgeist of the times. But to tell you the truth, I have a fascination with the tabloid world. I love headlines like I married Bigfoot; Aliens are Living in my Basement. Frenchy King sings about these kinds of stories.
The subject is extremely relevant, what made you choose it?
The subject chose itself. How can you not write about it? It is today’s reality. How else can you write about Perry’s Poorhouse, Rhoda’s concept of Hell, a combination of Don Giovanni and Married with children and get away with it. Tabloid media lends itself to fanciful worlds and situations.
You’re raising the money for a score through Hatchfund, can you tell us a little about that?
Yes, Hatchfund is an arts crowd funding organisation. You have to submit to get accepted. They give you an account manager who baby sits you through the crowd funding process. They have a 75% success rate. I am raising money to hire a studio in Santa Barbara CA, Hidden City Studios and its owner, Elliot Lanam, to help flesh out the play songs and other music.
It’s a long process and the biggest part of producing a musical of course. I need $4000 to $5000 to meet my goal by October 31, 2017. There are 19-20 songs with names like My Story, Ratings R Us, Donny’s Lament, Hope and Pride, Perry’s Poorhouse, Babel, Ball and Chain, What’s in a Word, Lower Slobovia. The music is a mix of styles, kids have their sound, the media upper class have their sound and the Rhoda and her family have a sound of their own. All pulled together by a thematic through line.
Did you model the characters on anyone you know?
Well yes, but I might not be able to divulge that. LOL. I don’t want to be sued. That would be too much like the story acting out itself.
But I have to say there is a lot of Rhoda Haynes in me. If you want to know what parts you will have to read the play and donate to the cause. Then I might reveal it.
If you could sum the show in 5 words what would they be?
Beware of writers with grudges.
Hilarious, satirical and very entertaining.
What’s your best piece of advice for aspiring writers?
Go to school and learn it right. Treat writing like a job but be yourself. Or if you are not yourself, after you write for awhile you will find yourself. Then maybe you might want to lose yourself.
Listen to the small still voice in your head at 5 AM saying get up I have a scene I want to work on. That’s the muse. Or it could be the TV. Most of my work comes while walking in nature. Writing is channeling the universe. A wise man once said that and I find it to be true.
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