Wednesday, 25 July 2018
Fame The Musical (UK Tour) | Press Launch
1980 musical theatre favourite, Fame opens in a new reincarnation which Keith Jack (Nick) says "feels like the iconic film and series which made Fame great" tomorrow (26th July) at the Manchester Palace Theatre, before continuing it's tour. Featuring memorable songs such as Think of Meryl Streep, There She Goes, I Want To Make Magic and of course the title song Fame, the musical tells the real-life version of breaking into the performing arts and confronts many of the struggles young adults face, "we're not here to sugar coat it" says Mica Paris.
I was lucky enough to see the amazing cast in their penultimate day of rehearsals as they gave us a sneak peek into the show and whet out appetites for what's sure to be an energetic, thrilling show.
Choreographer and director, Nick Winston introduced the show and set us up to hear and see a few numbers. First up a full-out rendition of There She Goes performed by Stephanie Rojas (Carmen) and the cast. From the first moment they began, the energy was infectious and it's genuinely thrilling to see such talent on stage, Rojas is feisty as the Latina who dreams of being famous and I already anticipate her performance as being outstanding. Also notable is the fact that there are a number of actor musicians featured throughout which add to the real life feel and really transports us to a vivacious theatre school. Jorgie Porter exclaimed how excited she is to be performing in her first musical and how "it's constant all the time", Keith added that Nick's aim with the show is to make it fast paced and to feel like New York in terms of being ever moving and full of verve.
Keith Jack gave a truthful rendition of I Want To Make Magic whilst Molly McGuire was hilarious as and lovable as Serena, it will be lovely to see their relationship play out on stage. When asked about the show Keith told us that it's so special because "the cast and director and the entire team have made this electric, buzzy show" and hopes audiences will "be able to relate to a certain character and latch onto to something in the story."
Jamal Kane Crawford's performance of Dancing on the Sidewalk tired me out just watching! Full of energy he completely commanded the space. Alongside Mica Paris the pair create a realistic, but heightened portrayal of a student and teacher who are at odds. Paris' performance of These Are My Children left us all in awe at her effortless vocals. A lovely thing is how supportive the cast are of one another, all cheering each other on and embodying the family feel of being in school together, something which I think will definitely translate to the whole production. When chatting to Mica, Keith and Jorgie after the performance, this was even more evident and they all echoed that the team feel and talent of everyone is what makes the show so special for them.
The title song of Fame features the iconic lyric "remember by name". When asked what they would like to be remembered for I was met with semi-silence as it's a pretty deep question but each person had a lovely, heartfelt answer. Jorgie would love to be remembered for "making a fun situation out of anything", Mica would like to be remembered for "showing anyone that no matter what people tell you, you can be what you want to be and you should do what you feel". Finally, Keith told us a lovely story about his grandad who consistently made people happy and how it inspired him to do workshops for people to try and make them happy; so he would like to be remembered for "bringing light to people... although I'll probably be remembered for being Scottish!"
Keith rounded off with: "I think people will come to the show and get what they expect, plus even more" so if you want all the energy, excitement, romance and pure storytelling from Fame, plus even more then book your tickets for the 2018 UK tour.
Post by Editor, Olivia Mitchell
photo credit: Tristram Kenton
Sunday, 22 July 2018
In Conversation With... Jordan Luke Gage and Christina Bennington | Bat Out of Hell | Interview
Hello Bat Out of Hell fans! You've may have thought the Bat content was over with Bat Month done and the leading ladies' Stagey Guide to Singing posted, but fear not because we have another interview with Christina Bennington aka Raven and Jordan Luke Gage aka alternate Strat!
You’ve been in the show since the beginning, what’s something memorable from each city you’ve been to?
Christina Bennington: I’ve been very lucky to have settled in different cities with the show. In Manchester, it was wonderful to experience Jon’s incredible set for the first time and really find our feet. Sometimes literally on that mountain. The Coliseum standing ovation on the last night and our crazy exit stunt was a ‘pinch me’ career moment. Our fans are incredible and it felt like a real party for us all together. In Canada we had a wonderful time with our audiences. We had been told they would be ‘more polite’ but I guess we had all the rockstars in the audience. We certainly felt welcomed with huge warmth there.
What’s it like going back to your ensemble after playing Strat? Are you always wanting to sing the Strat track?
Jordan Luke Gage: Being able to perform two parts each week is a blessing because it keeps the performances fresh for me. Every time I get to play Strat it feels like opening night again which is thrilling. My ensemble track dances more than Strat so it’s nice to have that difference in the shows - one day I get to sing these epic songs and play this larger than life rockstar and the next I get to sweat it out in the ensemble.
Christina and Jordan as Raven and Strat | Photo Credit @EllieLoolaVlogs
Which ensemble characters would you like to play?
Christina: Denym and Spinotti. When I grow up, I want to be Isaac Edwards. The way he makes the choreography his own and embellishes and fills in between the steps is inspirational. He’s one of the characters I interact and connect with the most. I’d love to be able to express myself physically the way he does. I also absolutely love Spinotti. Natalie Chua has made her so feisty and interesting. She is an integral part of the Lost – especially as a fighter!
What’s your favourite song to perform as Strat?
Jordan: Ooo tricky question! Obviously I love performing Bat Out of Hell. The way the song builds allows you to feel like you’re on this crazy adventure which results in totally pouring your heart out on stage and squeezing out every ounce of energy in your body. You feel totally liberated and bare on stage and it’s a beautiful feeling!
I also LOVE For Crying Out Loud. Jim Steinman’s lyrics exude passion and colour and Michael Reed’s arrangement takes you to another world. When I got the audition through for the show, this was the first song I listened to on the soundtrack and my heart rate went out the roof! I knew that I had to be in this show!
Can you tell us about any fun cut scenes from the show?
Christina: I really loved singing (and dancing) It Just Won’t Quit. That’s an absolute favourite of mine that’s been cut. It’s wonderful that the show is constantly evolving and growing. Maybe I’ll just have to sing it at a concert sometime…
How do you maintain your vocal health singing the intense Steinman music every night?
Jordan: It’s so important to rest! I can’t function without at least 8/9 hours sleep each night and lack of sleep really affects your voice so this is key! Also, hydrate! I drink water constantly throughout the day, at least 4 litres a day. Also I never sleep with the heating on in my room and always have the window open - this might just be a myth, but having natural air flow when you sleep stops you drying out!
What’s your favourite Raven outfit?
Christina: I love them all but I have a special place in my heart for the birthday party dress. It’s a beautiful handmade couture dress and I love that it’s playful and girly but with a harder edge. The net detail looks like feathers so it’s the biggest nod to a raven. I also wear a very cool raven ring with it.
photo credit: Specular
Raven’s wedding dress is gorgeous but is only seen briefly. Can you tell us a little about it?
Christina: I’m so grateful that our creatives have taken our input seriously on this show. It’s a true collaboration. When Jon was creating the wedding dress he asked me what I needed from it. I knew I wanted it to still have a lot of movement. Raven always needs to be able to run and jump, no matter what she’s wearing. We started with a full length white dress and Jon pulled up parts of it and started pinning to create texture. We played with it and adjusted the bodice until it felt right.
What do you think makes the show appeal you both old and new fans of Jim Steinman/Meatloaf?
Christina: Jim’s music is epic and bombastic. It’s full of joy and sadness, energy and feeling. My mum tells me you can’t help but leave full of joy. I think people come back time and time again to feel that high.
I certainly agree with that! If you're wondering what rocking, wild, exhilarating show to see this summer then Bat Out of Hell should definitely be your first choice! A huge thank you as always to Jordan and Christina for chatting to us and to everyone who sent in questions for them both.
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
A Stagey Guide to Singing... Aimie Atkinson | Six | Stagey Sunday
What time is it?
Stagey Sunday time!
Stagey Sunday time!
Welcome back to this week's Stagey Guide to Singing, this week we chat to the vocal goddess that is, Aimie Atkinson. Aimie is a part of glitzy girl-group, Goldstone who recently won the Voice of Astana competition; she is also starring in the new concert musical Six, all about the wives of Henry VIII. The show is taking the country by storm and will be heading to London in August/September. It's all go for Aimie, so vocal health and maintaining her voice is very important, keep reading to find out her tips, tricks and vocal stories...
What has your vocal journey been? (eg. have you always been a singer, were you in a choir as a child, have you changed voice type over time?)
My dad was in a rock band so I grew up singing along to all the legendary rock singers. My dad would teach me harmonies and we would sing together. When I was old enough I went to an am dram group in my home town in Stevenage and thats when my passion for theatre began.
You’re part of Goldstone and are starring in the concert musical, Six so you’re used to both theatre and concert styles of singing. Do you find you have to adapt your voice for the two or does switching come naturally?
For me both theatre and concerts are quite similar. However the sound tech is slightly different- with Goldstone we have in ears which really helps with hearing your own voice and the other girls harmonies. In theatre it's usually onstage monitoring which is slightly trickier to hear the blend of voices but more authentic which works for stage. On Six the Musical because it's a theatre piece but in the style of a concert we use in ears. The show is very hard vocally so to have this is a god send and is really saving our voices over the tour schedule.
Six is a new musical which people are loving; it must be really exciting being part of creating a brand new show. What’s the journey been like so far? Have you had a lot of input on what works for you vocally throughout the process?
Being a part of a new musical is an absolute dream come true. For me it's just so exciting to create a role and to have input into something new. We've definitely had input when it comes to character and what works vocally for us. Katherine Howard is based partly on Ariana Grande so she definitely influenced my vocal choices and mannerisms. However the song I sing in the show is pure story telling so for me that always come first before the vocal sound.
Vocal health is obviously so important but do you have any coping techniques for the mental side of performing such as when you lose your voice or feel unmotivated?
You're going to lose your voice! That will happen it's inevitable- we are not machines and a theatre schedule is incredible tough and for me I try not to be harsh on myself. As long as I've told the story truthfully who cares if a few notes are not quite perfection.
What is your pre-show warm up like?
My pre show warm up is low about warming up my body- I believe if your body is warm then you are in the right physical condition to sing. I do a short concise vocal warm up. Nothing too intense as I find so many warm ups tire you out before you've even started the show.
I also warm up my neck/ jaw and tongue which really helps me to keep relaxed when doing tough Goldstone sets.
Who would your dream duet partner be?
My dream duet partner would be my fellow Six Queen Natalie May Paris. Her voice is divine! You must come see the show to believe it! She's a star.
What’s your top piece of advice for aspiring performers in terms of finding and maintaining your voice?
My biggest piece of advice would be to just enjoy singing, when you've been in the industry for a while sometimes people can take for granted what an incredible life we lead. Really enjoy what you do and that will shine through in your voice.
Thank you so much Aimie for chatting about all things singing! Be sure to catch Six either on tour, in Edinburgh or in London. More information about the show can be found here.
Interview by Editor, Olivia Mitchell
Saturday, 21 July 2018
Sounds and Sorcery celebrating Disney Fantasia, The Vaults | Review
Sounds and Sorcery celebrating Disney Fantasia
The Vaults
Reviewed on Thursday 19th July 2018 by Olivia Mitchell
★★
The Vaults is one of London's most exciting venues. It's labyrinth of tunnels allow it to be easily changed into a whole world of magical mazes which provide the perfect space for immersive theatre. It's currently playing house for a multi-sensory experience which combines classical music, live performances and beautiful sets to transport us to the world of Disney's 1940 film, Fantasia. The experience is not a replica of the film, it is merely inspired by the classic; a certain mouse for example, never makes an appearance.
The goals of this show are clear, they want to enchant audiences and give them a magical night but personally it falls a little flat. In the entrance, audience members are given an ipod and a set of headphones which play varying pieces of music and tell us to wander freely throughout the various rooms. These include a volcano that seems set to erupt at any minute, a bubble wonderland, a frozen lake where lights fly around the ice whimsically and a garden of flowers where an omnipotent voice whispers, somewhat eerily, around us.
The overall concept is very reminiscent of the recent Opera: Passion, Power and Politics exhibition at the V&A which took audiences on a route around a large maze of rooms whilst playing varying pieces of music and providing facts and information on the piece and era it was written/performed. Sounds and Sorcery takes the same idea but a lack of structure lets it down a lot. The idea of "choosing your own path" is exciting but if you choose wrong you are left to mill around for a long time, waiting for rooms to be ready, which takes away from the magic and leaves a lot of aimless, dead time.
Some of the rooms are exciting, namely the iconic Sorcerer's Apprentice where the actors whiz around under a spell and splash water on those in the closest proximity. The Dance of the Hours is also enjoyable thanks to the wonderful performers but the plot of the dance is unclear unless you realise that each person is playing an animal. There's a knock-kneed Flamingo, the boisterous Elephant, a hissing Crocodile who skilfully does some aerial skills and an attention loving Hippo. Each do a great job of performing but in comparison with the other rooms it feels random.
If all the rooms included performers it would be a much more enjoyable experience. Although Kitty Callister's designs are magical and bright and the stunning music such as Stravinsky's Rite of Spring which surrounds us is wonderful, there's nothing keeping us in each room for more than a minute or so.
The lack of structure combined with some fraying parts of the set make the whole thing feel amateurish and Sounds and Sorcery Presents Disney Fantasia doesn't quite hit the mystical mark it's aiming for. There are a few brief magical moments and the design is wonderful but there needs to be a cohesiveness and draw to really transport audiences and give them "wow" moments rather than, "that's cool, let's move on".
Sounds and Sorcery celebrating Disney Fantasia runs at The Vaults until 30th September
photo credit: Hanson Leatherby and Laurence Howe
Wednesday, 18 July 2018
A Monster Calls, Old Vic | Review
A Monster Calls
Old Vic
Reviewed on Tuesday 17th July 2018 by Emma Gradwell
★★★★★
I was familiar with the storyline of Patrick Ness’s A Monster Calls prior to yesterday’s performance at The Old Vic, after watching the 2016 film adaptation. Despite this, I was not prepared for the emotional journey the story would once again take me on – and the copious amounts of tissues that would be required to mop up the resulting mess. Although a book written primarily for children, A Monster Calls contains some very complex themes– and they are all embraced in director, Sally Cookson’s take on this incredible story.
Conor is 13 and his mother has incurable terminal cancer. His nightmares always come at 12.07am: a monster comes walking to deliver three stories – and then finally to hear Conor’s.
The nightmares are visualised as blood-like projections upon a blank white wall, a system being pumped with chemo, accompanied by strobe lighting, loud dissonant noise and physical discomfort. Benji and Will Bower’s ethereal score helps take us on Conor’s journey from denial, through anger and fear, to acceptance.
The set, designed by Michael Vale, is stark, white and uncluttered. A stripped back stage, with virtually only ropes and chairs, is used to inventive effect by the ensemble cast of twelve. The fluidity of the production relies on sharp timings. It seems almost implausible that trees, classrooms, crowns and cars can be created with only these props, but it is done with great effect. The simplicity of the set lends itself to the solitude of Conor, played by Matthew Tennyson. Tennyson manages to capture a very raw, real and believable 13-year old boy. He often doesn’t engage with other characters, in the way a child in denial would not. The performance is unsweetened and plausible.
Selina Cadell delivers as a bitter and awkward Grandma, dealing with her own grief and not entirely sure how to help Conor. In the scene following Conor’s destruction of her living room, she gives us perhaps the most human moments in the production.
Stuart Goodwin plays the Monster, alongside a complex tangle of ropes – and although we are left in no doubt that the monster is a metaphor for the cancer, Goodwin offers us a complete arc to its importance in the story. At the outset the monster scares us with his booming voice as he shouts from high above in his form as a yew tree. As the story continues, he becomes closer to human as he walks on stilts, until eventually he is alongside Conor as he embraces him in a way we never see his distant father do.
This story contains no real heroes or villains. It is a brutal tale that focuses on the harsh realities of mortality, and our helplessness in grief and the emotional complexities of its process. This production tells it very well, especially in the quietest of scenes. A Monster Calls is not to be missed.
A Monster Calls runs at the Old Vic until 25th August
photo credit: Manuel Harlan
Tuesday, 17 July 2018
Evita (UK Tour), New Victoria Theatre | Review
Evita (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 17th July 2018 by Olivia Mitchell
★★★★
Classic musical, Evita has been thrilling audiences in the UK and around the world since it opened in 1978, winning the Olivier Award for Best Musical. Multiple re-incarnations have allowed various portrayals of the iconic characters and different takes on the tale of Eva Perón. Despite not having a huge amount to compare to, having only seen the 1996 movie and 2006 West End production, I don't hesitate saying that this current tour helmed by Lucy O'Byrne, Glenn Carter and Mike Sterling has created an almost perfect production and showcases the music and story of Evita wonderfully.
Not only was tonight Evita's opening night at the New Victoria Theatre but was also the opening night for the three leads who each do an outstanding job. Mike Sterling commands the role of Juan Perón with power and fight whilst also showing off a softer side with his wife. He is vocally wonderful and complements Lucy's voice well. As Che (in some productions based on Che Guevara, and others as working class Everyman base of Peronism) Glenn Carter is versatile. A strong voice and all-knowing-rock-god-vibe means he brings a unique but perfectly suitable strength to the role.
As the leading lady, Lucy O'Byrne grows and blazes as Eva Perón. Starting out as a 16 year old who knows what she wants to a dying politicians wife, O'Byrne's transition is breathtaking to watch. Stand out moments include Rainbow High and You Must Love Me which show the drastic differences between Eva's character. Lucy performs the role with passion and drive whilst maintaining brief innocent moments. Her vocals grow as the character does and her stellar diction means we don't miss a word of the fast-paced passages.
Bill Dreamer's choreography brings to life the world of Argentina and cleverly moves us from one moment of action to another, whilst, Matthew Wright's sets and costumes create a vibrant world which draws you in from the opening. The fairly simplistic sets echo the world of the Perón's and at times provide a stark contrast to the glamour of Eva.
It's hard to pick fault with such a strong production but one thing in particular strikes me as odd: the decision to give the entire cast English accents. This doesn't take away from the performances at all but feels like a bit of a cop out, and makes us forget the show is set in Argentina at times.
However, overall this production is well thought out and does a brilliant job of bringing Tim Rice and Andrew Lloyd Webber's music and lyrics to life once more. This show is not glitz and glam happiness, but it is a raw and moving story which should certainly be seen. Stellar music is brought to life by a magnificent cast who make Evita a must see!
Evita runs at the New Victoria Theatre until July 21st before continuing it's tour.
photo credit: Keith pattison
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