Monday, 20 May 2019
School of Rock, Gillian Lynne Theatre | Review
School of Rock
Gillian Lynne Theatre
Reviewed on Wednesday 15th May 2019 by Olivia Mitchell
★★★
School of Rock is one of those cult films that are genuinely wonderful. Funny, sweet and a crowd pleaser, the 2003 Jack Black hit transfers well to stage and provides and entertaining night out for all ages.
The musical follows Dewey Finn (Craig Gallivan) a wannabe rockstar, who's been kicked out of his band and somewhat accidentally becomes a substitute teacher for a prestigious prep school. Struggling to teach anything, he soon realises he can connect with the children through music and opens their eyes to the one subject he's well versed in- Rock!
From here on in music making and mischief ensue with the children sneaking around behind their prim principle Rosalie Mullins (Laura Tebbutt) and covering their tracks from their parents as they attempt to win the Battle of the Bands contest.
As Dewey, Craig Gallivan fantastically helms the somewhat formulaic musical; with an undeniable magnetism that does Jack Black proud whilst bringing his own spin on the larger than life rocker. Barely leaving the stage, Gallivan's portrayal is energetic and hugely memorable and he provides face-melting singing as well as a marvellously humourous performance.
As cliched as the character is, Laura Tebbutt brings Mozart singing Rosalie Mullins to life in a delightfully charming and comic way. Her characterisation is very well developed and her vocal performance is a diamond moment in the show. Tebbutt's solo number Where Did the Rock Go? is a plaintive ballad performed with pipes of steel and a real oomph.
Though well performed, the prologue of the show before the children begin performing does feel over extended and it takes some time for the musical to really perk up. However, when the young actor-musicians take the stage, the Gillian Lynne theatre comes alive with unrivalled talents. Ensemble numbers School of Rock and Stick It to the Man are particular stand outs.
The Horace Green students are a live in person advert for talent as they rock out on stage with the skill you'd expect of those much their senior. Will Tarpey is a complete stand out as the band's stylist Billy. Emoting every second and earning laughs from the audience left, right and centre he is a real superstar who knows how to own and work a stage. Amelie Green is witty as stuck-up Summer and Caspar Lloyd is wonderful as Lawrence. Nayan Gupta is completely fantastic when he showcases his superb musical talents as Freddy. Special mention must go to Jasper Bew who is out of this world as Zack, giving a performance to rival most adults and completely rocking the stage.
There are lulling moments in this production but it does manage to capture the heartwarming nature and humour that we all love from the film. As well as being a fun night out, School of Rock highlights the importance and power of music and is sure to bring a smile to your face and a tap to your toes.
Book tickets from School of Rock from www.londonboxoffice.co.uk
Friday, 17 May 2019
Summer Street, Waterloo East | Review
Summer Street
Waterloo East
Reviewed on Thursday 16th May 2019 by Shaun Dicks
★★★★
Everything is a little brighter on Summer Street, or in this case Waterloo East Theatre. Summer Street takes us back to the hayday of the 1990’s to 00’s Australian soap opera or ‘Soapys’ where Jason Donovan and Kylie Minogue were making their marks on television and British pantomimes always starred a Soapy star.
In Summer Street the Aussie Soap Opera Musical we follow one of the biggest Soapy shows, Summer Street. After a few years of the show being cancelled, the stars of the show are brought back together for a one off spectacular, with a live broadcast at the end.
Summer Street as a show is hilarious. It is pure spoof comedy in its material and the cast does well to carry that over. However, at some points it feels that the cast are almost trying too hard to bring the comedy and some spots aren’t allowed to breathe. But nine times out of ten, the comedy works.
The cast is four persons strong, with Simon Snashall as Bruce/Mick/Dr Marl and Myke Cotton as Paul/Brock/Butch putting in good performances. They landed jokes and hit their harmonies well. But the women stole this show. Julie Clare as Steph/Mrs Mingle/Marlene was an absolute powerhouse and Sarah-Louise Young as Angie/Bobbi/Sheila was complete comedy gold. These two women had fully fleshed out characters, all three diverse from each other. Their comedic timing was brilliant, especially in song with Marlene’s boppy Lucky Plucky Me and Bobbi’s Chains Around My Heart. And overall the shows harmonies are good, this is a testament to Musical Director Sarah Morrison.
The man whose fingerprints you can see all over the show is Andrew Norris. His script and lyrics with all the gags and obvious spoof is very funny. The music is kitschy, catchy, very much of the 90’s/00’s era and you can hear all the different influences in his score. The direction generally is good. Like I’ve previously said, there are moments when the show need to breath and maybe go for the less obvious comedic choice. The choreography by Lauren Chinery is stylised and of the era but the set design by Amy Mitchell is limited.
Summer Street is fun, silly, spoofy and full of gags. It’s exactly what all of us need at the moment. It takes us back to an era from the not so distant past. The show makes you feel good, smile and gut-bustingly laugh. So, hop on down to Summer Street for a ripper. Bonzer mate!
Summer Street runs at the Waterloo East theatre until 2nd June 2019
photo credit: Simon Snashall
Wednesday, 15 May 2019
American Idiot (UK Tour), New Wimbledon Theatre | Review
American Idiot (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 14th May 2019 by Olivia Mitchell
★★★★
Taking Wimbledon by storm, American Idiot is a maelstrom of epic performances, high intensity choreography, a killer score and fantastic acting. Taking the music of Greenday and combining it with a story about three men facing darkness and pain on their journeys to finding something they can believe in; it is a very well constructed show which packs all the right punches.
Sara Perks' design is simplistic but does complete justice to the theme and aesthetic of the show. Screens are cleverly used to show various emotions and flashbacks and to emphasise certain scenes. These also allow original American Idiot cast member Lucas Rush to be cleverly worked into the show as the Rock 'n' Roll Boyfriend, these little details make the show stand out and no doubt are a factor in keeping loyal fans returning time after time.
Tim Deiling's lighting is suitably in your face, but equally precise and emotive in the higher intensity moments of the show. Chris Whybrow also achieves good balance between creating blast-your-ears-off numbers and more acoustic sounding pieces. For a show which on the surface may seem a bit of a mish-mash, it's very well conceived and carried out.
The American Idiot cast are uniformly strong as they perform Racky Plews' choreography with bite and aggression, and give note-perfect vocal performances. Tom Milner is darkly captivating as Johnny who leads the show with spades of commitment. Milner's breakdown moment is act two is utterly superb. The audience can physically feel each others tension as Milner has mastered controlling a crowd with every breath. His well-acted and well-sung performance is impeccable.
Sam Lavery is a vocal powerhouse who brings a sexiness and sadness to the show. He vocals are smooth and captivating. Luke Friend give a manic and electric performance with killer vocals and a performance which crackles and fizzles throughout; and Samuel Pope plays the troubled Will with sincerity and subtlety. As Tunny, Joshua Dowen gives a striking performance with a great character arc.
Another stand out is Glenn Adamson who captures our attention whenever he's on stage and who provides particularly strong vocals in his solo moments. Alexandra Robinson, Shekinah McFarlane and Siobhan O'Driscoll are especially memorable throughout.
Musical highlights include 21 Guns, Wake Me Up When September Ends, St Jimmy and Good Riddance (Time Of Your Life), but the whole score is performed superbly well.
Whether you've grown up with Greenday, or like me just know a few of the most popular songs, you'll certainly enjoy this raucous show. The storyline itself is pretty thin but thanks to the outstanding vocal performances and incredibly emotive and shocking scenes, American Idiot provides a fun, feisty night out.
American Idiot runs at the New Wimbledon Theatre until 18th March 2019 before continuing its tour
photo credit: Mark Dawson Photography
Friday, 10 May 2019
Matilda (UK Tour), Bristol Hippodrome | Review
Matilda (UK Tour)
Bristol Hippodrome
Reviewed on Thursday 9th May 2019 by Roni Hughes
★★★★
Whether you yourself were obsessed with books as a child, or if you were just more of a movie person, I can guarantee that you will know something of Matilda Wormwood.
Originally a children’s book written by Roald Dahl and released in 1988, Matilda was later adapted into a blockbuster film starring Mara Wilson and Danny DeVito, becoming a firm favourite of young and old alike. Now the well known tale is back in a musical stage adaption by Dennis Kelly, with music and lyrics from Tim Minchin. Although currently on its first UK tour, the show has been a resident in London’s West End since 2011, and having had the pleasure of seeing it there multiple times, I was intrigued to see how seamlessly such a fast paced and well staged show would transfer to a smaller stage. For many parents unable to travel to London, this is their opportunity to take children to the show for the first time, and it’s impossible not to get swept up in the excitement upon arriving at the theatre.
Right from the off, it’s clear that the transfer has taken nothing away from the production value. Even on a smaller stage, the intricacies of the sets to include many books and building block letters are still mind blowing. There is so much to look at, yet none of it distracts from the main action. A special shout out must go to the cleverly written and performed School Song, in which the older children of Trunchem Hall teach the new starters their ABC’s through the menacing school gates. Hats off to Matt Towell and Ben Davies for continuing to make this as dynamic and tricky as it should be.
Outside of the staging, there are a few standout members of the cast without whom the show would fall flat. Our Matilda for the night, Olivia Juno Cleverley, has the little girl’s feisty nature down to a T. She has to ability to have us laughing along with her karate chopping one minute, and the next be tugging on our heart strings in softer moments where we’re confronted with just how awfully the adults in her life treat Matilda. At her young age, this is no mean feat, and I’m sure there are bright things to come for her. Special mention also to Charlie Garton who played cake loving Bruce Bogtrotter. His fabulous dance moves in Revolting Children have the audience rolling in the aisles, and he has energy and stage presence in spades.
This is not forgetting the adult cast members, who do well in being the literal embodiment of their characters. Carly Thoms’ Miss Honey is perfectly meek and mild, and her rendition of My House is suitably gut-wrenching. It’s a refreshing change to have one adult in Matilda’s story for whom you root just as much as title character, and Thoms allows us to sympathise completely with this teacher with a heart of gold.
We also cannot overlook Elliot Harper, who plays the formidable Agatha Trunchbull. Harper succeeds brilliantly in providing us with the laughs throughout the entire show, right down to one final cry of ‘Maggots!’ during the last reprise. He is the fourth Trunchbull I’ve been able to watch, and he certainly does not disappoint.
One thing I must mention that took away slightly from the overall production was the sound mixing. I’m unsure on whether it was simply down to the mics or the theatre layout, but the music seemed to overpower the actors, and particularly in chorus songs, the clarity needed to hear all the lyrics was missing. The show in general was not quite as polished as you would expect for a show that’s been on tour for 14 months already, which was most obvious in some of the dance sequences. However, despite this the show was still more than enjoyable, and this may just be down to adjusting to the recent move to the Hippodrome.
This show is wonderful for children from ages 4-104 and would certainly make for a fantastic family night out. There are plenty of age appropriate gags for all generations, and there’s a great balance of poignant moments mixed with fun and hilarity. I would definitely recommend being a little bit ‘naughty’ and treating yourself to a ticket!
Matilda runs at the Bristol Hippodrome until 8th June before continuing its tour.
photo credit: Manuel Harlan
Thursday, 9 May 2019
Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox, Museum of Comedy | Review
Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox
Museum of Comedy
Reviewed on Wednesday 8th May 2019 by Olivia Mitchell
★★★★★
Bat Out of Hell may have closed at the start of the year but that doesn't mean the love for the show and its cast has dwindled. In fact, the fans may be even more supportive now as they jump at each chance to keep the memories alive. Last night that was helped by Valkyrie and Blake themselves: Georgia Carling and Patrick Sullivan who put on a concert as part of Monsteers Artistry's new series. The pair took to the stage of the intimate Museum of Comedy to bring us a night of beautiful vocal entertainment as they sung us through some of their favourite songs.
Despite both having their starring moments in Bat, it was an enthralling treat to hear both performers really sing and show the audience just how talented they are. Their various song choices allowed us to hear cutesy, lilting moments alongside huge belt numbers, each and every one of which was performed with intensity and vocal prowess.
Patrick Sullivan's gloriously smooth tone is a true delight to hear as he skilfully masters huge songs including The Streets of Dublin (revive A Man of No Importance please) and Sam Smith's Lay Me Down. Patrick's natural charm leads the audience to feel welcomed and the space of the Museum of Comedy is perfect for a semi-informal concert.
Georgia Carling's infectious personality bursts out from the stage as she provides not only killer vocals but a magnetic stage presence which enchants the audience and has them in the palm of her hand. Georgia's rendition of The Story was completely magical and Before He Cheats brought a sassy side to the night's proceedings. Georgia has a special skill of being able to capture a crowd whilst remaining natural and relaxed as she allows the audience to bask in her talents.
Alongside the natural banter of Georgia and Patrick, the pair were joined by ex-Strat and fan favourite, Benjamin Purkiss who brought spades of humour and vocals beyond belief to the nights proceedings. Stacy's Mom was a comedic standout and Matt Corby's Brother was a vocal gem of a piece which Ben performed stunningly.
In a night where every song was a delight, some other highlights included Patrick's masterfully controlled version of The First Time Ever I Saw Your Face; They Just Keep Moving The Line which Georgia performed with gusto and honesty; Dream On which was a battle of the powerhouses Patrick and Ben; and Lucky which was magically performed by Georgia and Patrick.
If you weren't at the Museum of Comedy last night then you really missed out on a fantastically performed concert with treat after treat from three of the most talented performers the West End has to offer. I can only hope this isn't the last time we see and hear this trio perform. If you want to witness truthful, magnetic performances then look no further than Georgia, Patrick and Ben!
Follow Monsteers Artistry for information on future concerts and events
photo credit: Rishi Rai
Wednesday, 8 May 2019
Amour, Charing Cross Theatre | Review
Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell
★★★
Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor.
One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...
This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled.
It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.
Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.
The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.
This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat.
photo credit: Scott Rylander
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