Tuesday, 18 June 2019
Waitress, Adelphi Theatre | Review
Waitress
Adelphi Theatre
Reviewed on Monday 17th June 2019 by Olivia Mitchell
★★★★
Sara Bareilles' cherry sweet musical follows Jenna as she bakes her feelings into pies. In an abusive relationship and expecting a child she is not excited about, we follow Jenna as she journeys through life and has some unexpected experiences.
Three new cast members have joined the diner to form the second West End cast. They are Lucie Jones as Jenna, Ashley Roberts as Dawn and Blake Harrison as Ogie. Despite lacking vocal strength, breath control and diction at times, Ashley Roberts grew into the role of Dawn throughout the performance and as her limited run continues, she will surely relax more and bring the quirky character to life in a genuine, witty and entertaining way. Currently she feels somewhat as if she's overacting and is often flat or reaching for the notes in both her solo and group numbers and certainly lacks the finesse expected in the West End, but hopefully this will be rectified and she will prove a good star cast choice. Her partner, played by fellow newcomer Blake Harrison is supremely funny one hundred percent of the time. Again his vocals are ever so slightly lacking, but as the nerves fade, so will the faults. Harrison is a hugely entertaining performer and a pleasant surprise in this sweet show.
As leading lady Jenna, Lucie Jones is second to none. Her impeccable interpretation of the character is charming, sincere, humourous and heartbreaking at once. Each small facial expression and movement is filled with a thousand words; and alongside Lucie's phenomenal, clear-as-glass voice, the performance is mesmerising. The vulnerability of Jenna is brought to life in a nuanced but completely effective way by Jones, with her rendition of She Used To Be Mine not only breaking hearts, but bringing the audience to their feet mid show.
Michael Hamway (swing) embodies the erratic but charming Dr Pomatter admirably, as well as bringing some stellar vocals to the stage. You Matter To Me was performed with heartbreaking sincerity by Jones and Hamway. Marisha Wallace continues to bring sass, sass and more sass to the stage, as well as powerhouse vocals, lively one-liners and delicate moments with Jenna. Take it From an Old Man is a welcome moment of calm and simplicity performed by diner regular, Old Joe, played by Shaun Prendergast.
The villain of the show, and highly flawed character Earl is played with menace by Peter Hannah. Whilst the moments of physical anger are jarring, it's the brief moments of emotional blackmail which really strike the audience. Hannah manages to capture both tormenting sides of Earl, in a spectacularly well-constructed and controlled way. The character is vile but Peter must be applauded for performing him so well and truthfully.
Nurse Norma is a highly amusing character who pops up throughout the show to deliver brilliant one-liners. Brought to life by Kelly Agbowu she is an especially memorable character and manages to gain numerous laughs in the stage time she has. Charlotte Riby also puts a smaller character in the forefront of our minds with her honest performance as Jenna's mum who faced many similar struggles as well as teaching her daughter all she knows about baking. Jones and Riby have a chemistry which is visible even from their brief moments together and it's lovely to see.
Scott Pask's set and Lorin Latarro's choreography are particularly effective with the sets and ensemble often moving as one to create a fluidity throughout. Equally as impressive is the way the stage transforms to mirror the moods of leading lady Jenna. The home shared by Jenna and her abusive husband is surrounded by darkness and is much smaller than each of the other settings so physically emphasises how trapped Jenna feels, and is. When she begins to rediscover her spark, the space expands in a moment of relief and theatrical wonder.
Whilst a lot of the morals and motivations in this musical are morally ambiguous and there is a lack of resolution, there's no denying that it's a sweet treat filled with musical delights and sugary performances. Sara Bareilles' score is a delightful listen and the mostly strong cast do a wonderful job of bringing it to life and showing that there is always light and support at the end of the tunnel.
Waitress is currently booking at the Adelphi Theatre until December 7th 2018, tickets can be booked at www.londonboxoffice.co.uk
photo credit: Johan Persson
Sunday, 16 June 2019
Ben Platt: Sing To Me Instead, Eventim Apollo | Review
Ben Platt: Sing To Me Instead
Eventim Apollo
Reviewed on Saturday 15th June 2019 by Olivia Mitchell
★★★★★
In his premiere London concert, Ben Platt performed his Sing To Me Instead tour to thunderous applause, and proved that sublime vocal skill and authentic connection are the perfect combination for a magical night.
Opening the evening was James TW. A British singer-songwriter, James instantly got the audience on his side through his earnest songs and impressive vocals which set the tone for the intimate evening ahead. His stripped down version of Hey Ya! was particularly entertaining, especially as the audience sang back in a wonderful moment of synchronicity. Personally the most moving song was When You Love Someone which was performed with absolute candor, and highlighted why James is succeeding in his career so far.
After a brief interval, headliner Ben Platt took to the stage to almighty applause as he sung out his first instantly recognisable phrase. From the opening moment we were transferred to a vibrant jam session which was energetic and magnetic throughout. The opening song Bad Habit paved the way for the signature vibrato, laid back vibe and insanely well performed concert we were about to experience. With a set list almost exclusively featuring songs from Ben's debut album, this was a wonderful chance to see and hear Ben outside the restraints of playing a character. Whilst yet to perform in a West End musical, it was clear from the many people sporting Dear Evan Hansen merchandise, that a lot of his fans are from his theatre work. What was wonderful about this concert, is that despite not featuring any musical theatre numbers, it felt just as emotive and transformative as sitting through a plot filled musical and will entertain both stageys and non-stageys alike. If the album is not enough to assure you of Platt's vocal prowess, seeing him live will absolutely seal the deal.
Ben animatedly chatted between songs as he found ways to open himself up and connect to the audience. Short anecdotes about each piece added a depth which seemed to resonate with everyone there. In a night of perfectly performed songs it's hard to label standouts, but Honest Man and Share Your Address were particular favourites as they radiated energy thanks to Ben and his outstanding band and backup singers. Throughout the concert Platt used his smooth riffs and a soaring range to share the various life lessons he's learned and seemed to truly be loving every minute of it.
Aside from Ben's own music, he also put his spin on some other artists. Brandi Carlile's The Joke was goosebump inducing, whilst Stevie Wonder's Overjoyed transported us to a bopping bar and the melody of Elton Jonh's Take Me To The Pilot was emphasised and enthusiastically performed.
The intimate feel of the Sing To Me Instead album was perfectly reflected in the stage layout which was dotted with cushions and family photos. Every beat of each song was matched faultlessly through the lighting design of the tour. Superbly theatrical, warm and awe-inspiring, it was truly the most well lit concert I've ever experienced and made the night not only aurally pleasing, but visually stunning.
Ben closed the night with Older and Run Away; two beautifully controlled pieces which solidified him as performer in his own right, outside of playing a character. As audience members, we were welcomed into Ben's world and he did not shy away from letting us in on his triumphs and flaws. This connection was truly magical and I have absolutely no doubt that Ben will continue to beguile and inspire audiences around the world.
photo credit: Olivia Mitchell
Wednesday, 12 June 2019
Afterglow, Southwark Playhouse | Review
Afterglow
Southwark Playhouse
Reviewed on Tuesday 11th June 2019 by Shaun Dicks
★★★★
“There are no fairy tales about polyamory.”
Afterglow is ‘The little play that could’. After its impressive off Broadway run of 14 months and 467 performances, it has made its way across the pond to the Southwark Playhouse, a theatre synonymous with fantastic shows.
In this story we follow three men, the married couple of Josh and Alex, played by Sean Hart and Danny Mahoney, and the complication to Josh and Alex’s marriage, Darius who is played by Jesse Fox. The story follows these three men as the ins and outs and potential complications of polyamory play out. It explores the ideas of commitment, love and the malleability of relationships.
The script written by S. Asher Gelman is a good one, the dialogue is clean, interesting and has brilliant jokes but also has some very honest and real lines in there. The monologues of Darius are just fantastic, and Jesse Fox does well with them; delivering some hard truths excellently. Danny Mahoney as Alex does a good job being the anchor of the show, giving his co-stars a chance to be a bit freer on stage.
The star of the show though is Sean Hart as Josh. Josh is a well fleshed out character, that has obviously been thought through and is fully realised. Hart’s character work makes his co-stars characters look a little non-descript at points.
The direction from Tom O’Brien is ok, the one thing that hampers this show is the scene transitions, they are just so long, it sucks the energy out of the show. The transitions are so long, you could go out, get a drink and get back before the next scene starts.
David Howe's lighting is great, doing well to elevate the piece higher by being creative in his design. The set design by Libby Todd is fine, but their design is half the problem with the very long scene transitions.
Afterglow isn’t your typical fairy tale but in this pride season, it does give a fair, true and honest representation of polyamory and the gay community as a whole; giving life to a story that needs to be told. It’s a show that does have flaws but that’s almost part of its charm.
It’s a highly recommended piece of viewing for all. Gay, Straight, Bisexual, Asexual, Pansexual. Cisgendered, Non-Binary, Transgender, Gender Queer. It is ultimately a show about people and how the heart wants what the heart wants.
photo credit: Darren Bell
Tuesday, 11 June 2019
Annie (UK Tour), New Victoria Theatre | Review
Annie (UK Tour)
New Victoria Theatre
Reviewed on Monday 10th June 2019 by Olivia Mitchell
★★★
Annie is an absolute cult classic show, from it's various film incarnations and tours around the world, there's something wonderful about the story of a young orphan who overcomes adversity and finds the love she's always desired.
Nikolai Foster's current UK touring production of the show features a wonderful set, some thrilling choreography and a whole lot of foot stamping energy from both the children and the adults. Colin Richmond's set is reminiscent of Matilda, with fragments (in this case puzzle pieces) framing the stage and creating a backdrop which leaves a lot to the imagination but also seems to flow and transition. Richmond's costumes are perfect for the setting but also manage to put a refreshing spin on the styes which have become synonymous with the show such as Annie's red coat and Lily St Regis' flowing dress.
Nick Winston once again provides the goods with his sharp choreography that incorporates a number of dance styles and never waivers. Particularly impressive are the tap numbers and rousing NYC sequences. The cast are precise and clean as they bring Winston's vision to life in an entertaining and stylistic way.
The young cast do a great job of bringing the various personalities of the orphans to life, with stand outs at this performance including Chancé Quaye, Aliya Bashir and Francesca Robinson. Leading the way as Annie herself, Freya Yates gives a good, assured performance and is sure to grow and develop into a wonderful musical theatre performer.
Among the adult cast it's Carolyn Maitland who stands out as the caring Grace, who takes Annie under her wing and becomes the perfect mother figure. Maitland's voice is superb and she really does radiate warmth. Richard Meek is entertaining as the bad boy schmoozer Rooster, who cons his way through life but remains annoyingly charming. Alongside the talented Jenny Gayner as Lily, the pair give fiery performances, especially in the kick-line inducing Easy Street. Craig Revel Horwood is a clear audience favourite and does give a rounded performance. Whilst there are moments which lack in energy, others fizzle and excite. Overall there are times when the audience could have benefitted from Horwood having stronger diction within his strong New York accent but he does, mostly, do the iconic role justice.
Although the sun might not be coming out in Surrey tomorrow, there's no doubt that this show will bring light and joy to many children. The beaming faces and exclamations of "I want to see it again" prove how magical theatre can be; and whilst this show is not everyone's cup of tea, it certainly has the heart to inspire.
Vicki Manser on Bringing Herstory to Life in Six the Musical | Interview
Toby Marlow and Lucy Moss' musical Six is taking the West End, and the world by storm. Telling the stories of the six wives of Henry VIII through the form of an epic, high energy, hugely entertaining pop concert, it is a hit with fans of all ages. This is in part due to the fantastic writing but also thanks to the sublime cast who bring the queens to life every night.
Vicki Manser joined the show in January as an amazing alternate who gets a chance to don the crown of each queen and strut her stuff at the Arts Theatre. Vicki told us about the show, who she'd like to play her in her own pop concert musical and what she'd say to Henry VIII if she got the chance...
Can you describe the show in Six words?
Seventy-Five minutes of pure genius!
You recently finished starring in Bat Out of Hell which is a rock musical, how does that compare vocally to performing in a pop musical?
In terms of vocal technique Rock and Pop sit quite closely together and share a lot of the same placements so in some ways very similar actually! But I definitely get to use more speech quality and character driven singing in Six for example in Boleyn’s song and Cleves’ song and I just love that the whole show is a gig/concert type vibe. I get to pretend to be a pop star for an hour and 15 minutes and that is SO FUN! Your vocals are also much more exposed in Six with there only being Six of you onstage as opposed to 20 plus so there is no where to hide…. Not that I tried to in Bat… I couldn’t even if I wanted to with that pink mullet haha!
If you could go back to Henry VIII’s time which queens life would you like to live?
NONE OF THEM!!!! Haha! As much as I love learning about the Tudor history and telling the Queens stories; I don’t fancy having to live any of their lives! But I guess if I absolutely HAD to, then being given your own palace in Richmond wouldn’t be too shabby. So Cleves it is!
Which wife do you think had the worse life?
Well, none of them had it fantastic, but Howard has gotta be up there with the worst. Her story of abuse started so young before Henry was even on the scene! She had to be married to him when she was just 16 and he was 49 and THEN she was beheaded…. I know, I know!
If you could say anything to Henry VIII what would you say?
‘Off with his head!’ HA PAYBACK!… no, I'm kidding… two wrongs don’t make a right guys…!
If your life was going to be made into a pop musical, who would you want to play you?
I think my little sister, Kimberley Manser, is the perfect candidate for this! She knows me inside out and backwards so would play me and all my quirks down to a T! She's great at impressions and she always answers my phone to my boyfriend and he thinks it's me EVERY time! She’s also the most SENSATIONAL pop singer (not even being biased lol) so she’d make me sound really good!
You’re Artistic Director of Sharpe Academy, tell us a bit about that
I am indeed!!! So Sharpe Academy is a Musical Theatre school that's been running all across North West London for 11 years and this year we are opening a brand new college offering a 3 year Diploma in Professional Musical Theatre which I am so excited for! I trained with Sharpe before my professional training and then went on to be their company choreographer and now I'm Artistic Director for the college! I have always loved choreographing and teaching and I can't wait to share my knowledge with aspiring performers and help them to reach their goals! So if you have finished your GCSE's OR A levels and are looking for a vocational course and professional training to get you industry ready, come and check us out!
We have a FANTASTIC team of people with tonnes of experience to offer in dance, singing, acting and acrobatics and are very fortunate to have our INCREDIBLE patrons supporting us; Carrie Hope Fletcher, Matt Lucas and Giovanni Spanó. We also hold a Guinness World Record for the fastest theatrical production so that's pretty cool! Come join the Fam!
What’s your top piece of advice for aspiring performers?
The industry is HARD... there is no point in sugar coating it ... but if you're determined, you work hard, believe in yourself and NEVER give up .. then one day you will get there ... no matter how long it takes!
Six is currently running at the Arts Theatre and will be embarking on a UK Tour from October 2019
Interview by Olivia Mitchell
photo credit: Danny Kaan
Wednesday, 5 June 2019
The Firebird / A Month in the Country / Symphony in C, Royal Opera House | Review
The Firebird / A Month in the Country / Symphony in C
Royal Opera House
Reviewed onTuesday 4th June 2019 by Olivia Mitchell
★★★★
The Royal Ballet are wrapping their summer season up with a trio of delightful works by three of the greatest choreographers. Together they form a night entertainment that is full of surprise, and more importantly variety. The versatility of ballet is showcased, as are the spectacular dancers who fizzle with precision and energy at once.
The proceedings open with The Firebird which is strange but feisty. Combining Russian folklore with Stravinsky's score and classical ballet, the result is a crackling piece of theatre which is exciting and superbly easy on the eyes. The Firebird herself, Yasmine Naghdi really does flame across the stage as she vanquishes the sorcerer and creates moments of magic. Naghdi is nail bitingly sharp in every step and her technical precision screams out. Alongside her musicality, gentleness and stage presence, her interpretation is powerful and inviting.
Christina Arestis is beautiful and graceful as the Tsarevna; and alongside Edward Watson's persistent Tsarevich the pair make a lasting statement. Gary Avis is suitably gnarled as Kostcheï and brings both humour and menace to the theatrical character.
The Royal Ballet staple, A Month in the Country is the stand out of the trio, proving what a masterful choreographer Frederick Ashton was. Marianela Nuñez is divinely light as precise as Natalia who truly is The Nutcracker's Clara, all grown up. Her delightful performance and flirtations throughout the piece are marvellous to watch and the grace she moves with is truly mesmerising.
Matthew Ball is handsome and powerful as Beliaev the tutor who has the ladies of the house fawning after his. The pax de deux's Ball dances with both Francesca Hayward and Romany Pajdak are impeccably strong and emotive.
Chopin's sumptuous melodies also add to the enthralling nature of this piece and one can't help but find themselves wrapped up in the sweetness and warmth of it all.
The final treat of the series is Balanchine's Symphony in C which rattles along to close the programme on a high. Anthony Dowell's simplistic backdrop perfectly highlights the magic of ballet, with the dazzling white tutus creating a striking and magnificent contrast to the blue screen behind them. Each dance, both solo and in the corps de ballet gave stellar performances. Special mention must go to Fumi Kaneko who stepped in at the last minute to give an enchanting performance.
Together, these works create a triple bill that is a swoon worthy, explosion of exuberant dance.
photo credit: Tristram Kenton
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