Friday, 4 October 2019
Noises Off, Garrick Theatre | Review
Noises Off
Garrick Theatre
Reviewed on Thursday 3rd October 2019 by Olivia Mitchell
★★★★
If you're looking for a few hours of complete laugh out loud escapism, Noises Off is one hundred percent the show for you. It is a play about putting on a fated production; from a dramatic technical dress rehearsal to a dramatic performance mid run and a final disastrous show near the end of the run, it's clear that this show is destined for doom.
What's fantastic about this play, is that the real joke is rooted in the processes of theatre and those that perform it. Entrances, exits, line memorisation and personal issues are just some of the things that go into the mixture to create this crumbling production. Long before The Play That Goes Wrong, Michael Frayn had the idea for this farcical show after watching a performance of his own play The Two of Us from backstage at the Garrick Theatre. It's a production of controlled chaos which is entertaining from the front of house and backstage.
Max Jones' set is a wonderfully realistic and beautifully executed living room and upper landing that is exquisitely turned round for act two. The play begins as tiring director Lloyd (Lloyd Owen) is trying to push his company of actors through a final rehearsal for Nothing On. Making appearances in the stalls, boxes and circle as he tears his hair out, the audience are immediately immersed in the hilarity and action set to ensue. Whilst heightened, the panic and tension hits close to home for anyone who's been part of putting on a show.
The cast are exceptional in their performances as they stand out individually but also thrive as an ensemble. Each with razor sharp comedic timing, their organised chaos is perfectly carried out. Slamming doors, lost contact lenses and dropping trousers, there's something ever entertaining about slapstick comedy when it's carried out so well.
Within the uniformly stellar cast, there are three performances which stand out just a tad. Meera Syal plays Dotty, the poised but forgetful performer who is playing Mrs Clackett, an absent-minded housekeeper who can't seem to keep her sardines. Sarah Hadland is Belinda, the overly nice, girl next door who plays the flirty Flavia Brent. Daniel Rigby as Garry is is excellent and he transforms from doting to hating and gives a tiring but completely enthralling physical performance.
A blissfully laughable production, with a heart of gold reminder about professionalism in the arts, this is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
Thursday, 3 October 2019
Manon, Royal Opera House | Review
Manon
Royal Opera House
Reviewed on Wednesday 2nd October 2019 by Olivia Mitchell
★★★★
The Royal Ballet's new season opens with Manon, Kenneth MacMillan's tale of doomed love and sexual exploitation. It's a ballet that puts the greed and debauchery of the 18th-century world at it's forefront whilst highlighting the company's skill at storytelling.
Formed in 1974, Manon remains one of the company's most popular works, with the title role a dream to play for many dancers. The emotional story of the heroine who falls for the young hero whilst being drawn to a life of luxury as a rich man's mistress, is moving and exquisite to see onstage.
Compared to other ballets where the leading female is a fully formed character, in Manon our leading lady is an almost ambiguous presence who floats around the stage engaging in all the action but taking on the forms of varying emotions. Almost embodying the feelings of those around her, she seems to be a passive player in a world dominated by men and money. Massenet's beautifully hypnotic music guides her around the stage and the people surrounding her lead her story.
As the somewhat aloof leading lady, Sarah Lamb is delightful. Despite at times lacking the extremes of passion or sadness, Lamb is consistently fluent and earnest. Lamb's performance as Manon is beautifully danced, highly nuanced in terms of her emotional acting, and overall is pure joy to watch.
The most intoxicating moments are seen when Lamb joins with Vadim Muntagirov as Des Grieux who is resplendent throughout. Equal measures of innocence, vulnerability and passion make every second of his stage time a delight. Together the pair bring light and darkness to the stage in a way which is devastating and stunning all at once. Melting together is moments of pure bliss and bouncing away from one another in playful affection, the two dancers really do seem like a match made in ballet heaven.
As Manon's charismatic, pimping brother Lescaut, Ryoichi Hirano excels. His drunken dance is choreographed madness as he swirls round the stage in an alcohol induced wobble, but retains poise and grace throughout. His comedic timing is second to none as is the underlying current of threat which he imbues into each moment. In the role of his mistress, Itziar Mendizabal is bold and sultry as always. Her emotional performance is striking and she really gives some of the stand out moments of the night.
This is an excellent opening to the season, filled with sharp, clean and fresh dancing which invites the audience to bask in the emotion and drama unfurling in front of them. An ideal first-time-ballet this is a must-see as well as a must-hear thanks to Martin Yates' sumptuous re-orchestrations.
photo credit: Alice Pennefather
Wednesday, 2 October 2019
Calendar Girls the Musical (UK Tour), New Wimbledon Theatre | Review
New Wimbledon Theatre
Reviewed on Tuesday 1st October 2019 by Olivia Mitchell
★★★★
In 1998, a group of ladies in Yorkshire rallied together to help one of their members when her beloved husband died. They decided to raise money in his memory for the Lukaemia Research fund, by posing naked for a calendar and selling copies. Calendar Girls tells their story of unity as it exudes warmth and joy.
Tim Firth and Gary Barlow spent five years collaborating to create this musical and it has been seen across the UK in a variety of forms. Thanks to their brilliantly witty and heartfelt lyrics and music, the show retains it's heart wherever it goes and will surely continues to bring a smile to faces around the world. What's wonderful about this musical is how it focusses on a number of human emotions and relationships and does so with sensitivity, pathos and simplicity. We are really forced to think about what it means to pushed outside our comfort zones and it's marvellous to see a group of older women completely letting go and having the best time on stage. I can only hope to be as confident as these ladies when I grow up!
In terms of both acting and singing, it took a little while for the performances to really bloom (excuse the pun) as they seemed somewhat reserved and quiet in the opening number. However, once they got into the swing of things, the whole cast gave brilliantly strong, well-rounded and clever performances.
Sarah Jane Buckley brings the silent struggle of grief to light with immense sensitivity and provides some vocal stand out moments, especially during act two. Rebecca Storm as Chris is the embodiment of fizz as she floats around the stage with an energy which can't help but lift spirits. All the ladies of the cast have a fantastic chemistry but these two in particular really do seem as though they've grown up together and seen the highs and lows of life. Judy Holt is great as the traditional leader of the WI, Marie; Julia Hills is hilarious as the tragically overly helpful Ruth; whilst, Sue Devaney delivers some hilarious one liners and vocal gems as Cora. Ruth Madoc really embodies the role of an ex-teacher as she gets the other girls in line with her stern Welsh remarks and Lisa Maxwell is excellent as the brash ex-air hostess trying to fit in with her new found community.
The set design by Robert Jones is basic but completely works for the production. Minimal scene changes are kept entertaining through small tweaks including a sunset in the background and a seasonally decorated piano. The audience are really transported to the Yorkshire dales, village green, hospital and hall and feel as though we've stepped from London to the countryside.
This is a totally British feel-good show which warms the heart, uplifts and entertains. Calendar Girls has something for everyone and is a beautiful portrayal of women supporting women.
Calendar Girls runs at the New Wimbledon Theatre until 5th October before continuing it's tour
photo credit:
Tuesday, 1 October 2019
Brooklyn the Musical, Greenwich Theatre | Review
Brooklyn the Musical
Greenwich Theatre
Reviewed on Monday 30th September 2019 by Olivia Mitchell
★★★★
Brooklyn The Musical is a pretty obscure show which opened on Broadway in 2004. It's realtively unknown but features a number of fantastically catchy songs. The musical's European premiere at the Greenwich theatre showcases fantastic talent and reminds us of how magical music can be. Strong direction by Adam Haigh and consistently impressive performances by the cast bring the show to life with vitality and vocal prowess, and make it one to tick off the list.
Set in New York City, a group of street performers perform a "sidewalk fairytale" about a love story and what came of it. We follow a singer from Paris called Brooklyn who is on a quest to find her father and make good of the world she's in. The story itself is minimal and the book is pretty wacky, but the show's spectacular score breathes life into it and shares the characters motivations wonderfully.
The book, music and lyrics are by Mark Schoenfield and Barri McPherson who have adapted the show for various productions including Broadway and a US tour. As a whole, this production really is a grungy, ensemble led, song-fest which features one of the strongest and most vocally tight ensembles in London right now. The sharp harmonies and electric interactions with one another really engage the audience.
It's ideal that Hiba Elchikhe leads the cast as Brooklyn, because she absolutely has one of the best voices ever. The tone, the emotion, the power. Just. So. Good. Her demeanour is charming as she tries to find her father and the audience are instantly able to warm to her beaming personality. It's absolutely worth making a trip to Greenwich just to hear Once Upon a Time sung live by Hiba. Emily Mae gives an equally earth quaking vocal performance as the "aging" Diva, Paradice. Raven is a particular stand out moment, but Emily captures the audience in the palm of her hand throughout. Smooth and mysterious, Andrew Patrick-Walker makes the Street Singer someone to remember as he acts as a musically enchanting, overseer of the show. Sabrina Aloueche and John Addison add further depth to the show and the whole cast work exceptionally well together to evoke the feeling of being in New York and searching for a dream. If the Greenwich Theatre were powered by riffs, it would be shining bright thanks to the cast of Brooklyn and Andrew Johnson's sound design which showcases them.
Justin Williams' set design transforms the Greenwich theatre into "a ravaged street corner in Brooklyn, New York" and presents a visual treat for the audience as Brooklyn's story is told. With ladders that are slid around, fairy lights, falling snow and an ever present guitar case, the set, complemented by Jack Weir's lighting manages to invoke both the fairy tale vibes and the gritty feel of NYC.
A masterful blending of talents allows this production to shine. It's not a masterpiece of theatrical writing but it is a really fun night out and a chance to see a rarely performed show done at a very high standard. Who knows, you might find your miracle too.
photo credit: Pamela Raith
Friday, 27 September 2019
Shida, The Vaults | Review
Shida
The Vaults
Reviewed on Thursday 26th September 2019 by Olivia Mitchell
★★★★
Combining jazz, R&B, gospel and rock music, Shida tells the story of a young African American girl who dreams of becoming a writer. Written and performed by Jeannette Bayardelle and directed by Tony Award winning producer Andy Sandberg, this UK premiere is exciting, truthful and special.
The beaming yellow posters lining the walls of the Vaults may lead you to think you are in for a shiny, feel-good show, but that's not quite true. This is a stark look at a woman who suffers a variety of injustices and prejudices before finding the light at the end of the tunnel. There's light and shade and an emotional journey which will tug at your heartstrings but continually entertain.
This is a quick paced show, which at 75 minutes really does pack in a lifetime of drama. At times it feels too much is being focussed on, and the audience aren't given a moment to process and sometimes things get jumbled, but for a debut this is very good.
Clancy Flynn's lighting design is fantastically expressive, with some striking moments; and Charlie Corcoran's simple design is a great backdrop for an emotional show. Under the musical direction of Noam Galperin the bank tackle the varied score with energy and fizz.
Bayardelle is a quadruple threat indeed, having both written and performed this show. Her voice is the definition of power and she siiiiiings throughout, however her writing leaves a little to be desired. Whilst the story is striking, the text and song lyrics often describe as opposed to show. Instead of allowing the audience to draw out the meaning themselves, they are almost spoon fed the plot. This does give the show an unsophisticated feel at times but thanks to Bayardelle's fantastic characterisation and performance, everything is still highly entertaining.
It's rare to see such a provocative performance from a stellar performer in such an intimate space and it's worth taking a trip just for the bragging rights of seeing Bayardelle up close.
photo credit: Helen Maybanks
Friday, 20 September 2019
Matilda the Musical, Cambridge Theatre | Review
Matilda
Cambridge Theatre
Reviewed on Wednesday 11th September 2019 by Olivia Mitchell
★★★★★
On the week of Roald Dahl's birthday, it seems only right that I made a return visit to Matilda to experience the magical story on stage, helmed by a new cast who are bringing it to life with as much energy and wonder as when it opened eight years ago in the West End.
The RSC's production takes aspects of the much-loved original book and film and combines them with theatrical magic to create a show which delights adults and maggots alike. Laughter and beaming smiles fill the Cambridge Theatre as this delightful musical inspires and wows.
Matilda is written by Dennis Kelly, with music and lyrics by the wonderfully wacky Australian, Tim Minchin and direction from Matthew Warchus. The score features intensely catchy melodies and lyrics which are fast, witty and beautiful as well as a book which is filled with humour for adults and children. This combination makes it the perfect treat for the whole family, who will be reminded of the magic and darkness ingrained in Dahl's writing.
The lyrical ingenuity is brought to life through Peter Darling's incredibly precise choreography, which makes use of the entire set and highlights what a well oiled machine this production is. In particular, School Song is a showcase of faultless timing, a stellar cast and innovative lyrics combining in a way which is overwhelmingly wonderful. The entirety of this production is choreographed to the second but each moment still manages to feel fresh and it's clear that the incredibly high standards maintained are what make this show a continual success in London.
Adorned with various alphabet pieces, Rob Howell's set is a star of it's own. Like the characters on stage, each individual piece comes together to create a marvellous wall of colour and interest. Hugh Vanstone's lighting complements the whole production, creating drama and joy and highlighting the contrast between the sweet Matilda, the loud, raucous Wormwood's and terrifying Miss Trunchbull. Extravagance and nuance are used in equal measure to create a pitch perfect piece of theatre.
The cast of this show bring to light just how much talent there is in the West End. Throughout there is not a weak link, and each performance is a stand out in itself. Our young (and tiny) leading lady, Tilly-Raye Bayer is luminous as she rattles through the bold show. Her energy and charisma shine from the outset but she also manages to create intimate moments of peace and sadness. As a character, Matilda is the perfect example of how to get through life. Tenacious, kind and clever, she uses all she has within her to inspire change and bring positivity to those around her. From the young cast, mention must also go to Louie Gray who is astounding as Bruce Bogtrotter.
Sebastian Torkia and Marianne Benedict as Mr and Mrs Wormwood are suitably garish and LOUD. With the pair's fantastic comedic timing they have the audience in hysterics as they show off just how few brain cells they have. Both make their characters bold and slapstick but are tame enough to stop them becoming panto-esque. This is again thanks to the brilliant writing which knows just when to give and take.
As ferocious Miss Trunchbull, Elliot Harper gives his all and his all is certainly enough. There isn't a moment which feels out of character, from repulsive scenes to grossly hilarious comments, Harper brings the headmistress to life exceptionally. With amazing attention to detail and stirring delivery of his dreams of a childless world, Harper is divinely awful.
In contrast Gina Beck is wonderfully understated and, as her name suggests, sweet. The relationship between Matilda and her teacher is touching and the audience really root for the pair. As the Doctor and various other characters Kane Oliver Parry shines vocally. Every single adult performer gives a super sleek performance as they bring multiple characters to life and perform the choreography with pin-stripe precision. Extremely well characterised, they create a real body of sound and action and imbue the show with magic. It should also be noted that Matt Krzan is fantastically flamboyant as Rudolpho; Gemma Scholes is the definition of grace as the Acrobat; and Georgia Carling, Connor Lewis and Ben Kerr really shine in their ensemble tracks.
In fact, the whole Matilda cast really are Miracles and this is a production you must see at once. Teaching us to be ourselves, stand together, use our imaginations and fight for what we believe in, this is the perfect anecdote to the troubles and worries we face during the current social climate. Take a trip to Crunchem Hall and experience the chocolate box of joy that Matilda provides.
Matilda is currently booking at the Cambridge Theatre, tickets are available at www.londonboxoffice.co.uk
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