Friday, 6 March 2020
Swan Lake, Royal Opera House | Review
Swan Lake
Royal Opera House
Reviewed on Thursday 5th March 2020 by Olivia Mitchell
★★★★
Liam Scarlett's Swan Lake is impressively grand, impeccably danced and a joy to experience. From a dark, misty lakeside to a glittering palace, this is a ballet that balances storytelling and spectacle perfectly. The entire company dance exquisitely, with Marianela Nuñez and Vadim Muntagirov completely shining in the lead roles.
With John Macfarlane's lush designs, this is a highly confident production which keeps pace throughout and allows the dancing to shine. Based in the 1890s the sets and costumes are sumptuous and evocative. Even the park outside the palace gates feels magical. The more abstract lake is ragged and bleak but provides a perfect, (almost) blank canvas to showcase the many swans. The palace is astounding, with a sweeping staircase, marble walls, golden decoration and a crimson curtain. It's a gasp worthy set that really does stun. Macfarlane's costumes are structured but wonderfully airy. The white tutu's of the swans are delicate and almost snow-like as they pepper the stage. Alongside them, David Finn's lighting keeps everything gleaming and makes sure not a step is missed by the enraptured audience.
Scarlett has kept Petipa and Ivanov's original choreography as well as seamlessly adding his own sequences. The new Act One Waltz is divine, with Marcelino Sambé's Benno bringing excellent lighthearted and sprightly moments. Act Three features a series of national dances, with Itziar Mendizabal's sultry Spanish princess really shining. The newly updated Neapolitan Dance feels modern and uplifting thanks to the addition of tambourines which are deftly used.
The Act Four pas de deux is one of the most magical ballet moments I have ever witnessed. The gentleness with which Siegfried and Odette interact is mesmirising and crushing to watch; and the almost broken choreography from Odette is immensely effective and makes the lack of reunion at the end even more devastating.
Nuñez's dancing is as floaty and measured as you could dream of. The control with which every step is taken is a testament to the hours of work which have clearly been put into perfecting her craft. Extremely evident in the seemingly endless series of fouettés which really astound. Even in the seductive Black Swan moments, there is a delicacy to her dancing which draws you in and manages to make the vast Opera House feel intimate. Muntagirov is the prince of dreams as he combines romance and aristocratic grace. His elevations and soft as anything landings are magnificent to watch and his entire performance is a treat.
This is a hugely moving production which must be the definitive version of Swan Lake. The stellar cast and orchestra under the baton of Koen Kessels provide treats for all the senses and a truly magical night out. Everything really is beautiful at the ballet.
Thursday, 5 March 2020
The Last Five Years, Southwark Playhouse | Review
The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell
★★★★
Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.
This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story.
Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.
As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey.
Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.
With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.
The Last Five Years plays at the Southwark Playhouse until 28th March
photo credit: Pamela Raith
Thursday, 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
Tuesday, 25 February 2020
On Your Feet! (UK Tour), New Wimbledon Theatre | Review
On Your Feet (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 24th February 2020 by Olivia Mitchell
★★★★
Currently embarking on a UK tour after a summer stint at the London Coliseum, On Your Feet! is a celebration of Gloria Estefan continually thriving in the face of adversity. The musical has a flawed book, but there's heart in spades, glorious music and a real life story of endurance that is enough to warm your heart.
Transporting us from Gloria's childhood in Cuba, to her recording career and near fatal accident, it's truly inspiring to see how she rebuilt herself after physical trauma as well as always remaining true to what she believes in, even under the pressures of the music industry. The fairly small cast do an excellent job of filling every inch of the stage and perform with the energy and enthusiasm you could expect to see on the streets of Cuba. Consistently full out and precise in their movements, the cast are very impressive in their performance of Sergio Trujillo's intense choreography.
It's the pacing of this musical that is the biggest downfall. Of course it's based on real life events, but Alexander Dinelaris' book often lacks development and therefore depth. The main focus is on the lighthearted moments, meaning the more intense scenes are sometimes glossed over quickly. Act two packs much more of a punch in terms of emotional impact, with Gloria's scenes with her mother proving particularly moving. Again, this is a musical which reminds up to stick up for our values and beliefs. This idea is woven throughout but is especially effective in the scenes where the Estefans are at odds with their record producer (played excellently and humourously by Robert Oliver).
As the Miami diva herself, Philippa Stefani excels, bringing Gloria to life with a truthful performance. She engages the audience and never falters in energy or performance. Stefani's transition from shy teenager to commanding performer is masterful to watch and really showcases her as an actress. More so than anyone, Stefani uses the limited book hugely to her advantage and performs as though she really is on a huge, sell-out headline tour.
Stefani's chemistry with George Ioannides as Emilio Estefan is believable and romantic. Since seeing the show at the Coliseum, it seems George has really grown into the role as he gives a suave, vocally assured performance. Vocal powerhouse and legend of the stage, Madalena Alberto gives an exceptionally strong performance as she simmers ready to bubble over in anger or despair at any time. Vocally she is fantastic and her interactions which every character, especially her daughter, are truly enjoyable to watch.
The set design by David Rockwell is effective as it allows the action to transition from Cuba, to the USA and from kitchen to tourbus in a very simplistic but effective way. Quite a lot is left up to the imagination which, alongside having the band visible on stage, allows the true focus to be on the music. Like the ensemble, the band are full of an energy which fills the theatre and transmits amongst the audience. Kenneth Posner's bold lighting and Emilio Soso's bright costumes bring a carnival feel to the whole production which engages and entertains.
There are flaws to this musical for sure, but it's an uplifting piece of theatre which brings a little bit of Cuban sunshine to the streets of Wimbledon. For fans of Gloria Estefan this is a must-see, and for everyone else, it's a chance to tap your feet and imagine you're basking in the Miami sun. For a celebration of music, life and heritage, get On Your Feet and conga your way to see this tour.
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
On Your Feet! plays at the New Wimbledon theatre until 29 February and then continues its tour
Monday, 24 February 2020
Zorro, Cadogan Hall | Review
Zorro
Cadogan Hall
Reviewed on Sunday 23rd February 2020 by Olivia Mitchell
★★★★
Fiery, Latin, wacky, soulful and brilliant, Zorro made a triumphant return to London last night, 12 years after its West End premiere. The story of Diego De La Vega who becomes the illusive Fox aka Zorro, to save his town from the tyrannical reign of his childhood friend Ramon, is the classic good vs evil that can't help but invest you with its sincerity and heart of gold. Add to this a score by the Gipsy Kings and a fantastic cast and you've got a great night on your hands.
The plot is wafer thin but in this concert setting, we really had the chance to go beyond that to focus on the fantastic Spanish music and the wonderful characterisation from the whole cast. Even in a full setting, I would imagine that the self-awareness of this show, means you can pretty much overlook the plot faults and just enjoy it for what it is- a heap of fun! There are many 'deep' moments peppered throughout the production, but they're equally balanced with camp humour and wit which lighten the tone and allow us to go on a pretty much carefree journey.
Ricardo Afonso was incredibly convincing and powerful as Zorro/Diego, giving a completely marvellous vocal performance and enrapturing the audience of Cadogan Hall. Delightfully tongue in cheek, with a great balance of sincerity, swagger and playfulness, there's not much more you could ask for from the debonair hero. In great contrast, Robert Tripolino was truly evil as the rapacious ruler Ramon and completely commanded the stage in every moment. Zubin Varla and Jo Parsons, gave solid performances and it's just a shame we didn't get the chance to see and hear more from them.
The love interest Luisa was performed with tenderness by Emma Williams, who revived her West End role and showcased her vocal dexterity, namely in her touching rendition of The Man Behind the Mask.
Also reviving her (Olivier Award Winning) role, was Lesli Margherita who deservedly garnered much applause as the vivacious, smouldering gypsy Inez. Lesli's rendition of Bamboleo will be a memorable moment for everyone at Cadogan Hall and we can only hope she'll be back on London soil soon!
Under the baton of Freddie Tapner, the LMTO orchestra brought vibrant energy to the Hall, with exceptional guitar and percussion woven throughout the entire score. The foot stomping music was fully realised thanks to Paul Smith's sound design which was wonderfully balanced and showcased every single performer and musician brilliantly.
Entertaining and enthusiastic, Zorro was a perfect way to spend a Sunday. Hopefully the rapturous reception is enough to bring this musical back to London very soon. Viva el Zorro!
photo credit: Darren Bell
photo credit: Darren Bell
The Pirate Queen, London Coliseum | Review
The Pirate Queen (Concert)
London Coliseum
Reviewed on Sunday 23rd February 2020 by Hope Priddle
★★★★
The Pirate Queen sailed into the London Coliseum for a one off charity concert in aid of Leukaemia UK. Set in 16th Century Ireland, Boublil and Schönberg's musical tells the real life story of fearless mariner Grace O’Malley as she embarks upon a heroic struggle to defend her homeland from English rule. A tale of politics and passion, The Pirate Queen is an inspiring story of one woman’s efforts to determine her own destiny in a world run by men.
Rachel Tucker shines in the titular role. Tucker is feisty and fearless, perfectly capturing O’Malley’s youthful optimism in the opening scenes of Act 1. Her voice soars across the auditorium as she performs Woman. Likewise, Tucker beautifully explores O’Malley’s tender side as a mother, daughter and lover. The intimate duets she shares with Jai McDowall as sweetheart Tiernan and Father Dubhdara, played powerfully by Earl Carpenter, are highly moving.
Hannah Waddingham had a hard task playing Queen Elizabeth I, an imperious foil to Tucker’s spirited O’Malley. However, she undoubtedly excelled in this role. Waddingham was poised and dignified, commanding every scene with her impressive operatic prowess.
Daniel Boys provided excellent comedic relief as the unfoundedly arrogant and hapless Lord Bingham, one of two antagonists alongside Grace’s husband and eventual betrayer Donal, played by the terrific Matt Pagan.
It is however, Jai McDowall as Tiernan who steals the show with his rendition of I’ll Be There. He is endearing and charismatic as O’Malley’s sweetheart who proves his unconditional love for his Pirate Queen on more than one occasion.
The ensemble and choir are vocally assured and provide some beautiful harmonies. They are best showcased in a rousing rendition of Sail to the Stars which brings the first act to a swelling crescendo.
Special plaudits must also go to choreographer Jack Ludwig, who’s sharp and spritely Irish dance numbers inject the piece with joyful energy.
Technical elements work together to elevate this semi-staged production, despite a few niggles with mics early on. Lighting and visuals by Ben Rogers are simple yet effective. Painterly illustrations depicting the Irish Coast and English Royal Court provide a pleasing backdrop, while the use of coloured lighting seamlessly signals a shift between land and sea. A single purple spotlight shone upon Elizabeth and Grace as they converse in Act 2 was an especially nice touch; this royal hue indicated a meeting of two equals, both noble in character if not in title.
Fran Levin’s costumes are timely and sympathetic, yet mostly modest. Hannah Waddingham is an exception here; she looks suitably regal in Elizabeth’s embellished gown towering over O Malley’s boyish and diminutive frame.
Though the performances are indeed outstanding, the score so often borrows melodies from Les Misérables and Miss Saigon that it becomes somewhat predictable. Boys’ll be Boys is a fun but ultimately trifling homage to Master of the House. In short, unashamedly familiar tunes followed by unfamiliar lyrics resulted in an effect which was at times jarring.
While audiences may find this musical too repetitive to work as a fully realised production, The Pirate Queen provided an evening of outstanding vocal talent and swashbuckling storytelling.
photo credit: Earl Carpenter
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