Showing posts sorted by date for query Andrew Lloyd Webber. Sort by relevance Show all posts
Showing posts sorted by date for query Andrew Lloyd Webber. Sort by relevance Show all posts
Tuesday 31 December 2019
Olivia's Top Shows of 2019
This year I saw 150 shows, from glitzy West End productions to smaller fringe pieces and many UK tours. Before we step into the new decade, I want to feature some of my favourite pieces of the year and those which have stuck with me in some way.
Dolly Parton has been a family favourite growing up so this musical ticks all the boxes for me. 9 to 5 is a catchy, colourful celebration of girl power. With another tour planned for next year, this show is sure to delight audiences in 2020 and beyond.
Six featured in last year's Top 10 list, but having seen it a few times this year, I thought it warranted a place once again. The fantastically, feminist musical is pure joy on stage and a complete treat. Enthralling audiences around the world with its pop/musical theatre crossover sound and the heart which is retained in all its incarnations, Six's world domination is only just beginning.
I mentioned the Broadway production of Come From Away last year, but 2019 saw the triumphant West End transfer of this show which is completely spectacular and special beyond compare. Telling the heartfelt story of the unity formed in a small village in Canada during the traumas of 9/11, the Celtic sounds and complete ensemble feel of the piece make it effective and oh so powerful.
Performed by members of the British Theatre Academy (BTA), the young cast transported audiences on a mystical journey of love and magic. Lee Proud and Harrison Clark created a production worthy of much acclaim and showcased some of the future stars of UK theatre.
Having missed the Open Air production of Jesus Christ Superstar, I was thrilled to get the chance to see it at the Barbican and it did not disappoint. Andrew Lloyd Webber and Tim Rice's score soared thanks to the ingenious staging which made the space feel as though it was outside, and Lee Curran's lighting which made the atmosphere both electric and intimate. Amazing performances all round made this a production not to be forgotten.
Not only was it a treat to see this enchanting song cycle by Dave Malloy brought to life by such talented actor-musos, but getting to experience the new space of the Boulevard Theatre was a delight in itself. The whole space feels fresh, welcoming, modern and all in all a wonderful addition to the London theatre scene. Ghost Quartet was a wacky mish-mash, but there's something about it that was truly enchanting.
The Cher Show | Neil Simon Theatre
If you'd told me at the beginning of the year that The Cher Show would be in my top shows, not just of 2019 but ever, I doubt I would've believed you. The cast were amazing but as someone unfamiliar with Cher's music and kind of bewildered by the whole idea, I didn't expect to come out beaming after one of the best night's ever at the theatre. The biopic musical tells the story of the superstar's rise to fame via three Cher's representing different times in her life. The performances are other worldly and the humour hits all the right spots. This is the embodiment of a grand musical and I can only hope it comes to the West End sometime soon!
The Jungle | St Ann's Warehouse
This is another show I missed in London but was lucky enough to catch in New York at the incredible setting of St Ann's Warehouse in Brooklyn. This is the most striking piece of theatre I have ever witnessed, and I can't even explain how spectacular the entire production was. The community feel that was created within moments of entering the theatre is like nothing I've ever experienced and every element of theatricality was so perfectly used to highlight the stories of those on stage.
The Adam Guettal musical was on my 'To See' bucket list, so it was a complete joy to experience the sumptuous score performed by such a stellar cast this year. The story about young Clara falling in love with Fabrizio on a trip to Italy is beautiful and made me want to go to and have my own romantic holiday accompanied by a beautiful classical soundtrack.
Fiver played a brief run at the Southwark Playhouse and earned itself much praise and many fans. With a fantastic score by Alex James Ellison, the musical follows the story of a £5 note and how it's value changes in the hands of various people. This was a completely unexpected treat of a show which completely enraptured me and left me feeling joyous, thanks to the wonderful mix of musical styles and fantastic array of stories involved. The superb cast of five gave everything and made it a real gem of a piece. A delightful musical, lets hope we see more of Fiver in the future.
Tuesday 9 July 2019
Jesus Christ Superstar, Barbican Theatre | Review
Jesus Christ Superstar
Barbican Theatre
Reviewed on Thursday 4th July 2019 by Olivia Mitchell
★★★★
Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.
Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.
What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.
Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.
Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.
This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.
photo credit: Johan Persson
Friday 3 August 2018
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
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
Wednesday 11 April 2018
Sunset Boulevard (UK Tour), New Wimbledon Theatre | Review
Sunset Boulevard (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 10th April 2018 by Glenys Balchin
★★★★★
Sunset Boulevard is wonderful musical with great music, amazing performers, awesome staging and lighting and superb costumes and makeup. The atmosphere on opening night was electric and the New Wimbledon theatre provided an iconic setting for this fabulous musical.
I had my trepidation’s about whether I was going to enjoy Sunset Boulevard. I had seen the film telling the dark tale of the fading Hollywood silent screen goddess trying to make a comeback who gets intwined in a dark world with her young screenwriter and lover; but I doubted how it would work as a musical. How wrong was I to doubt this wonderful operatic music of Andrew Lloyd Webber alongside the brilliant writing and lyrics of Christopher Hampton and Don Black. The melodramatic film-framework is embellished to bring Sunset Boulevard up to the heights of a Grand Opera.
The entire cast must be congratulated on their performance but in particular Ria Jones who is sensational. Her character interpretation is phenomenal as she becomes Norma Desmond. She engages with the audience immediately as we're drawn into her world of despair and the larger than life dramatisation of sorrow grief of yesteryear.
To go with that outstanding acting performance is Ria's fantastic voice- how does that voice come from such a diminutive frame!? I have to say I was wondering how Ria would compare with the voraciousness of Gloria Swanson in the 50’s movie, well she did! What’s more-she is every inch a frightening diva; as Norma tumbles into madness in the final scene - “Mr DeMille Lights Cameras” Ria Jones herself has reached the realms of a superstar and I can’t wait to see her in another production.
Moving on to Ria ‘s co-star, Danny Mac, the Strictly Come Dancing finalist really holds his own against the formidable singing voices of Ria Jones and Adam Pearce. As Danny’s ex strictly judge would say “I didn’t like it I LOVED it” his performance is excellent, enjoyable, energetic, easy on the eye and his rendition of Sunset Boulevard is extraordinary.
Special mention of the fabulous Max, Norma's butler played by Adam Pearce who's voice is astounding and Molly Lynch who gives a mesmerising performance playing sweet Betty.
The scenery is particularly atmospheric. On the top it's fairly simplistic but once you look closer there's a level of complexity which is intrinsic to the whole plot developing. The use of lighting and old films gives you shivers down the spine, as if you are a prisoner in that oppressive mansion yourself.
The costumes capture the Hollywood era perfectly, bringing glitz and glamour. Norma’s flamboyant, elegant and surreal costumes, life and personality really make her one of the most iconic of characters.
Last but not least, praise must go to the orchestra who provide the heartbeat of the musical playing the opulent and lavish musical scores of Andrew Lloyd Webber, which are resounding in my head from last night. The songs provided magical moments bringing the whole show together as the cast performed them pitch perfectly.
I cannot praise this show enough, it was a wonderful experience to watch this truly brilliant cast transfer me to a world of “make believe”. The thing I love about theatre is it's escapism, the world of suspense from reality and when I see a show like this it makes me to want to go more and more. So, if there's one theatre trip you have to do this year, make it Sunset Boulevard!
Sunset Boulevard runs at the New Wimbledon Theatre until April 14th before continuing it's UK Tour.
photo credit: Manuel Harlan
Thursday 29 March 2018
Son of a Preacher Man (UK Tour), Storyhouse | Review
Son of a Preacher Man (UK Tour)
Storyhouse
Reviewed on Tuesday 27th March 2018 by Becca Cromwell
★★
Set in modern day Soho, Son of a Preacher Man focuses on the lives of three people dealing with loss and heartbreak who turn to the past to find answers. All three of them end up at a record shop named the Preacher Man, which got its name from the man who ran it. In the 60s, all your troubles would be solved through music and advice from the shop’s owner, making it one of the most popular places of its time.
The story focuses on Kat, who recently lost her grandmother, Alison, who realises she’s in love with someone she can’t have and Paul, who still pines over a man he first fell in love with 40 years ago. The three of them venture to where the shop used to be in a search for advice and closure, only to find it no longer exists. Distraught, they meet the son of the shop’s owner Simon, who is the son of a preacher man. Simon takes it upon himself to help them, and with a little help from his deceased father, does just that.
The storyline is rather cheesy, which is to be expected from a jukebox musical, and features plenty of Dusty Springfield’s hits including The Look of Love, I Only Want To Be With You and of course, Son Of A Preacher Man. There are also plenty of other sixties hits thrown in for good measure, such as Cilla Black’s You’re My World.
Kat, played by Alice Barlow, is a young girl suffering the loss of her grandmother, who turns to her grandmothers’ favourite place, which just so happens to be the Preacher Man, for comfort. Alice is known for playing Rae Wilson on Hollyoaks, and being a previous contestant on The Voice. Alice delivered solid vocals and gave a good performance as Kat, and impressed many of the audience with the sheer quality of her voice.
Alison, played by Michelle Gayle, is a teacher turned tutor who recently lost her Husband, Jim. Alison turns to the Preacher Man for advice on her new love, and learns a lot from it. Michelle Gayle is known for playing Hattie Tavernier in Eastenders, signing a record contract and releasing two albums with BMG and starring on Grange Hill as a child. Michelle gave a good, believable performance, with impressive vocals to match.
Simon is played by Nigel Richards who has had an extensive and impressive career in musical theatre, including Enjrolas and Grantaire in Les Miserables, and the Phantom in Andrew Lloyd Webber’s Phantom of the Opera. Nigel gave a convincing performance as the shy but loveable Simon and I was suitably impressed.
Paul, a man who is still lusting after his first love, is played by Nigel Howe. Nigel has had an affluent career in theatre, TV and Film, with over 40 acting credits to his name on IMDB and almost as many theatre credits. Nigel gave a decent performance as Paul, making the audience really feel for him in the process.
With Craig Revel Horwood choreographing the show, I expected more in terms of choreography, which left me a little disappointed. However, the lack of choreography was made up for by most of the cast members occasionally playing instruments on stage.
Son of a Preacher Man continues its UK tour until July.
Tuesday 23 January 2018
Sunset Boulevard (UK Tour), New Victoria Theatre | Review
Sunset Boulevard (UK Tour)
New Victoria Theatre
Reviewed on Monday 22nd January 2018 by Olivia Mitchell
★★★★★
The recent trend in my life seems to be watching things about the golden age of Hollywood and actresses who can't face the loss of fame. If you watched Ryan Murphy's recent television series, Feud, you'll notice the strong similarities between the life of fictional Norma Desmond and film royalty Joan Crawford. Both women were stars of the silent film era and the embodiment of Hollywood glamour, however as they grew older and their fame and fans disappear, they fall into a draining game of always trying to appear young and live as though their glory days aren't over.
In Andrew Lloyd Webber's adaptation of Billy Wilder's 1951 film, Sunset Boulevard, we meet a reclusive Norma who's in a dark phase of her life as she's trying to get back into the film world. Enter Joe Gillis the struggling screenwriter desperate to get his lucky break who somehow ends up in Norma's sprawling mansion.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
Dreaming of making her comeback, Norma recruits Joe to edit and finish her screenplay. However, their relationship slowly spirals into it's own film of drama and tension as Norma becomes obsessive and possessive over Joe- threatening suicide if he leaves.
The staging is slick and perfectly evocative of the 40s/50s, helped hugely by Douglas O'Connell's spectacular video and projections which not only add to each scene and song but make the whole thing cinematic and help to blur the line between reality and film which Norma struggles to deal with.
The show, like it's characters, is full of melodrama and power. Ria Jones takes on the role of the narcissistic, fading Norma Desmond with masterful skill. Her performance is truly remarkable and she embodies the role with every fibre of her being. Commanding the stage and audience with her every word and whacking Andrew Lloyd Webber's huge numbers out of the park. Jones puts in everything the has to earn her extensive standing ovation at the end.
As the handsome, aspiring screenwriter Joe, Dougie Carter is outstanding and versatile. From fairly innocent at the start to dark and tortured. He is absolutely faultless, with his rendition of Sunset Boulevard gripping the audience at the start of Act 2 along with is sharp, engaging chemistry with Ria Jones.
Special mention must go to Adam Pearce who deftly plays the Phantom-esque role of Max Von Myerling and superbly balances his endearing and chilling sides whilst delivering some top class vocals that almost steal the show.
This production is a musical theatre masterclass that perfectly charts a story of obsession, drama, age and lust. It's a must see for any musical theatre fan, with Ria Jones' performance worth the ticket price alone.
Sunset Boulevard runs at the New Victoria theatre until January 27th before continuing it's tour.
Friday 5 January 2018
The Wizard of Oz, Capitol Theatre | Review
The Wizard of Oz
Capitol Theatre, Sydney
Reviewed on Thursday 4th January 2017 by Faiza Rahman
★★★★★
Andrew Lloyd Webber would have been over the rainbow with the Sydney premier of The Wizard of Oz. From the moment the stage curtains opened, the audience were captivated. Personally, just for a moment, I forgot whether I was watching a movie or a show because of the pure essence of the way that the stage was set and the way digital media was used to give the audience a feeling of inclusion in the story and world of Oz.
Samantha Dodemaide does a whimsical job of taking us into the land of fantasy (apart from Dorothy’s red shoe coming off her foot when it was supposed to be stuck!) This slip up was ignored with grace from Samantha as the audience giggled and quickly forgot, whilst she continued to perfectly capture the golden-age naivety. Lucy Durack as Glinda won me over with her witty one-liners and effervescent outfit. Eli Cooper’s Scarecrow act was certainly not spineless – his bendy limbs wrapped us in admiration; alongside John Xintavelonis’ Cowardly Lion’s witty and ‘scary’ roar and Tin Man’s (Alex Rathgeber) heartless love and robotic movements. The Wicked Witch of the West (Jemma Rix) – well, that laugh explains why she was the perfect person to embody her character, for not one moment did I not adore her evilness, as weird as that may sound- she was brilliant!
The star of the show was the costume and set design by Robert Jones, supported by Jon Driscoll and Daniel Brodie’s engrossing video and projection work. Vorticist projections were used to evoke the Kansas cyclone that took Dorothy into the dreamworld and took us there too. The lighting and effects used on the walls of the theatre enhanced the experience and created an ethereal atmosphere that delved us straight onto the yellow brick road and at times I really felt like I was a part of the show.
The costumes were visually appeasing – what particularly impressed the audience was when Dorothy’s dress changed colour as she conducted a twirl across the stage from her regular dress to a sparkly green version as she entered Emerald City. The screens used to create the feeling of depth were perfectly controlled and used well to create the feeling of distance to emerald city. My highlight was when Dorothy, Tin Man, Cowardly Lion & Scarecrow were put in the dome by the Wizard – it looked so 3D and realistic, everyone was astounded.
I was taken back to my childhood through the music. Samantha Dodemaide’s voice projects an innocence yet heart wrenching power, like a force leading her back home to Kansas. Although since 1939, The Wizard of Oz has taken on many variations, this one stays grounded in the characters and echoes that there is no place like home, even with its modern twist.
The Wizard of Oz runs at the Capitol Theatre until 4th February 2018
photo credit: Jeff Busby
Saturday 9 December 2017
Evita (UK Tour), Palace Theatre Manchester | Review
Evita (UK Tour)
Palace Theatre, Manchester
Reviewed on Thursday 7th December 2017 by Jeni Skirrow
★★★★
Tim Rice and Andrew Lloyd-Webber have written some truly captivating, catchy musicals and Evita is of course iconic and no exception to this. An ever popular rags-to-riches type of story based on the life and demise of Eva Peron, wife of Argentine president, Juan Peron. The plot follows her rise to iconic status heralding her as the ‘spiritual leader of the nation’, heroine of the Argentine people, and of course her untimely premature demise.
Straight from the West End, Manchester was privileged to be the first stop in the new twelve month tour of Bill Kenwright’s production. Eva Peron’s role is a demanding performance and Madalena Alberto is mesmerisingly magnificent, with not just unfalteringly consistent vocals, but how beautifully she captures the fledgling radio star’s glamour, seduction, hope and steely desperation. 'Don’t Cry For Me Argentina' is undoubtedly the most highly anticipated song in the show and Madalena’s performance did not fail to give me goose bumps- exquisite. “As for fortune and for fame, I never invited them in”... until the final curtain there’s something very dubious about this statement.
The narrator Che deserves a mention, heroic Gian Marco Schiaretti’s presence (and biceps) were suitably foreshadowing- he is perfect for the role. His strong and versatile performance was a joy to watch.
Each scene was beautifully realised through expert choreography, cleverly slick staging and continual costume changes for Eva, telling a story within itself. This production was everything I hoped it would be and more. Emotional, beautiful and inspiring it was an ideal theatrical experience.
Evita is a moving story, with a mixture of up-beat, high intensity numbers as well as slower, more emotionally moving pieces. This balance and contrast makes it flow smoothly and provides a wonderful night out at the theatre. With beautiful music, great staging and fabulous performances all round, I implore you to get along to this show if you can.
Photo credit: Keith Pattison
Wednesday 4 October 2017
Sunset Boulevard (UK Tour), Edinburgh Playhouse | Review
Sunset Boulevard (UK Tour)
Edinburgh Playhouse
★★★★
Sunset Boulevard is a thrilling ride through the film industry of mid-century America, filled with the song, dance and cultural ephemera of the era. It’s an intoxicating spectacle that is both entrancing and, in parts, exhausting.
The production takes place in Hollywood on the cusp of the 1940s and 1950s. The show’s intermission pointedly falls at a New Year’s party in 1949 in a manner symbolic of the story’s main theme of the passing of one era to the next.
The time period and location is a particularly rich seam for the set design which, especially in the opening moments, is a flurry of transitions. The audience is taken from the gates of Paramount studio to production lots, writer’s rooms and soundstages in the space of a matter of minutes. Furthermore, artifacts of film production are woven intelligently into the set throughout. One driving scene in particular employed footage of busy Los Angeles streets projected behind the protagonist’s vehicle while shadowed cameramen revolved around him in a way that recalls the early special effects of the time. It could easily have been confusing, the fact that it wasn’t is testament to the care with which each aspect of the set had been considered.
As one might expect given the story, the music throughout the show was constantly evocative of the period and brilliantly performed by the band. One aspect to note is that your enjoyment of the show may in part depend on how you feel about Andrew Lloyd Webber, who supplies the music in the production and isn’t always for everyone.
Danny Mac as protagonist Joe Gillis was well cast and particularly excelled at both the breezy 50s dialog exchanged with members of the supporting cast and his rendition of the title song ‘Sunset Boulevard’. Predictably a cheer went up around the hall as the actor, who appeared on Strictly Come Dancing, danced a tango. His interaction with romantic interest Molly Lynch as Betty Schaefer was a touch lacking, but this relationship is not really the centrepiece of the story and as such both the songs and dialog were a little perfunctory. Special mention should be given to both the singing and acting of Adam Pearce as Max Von Meyerling, who deflty straddled the line between chilling and endearing and very nearly stole the show. However Ria Jones as the needy and demented Norma Desmond was superb throughout, delivering a deeply poignant performance.
Tuesday 22 August 2017
In Conversation With... Alexandra Silber | After Anatevka | Interview
If you've been on the tube in the last few months I'm sure you'll have spotted the marvellous Alexandra Silber's face plastered over the walls for Today Tix. Whilst Al's face is up there for her performances both on the West End and Broadway, she is also a beautifully eloquent lady and recently published her debut novel, After Anatevka, which tells the story of Hodel after Fiddler on the Roof.
Alexandra was lovely enough to talk to Rewrite This Story about her writing process, After Anatevka, her transition from West End to Broadway and so much more. Make sure you read until the end to find out how you can win a copy of After Anatevka!
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I went to drama school in Glasgow at the Royal Conservatoire of Scotland before living in London and working the West End for several years.
While I was in my final year at RCS, I was cast as Laura Fairlie in Andrew Lloyd Webber’s The Woman in White opposite Ruthie Henshall, Anthony Andrews and Damian Humbley.
Among many other things, I have also played Julie Jordan in Carousel in the West End, made my Broadway debut opposite Tyne Daly in Terrence McNally’s Master Class, and have sung at Carnegie Hall, Disney Hall in Los Angeles, was nominated for a Grammy for singing Maria in a the first ever symphonic recording of West Side Story with the San Francisco Symphony, and of course, at Royal Albert Hall with the John Wilson Orchestra for the BBC Proms as the titular character in their production of Kiss Me Kate.
Above all, I have been fortunate enough to play two of Tevye’s daughters, one on each side of the Atlantic— the first was in the West End, portraying After Anatevka’s protagonist Hodel (the second-eldest daughter of Shalom Aleichem’s Tevye the Dairyman who is the star of the 1964 musical Fiddler on the Roof) at the Sheffield Crucible and its West End transfer, and last year, played Tzeitl, Tevye’s eldest daughter on Broadway in the most recent Broadway revival.
Portraying both characters for such lengths of time, and with such incomparable creative teams and casts, informed, inspired and shaped the writing of After Anatevka: it truly was a journey from stage to page.
Have you always aspired to be a performer or did you have a different dream when you were younger?
I always knew I wanted to be a professional creative— I’m not certain that acting and singing professionally was the epitome of my dream. As a child and teenager I loved the theatre, felt at home and accepted amongst its “creatures” and had an outlet to explore new worlds, research new ways of life, get inside different people’s minds and heart, and to express so many of my deepest emotions.
I’ve been thinking very deeply about “dreams coming true” recently— possibly because so many people are asking me about it. “Is publishing your novel a dream come true” they will ask, and I don’t entirely know how to answer that. Because of course it is, I have dreamed of sharing my stories with the wider world, to hold a book-shaped book, with actual binding and I have written in my hands
The voices on Broadway cast recordings were not only my inspirations, but my companions, my teachers; I know many people for whom that is a familiar history. But I felt very much the same about characters in books. I was just as enamored with E.M Forster’s Margaret Schlegel as I was with the book and score of South Pacific.
Other than writing, have you got any hidden passions you’d like to pursue?
I love the accordion and have taken several lessons, and I passionately want to visit Antarctica.
What drew you to the roles of Hodel and then Tzeitel in Fiddler on the Roof— are the three of you alike in any ways?
There are too many to mention. I honestly feel this question is best answered within the pages of After Anatevka— and not only the similarities, but the differences, and the growth every human being hopefully acquires as they age and experience life. I had the uncanny joy of being able to understand each woman more deeply as I embodied the other— much like members of the same family come to more deeply understand their siblings as they all become adults.
One of my most treasured passages from After Anatevka is from the penultimate chapter, an epistolary exchange from Tzeitel to Hodel:
“Home, Hodelleh. That place beyond the place where we rest our heads every night. Where our centerpieces, our sewing, our carefully prepared meals, simply do not matter. Where our petty little differences and competitions with one another do not matter anymore.
And I thought of you.
It is odd, Hodelleh. Because I do not know if you shall ever read this, I feel compelled to tell you more than ever. Home—where love shall reign supreme. The kind of home you always held within your heart, my dear sister, the kind no meaningless skill of mine could ever fully capture. How I love you, Hodel. It aches within me that I failed to show you in so many ways. That I provided you with every comfort but the comfort of my heart.
Yet I know that we shall both, as we always did, return to each other. For the love beneath our struggle is so strong. Perhaps in time, the Lord shall reveal to us why it is so difficult.”
My goodness, to embody two such women. What a privilege.
Did you feel any extra responsibility or pressure playing one of the few Jewish female characters in musical theatre?
I believe that if you portray any character or story with honesty and vulnerability, the work will resonate. Our only responsibility as artists is to tell the truth.
After Anatevka tells the story of Hodel after Fiddler. When you research for a role do you think about what happens to the character after the show ends as well as their backstory or was Hodel an exception?
Hodel was absolutely an exception.
The Broadway community and wider world may know me as the most-recent Tzeitel, from the 2016 Broadway revival of Fiddler on the Roof, but from October 2006 to February 2008, I played Tevye's second-eldest daughter, Hodel, in the last West End revival in London. That experience was, without exception, the most immersive and deeply felt of my artistic life thus far. It was like a “first love—” the kind one never forgets, and imprints itself upon you more deeply than any to follow it. Hodel’s strength and sense of purpose, your complex feminine spirit, her wit and determination, her devotion and loving heart. She offered me a chance to find all of these things within myself, and to grow with them.
While all characters tend to endear themselves to you, Hodel haunted me— remained in my cells like an un-rinseable, inextinguishable fuel. Actors often embody traits of the characters they take on, but few characters weave in and out of the soul until you can scarcely detect the line between the emotional truths of one and the other.
If you could write a continuation of any other musical theatre character, who would you choose and why?
Tzeitel. I think we can all agree that I’m now intensely involved in this family’s “future story—” I do feel compelled to finish what I’ve started. Additionally, I don’t think I’ve heard the last of Hodel. We leave her at quite a cliffhanger in After Anatevka!
You’ve made the transition from West End to Broadway and from acting to writing so well. What would your advice be to people hoping to do similar?
Being a “multi-hyphenate” is simultaneously straightforward, and tremendously complex.
To “do” something other than what is listed on, say, your tax return, there is very little required other than to just DO it. You want to write? Don’t wait for a permission slip from the Gods of Writing; just write. An essay. A blogpost. A Tweet. It does’t matter what you create as long as you actually create it, and create it from a place of authenticity.
What’s your writing setup like? Do you have a certain playlist you listen to or a drink you always have?
Yes. I have a beautiful vintage pull-down writing desk! It has been handed down from my mother— she found it on the street when she was in college. When she discovered it, it was covered in layers of paint that she subsequently stripped away, to reveal a beautiful raw wood. The desk has been in my home since childhood, and the handle where you “pull-down” is the face of a lion, that I always thought was the face of Aslan from The Chronicles of Narnia.
I write for about one hour every day, with a pot of tea poured from my perfect little tea pot (gifted to me by actress Lara Pulver), under the supervision of my cat, Tatiana.
Whats a fun fact people might not know about you?
I’m an introvert. In fact, according to the Myers Briggs personality test I’m an INFJ (which is a very rare personality type, about 2% of the world’s population). Many people challenge me on this, based on their mis-impressions of not only me, but introverts in general. Introverts are not necessarily aloof, shy, people-hating trolls, we simply recharge our personal batteries in solitude. Despite my highly developed extrovert behavior, I still require (and enjoy!) lots of time alone to process life.
Also, I have a (fabulous, diva, rescued) cat named Tatiana Angela Lansbury Romanov. She is a star (cue: Mama Rose music)!! She has her own Instagram page, which is: photographs of “Tati” (as I call her) with theatrical captions called @ifeelkitty.…..You’re welcome.
What’s your best piece of advice for an aspiring performer?
For anyone, really: success is not about what you do, it is about how you feel about what you do.
A massive thank you to Al for taking the time to do this interview. Read my review of After Anatevka here.
Interview by Olivia Mitchell, Editor
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