Showing posts sorted by relevance for query Arinzé Kene. Sort by date Show all posts
Showing posts sorted by relevance for query Arinzé Kene. Sort by date Show all posts

Thursday 22 March 2018

Misty, Bush Theatre | Review


Misty
Bush Theatre
Reviewed on Wednesday 21st March 2018 by Shaun Dicks
★★★★★

Arinzé Kene is a star on the rise. Playwright and Actor, he has endless noteworthy credits. Tonight’s viewing is Misty, written by and starring Kene. Misty is a show of two stories; the first being a story of a young man, travelling on the night bus in London, who makes a bad decision before unravelling. We follow him as events unfold. The second story is led not by a character but Kene the person. It follows his process of creating this show and all the negativity and hardship that he faced while doing it. 

Firstly, Kene as a writer is outstanding. The script is fantastically interwoven with its dual narrative; the structuring and execution is positively breath-taking. This script is a masterpiece and a masterclass in how to create an effective, powerful and colourful script. Kene has found the right balance of intense, thought provoking and politically/racially charged material and mixing it with great wit and humour. There is an elegance in the script that is rare, the imagery is so vivid and clear- it is beautiful. 



Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone. 

It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues. 



I have been watching theatre for eleven years, appreciating for the last five. This show is in my top three, of greatest shows I have ever seen. It is excellence and I cannot be happier or feel more privileged to have experienced it. 

It is theatrical perfection. Go see it, tell everyone about it. Tweet it, Facebook it, Instagram it, Tumblr it, Snapchat it. Make sure that this masterpiece is seen and heard. Give it the visibility that it deserves. Kene is a genius, plain and simple. 

Misty runs at the Bush Theatre until April 21st.

Read Shaun's other reviews here.

photo credit: Helen Murray


Friday 11 March 2022

Get Up, Stand Up! The Bob Marley Musical Extends Booking Period


Producers have today announced that the hit production Get Up, Stand Up! The Bob Marley Musical has extended booking until 29 January 2023.  The critically acclaimed production has been playing to sell-out ecstatic crowds since October last year at the Lyric Theatre Shaftesbury Avenue and it has just been nominated for 4 Olivier Awards, including BestNew Musical. 

 

Producers said: “Bob’s music has a power to heal, and bring joy and life and happiness to the whole world. In these difficult times we are so pleased that audiences are feeling the positive vibrations reverberating around the Lyric Theatre which we have made our home. ONE LOVE to all nominees and welcome to our family, the brilliant Michael Duke.” 

 

This news comes as new images are released of Michael Duke who has taken over the role of Bob Marley from Arinzé Kene. Duke has been performing for 20 years, starting his career as Young Simba in The Lion King. He has appeared in the West End run of The Inheritance, West Side Story at the Royal Exchange in Manchester, Beautiful: The Carol King Musical, Thriller Live and The Rat Pack LIVE! (all in the West End).

 

On Tuesday this week it was announced that the show had been nominated for 4 Olivier Awards including Best New Musical, Best Actor in a Musical for Arinzé Kene, Best Actress in a Supporting Role in a Musical for Gabrielle Brooks and Best Original Score or New Orchestration for Orchestrator Simon Hale.

Award-winning director Clint Dyer channels the creative quest and spiritual power of a universally embraced icon, in this critically acclaimed production which features Marley’s magical, revolutionary songs and a book by award-winning Lee Hall.

Lose yourself to the rhythm of 'Exodus', 'No Woman No Cry', 'Waiting in Vain', 'Three Little Birds', ‘I Shot the Sheriff’, 'Could You Be Loved', 'Redemption Song' and many more.

The explosive production celebrates the immense life and timely message of Jamaican soul rebel Bob Marley - from a life of poverty to visionary international superstar. Crucial fellow soul rebels in the cast include the sensational Rita Marley and the I Three and his inspiring brothers in arms, Peter Tosh, Bunny Wailer and Lee ‘Scratch Perry’.

 

The full cast features Michael Duke (Bob Marley), Gabrielle Brooks (Rita Marley), Shanay Holmes (Cindy Breakspeare), Sophia Mackay (Judy Mowatt), Melissa Brown-Taylor (Marcia Griffiths), Jacade Simpson (Bunny Wailer), Natey Jones (Peter Tosh), David Albury (Alternate Bob Marley) Daniel Bailey, Craig Blake, Charles Blyth, Luke Buck, Maxwell Cole, Athena Collins, Viquichele Cross, Kimmy Edwards, Raphael Estavia, Henry Faber, Cannon Hay, Llewellyn Jamal, Savanna Jeffrey, Kieran McGinn, Rohan Pinnock-Hamilton, Cleopatra Rey, Julene Robinson, Lawrence Rowe, Nate Simpson, Amarra Smith, Archie Smith, Declan Spaine, Jaime Tait, Teddy Wills

 

‘It’s not all that glitters is gold, half the story has never been told’ 

 

From the hills of rural Jamaica, armed only with his overwhelming talent, Bob Marley applied himself with resolute determination to achieve international acclaim for his prophetic musical message – a gospel of love and unity.


photo credit: Craig Sugden

Friday 14 September 2018

Misty, Trafalgar Studios | Review


Misty
Trafalgar Studios
Reviewed on Thursday 13th September 2018 by Olivia Mitchell
★★★★★

Misty is an outstanding, relevant, vibrant and moving piece of theatre written and performed by a theatrical genius. Arinzé Kene's use of spoken word, movement, rhythm and singing is masterful and makes you feel as though you are with him every step of his journey. 

Despite being in a formal setting of audience separate from the performer, this show feels immersive and the regular breaking of the fourth wall feels natural and fresh. It's evident that this show is so intricately planned, that it feels unplanned. We find ourselves constantly questioning whether an action was an accident but it soon becomes clear that everything is part of the beautifully woven fabric of the show.

The dual-narrative script written by Kene is a masterclass in effect. The balance between political/racial tensions, intensity and passion is perfectly found and combined with laugh out loud humour magnificently. The structure of the entire piece is so exhilarating and exactly what the West End needs right now.


Kene is one of the most deft storytellers I have ever encountered. The way he captivates the audience and wraps us around his finger with a faultless intensity and honesty is an impeccable thing to witness. His performance pulls together a number of theatrical/storytelling devices which create a visceral performance that gives visibility to crucial issues that constantly need addressing. The fact that this is only the second black British play to be in the West End is enough to show that change is needed and I sincerely hope and believe that Misty will reach those that are able to influence change and will be a step towards opening conversations that will lead to positive outcomes.

The stunning performance of Kene is accompanied by incredibly deft musicians: Shiloh Coke and Adrian McLeod. The lighting (Jackie Shemesh), sound (Elena Peña) and video (Daniel Denton) are all part of creating the perfect package of Misty

Misty is unique, theatrical perfection, written and performed by a master of his craft. This show needs to be seen and experienced. Don't miss it.

Misty runs at Trafalgar Studios until 20th October 2018

photo credit: Helen Murray

Friday 7 February 2020

Poet in da Corner, Royal Court | Review


Poet in da Corner
Royal Court
Reviewed on Thursday 6th February 2020 by Olivia Mitchell 
★★★★

Modern storytelling is ever-changing but the blueprint often stays the same, with Shakespeare, Ibsen and Chekhov usually being the playwrights we are told to use as inspiration. In Poet in da Corner, Debris Stevenson challenges this and chooses to use Dizzee Rascal's debut album as the framework for her personal coming-of-age tale. Debris makes the importance of music clear from the get go: "Grime changed my life, more than my two first class degrees, it gave me permission". From here, we go on a loud, fast, energetic and spirited journey through Stevenson's life from a dyslexic teen trapped in a mormon household, to an independent, strong and self-aware woman.

This is an incredibly multi-layered show which is so much more than just a celebration of grime. Instead it's an impactful look at upbringing, freedom, self-expression and privilege. Stevenson freely studies and exerts herself, whilst, also investigating theatrical expression as a genre and form. There's breaking of the fourth wall, interesting use of props, thought-provoking lighting and exceptional movement. The energy is at peak levels throughout and the gig like atmosphere in the Royal Court is something to behold. Reminiscent at times of Arinzé Kene's Misty, this is the way theatre should be evolving to attract new audiences and tell stories in unique ways.

As well as writing the show, Stevenson's performance is exceptional; her passion for grime is instantly infectious and becomes universal almost as if her story is ours. I suppose in ways it is, as the universality of music is what makes it so special, but it's still masterful how Stevenson is able to unify a room of individuals so expertly, through her mile a mile performance.

Alongside Stevenson are Jammz (co-writer of the show), Stacy Abalogun and Kirubel Belay. The quad give amazingly agile performances both in vocal and physical terms. It's amazing to witness such fast action which flits between humour and intensity so seamlessly. If you want a celebration of grime and a true example of self-expression, this is the show for you.

The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.

Poet in da Corner runs at the Royal Court until 22 February and then tours the UK

Monday 31 December 2018

Olivia's Top 10 Shows of 2018


2018 has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in an order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats. 2019 is the year of change for West End theatre as a lot of beloved shows close and we get a number of new shows and shows from across the pond. I can't wait to see what next year provides and if we get anything like the treats from this year, it's going to be truly wonderful...


This was one of the wackiest nights out at the theatre. Alan Menken's score, accompanied by the changing natural light, a dancing tongue (shoutout Billy), and a host of standout performances, you couldn't help but smile and laugh at this treat of a summer show.



My heart was torn out and I ugly cried most of my train home but this was a magical theatrical experience. Highlighting the struggles of grief, this production cleverly used simplistic, ensemble staging to create a highly moving, highly polished, yet still raw piece of theatre.



This is one of the most truthful productions I have ever seen in my life. The outstanding cast seemed as if they were living the show for the first time as they travelled through Nine Nights of mourning with humour and depth in perfect balance. 



This show deserved better. Mythic was a whole host of self-aware-hilarity accompanied by the catchiest music. A modern twist on the Greek Gods, it was 90 minutes of unadulterated brilliance and I can only hope 2018 isn't the last time this show graces the stage.



Robert Hastie's revival of The York Realist was 130 minutes of theatrical perfection. Handled with genuine care and a real attention to detail, this was a beautiful exploration of love, class and life. 



All I can say is that London is not ready for the perfection that this show is. Book your tickets NOW.



Toby Marlow and Lucy Moss are the best thing to happen to British theatre in a long time. Telling the stories of the wives of Henry VIII, Six uses modern musical styles, mixed with laugh out loud one liners, out of this world performances from the Queens and it's just spectacular. It's a show for all ages that is sure to wow audiences for years to come as they keep coming back for their royal fix.



This is another gem of a show from Trafalgar Studios. Arinzé Kene gave the most devoted and energy fuelled performance I've ever seen. Misty is vibrant and fresh as it uses the dual-narrative structure perfectly to leave you wordless.



If The Rink was a person, I would've married it by now. Caroline O'Connor gave a masterclass in acting and this show needs to come back right now. Roller blades, delightful music and fabulous staging made this a faultless production.



I saw Hadestown twice this year but if I could've made it 20, I would have. I truly can't describe how special this show is; the lighting, staging, choreography, ensemble, leads and music come together to create an emotional journey and spectacular theatrical experience. The entire show is painfully relevant and the whole spectacle of it is exceptional.


So there we have my Top 10 Shows of the year, do you have any of the same ones? I'd like to give mention also to Bat Out of Hell which became a huge part of my year and provided some wonderful memories; and the BTA who put on two fantastic shows: Spring Awakening and Bring it On which featured stellar performances from the stars of the future.

For me, this was the year of female led performances and a real forward movement in the showcasing of diversity in theatre which are two huge positives in the industry. Lets hope for a continuation of these changes in 2019! Wishing you a the stagiest of stagey 2019s!

-Olivia x