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

Monday 3 December 2018

Carmen, Royal Opera House | Review


Carmen
Royal Opera House 
Reviewed on Friday 30th November 2018 by Olivia Mitchell 
★★★

Twisting Carmen on it's head, the Royal Opera House's revival of Barrie Kosky's production brings modernity, a narrator, simplicity and vibrance together to create a fresh and mostly effective production. 

Taking the place of the original dialogue/recitative is new text performed by pre-recorded narrator, Claude De Demo who sounds sultry and gives vibes of Carmen herself. Whilst this narration does bring a flow and more typically theatrical feeling to the show, overall Carmen does feel somewhat un-cohesive as it tries to be a bit too clever for it's own good. 

Katrin Lea Tag's set comprises of a vast stair case which covers the stage and prompts us to use our imaginations to see the tobacco factory and other settings. The simplicity effectively highlights the performances and provides a great backdrop for more dramatic and colourful moments of action; although at times it seems in the way of the flow of the show. There are times where the performers are legging it up the deep steps, that it feels there would be much less struggle and more payoff if they were not the main entrance, exit and focal point throughout the entire production.


Performance wise, this is an incredibly strong production. Stepping in last minute as Carmen, Gaëlle Arquez is astounding. From the various sleek costume changes from a pink matador, to a gorilla, to a suit and various dresses; to the elegant way she crosses the stage and of course her powerful but vulnerable vocals, Arquez demands to be seen in the title role. Brian Jagde brings an equally commanding passion to Don José but at times lacks characterisation that would bring a more menacing and psychologically commanding aspect to the character. With his booming bass and charismatic performance Alexander Vinogradov as Escamillo makes it clear why Carmen would choose him over Don José.

Otto Pichler's choreography emphasises the Cabaret theme which runs throughout the show, with six dancers who work hard to showcase various dance styles. There are moments when the choreography really works, creating a frantic, popping energy.


A melting-pot of movie, musical and pop culture references, this production of Carmen does a good job of refreshing and modernising the opera but feels at times that in attempting to be too accessible that it instead becomes unaccessible. 

Carmen runs until 22nd December at the Royal Opera House

photo credit: ©ROH. Bill Cooper
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Tuesday 20 November 2018

Benidorm Live (UK Tour), Bristol Hippodrome | Review


Benidorm (UK Tour)
Bristol Hippodrome 

Reviewed on Monday 19th November 2018 by Emma Gradwell
★★★★


After ten years on our television screens, the long running sitcom Benidorm has found a new home on stage as a national touring production. Written by Derren Litten, the result is a mix of familiar storylines and musical interludes which give us two hours of uncomplicated silliness. The show is largely driven by double entendres and the saucy seaside humour you will have come to expect. 

The show is led by six familiar actors from the television cast and the audience were very pleased to see them, with huge cheers to be heard as they appeared on stage for the first time. The storyline works for both fans of the original show and new audiences. 

Two middle class holidaymakers, Sophie and Ben (played by Tricia Adele-Turner and Bradley Clarkson), find themselves at the 3½ star all-inclusive hotel, The Solana, when their original hotel is overbooked – and they are not impressed. Bribery and seduction are the obvious answer when Hotel Manager Joyce Temple-Savage (Sherrie Hewson) decides they must be undercover hotel inspectors tasked with shutting them down. 



Jacqueline (Janine Duvitski), a member of the Swingers Association, and her very open-minded friend, ‘Gay Derek’ (Damian Williams), baffle the newcomers with their friendly charms. Duvitski is a master comedienne – and Jacqueline’s rendition of “Rubber Ball” at Karaoke Night is one of the shows highlights. There were even a few nods to Jacqueline’s late husband, Donald, and his penchant for their alternative lifestyle, which fortunately for us, Jacqueline is still thoroughly enjoying as a singleton. 

Adam Gillen’s Liam is as quirky and naïve as he is on screen, and his continued devotion to his absent father, Leslie, and his Solana family are charming. Tony Maudsley as Kenneth, owner of the on-site hair and beauty salon, ‘Blow and Go’, gives a slick comedic performance. His naughty slogan t-shirts are in full force, my favourite being ‘Mince, Wince, Repeat’. 

Stellar dance moves are provided by Jake Canuso (a former dancer) as barman and lothario, Mateo, and new staff member, Ricky (Will Jennings). Shelley Longworth as Travel Rep, Sam provides cabaret at Neptune’s Nightclub alongside Neptune’s own crooner, Asa Elliott, belting out some favourite holiday tunes. What was lacking was a live band, which for a production of this size was disappointing. 



The clever set design by Mark Walters took us from reception to poolside via the Salon and eventually to Neptune’s Nightclub for the second half. Director Ed Curtis pulls it all together seamlessly and at two hours, five minutes it doesn’t outstay its welcome. 

Benidorm Live is cheesy, camp and refreshingly unpolitical, and I came away still chuckling about Jacqueline’s pink pussy and the sausage in cider.


Benidorm Live runs at the Bristol Hippodrome until  24th November, before continuing its tour.

photo credit: Paul Coltas 


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Saturday 13 October 2018

Lucie Jones, Live at Zedel | Review


Lucie Jones (Concert) 
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell 
★★★★★

One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has  starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.

The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.

Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.


I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals  and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.

Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!

We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.

I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.

photo credit: Olivia Mitchell
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Saturday 14 July 2018

The IDA Girls (Concert), The Other Palace Studio | Review


The IDA Girls (Concert) 
The Other Palace Studio 
Reviewed on Wednesday 11th July 2018 by Emma Gradwell 
★★★★★

While the rest of the country sat down to watch England vs. Croatia on Wednesday night, a small but select group gathered in the intimate studio at The Other Palace. A few rows of chairs and tables with a convenient bar made it a very personal affair.

We were treated to a classy and sleek evening by London classical crossover girl group IDA. Performing as part of The Big Smoke Festival (The Other Palace's week long music, cabaret and variety festival) Wendy Carr, Laura Coutts, Georgi Mottram and Sarah Vaughan make up the quartet. Having trained at some of the worlds leading conservatoires they have been singing together since 2016 when the met during a West End Production of Gilbert and Sullivan's Princess Ida - hence the name.


We were taken through a journey from Bizet to Adele with clever mashups fusing traditional opera with both pop and musical theatre. The result is truly beautiful. The four ladies may hail from worlds apart - Scotland, Jersey, Ireland and Australia - but their chemistry is undeniable. All of the arrangements are self written making this combination genre completely their own.

After the opening verse of Phantom of the Opera a booming bass-baritone voice could be heard from the back of the room. Rodney Earl-Clarke appeared from the darkness to duet with the girls with superb effect.

Also accompanying was Steinway pianist Dominic Ferris - one half of the critically acclaimed double act 'Ferris and Milne'. There was a special performance of his own at the mid way point allowing for a quick costume change and an update of the Football. Dominic is a very expressive pianist and an absolute joy to hear and watch. 

The show was exquisite from start to finish. The IDA Girls are talented, beautiful and funny. I would highly recommend an evening in their company and cannot wait to see what comes next from them.
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Saturday 7 July 2018

Champagne for Clementine, Live at Zedel | Review


Champagne for Clementine
Live at Zedel: The Crazy Coqs
Reviewed on Wednesday 4th July 2018 by Nicola Louise 
★★★★★

When I stepped into the theatre bar, I honestly didn’t know what to expect, I was guided to my seat and received table service straight away- so far so good. I am of course, talking about Live at Zedel where I was lucky enough to enjoy the Clementine Show... think Barbie on broadway.

The night consisted of Clementine the living doll, her dresser, Bobby Pin (Mark Esaias), Yvette the Usher, (Ruth Calkin) and a range of puppets. 

The cast worked well together, bringing comedy, puppetry and broadway together under one roof. There were special appearances from Ricky the Rooster, who, if sitting in the front row, gets a bit flirty! I should know, I was in the firing zone.

Clementine was great at the over dramatisation of songs she was ‘singing’ too, the over the top performance added to the charm of the whole thing.


During the show, Bobby and Yvette got the chance to show their thing as well. This show loves and thrives on audience participation that works wonderfully well.

The cast and crew for this show did an amazing job for such a small room, in a short space of time, it’s a perfect show to take in before a night out, it’s upbeat, fun and funny, I left the theatre singing and feeling uplifted. 

I highly recommend this show, grab some dinner first at Brasserie Zeldel then head on through the foyer into the bar for the Cabaret show you won’t regret seeing.
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Thursday 24 May 2018

In Conversation With... Freya Parks | Teddy | Interview

Teddy runs at the Vaults until June 3rd, it is an innovative show which not only showcases the actors on stage, but also the musicians. One of whom is Freya Parks who talked to us all about her experience with the show...


Teddy is such a fun show, it must be amazing to be a part of! Have you had a favourite moment so far?
Yeah it's a complete dream to be playing rock 'n' roll on a stage! 

Looking back I think my favourite moment was probably when everything came together the first time we performed to an audience. That was when we all realised how wild and intricate and special what we'd created really was. That's always a good feeling. 
For anyone that hasn't seen the show, can you explain what it's about and how you fit into it? 

It's about a Teddy boy and Teddy girl (Teddy and Josie) and the adventures they have during a rainy Saturday night in Elephant and Castle in 1956. After their paths cross, they discover they're both massive fans of an American band called Johnny Valentine & the Broken Hearts and so do anything they can however risky to get into their gig. Then everything kicks off... 

I play Jenny O'Malley, the bassist, a lady with sass who keeps her boys (fellow band mates) in line! 
Teddy is set in the 50s, if you could transport to any other era, when would you go to and why? 
I could quite easily spend every night at a Weimar Cabaret in the 20s. Thinking about it, the 20s and 50s were both quite wild times as there was a similar post-war attitude of making the best from nothing, living in the moment and partying amongst the rubble. They must've been exhilarating times to live in. 
You not only get to play live during the show, but also after the show. What's been your best audience reaction post-show? 

The audiences always impress us with their dancing but there was one particular Friday night during our cover of Johnny B. Goode when a guy - who was joyously reliving his youth - jumped up onto Johnny Valentine's platform, grabbed the microphone and sang the rest of the song to perfection! I'm really glad there's video footage... 



In 5 words, can you tell us why people should come and see Teddy? 
Female-empowering, gritty, nostalgic, heartfelt....ROCKIN'!!! 
If you had a magic wand, which show would you do next? 

I recently read Teeth 'n' Smiles by David Hare. It's a bit like Teddy but a decade later! I'd love to have a bash at that. 
What's your number one piece of advice for aspiring performers? 

If it's really what you want to do, keep going no matter what and whenever you hit a lull, surround yourself with other creative things - just keep your mind active! You never know what's round the corner. 

 Thank you so much Freya for taking the time to do this interview. Teddy runs at The Vaults until 3rd June.

Interview by Editor, Olivia Mitchell

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Tuesday 27 March 2018

Liza Pulman Sings Streisand (UK Tour), Live at Zedel | Review


Liza Pulman Sings Streisand (Concert) 
Live at Zedel: The Crazy Coqs 
Reviewed on Monday 26th March 2018 by Olivia Mitchell 
★★★★

One-third of cabaret group, Fascinating Aida, Liza Pulman is on the road once again with her show that celebrates and honours the icon, Barbra Streisand. 

Liza and her phenomenal band The Stardust Ensemble, have created a vibrant 90-minute set which showcases Ms Streisand's fantastic career and musical style. Liza takes pieces from from Barbra's remarkable 6 decade's of music and weaves them into an entertaining show which fuses wit and personal anecdotes to tell the story of Barbra Streisand.

Streisand has a huge catalog of songs so of course they can't all be performed, but Liza brings together a variety of well and lesser-known pieces to draw together Barbra's vast career whilst making each and every one, iconically Liza. Whilst taking influence from Barbra's vocal technique and attitude to music, Liza is not a tribute act, instead she shows off her own vocal range and musicality through the stunning music Barbra has performed.

The night is opened with a pacy version of Don't Rain on my Parade from Funny Girl to which Liza added a jazzy, swung feel and set the tone for the night ahead. Throughout the night Liza is witty as she tells the story of Barbra's life alongside her own personal anecdotes which wind the two together as if Liza is channeling Barbra. 

A personal favourite moment for me came a few songs in with an expressive and energetic rendition of Miss Marmelstein. Delving into the story Liza explained that Barbra has only actually been in two Broadway musicals (perhaps due to her self confessed fear of performing), the first being I Can Get It for You Wholesale. The show received lukewarm reactions until Ms Streisand stepped out in act two to perform this song, received an instant mid-show ovation and was catapulted to fame! Liza shows off her humourous side in this fantastic lament about no one calling her by her first name. Ironically, when this song was released by Columbia Records, Barbra's name was spelt wrong!

Accompanied by Andy Taylor's beautiful guitar playing, Liza gave a moving performance of Sleeping Bee before shining with New York State of Mind. After a brief interval for a costume change, Liza showed of her's and Barbra's diversity with an emotional performance of You Don't Bring Me Flowers. The Stardust Ensemble led by MD Joseph Atkins were stellar throughout and seemed to love performing alongside Liza. Their chemistry is evident and it's really lovely to watch.

The night ended with two of Barbra's most iconic songs, Happy Days Are Here Again and People, both of which were performed astoundingly by Liza who's vocal range and stability is impeccable. Her charisma and natural stage presence draws the audience in and her knowledge and love for Barbra Streisand helps the night flow in an entertaining but sincere way. I don't doubt that Barbra would be honoured to hear and see Liza's fantastic celebration of her music and career.

Liza Pulman sings Barbra Streisand is touring round the UK
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Friday 8 December 2017

The Barricade Boys: Christmas Cabaret, The Other Palace Studio | Review


The Barricade Boys: Christmas Cabaret (Concert) 
The Other Palace Studio
Reviewed on Thursday 7th December 2017 by Olivia Mitchell 
★★★★★

The Barricade Boys bring together some of the finest Lew Miserables alumni (Scott Garnham, Craig Mather, Kieran Brown, Simon Schofield) and finest male voices to create truly beautiful sounds and performances. The boys have toured extensively and appeared on a number of television programmes but this time they're back for a three week-residency of Christmas delights at The Other Palace. 

I've really been getting into the Christmas spirit recently with a number of festive shows and this was certainly one of the best. Entering the studio of The Other Palace we are greeted with a beautifully adorned Christmas tree and a cosy log fire projected onto the wall which sets the mood for the relaxed, warm evening to come. The boys normally perform with a seven-piece band but this time opt for a "stripped back" performance with just them and the piano (played fantastically by musical director, Noam Galperin) which further adds to the intimate feeling of the night.

The set of 23 songs was varied and extremely well put together with a mixture of festive favourites, Les Mis hits and some more unexpected songs. Standout moments included I'll Be Home For Christmas/Bring Him Home and Man In The Mirror which both featured tight harmonies and wonderful interaction between the boys. Their rendition of Bohemian Rhapsody must get a special mention as it was done so well; with suitable emotion and humour to keep it entertaining and amusing, whilst maintaining the integrity and showing off everyone's unique voices.

When speaking about the goals of the group, Scott explained that they take the work very seriously but not themselves and this is exactly right. The music was faultless but made all the better by the brilliant on stage interactions where the boys bounced off one another and seemed to genuinely be having fun.

Each night a special West End star will join the boys on stage, this particular night we had the pleasure of seeing the supremely talented Michael Xavier. He performed a haunting, melancholy version of Have Yourself a Merry Little Christmas before the boys joined him for a side splitting, Les Mis version of the Twelve Days of Christmas. Michael was a lovely addition to the programme and the number of amazing guests set to appear, certainly makes me want to go back to another concert in the run.

This pitch perfect ensemble with stand out solo moments and smooth, natural, humourous on stage rapport is all you could ask for at Christmas time. For a festive, lighthearted evening of  top notch entertainment, you can't go wrong with The Barricade Boys and I would high recommend paying them a visit during their run!

 The Barricade Boys are at The Other Palace until December 23rd

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Monday 4 December 2017

Velma Celli's West End Christmas, Leicester Square | Review


Velma Celli's West End Christmas (Concert) 
Christmas in Leicester Square
Reviewed on Sunday 3rd December 2017 by Olivia Mitchell 
★★★★★

Yesterday evening I hot-footed it from the Charing Cross theatre seeing Marisha Wallace's Soul Holiday concert, to the Spiegeltent in Leicester Square to see Velma Celli in concert and it was so worth the dash. 

Velma Celli is the alter ego of West End performer, Ian Stroughair who's credits include Rent, Chicago and Cats; she is a fiery, shocking diva with the voice that dreams are made of! The first song set the tone for the concert with Velma entering from the back of the venue with a swooping, full of key changes version of 'Walking in the Air'. From then on it was joke after joke and belter after belter and was honestly one of the best and most entertaining concerts I've been to.

This alternative festive takeover was full of Christmas hit after Christmas hit and would have made even the coldest person feel festive. A personal highlight (although there were many) was Velma's rendition of 'Have Yourself a Merry Little Christmas' which was heartfelt and a lovely moment.

The cabaret also featured two of the West End's finest: Liam Tamne and Rachel Tucker (who I'd already seen at Marisha's concert!) who gave some fantastic performances. Rachel and Velma's duet of 'Fairtytale of New York' was absolutely hilarious and reminded me of many drunken Christmas nights! Liam showed off his smooth voice and crystal clear riffs in 'Last Christmas' whilst Rachel gave a moving performance of Joni Mitchell's, 'River'.

Overall this was just a fantastic night; Velma Celli is a born performer with a voice and personality that instantly draws the audience in and keeps them until the very last moment. If you want a hilarious night full of incredible talent then get yourself along to any of Velma Celli's future shows and be sure to download her recently released, self titled album. 

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Wednesday 15 November 2017

Cabaret (UK Tour), Edinburgh Playhouse | Review


Cabaret (UK Tour)
Edinburgh Playhouse 
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★

With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.


While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.


What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.


Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.



Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.


This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.


The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.


The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!

Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.

Photo credit: Pamela Raith
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Monday 23 October 2017

In Conversation With... Peter Becker | Interview

Peter Becker is currently starring in the UK Tour of War Horse and is the first  German person to play Friedrich in the show. He sat down with me to discuss the show and his role...

Can you tell us a little bit about the rehearsal process for War Horse?

On the first day of rehearsals I was seriously overwhelmed by the sheer scale of things. We were rehearsing in a massive industry complex at Morden Wharf in London and I could not quite get my head around the enormity of the undertaking. There are so many people involved in creating the show! The actual stage floor was already installed, we were immediately provided with all the necessary props and costumes. It felt like stepping into a whole new universe. I was invited to  improvise with both horses in order to find out how to interact with them. Since the puppeteers knew everything about the anatomy and the natural behaviour of horses it all felt very natural. Like the audience I totally forgot they weren’t real horses I was dealing with in the matter of minutes. As the horses will solely react on the tone of our voices and the way we move I started speaking German to them. It was very interesting to learn that it didn't matter what language I used, they still understood my intentions and reacted accordingly. The attention to detail and the love that has been invested by the National Theatre is immense. 

During rehearsals we had a visit from the Imperial War Museum, providing us with in-depth information. We visited the King's Troops, who answered all questions about the military handling of horses. We had military training, shooting lessons, went to several exhibitions and prepared presentations on the First World War from English, German and French perspective.
What’s the most challenging part about bringing this story to life?

In Germany actors are mostly hired to play repertoire shows as a permanent cast member with one particular theatre where as over here it is common to play one show with a company every night. I first had to adapt to the different system. In addition, it is very challenging to interact with the horse puppets. On one hand it is very easy to believe they are real as they are so brilliantly manipulated, on the other hand you have to be technically very precise in order to achieve certain effects. Funnily for me the most demanding part was speaking English with a very strong German accent. I am half an Englishman and have a much less pronounced accent in real life. When playing, I got confused at first. It was very interesting to determine how different my brain works when I have to switch back and forth between the two languages. I feel a little delayed sometimes because I will often translate mentally before I react. My voice also sounds different when I speak English I believe.


Can you explain a little about your character?

When introduced at first, we get to know Friedrich as a high-ranking German military officer - shortly after capturing English soldiers. The challenge is to give the "enemy" - from an English perspective - a human face. In the course of the story, Friedrich will lose his beliefs in the concept of war and thus question his entire life. From a dramatic point of view, he reflects Albert's development in a nearly mirror-like manner: Whereas Albert continues to harden, Friedrich, in his desperate desire to defend his humanity, continues to soften through his experience in the war. What binds the two characters together is their unconditional love for the horses. 


Besides yourself, which actor in the production is going to blow people away?

I have the privilege of being part of an outstanding ensemble. It is unbelievable what talented actors our Casting Director Jill Green and Director Katie Henry have gathered to bring this enormous show to life. It is merely impossible to emphasise individual colleagues at this point as War Horse is a true ensemble play with everyone contributing equally to it’s success.


You’re the first German Friedrich in War Horse, what’s the experience been like? Do you feel an extra pressure taking on the role?


It is very exciting in many ways to meet this challenge. In Germany, the First World War is completely overhauled by the reprocessing and remembrance of the Second World War. Because of the Germans' war guilt, there is no collective mourning of the dead, we have no equivalent to Remembrance Day. Only in recent years have there been attempts to tell the differentiated history of German soldiers. I too grew up with the image of the unscrupulous murderer, who would literally stop at nothing. Now having the opportunity to give the German soldiers a human face is a great responsibility which stirs me every evening anew. It is important to point out that we are all human beings with the same fears, hopes and needs, especially in those times when we seem to be moving farther and farther apart. Besides, I am very much looking forward to perform before my English family for the first time. My aunts, uncles, cousins and grandcousins have so far only seen me on TV, never on stage before...


What do you think makes War Horse so special and lasting? 

To me War Horse almost represents a deep psychological inventory of the British nation. The songs put together by John Tams and performed by Bob Fox are deeply rooted in the DNA of the British people - partly going as far back as Celtic times. The story has a universal character whilst, very concretely taking place in a time that characterises Great Britain to this very day. The unspeakable suffering and the social upheavals, caused by the First World War, which interestingly is called The Great War over here, have in the most brutally possible way ushered in modern society. The audience is invited to witness the transition from 'innocent' country life to technologically alienation. Through the identification with the horses those unconscious experiences are being made accessible again. I believe it is a very cathartic experience for a lot of people.



What do you think will people be saying as they leave the theatre? 

No more wars, hopefully.


If you had a magic wand, which show would you do next? 

The place in Germany I come from (interestingly founded in the Middle Ages by an English monk from Malmesbury) is home to the largest German open-air  theatre festival - the Bad Hersfelder Festspiele. There I saw a stunningly current version of Cabaret last year. The piece has accompanied me since I was 15 as it was the first I ever performed in. Ten years ago I also had the chance to play the role of Ernst Ludwig in Vienna. I would very much like to have the opportunity to bring the time before the Nazis took over to life in English-speaking countries because there are so many obvious parallels to our present time, which I would love to explore - preferably in the role of the M.C.


If you could travel back to any era, when would you go to and why? 

Last year I had the opportunity to play in an exciting new series, which will soon be broadcast in England on Sky and in America on Netflix. It is called Babylon Berlin and like Cabaret it is set in the period of change between First and Second World War. An incredibly ambivalent era between joy and despair. A hysterical time in which a whole society is living on the edge. If I had the chance I would love to go back to the Twenties in Berlin to experience what people felt and how ultimate freedom could turn into repression so easily.


Finally, what’s your best piece of advice for aspiring performers? 


Our profession is increasingly internationalising. I am personally experiencing just how enriching it is to work in another country at the moment. In this respect, I would advise young actors: Travel as much as you can, learn different languages, the world is great and the possibilities are more diverse than ever before!

 Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.

 Interview by Olivia Mitchell, Editor
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Saturday 23 September 2017

Cabaret (UK Tour), New Wimbledon Theatre | Review


Cabaret (UK Tour)
New Wimbledon Theatre
Reviewed on Friday September 22nd 2017 by Olivia Mitchell
★★★

After Germany's defeat in World War 1, the treaty of Versaille was set out to totally humiliate the nation; inflation rocketed and the economy flew into a downward spiral. This was eventually stabilised but people had seen themselves and those around them lose everything so the idea of 'seizing the day' was adopted and Berlin became a heaving Bohemian world where you lived to enjoy the here and now. This is when we are thrown into the world of Cabaret. It's 1930 New Years Eve, a young American writer, Clifford Bradshaw has just arrived in Berlin and is ready to see what the city has to offer.

The show is a full on combination of things with dance, drink and drugs taking the lead as people relished in the decadent, censorship free lifestyle. The set by Katrina Lindsay manages to be bright and dark at the same time. There are moments of intense glitz and glam with flashing lights and moving sets but also moments of dim, dark spaces which imply what's to come as the golden age passes. The rise of fascism is extremely prevalent in Rufus Norris' production especially during the chilling final scene of act 1 when the Emcee turns into a puppet master, holding overgrown children at the end of strings as he sings the Aryan folk song Tomorrow Belongs To Me.

As the Emcee, Will Young is outstanding, suitably wacky but all-knowing at once. His comedic timing is wonderful as he soars through the notes with a sinister hint always shining through. Young is certainly the star of this show and it's clear why he was asked back to be part of the tour and his balloon clad rendition of Money was the stand out performance of the production for me. 

Louise Redknapp takes on the iconic role of Sally Bowles, the British showgirl who has lost her way. Unfortunately Redknapp's performance fell flat at times; instead of showing a crumbling, emotional girl she was decadent, bold and showed very minimal signs of her struggle. At times her voice was strong but fell flat on her big number, Maybe This Time. Sally Bowles was originally written to be a somewhat second rate performer which is why she has previously been cast as an actress who can sing and opposed to a singer who can act however, Louise kind of fell in between the two and I felt a little underwhelmed. 

Charles Hagerty is strong as Clifford, developing his various relationships well. His voice is incredibly strong and his performance of Why Should I Wake Up? is a stand out moment. A large part of the action has to do with Clifford's landlady Fräulein Schneider (Susan Penhaligon) and her relationship with the local Jewish fruit seller (Linal Schultz) as their normal lives begin to be put in jeopardy. The pair are great together and their affection for one another is very sweet to see.

This show is worth seeing for Young's performance and for the bold imaginative design and choreography but it needs more oomph overall.
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Monday 12 June 2017

La Strada, The Other Palace | Review


La Strada
The Other Palace
Reviewed on Thursday June 1st 2017 by Olivia Mitchell
★★★★★

La Strada is definitely the musical which I have been most pleasantly surprised by so far this year. I am a fan of going into shows without looking them up first and I went into The Other Palace with no idea what to expect; thinking I was going to see a cabaret, vaudeville like circus show but that was absolutely not the case. Based on Federico Fellini's 1957 Oscar winning performance,  La Strada tells the story of the young and naive Gelsomina who is sold by her mother to become the assistant to the touring gypsy, Zampanò: the "Strong Man". Her sister previously went to work for Zampanò and never returned so Gelsomina is struck with fear but fights and stays strong so she can send money back to her mother. This is ultimately the story of a young girl being taken advantage of purely because she doesn't know any better and because her circumstances don't allow her to escape.

The musicians play onstage in this piece and really bring it to life. A particular favourite moment was when everyone started clicking their fingers until the sound became overpowering and turned into raindrops. Each dramatic moment is heightened and an extremely visceral performance is created. This is helped along by Cameron Carver's brilliant movement which is extremely tight but looks natural and free. Flowing beautifully through moments and embodying each element that's being shown.

With credits including the National Theatre's Peter Pan, director Sally Cookson is know for her innovative, unique storytelling and has captured the themes and harshness of this story in a brilliantly imaginative way.

Finding herself trapped in Zampanò's world, wanting to escape but needing to make her mother proud we see the external and internal struggles of Gelsomina who is played so beautifully by Audrey Brisson. Capturing both her innocence and playfulness through the witty dialogue and  wide-eyed movements, Gelsomina becomes a character the audience grow to love and become extremely attached to. This is a wonderful contrast to the cruel, harsh portrayal of Zampanò by Stuart Goodwin. Although we see moments of kindness, these are rare and it is the overall menacing anger which fills the stage whenever the strong man is around.

Part way through, they meet, Il Matto (The Fool) played by Bart Soroczynski who acts as a friend and guide for Gelsomina who heartbreakingly confides in him that there isn't any point her being alive because she is good for nothing. Il Matto brings light and warmth to the story, with a carefree attitude and light movement, he is played wonderfully by Soroczynski.

La Strada is a masterclass in storytelling and Cookson has created a faultless production which draws the audience in and takes them along the road which Gelsomina and Zampanò travel along. The piece is fresh and engaging and the constant movement makes it feel alive, it's truly compelling to watch and I would highly urge you to see it.

La Strada runs at The Other Palace until July 8th.
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