Showing posts sorted by relevance for query Carly Mercedes Dyer. Sort by date Show all posts
Showing posts sorted by relevance for query Carly Mercedes Dyer. Sort by date Show all posts

Thursday 23 November 2023

The Drifter's Girl on Tour at the New Victoria Theatre Review: Enchanting Performances


The Drifter's Girl (Tour)
New Victoria Theatre

Currently on tour after a West End stint, The Drifters Girl offers audiences a glimpse at an intriguing journey, accompanied by top tapping hits and universally great performances. Showered with acclaim at the 2022 Olivier Awards, the show follows the dramatic narrative of Faye Treadwell, the incredible force behind shaping The Drifters.

While grappling with some visually lacklustre sets, the production compensates with performances that pack a punch and a memorable soundtrack featuring timeless tunes like ‘Saturday Night At The Movies,’ ‘Save The Last Dance For Me,’ and ‘Stand By Me.’

Despite the occasional visual challenge posed by the set design, The Drifters Girl invites audiences to dive headfirst into the heart of the action with an immediate and dynamic narrative approach. This spirited start, while invigorating, might require a bit of time for the audience to acquaint themselves with the characters and their relationships. If you’re not familiar with the story you may be a little dazed, but thanks to the fast pace, you don’t really have time to think about it!

From the energetic get go, the performances are the true stars of the show. Under the compelling portrayal of Faye Treadwell by Carly Mercedes-Dyer, the cast deliver stellar performances that highlight the ambition, determination, and drive which drives the story. The group's seamless transitions, brought to life by Ashford Campbell, Daniel Haswell, Miles Anthony Daley, and Tarik Frimpong, showcase their artistry in navigating the dynamic changes within The Drifters. Vocally, each performer has some stand out moments however don’t often get the chance to really come into their own. Carly Mercedes Dyer perfectly performs the peak moments of the show, with vocals that simmer and then soar.

The musical's charm lies in its unforgettable songs, which act as both a soulful soundtrack and sturdy pillars supporting the narrative. The emotional depth conveyed through these musical moments significantly contributes to the overall impact, and has you rooting for the story. However, it does feel like something is missing, with the short acts skimming over a lot of drama and never quite packing a punch.

Whilst it’s not a life altering night at the theatre, The Drifters Girl has performances that feel authentic, a soundtrack that strikes a chord, and a narrative that unveils the essence of a key figure in music history. Despite the initial visual challenges and a swift plunge into the storyline, the production eventually finds its rhythm, offering an enjoyable experience for fans of The Drifters and musical theatre enthusiasts alike.

★★★
Reviewed on Wednesday 22nd November 2023 by Olivia
Photo Credit:

{AD PR Invite- tickets gifted in exchange for honest review}
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Wednesday 24 July 2019

The View Upstairs, Soho Theatre | Review


The View Upstairs 
Soho Theatre
Reviewed on Tuesday 23rd July by Olivia Mitchell 
★★★★

Whilst victories in the LGBTQ+ community are rising, and social attitudes and actions are, for the most part, much more positive, there's still much to fight for, as Max Vernon's musical highlights.

In its European premiere at the Soho Theatre, The View Upstairs cleverly creates a conversation between the past and present by visiting the UpStairs Lounge, a New Orleans gay bar which was the subject of an arson attack in 1973 which killed 32 people. The tragic story is one which has often been wiped out from history and was even minimised by news outlets at the time, so it's an honour to see it brought to life so thoughtfully. 

The story follows Wes, the 2019 "influencer" and fashion designer who is buying the dilapidated bar in the modern day. His estate agent leaves, and in a somewhat mystical, drug-filled flurry of curtains, he is transported back to the bar as it was on the day of the fire. Who we are then introduced to are the various people, decked out in bell bottoms, who find solace and friendship in the safe space the UpStairs provides. Wes' eyes are gradually opened to he struggles of being gay in the 70s and he questions how he leads his life in the modern day. 

Wes is a smartphone-addicted go-getter who often veers into a caricature of a Gen Y person, but is  still intensely entertaining and relatable. As a whole the book features a lot of stereotypes which are not always believable enough, but there are hilarious one-liners throughout, as well as many thought-provoking moments. 


What the script lacks is made up for in spades by the utterly phenomenal cast. Tyrone Huntley is effervescent in his performance and provides vocals which need to be heard; Huntley also manages to create a fantastic balance between impudence and vulnerability, which really makes the audience root for him. The chemistry between the entire cast is second to none, with Wes and Patrick (Andy Mientus) providing especially well thought out interactions. Mientus draws the eye thanks to his incredibly subtle but highly calculated movements which make him seem as though he isn't acting at all.

The uniformly thrilling cast bring vocals that will cause involuntary whoops and goosebumps in equal measure. Among a team of stars, Carly Mercedes Dyer and Cedric Neal stand out because of their powerhouse voices which ring out with sincerity as well as power. Victoria Hamilton-Barritt is magnetic as the caring, religious mother Inez; whilst Garry Lee provides vocals and sass and her drag queen son Freddy. John Partridge and Declan Bennett are well rounded and striking in their performances and Joseph Prouse and Derek Hagen give memorable, if brief performances. This is a fantastic ensemble piece which has momentum and catchy tunes, but more importantly, heart.

Fabian Aloise and Ruthie Stevens's choreography is slick and feels part of the characters own movements. Lee Newby's set is basic but evocative as is Nic Farman's lighting which expertly matches the moods of the show, although at times felt just a bit too dark.

Jonathan O'Boyle has directed a moving production which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight. 

photo credit: Darren Bell
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Friday 4 February 2022

Cast Announced For Anything Goes


New star casting has been announced for ANYTHING GOES, the smash hit ‘show of the year’ which is sailing back to the Barbican for a return residency following its sold out run in summer 2021. The new cast includes: WhatOnStage Award Winner Kerry Ellis (Wicked/We Will Rock You) as Reno Sweeney and Olivier Award Winner Denis Lawson (Bleak House/New Tricks) as Moonface Martin. Joining them on board is Olivier Award Winner Simon Callow (Four Weddings & a Funeral/Amadeus) as Elisha Whitney and Musical Theatre Royalty Bonnie Langford (EastEnders/9 to 5) as Evangeline Harcourt. As well as its triumphant return to the Barbican, this glorious musical will also be visiting theatres in Bristol, Liverpool, Edinburgh, Canterbury and Manchester.

Last year ANYTHING GOES smashed multiple Box Office records at the Barbican Theatre including the single highest grossing performance week for a musical in the Barbican’s 39-year history and the highest sales across a weekend for a musical, as audiences flooded through the doors for the 15-week sold out season!

It was therefore no surprise that last year’s summer season of ANYTHING GOES saw audiences on their feet night after night, giving this multi–Tony Award winning show multiple standing ovations. This spectacular show has been described as the “musical equivalent of sipping one glass of champagne after another” (The Times) and “delightful, delicious, and as buoyant as helium” (Evening Standard).

Kerry Ellis said: “I am so excited to be taking on the role of Reno Sweeney in Anything Goes this summer. This glorious show is classic musical theatre at its very best. Reno is an iconic character in musical theatre. I can’t wait to get my tap shoes on and share this fabulous musical with audiences up and down the country.”

Denis Lawson said: “I’m delighted to be joining the cast of this great classic musical. Anything Goes is uplifting, energetic, and hilarious – with an unforgettable Cole Porter score. Audiences are in for a real treat.”

Simon Callow said: “Like everyone who saw Anything Goes last summer, I was swept away by it. The sheer joy of sharing its exuberance, wit and style with my fellow theatregoers - the perfect antidote to Covid and all its miseries. I couldn't be happier to be joining the show as we spread the joy around the country and back to the Barbican.”

Bonnie Langford said: “I simply adore this show. It’s vibrant, fun and bursting with a feel-good energy that is contagious both on and off stage. It really is musical theatre at its finest.”

Reprising their co-starring roles in this year’s UK tour and Barbican season are Samuel Edwards (Les Misérables / Wicked) as Billy Crocker, Carly Mercedes Dyer (A Chorus Line/The Color Purple) as Erma (a role in which she is nominated for a WhatsOnStage Award this year), Nicole-Lily Baisden (The Book of Mormon / Let’s Face The Music) as Hope Harcourt, Haydn Oakley (A Christmas Carol / An American in Paris) as Lord Evelyn Oakleigh. Further casting will be announced soon.

From spring 2022, the hilarious sold-out musical sensation returns giving audiences across the country the chance to enjoy the truly spectacular, multi-Tony Award winning, “show of the year!” (★★★★★ Daily Telegraph), as the S.S American will be heading to theatres in Bristol, Liverpool, Edinburgh, Canterbury on its way to the Barbican!

Producer Sir Howard Panter said: “We are delighted to be back with the glorious Anything Goes musical on tour this spring and at the Barbican this summer. I’m thrilled that this energetic and uplifting show will be led by Kerry Ellis, Denis Lawson, Bonnie Langford and Simon Callow, with an ensemble of the finest there is to offer, including tap dancing sailors, and a full-sized live orchestra. We are delighted to take this majestic show to audiences across the UK for the first time, so they can enjoy the glorious set design, breathtaking choreography and stage direction, and of course the wonderful score!”

ANYTHING GOES has music and lyrics by Cole Porter, an original book by P.G. Wodehouse & Guy Bolton with Howard Lindsay & Russel Crouse and a new book by Timothy Crouse and John Weidman. This production is directed and choreographed by three time Tony Award Winner Kathleen Marshall.

When the S.S. American heads out to sea, etiquette and convention head out the portholes as two unlikely pairs set off on the course to true love... proving that sometimes destiny needs a little help from a crew of singing sailors, a comical disguise and some good old-fashioned blackmail. This hilarious musical romp across the Atlantic featuring a collection of some of theatre’s most memorable songs - including ‘I Get A Kick Out of You’, ‘Anything Goes’, ‘You’re the Top’, ‘Blow, Gabriel, Blow’, ‘It’s De-Lovely’, ‘Friendship’ and ‘Buddie Beware’ - will take you back to the Golden Age of high society on the seas.

Heralded as “The antidote to everything” (The Guardian) and “The Spectacle of the Year” (The Times) ANYTHING GOES is set to sail away with audiences all over again and is destined to be the definitive feel good production of 2022.

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Thursday 25 April 2019

Ain't Misbehavin', Southwark Playhouse | Review


Ain't Misbehavin'
Southwark Playhouse
Reviewed on Wednesday 24th April 2019 by Olivia Mitchell 
★★★★

Tyrone Huntley makes his directorial debut with this vivacious production that hasn't been seen in London for almost 25 years. With Oti Mabuse's choreography, the show is a whirlwind of energy which excites and entertains throughout.

Originally conceived by Richard Maltby Jr the show is billed as The Fats Waller Musical. It's more of a cabaret revue than a musical but, thanks to Huntley's direction, the performers have their own characteristics which thread throughout the show and create a fantastic cohesion. Songwriter and pianist, Fats Waller had a hugely successful career which combined jazz, slapstick comedy and gin. However, this show isn't about the man himself, but the music he created.

The powerhouse cast bring spades of energy and vocal prowess with every number. Renée Lamb is sassy and animated, Carly Mercedes Dyer is sweetly comedic, Landi Oshinowo brings spades of soul, Wayne Robinson is smooth and sharp and Adrian Hansel is sleek throughout. Alongside the strong five-piece band, the team give contagious performances.

The set and costume design by takis is glitzy and exuberant, with sparkles and swing embodied on every inch. The Southwark Playhouse is transformed to have an almost speakeasy feel as we are whisked away to a world of jazz and gin.

The 100 minute show is a sexy and sassy celebration of Fats Waller's music, with choreography and vocals to impress everyone. The cast do an outstanding job of selling all of the thirty musical numbers and providing both emotional and hugely comedic moments.

Ain't Misbehavin' runs at the Southwark Playhouse until June 1st 2019

photo credit: Pamela Raith
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Thursday 15 November 2018

Hadestown, National Theatre | Review


Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell 
★★★★★

Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.

Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld. 

This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.


The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.

The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch. 

Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.


Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.

Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.

This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.

Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.

Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks

{AD PR Invite- tickets gifted in exchange for honest review}
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