Showing posts sorted by relevance for query Chess. Sort by date Show all posts
Showing posts sorted by relevance for query Chess. Sort by date Show all posts
Wednesday 2 May 2018
Chess, London Coliseum | Review
Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell
★★★
Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum.
The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.
Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming.
Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.
On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own.
Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.
The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more.
Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum.
There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short.
Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it.
Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with.
Chess runs at the London Coliseum until June 2nd.
photo credit: Brinkhoff Mögenberg
Wednesday 3 August 2022
Chess the Musical in Concert, Theatre Royal Drury Lane | Review
Chess the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Tuesday 2nd August 2022 by Olivia Mitchell
★★★★
After the success earlier in the year of Bonnie and Clyde in Concert, the bar has been set rather high for what concert productions at the Theatre Royal Drury Lane can provide, and this most recent one certainly hits the mark.
Chess, last seen in London in 2018 at the Coliseum, is set in the 1970s/80s amid the Cold War. Two chess masters meet in Bangkok to fight it out for the world championship title, but also end up in political and romantic competitions.
By Tim Rice's own admission in the programme notes, the music is the heart of this show, with many finding fault with the book that is sometimes all over the place. Thankfully in this production everything is fairly sleek and issues with the book can be overlooked thanks to the sumptuous cast, choir and orchestra.
Director Nick Winston put on the show in a previous iteration in Japan and has superbly brought it to the London stage with a version that puts the focus strongly on storytelling, both through the music and the buoyant choreography by Alexzandra Sarmiento and Tara Young.
This is further helped in no small way by the outstanding LMTO Orchestra, directed expertly by Freddie Tapner. The sumptuous, melodically complex, beautifully syncopated score is showcased to the highest degree. There's a sensitivity given to the more pared back moments whilst the rousing, dramatic pieces of score are stretched to their full extent to provide real wow moments. The LMTO Chorus also bring add excellent power and oomph to the proceedings.
There were some songs which were cut from the show, namely the song Talking Chess between Anatoly and Freddie and Commie Newspapers which I think would have helped the plot be a bit clearer, especially for those seeing the show for the first time. But of course given the short turnaround and runtime for the concerts, I can certainly understand why some pieces had to be cut and shifted and what was still included was excellent. Any plot issues really fly under the radar when you have such a wonderful team on stage and offstage making everything else so enjoyable.
This onstage team is made up of some musical theatre heavyweights and there are standout performances throughout. Samantha Barks' rendition of Nobody's Side and the Anthem Reprise are definitely at the top. Joel Harper-Jackson's Pity The Child, Hadley Fraser's Anthem also bring the house down, and Frances Mayli McCann and Barks also compliment one another beautifully in the classic I Know Him So Well.
Having first seen Chess in concert version at the Royal Albert Hall in 2008 and falling in love with it at age 10, seeing this production of equal strength was an absolute treat to witness. Here's hoping we see more of this outstanding adaptation and the stellar cast who brought it to life!
photo credit: Mark Senior
Wednesday 10 August 2022
Kinky Boots the Musical in Concert, Theatre Royal Drury Lane | Review
Kinky Boots the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Monday 8th August 2022 by Olivia Mitchell
★★★★
After the success of last week's Chess in Concert, the Theatre Royal Drury Lane have once again opened their doors, this time for concert versions of the acclaimed Kinky Boots, starring an all-star cast. When deciding on musicals to transform into concert editions, Kinky Boots may not be the most obvious choice but the pop score lends itself wonderfully to the setting and really strips everything back to highlight the heartwarming and empowering messages which the show gives out in spades. Plus, the LMTO orchestra, conducted by Freddie Tapner help to showcase all the best parts of Cyndi Lauper's musical score.
Returning to the concert scene after his star turn as Freddie in Chess is Joel Harper-Jackson who once again shows off his vocal chops and wonderfully dynamic acting. As Charlie Price, the son who inherits his father's failing shoe factory, Joel is utterly endearing. He embodies the role and you can physically see his transformation from an unsure man to a strong, sure of himself leader.
As his co-star, Cedric Neal is vocal perfection as Lola/Simon. His portrayal of Lola feels deeply thought through, with some extremely poignant moments; hopefully we'll get another chance to see him shine in the role in the future.
In one of the most wonderfully witty stage performances, Courtney Bowman is outstanding as Lauren. The comedic role is given extra oomph and feels completely fresh under Courtney's command. Other standouts include Kayleigh McKnight and Nikki Bentley who give stellar vocal moments. This is a really solid cast who have done a great job of putting on such a well rounded production in such a short time.
Whilst billed as a concert, there is some staging and choreography throughout and under Omar F. Okai's direction there's a great balance between subtlety and grand moments which really elevate the concert. Ben Cracknell's lighting is a star in its own right, providing a visual treat which is all things bold and absolutely brilliantly backs up the onstage action.
This is a fantastic showcase of the great cast as well as the heartwarming story that works surprisingly well in concert form. I can only imagine how great this ensemble would be in a fully staged production with all the glitz and glam the show deserves.
Saturday 9 February 2019
The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review
The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★
Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.
This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.
Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.
For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.
Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.
As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).
Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.
Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits.
Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece.
Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.
Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.
Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.
Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony.
What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.
Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore.
Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production.
The Bodyguard runs at the Grand Opera house until 16th February 2019
photo credit: Paul Coltas
Wednesday 25 May 2022
Line-Up for West End LIVE is Unveiled
A packed line-up of 34 hit West End shows has been unveiled so far ahead of this year’s West End LIVE, a free and unticketed celebration of London’s world-leading theatre scene which comes to Trafalgar Square on the weekend of 25 and 26 June. More acts are due to be announced in the next few weeks, as London gears up for the biggest ever West End LIVE.
Tens of thousands of theatre fans are expected to flock to the capital for this year’s musical theatre spectacular, enjoying free performances from dozens of top shows - from long-running favourites Hamilton, Les Misérables, Wicked, Six, The Book Of Mormon, Disney’s The Lion King and Matilda The Musical, to new shows making their West End LIVE debut, such as Moulin Rouge! The Musical, Legally Blonde, My Fair Lady, Disney’s Beauty And The Beast, Back To The Future - The Musical and Get Up Stand Up! The Bob Marley Musical.
This unique event, a joint production by Westminster City Council and the Society of London Theatre (SOLT), unites London’s theatre industry every year and brings people of all ages into central London to experience the best of the West End - from the city’s unparalleled culture scene to food, drink, fashion, nightlife, retail and more.
As excitement builds for West End LIVE, anyone visiting central London in the next couple of weeks - and who happens to look up - might catch one of a series of surprise, pop-up performances by West End shows on iconic London rooftops, an opportunity to get a feel for things to come from one of the world’s most spectacular outdoor theatre events. Details for these ‘Sing it from the Rooftops’ events will be teased before each appearance on the West End LIVE and Official London Theatre social channels, and anyone lucky enough to witness one will be in with a chance of winning a West End LIVE queue jump. The first pop-up performance will take place today (Wednesday 25 June) at 4pm, in Covent Garden’s famous piazza on the SUSHISAMBA balcony.
Sky VIP are welcomed back as sponsor for West End LIVE 2022, having also supported last year’s event. Once again, they will be offering their customers the chance to watch from the exclusive Sky VIP viewing area onsite, plus win some fabulous prizes.
They join returning partners The Northbank and Edwardian Hotels and sponsors Art of London, Capco Covent Garden, The Crown Estate, Derwent London, Great Western Railway, Heart of London Business Alliance, New West End Company, The Portman Estate, Regent Street & St James’s, Shaftesbury, Veolia, Victoria Business Improvement District, Victoria Westminster Business Improvement District and Whitehall Business Improvement District.
Eleanor Lloyd, President of SOLT, said:
‘London’s theatres are the envy of the world, and West End LIVE is a highlight of the theatrical calendar for so many - not just the countless fans who converge on Trafalgar Square to enjoy a wealth of incredible live entertainment, but also the hundreds of performers and crew involved in putting on what is always an unforgettable weekend. We are delighted to continue to work so closely with Westminster to deliver West End LIVE, and hugely grateful for the support of Sky, who have a long history as champions of theatre and the arts.’
Cllr Tim Roca, Deputy Leader at Westminster City Council, said:
‘West End LIVE is a much-loved annual event that brings together the musical theatre community in celebration of the world-class theatre we have right on our doorstep. One of the main aims the new administration has for the council is to make culture, arts and leisure accessible to everyone living in Westminster, not just the few. We want to encourage all residents, especially those in disadvantaged communities, to participate and join in cultural opportunities and big, fun events such as West End LIVE so we can bring all our communities in Westminster together.’
Joel Keoghan, Head of Brand Partnerships at Sky said:
Sky is delighted to be part of West End LIVE again. This annual celebration of London’s world class theatre is a fantastic event and a highlight in the arts calendar. It’s a great opportunity for us to host and thank our customers, getting them closer to the entertainment they love through Sky VIP.
Official London Theatre will be backstage throughout the West End LIVE weekend sharing exclusive behind-the-scenes content across our social channels.
West End LIVE remains free and unticketed as in previous years. The event will be BSL interpreted by Sue MacLaine, Marco Nardi and Caroline Richardson.
List of shows appearing at West End LIVE 2022
More shows and acts will be announced in the lead-up to the event
& Juliet
Back To The Future - The Musical
Disney's Beauty And The Beast
Bonnie And Clyde The Musical
The Book Of Mormon
Chess, Kinky Boots and Treason at Drury Lane
The Choir Of Man
Come From Away
Dear Evan Hansen
The Drifters Girl
Fantastically Great Women Who Changed The World The Musical
Disney's Frozen
Get Up Stand Up! The Bob Marley Musical
Grease The Musical
The Great Gatsby
Hamilton
Heathers The Musical
Jersey Boys
Legally Blonde The Musical
Disney's The Lion King
Magic Mike Live
Mamma Mia!
Mary Poppins
The RSC’s Matilda The Musical
Les Misérables
Moulin Rouge! The Musical
My Fair Lady
Only Fools And Horses The Musical
The Phantom Of The Opera
Pretty Woman: The Musical
Six
South Pacific
Tina - The Tina Turner Musical
Wicked
photo credit: Pamela Raith
Thursday 17 March 2022
The Witches of Eastwick to have Concert Performance Starring Giles Terera
Producer Jack Maple, by arrangement with Cameron Mackintosh Ltd, is delighted to announce a special one-off concert of The Witches of Eastwick at the Sondheim Theatre on Monday 20 June 2022.
The Witches of Eastwick has a book and lyrics by John Dempsey and music by Dana P. Rowe, based on the novel by John Updike and the Warner Brothers motion picture. Maria Friedman will direct with musical staging by Stephen Mear. Olivier Award-winning actor Giles Terera will star as Darryl Van Horne. This will be the first time the musical has been seen in London since it originally played at the Theatre Royal Drury Lane in 2000, transferring to the Prince of Wales Theatre in 2001. Tickets are on sale from 10am on Thursday 17 March.
Further all-star casting is to be announced.
The Witches of Eastwick tells the tale of the people of the little town of Eastwick. It is a town where everyone knows everything about everyone else, and it is presided over by the indomitable Felicia Gabriel. Bored with their small town lives, three women - Alexandra (Alex), Sukie, and Jane--share a desire for “all manner of man in one man” to provide excitement and variety. That man arrives, literally in a flash, in the devil-like form of Darryl Van Horne. Darryl seduces the women and teaches them powers, which they never knew they had.
Further all-star casting is to be announced.
The Witches of Eastwick tells the tale of the people of the little town of Eastwick. It is a town where everyone knows everything about everyone else, and it is presided over by the indomitable Felicia Gabriel. Bored with their small town lives, three women - Alexandra (Alex), Sukie, and Jane--share a desire for “all manner of man in one man” to provide excitement and variety. That man arrives, literally in a flash, in the devil-like form of Darryl Van Horne. Darryl seduces the women and teaches them powers, which they never knew they had.
Cameron Mackintosh said “I’m really thrilled that Jack Maple is conjuring up the wickedly funny Witches of Eastwick again, for one night only in concert with a glorious cast at the Sondheim Theatre. It has always been one of my favourite scores, which I’m very much looking forward to hearing in its full splendour.”
Maria Friedman said “I’m so incredibly excited to be revisiting Eastwick after all these years. To be reunited with the fantastic Stephen Mear and to have the opportunity to bring this beloved musical back to London, and at the simply stunning Sondheim Theatre, for one night only is an absolute thrill and I can’t wait to get started.”
Giles Terera MBE is an award-winning actor, musician and writer. He is best known for originating the role of Aaron Burr in the London production of the award-winning musical Hamilton, for which he won the 2018 Olivier Award for Best Actor in a Musical. Giles’s other work on stage includes Rosmersholm, The Tempest, Avenue Q, The Book of Mormon, 125th Street, Rent (West End); Ma Rainey’s Black Bottom, Hamlet, Death and the King’s Horseman, The Hour We Knew Nothing of Each Other, Troilus and Cressida, Candide, Honk! (National Theatre); The Merchant of Venice (Shakespeare’s Globe/international tour); The Resistible Rise of Arturo Ui (Donmar Warehouse); Pure Imagination – The Songs of Lesley Bricusse (St. James’s); King John (Shakespeare’s Globe/UK tour); The Ratpack (West End/international tour); Jailhouse Rock (Theatre Royal Plymouth/West End); The Tempest (RSC) and Generations of the Dead (Young Vic). As a writer, his theatre work includes The Meaning of Zong (Bristol Old Vic), The Ballad of Soho Jones (St. James’) and Black Matter (Crazy Coqs). Giles was appointed a Member of the Order of the British Empire (MBE) in the 2020 New Year Honours for services to theatre.
The winner of three Olivier Awards and an Evening Standard Award, Maria Friedman is one of Britain’s most successful and acclaimed Musical Theatre actresses. Maria starred in the original West End production of The Witches of Eastwick as Sukie alongside Lucie Arnaz as Alex and Joanna Riding as Jane. Her many other West End acting credits include Passion, Ragtime, Merrily We Roll Along, Blues in the Night, Chicago, The Woman in White and, most recently, she played Golde in the Olivier Award-winning Trevor Nunn production of Fiddler on the Roof at the Playhouse Theatre. Maria won over a whole new audience when she joined the cast of long-running soap EastEnders, playing Elaine Peacock. In 2013, Maria made her directorial debut at the Menier Chocolate Factory with a production of Stephen Sondheim's musical Merrily We Roll Along. After a series of 5-star reviews, the Critics’ Circle Award for Best Musical and a sell-out extended run, it transferred to the West End and played Boston. In 2014, it won the Olivier for Best Musical Revival. It was recently announced that Maria will stage Old Friends, a celebration of the work of Stephen Sondheim at the Sondheim Theatre, with Matthew Bourne in May, as well as an Off-Broadway production of Merrily We Roll Along starring Daniel Radcliffe as part of New York Theatre Workshop’s 2022/23 season.
The multi award-winning Stephen Mear, is one of the world’s most celebrated choreographers, with two Olivier Awards, an LA Drama Critics Circle Award, and a Helpmann Award. His theatre work includes Mary Poppins with co-choreographer Matthew Bourne (Prince Edward Theatre 2004 & 2019); Funny Girl and Guys and Dolls, as director/choreographer (Marigny Theatre); Guys and Dolls Concert, as director/choreographer (Royal Albert Hall); Chess (ENO); Sunset Boulevard (ENO and Broadway); On the Town (ENO and Théâtre du Châtelet); 42nd Street as director/choreographer (Théâtre du Châtelet); Singin’ In The Rain (Grand Palais); City of Angels, The Vote and The Resistible Rise of Arturo Ui (Donmar); White Christmas (Dominion Theatre and Curve, Leicester); Mack and Mabel, The Pajama Game, She Loves Me as director/choreographer, Amadeus, The Music Man, Funny Girl, How to Succeed In Business, Putting it Together and The Grapes of Wrath (Chichester Festival Theatre); Die Fledermaus (The Metropolitan Opera, New York) and The Little Mermaid (Broadway). Stephen will be choreographing Old Friends at the Sondheim Theatre this May.
John Dempsey wrote both the book and lyrics for Zombie Prom (Off Broadway & Germany), The Fix directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations) and lyrics for The Reluctant Dragon, A Country Christmas Carol, and the Ringling Bros. Barnum & Bailey Circus. Plays include; One Miracle in a Lifetime (Ohio Arts Council Award), The World Today and The Greater Goode.
Dana P. Rowe wrote the music for Zombie Prom (Off Broadway & Germany) and The Fix, directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations). He also prepared the score for The Ballad of Bonnie & Clyde which premiered at the 2005 New York Musical Theater Festival as a featured production.
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