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

Wednesday 22 July 2020

Spice World drive-in concert to feature Lucie Jones, Aimie Atkinson, Bronté Barbé, Danielle Steers and Zizi Strallen


Five West End stars will come together to perform a live concert of Spice Girls hits before a drive-in cinema screening of Spice World.

Presented at the Troubadour Meridian Water, the drive-in experience will start at 9pm on Saturday 1 August, with doors opening at 8.15pm.

Put together by producer Paul Taylor-Mills, the concert will feature Aimie Atkinson (Six / Pretty Woman) as Ginger, Bronté Barbé (Shrek/Beautiful) as Baby, Lucie Jones (Waitress/Rent) as Sporty, Zizi Strallen (Mary Poppins/Strictly Ballroom) as Posh and Danielle Steers (Bat Out of Hell/Six) as Scary.

The performances are in a raised central location and relayed back to a giant cinema screen, giving everyone a great view wherever they park up.

Social distancing guidelines will be adhered to and updated in accordance with government guidelines for the performances, with cast, crew and audiences all observing protocols throughout the evening.

The concert has lighting by Andrew Exeter, sound by Dan Samson and choreography by Alexzandra Sarmiento.

Tickets are on sale now. There are ten free car tickets per showing for NHS and care workers, booked with the code NHSSTAFF. Valid ID must be presented at event.
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Wednesday 21 June 2017

Bat Out of Hell, London Coliseum | Review


Bat Out of Hell
London Coliseum
Reviewed Tuesday 20th June 2017 by Olivia Mitchell
★★★

Let's make one thing clear: this show is epically crazy. Jim Steinman's rock musical is like nothing else currently on any West End stage. It feels like a rollercoaster ride where things are constantly being thrown at you from every direction: the great, the good, the bad and the ugly sides of rock music are all thrown together to create a show like no other.

The new show based on the music of Jim Steinman tells a Romeo and Juliet-esque tale mixed with Peter Pan themes and a whole lot of randomness. If you don't like out there shows then this definitely isn't for you but if you're up for a wild ride then stick around. The songs have very little relevance to the storyline and it kind of feels like an excuse to put on a massive budget concert every night but somehow they kind of fit and work in the context. Each one is performed so much energy and excitement that you can forgive them for not technically fitting in. Each song works as it's own performance instead of fitting perfectly into an overall narrative.

Bat Out of Hell is set in a sort of dystopian world where a man named Falco rules a derelict, broken city where 'The Lost', a bunch of genetic mutants who don't age past 18, live in their underground lair known as 'The Deep End'. The leader of this mutant group is  Strat who despite barely knowing her, is head over heels in love with Falco's daughter, Raven who longs to escape her boring life. One fateful night Strat visits her room and from there on we fall down the rabbit hole of craziness and things get even more mental. I did say it was crazy! Overall I would describe it as a rock retelling of Peter Pan through the eyes of someone who's had a few too many!

Whilst the writing of the show isn't stellar and there are faults with it, the cast are a talented bunch indeed, with voices that raise the roof. Andrew Polec as Strat and Christina Bennington as Raven have great chemistry, although it is particularly cheesy at times they work well together and their booming voices compliment one another very nicely. The pairs voices are stunning and goosebump inducing. Another cast member who will give you chills is Danielle Steers (Zahara) who received a gasp from the audience when she sung her first solo notes. Danielle's voice is strong and sexy and when she joins with Dom Hartley-Harris (Jagwire), especially in Act 2, they really create a magical vocal moment. 

As Raven's parents who have fallen out of love and are trying to regain their spark, Rob Fowler and Sharon Sexton (Sloane) are outstanding. They are witty and suitably mental with their performance of "Paradise By The Dashboard Light" becoming it's own mini show within the show. Both their voices have the right amount of attitude and drama to command the stage and ring out above the ensemble.

Jon Bausor's set is mental, with fire balls, motorbikes and so many more surprises to always keep you on your toes. The use of screens is extremely clever, not only mimicking the screens you get at a concert but also acting as a kind of cctv camera, showing us close up action which we wouldn't normally see- it really reminded me of Robert Icke's Hamlet.

 The pyrotechnics are intense but not so overdone that they become gimmicky. Emma Portner's choreography fits the weird world of the show but is a somewhat weird mix of things, conjuring up Michael Jackson "Thriller" vibes mixed with Maddie Ziegler's iconic dances for Sia. It's sharp and popping and fills the vast stage of the London Coliseum well. Patrick Woodroffee's lighting is eccentric and blinding, the exact lighting you expect from a rock concert. But as the Coliseum is smaller than an arena, the bright lights are exemplified and add to the psychedelic experience.

Now this definitely isn't a masterpiece of musical theatre but it is a jaw-dropping spectacle that really has to be seen to be believed. There are more than just moments of gold and flashes of light- it's an extravangaza for the eyes and ears which will definitely leave you feeling something?!

Bat Out of Hell runs at the London Coliseum until 22nd August 2017.
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Tuesday 8 January 2019

Christina Bennington, Live at Zedel | Review


Christina Bennington (Concert) 
Crazy Coqs, Zedel 
Reviewed on Monday 7th January 2019 by Olivia Mitchell 
★★★★

The wounds are still fresh for Bat Out of Hell fans, who had to wave goodbye to their beloved show at the Dominion Theatre just two days ago; but the Bat love was still strong as Christina Bennington took to the stage in a one night only couple of concerts. As usual, the Zedel provided a cosy and relaxed backdrop for a night of pure vocal entertainment and we felt welcomed into the songbook of Christina's life and career.

After performing Jim Steinman's huge musical numbers for the last couple of years, it was enthralling and refreshing to hear Christina show off the other shades of her voice, with her lilting soprano contrasted wonderfully against her powerful belt and buoyant performance. Some stand out numbers included Green Finch and Linnet Bird, I'm With You and Salley Gardens which each showed a different aspect to the vast range Ms Bennington beholds. Act One closer, Raven was another highlight as Christina's voice soared over the audience and enchanted us all through the power of a beautiful song. 


Alongside sweet anecdotes we also heard from two guest performers: Danielle Steers and Dan Buckley. Good Girls Go To Heaven performed by Danielle and Christina was met with elation from the audience who were wrapped around the performers fingers, whilst, Happy Days Are Here Again/Get Happy illustrated the friendship between the duo and how their voices complement each other so well. Daniel played the Disney Princes in the pairs mini Disney mash-up and reminded us of just how much talent is on offer in the West End with his beautiful rendition of You Matter To Me from Waitress; it's lovely to see two friends really seeming to have fun on stage.

 Superbly talented Musical Director Noam Galperin took charge of the nights musical proceedings, leading his outstanding band with musical fluidity and providing some unique and interesting arrangements of well known songs. 

It's interesting to see Christina outside of the rock musical format not only as a showcase of her versatile vocals but also her depth as a performer. Christina's comedic choices, especially during Stupid With Love from Mean Girls were highly entertaining. Equally her performance of Princess was immensely moving. The way Christina physically embodies a song is truly wonderful to see and it's clear why they say "the eyes are the key to the soul" as she conveys a single emotion or thought with a mere twitch of her eyes. 

Closing the show with Heaven Can Wait and All Coming Back to Me Now was a wonderful way of rounding off, what must have been a whirlwind few years for Christina, and felt like a fitting way to put Raven away for now, and open doors for new ventures.

If you want to witness a master of acting through song and a beautiful songbird, don't miss Christina Bennington's future performances as she is sure to shine and astound.

photo credit: Joseph Sinclair
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Friday 23 February 2024

Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances


Just For One Day: The Live Aid Musical
The Old Vic

Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.

With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.

The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.

Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.

Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.

Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichéd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.

Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.

Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.

Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.

★★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}
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Tuesday 15 March 2022

Full Cast Announced for the UK and Ireland Tour of The Cher Show

 


“All of us invent ourselves.
Some of us just have more imagination than others.”
CHER

 
The producers of the brand new production of The Cher Show are delighted to announce the full cast joining Debbie Kurup, Danielle Steers and Millie O’Connell, all starring as Cher – Star, Lady and Babe respectively.

Lucas Rush will play Sonny, Jake Mitchell will play Bob Mackie, Sam Ferriday will play Greg Allman and Tori Scott will play Georgia. Joining them are Jordan Anderton, Jasmine Jules Andrews, Carla Bertran, Catherine Cornwall, Áine Curran, Sam Holden, Samantha Ivey, Aston Newman Hannington, Ingrid Olivia, Clayton Rosa, Chay Wills and Guy Woolf.

With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family, Peter and the Starcatcher), direction by Arlene Phillips (Saturday Night Fever, Starlight Express, Grease), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights, Spice World 2019 Tour), the UK & Ireland Tour will open at Leicester’s Curve on 15 April 2022 and will continue through to 1 April 2023.

From a young child with big dreams, the shy daughter of an Armenian American truck driver, to the dizzying heights of global stardom, The Cher Show tells the incredible story of Cher’s meteoric rise to fame.  Cher takes the audience by the hand and introduces them to the influential people in her life, from her mother and Sonny Bono, to fashion designer and costumier Bob Mackie.  It shows how she battled the men who underestimated her, fought the conventions and, above all, was a trailblazer for independence.  

The musical is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’.  

With over 100 million record sales, an Academy Award®, an Emmy®, a Grammy®, three Golden Globes® and an award from The Council of Fashion Designers of America, Cher has influenced popular culture more than most.  Her on-screen career started in 1971 with her weekly television show that attracted 30 million viewers a week, and went on to include starring roles in iconic films from Moonstruck, for which she won the Oscar for Best Actress, to Mamma Mia: Here We Go Again!, which prompted the New York Magazine to realise “every single movie—no matter how flawless—would be infinitely better if it included Cher.”  Her ‘Farewell Tour’ became the highest grossing music tour in history – in true Cher fashion, she followed up her ‘Farewell Tour’ with two further sell-out, worldwide arena tours.  She is the only artist in history to have a number one hit in the Billboard chart for six consecutive decades; an achievement that caused Vogue to deem her “eternally relevant and the ruler of outré reinvention”.  She became known as the Queen of Reinvention. 

In the 1990s, she established The Cher Charitable Foundation to support causes around the world.  She has been a long-time donor and supporter of Habitat for Humanity, The Intrepid Fallen Heroes Fund and Keep A Child Alive, an organisation that helps to combat the AIDs epidemic.  Most recently, she co-founded Free the Wild to help rescue Kaavan the Asian elephant from Islamabad zoo.

Written by Tony Award-winning Rick Elice, The Cher Show made its debut on Broadway in 2018 in a production that earned two Tony Awards and delighted fans from around the world.  This new production will be the European premiere.

The Cher Show UK & Ireland Tour will have set design by Tom Rogers, musical supervision, orchestrations and arrangements by Rich Morris, lighting design by Ben Cracknell, sound design by Dan Samson, music production by Gary Hickeson, wigs, hair and make-up design by Sam Cox, associate direction by James Cousins, associate choreography by James Bennett, musical direction by Danny Belton and casting by Will Burton CDG.

The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group.

Website: www.cheronstage.com
Twitter, Facebook, Instagram: @TheCherShowUK
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Friday 23 November 2018

West End Live Lounge, The Other Palace | Review


West End Live Lounge
The Other Palace 
Reviewed on Sunday 18th November 2018 by Olivia Mitchell 
★★★★★

We all know by now that West End Live Lounge concerts are in my top ways to spend a Sunday, and last weeks 90s extravaganza was no different! A host of the West End and theatre in generals finest, took to the stage at The Other Palace to perform some remixed and refreshed versions of 90s classic hits as well as some less remembered tunes.

Ever humourous and energetic, Vikki Stone and Paul Taylor Mills presented the night, which raises funds for a different charity each month, with banter and bounce. Opening the show, Matthew Harvey treated us to a laid back version of the secondary school music class classic, Wonderwall which perfectly set the tone for the night of nostalgia. 


A string of vocally flawless performances followed with Sam Coates' arrangements doing justice to the performers, venue, musicians and audience. As always he breathes fresh life into music and manages to balance warmth and energy in everything he touches. Particular stand outs included Lauren Drew's spine tingling rendition of I'm Your Baby Tonight, Sharon Sexton's All About Soul which had the entire audience bopping along, and Brady Isaacs Pearce's Hallelujah which brought Carrie Manolakos vibes and a whole lot of heart and power. 

The buzz was clear during the interval, from the beaming faces, to bopping heads and general chipper vibes, the anticipation for act two grew and we all knew we were in for another series of musical treats.


Vocal powerhouse and sultry queen Danielle Steers gave ballad realness with Don't Speak whilst Divalution brought their usual sass with their epic 90s mash up. All the ladies have not only voices for days, but for months. Some icy vibes were given to the evening by Jordan Luke Gage's dark and vocally incredible performance of You Oughta Know. 

Sophie Isaacs also performed a lovely mash up, whilst, accompanied by gasps from the audience, Rob Fowler and Sharon Sexton joined forces to perform the well loved song which was cut from Bat Out of Hell: It Just Won't Quit. Every single performance of the night had something special and it's really magical to experience such diversity come together to celebrate music and talent.

As always, if you weren't at this West End Live Lounge, you missed a whole lot of brilliance but don't fret because there will be future concerts and it's clear from the Union Theatre to now, that the only way is up for Shaun McCourt and West End Live Lounge!

Keep up to date with West End Live Lounge on twitter

photo credit: Leigh Lothian
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Wednesday 7 September 2022

The Cher Show (Tour), New Victoria Theatre | Review


The Cher Show (Tour)
New Victoria Theatre
Reviewed on Tuesday 7th September 2022
★★★

A world renowned singer, actress and age defying star, Cher has had a longtime career full of ups and downs, which have now been transformed into a glitz-filled stage show.

Turning back time from her Las Vegas residencies, The Cher Show begins in the 1950s with a young Cherilyn Sarkisian who's longing to be a star, and progresses through her various ventures, successes and failures up to the modern day. Taking on the role of the musical icon, are three superstars who share (cher) the role and show her at various stages of her life. Debbie Kurup plays the Star, Danielle Steers is Lady and Millie O'Connell is the youngest, Baby.

It's Cher's rich, contralto voice which makes her so recognisable and the three actresses do a great job of mirroring her style as well as her mannerisms and speaking voice. All are vocally excellent and give performances that the icon herself would be proud of.

Whilst the three Cher's represent different times in her life, they also interact throughout and almost act as a Greek chorus or moral compass for one another. This is one of the most effective parts of the musical as the trio interact so wonderfully and have some really witty moments. They also help to keep the plot moving and provide somewhat of a through line to the show.

Aside from this, the script and storyline are somewhat lacklustre. There's not a real cohesion to the story and while of course liberties can't be taken with a real life story, it does feel like there needs to be a theme which ties the show together, or at least more of a conclusion. Towards the end of the musical there is more mention of Cher as a Goddess Warrior but it kind of comes from nowhere. This as a recurring theme throughout could be more effective as a way to show that Cher was a strong business and career woman who got herself back up every time. Instead, the main points and moments are the relationships in Cher's life. That's not to say these aren't enjoyable to watch, and the whole cast do a great job of portraying them, but for Cher being such a powerful woman, there is a distinct lack of oomph and empowerment overall.

The show also has a few moments which fall flat, such as the tap scene where the dancers aren't actually tapping. For a show which packs in thirty of Cher's greatest hits, there also isn't a real crowd pleaser until the megamix at the end. The songs are effectively shoehorned in to tell the story but don't get a chance to shine in their own right as the musical classics that they are. Perhaps less would be more in terms of showcasing the real bops of the track list and leaving out some of the small interludes.

However, less is most definitely not more in the general visual spectacle of the show. Tom Rodgers' set is fairly simplistic but cleverly transforms and feels like a thousand sets in one. Gabriella Slade's costumes take inspiration from Bob Mackie's originals and bring superb glitz, glam and dazzle to proceedings, with the Cher's quite literally beaming sparkles around the auditorium. Ben Cracknell's lighting is a star in its own, completely fitting the vibe of the show and bringing energy and excitement throughout, even more so in the huge finale.

Whilst the tour of The Cher Show does have some faults, it's a treat to see such strong performances on stage and Cher's persona and discography speaks for itself. For glitz and glam you couldn't really ask for more and will Cher-ly have a great time soaking it all in.

photo credit: Pamela Raith
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Thursday 5 November 2020

Hiba Elchikhe Brings Together West End Performers For A New Musical Theatre Series


In collaboration with Nimax and The Theatre Café, West End performer Hiba Elchikhe is thrilled to announce a brand-new musical theatre based web series: Out Of The Darkness, Into The Spotlight.


Bringing a little bit of glitter to the grey, this three-episode series hopes to not only entertain, but shine a light on the performers who are keeping the West End alive, even during lockdown.


Hiba, who is currently starring in the West End hit Everybody’s Talking About Jamie, and who has created the series says “In a time of such uncertainty I am so excited to be able to bring together a spectacular group of freelance artists, that are representative of the UK.”  


Featuring a line up of stellar creatives, each episode shines a “spotlight” on something different: Everybody’s Talking About Jamie, Musical Theatre and Christmas. The first episode is set to premiere on November 18th, with the next two going live on November 25th and December 9th. Each episode will feature a different line-up of star performers, running at approximately 45 minutes and including a mixture of songs. Performers include: Danny Becker (Prince of Egypt, Aladdin), Courtney Bowman (Six, Everybody’s Talking About Jamie), Danielle Steers (Six, Bat Out of Hell), Hiba Elchikhe (Everybody’s Talking About Jamie, Brooklyn), Carrie Hope Fletcher (Les Misérables, Heathers), Sejal Keshwala (Everybody’s Talking About Jamie), Tim Mahendran (& Juliet, Spring Awakening), Grace Mouat (& Juliet, Six), Trevor Dion Nicholas (Hamilton, Aladdin), Liam Tamne (Prince of Egypt) and Noah Thomas (Everybody’s Talking About Jamie).


As well as Maisey Bawden, Paul Bradshaw, Rhiane Drummond, James Gillan, Shanay Holmes, Rob Houchen, Melissa Jacques, Emma Kingston, Carl Man, Frances McCann, Scott Paige, Sharun Phull, Amy Trigg and Andrew Patrick Walker, with more to be announced.


Tickets are available from: https://www.thetheatrecafe.co.uk/2020/11/news-out-of-the-darkness-into-the-spotlight/


#IntoTheSpotlightConcert


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Friday 20 April 2018

Bat Out of Hell, Dominion Theatre | Review


Bat Out of Hell
Dominion Theatre 
Reviewed on Thursday 19th April 2018 by Olivia Mitchell 
★★★★★

Bat is well and truly back and at home in its new space: The Dominion Theatre. When I first saw this show back at it's press night at the Coliseum I wasn't the biggest fan. The performances were outstanding but the book itself really let it down. This time however, I knew what to expect so was ready for a carefree night of relaxed, rocking fun. Obviously the story is still the same (although this time around did feel less cheesy) but if you can overlook its short-fallings you are destined to have an electric night. The show has matured a lot and it's evident that work is continually being done to make it the best show it can be. 

Jim Steinman's rock musical is an electrifying roller-coaster of drama, lights, confetti, and so much more. Everything is thrown together to create a show that's refreshing and really like nothing else currently in the West End. This show is a Romeo and Juliet-esque retelling of Peter Pan. With Strat, the leader of The Lost who's frozen at aged 18, falling in love with Raven, the girl whose dad is the tyrannical ruler of Obsidian and doesn't want her leaving the house, let alone mixing with The Lost. Bat Out of Hell is a wild ride from the opening moment to the final bows.

It's not a stretch to say that the cast of this show are potentially the most talented currently on the West End. There is not a weak link throughout, with every member not only committing themselves fully to the show and looking as though they're truly loving it, but showcasing their outstanding vocals and performing with enough vigour to make us feel as though we're at a rock concert. 

 A search call might need to be put out for the roof of the Dominion because Andrew Polec and Christina Bennington's voices completely blew it off last night. The two bounce off each other as if they're electrical currents and their ridiculously powerful voices compliment each other beautifully. Whilst their characters are very archetypal of rebelling teens, they also showcase needs and desires of being a young adult. Raven comes across as an aggressively whiney/needy character which although somewhat grating, is also a wonderful portrayal of what being an 18 year old is like. The constant desire to rebel but remain loved is something which we can all relate to growing up. Strat is larger than life and crazy but completely draws you into his world. The pair are receiving high praise for Bat Out of Hell and I doubt it's the only show they'll be applauded for in the future- they're definitely ones to watch!


Also vocally outstanding is Danielle Steers who once again received an audible gasp from the audience when she sung her first notes of Two Out of Three Ain't Bad. Her voice is sexy, strong and oh-so-powerful; when she joins forces with Wayne Robinson (Jagwire) they create vocal bliss as well as working with each other wonderfully.

As Raven's parents who are fighting to regain their spark, Sharon Sexton (Sloane) and Rob Fowler (Falco) are fantastic. Again they have voices to die for and are suitably wacky in their roles. The duets are stellar and they work fantastically as a pair to complement each other rather than over powering one another. Each of the leads truly command the stage but the ensemble also get a chance to shine, especially during Objects in the Rearview Mirror May Appear Closer Than They Are. Mention must go to Giovanni Spano, Jonathan Cordin, Emily Benjamin and Charlotte Anne Steen who really caught my eye throughout. 

If you were to search for the definition of Energetic,  I wouldn't be surprised if the cast of Bat Out of Hell popped up. Every ensemble moment is full-out and it's amazing how many intricate details are woven in. This is one of those shows that you need to see several times just to pick up every detail; there's action on every inch of space. The innovative use of live-camerawork throughout the show helps pick up these details very cleverly. The screens on either side of the stage and the use of vast projections allows the large space of the Dominion theatre to feel intimate whilst also adding to the futuristic, always being watched, vibe of the show. Jon Bausor has done a wonderful job creating this set and all the surprises included in it. 


Patrick Woodroffee's lighting is blinding and is just what you'd expect and need in a show like this, whilst Emma Portner's choreography is suitably strange and futuristic, with the sharp movements adding to the frenetic energy on stage. 

Everything about Bat Out of Hell is extra and excessive but that's the charm and appeal of it. The story isn't the focus; instead, we get to hear Jim Steinman's rousing music and see it performed with a vigour and drive that seems unattainable for 8 shows a week. What's special is that the cast do attain it and give 110% every show. If you like energetic, fast paced shows then For Crying Out Loud go and see Bat Out of Hell. Below all the lights and drama this is a show about love. From the audience reaction and instantaneous standing ovation when the last note was played, it's clear that a lot of people love this show. I am definitely a Bat convert and thoroughly recommend you see and EXPERIENCE this show for yourself.

Bat Out of Hell runs at the Dominion Theatre until 27th October 2018

photo credit: Specular
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Thursday 21 February 2019

In Conversation With... Shaun McCourt | West End Live Lounge | Interview

West End Live Lounge is back at The Other Palace on March 10th for a celebration of WOMEN. The stellar line up of performers will sings songs from powerful ladies, all whilst raising money for Samaritans. I spoke to founder, Shaun McCourt about all things West End Live Lounge...



Can you tell us a bit about the creation of West End Live Lounge?
West End Live Lounge started in 2017 as an idea for a series of concerts to raise money for charity and has since grown to where it is today. I wanted to create an event which would allow West End performers the platform to sing material which was not from the world of musical theatre with a live band. There was a gap in the gig/concert circuit for such an event and I simply decided to go for it-and what an exciting journey it has been.


You’ve gone from the Union Theatre to the Other Palace Studio to the main house and each concert is getting bigger and better. What’s the next thing you’d like to achieve with your concerts?
I am always overwhelmed by the support that West End Live Lounge receives. It is great to see so many people enjoying the concerts. Without this support, its reputation would not be where it is now. The show continues to grow and there are certainly exciting plans in place for its future. However, I am going to keep the secrets for now I am afraid. Watch this space!

In terms of what I would like to achieve, my aim is to continue to produce concerts that not only entertain our audiences, but also raise as much money for charity as possible.


What’s your favourite part of putting the Live Lounge concerts together?
Though I may look slightly stressed on the day of a Live Lounge concert, I have to say that I enjoy the whole process of putting it together- from picking the theme, to casting the line-up, liaising with The Other Palace, to the day of the concert itself. However, if I had to pick a favourite moment, it would be the rehearsals and soundcheck on the day of each event. The Live Lounge band are all incredible musicians and our musical director, Sam Coates, is a genius. That moment when we are all set up and I hear the band play for the first time is really special. It is always a reminder of just how much hard work people put into making these events a success. 

West End Live Lounge has become a bit of a family. The central team is made up of Sam Coates (musical director), Will Miney (technical manager) and myself. However, all performers and musicians that have been involved become part of this family. Getting to work alongside so many talented individuals always makes this such a rewarding process.


What can people expect when they come and experience a West End Live Lounge?
People can expect a great night at the theatre. If this doesn't happen, then I am doing something wrong! A West End Live Lounge event promises a fantastic line up of incredible singers and musicians. Each concert has an exciting theme and gives the audience the chance to see their favourite West End performers step out of the world of musical theatre. 


Each concert you raise money for a different charity, how do you choose the charities to support and what do they mean to you?
Choosing the charity for each concert is always a tricky job. There are so many important charities, so rather than continue to raise money for just one, I decided that it was really important to me that each concert raised money for a different cause. For some concerts, the theme and charity often go hand in hand. There have also been times where a major event has happened in the world around the time of the concert and it makes total sense to donate the proceeds to this cause. 


If you could have any performer dead or alive to perform at a Live Lounge, who would you choose and why?
This is a tricky question! I am incredibly grateful to every single performer who has given up their time to be part of a West End Live Lounge event. They each bring an amazing talent and such a great energy to the stage. It is important to me that I continue to introduce new faces to the Live Lounge stage and that each concert offers a diverse and exciting line up.

But if I had to pick one person... 

Well...If I could get Jennifer Hudson along to sing a number, would I be excited? Absolutely!


Can you sum up in 5 words why people should come to the next West End Live Lounge?
Belting for a good cause.


West End Live Lounge tickets go on sale March 25th.

Full cast (subject to availability): Adam Bailey, Christina Bennington, Louise Dearman, Lauren Drew, Simon Gordon, Jennifer Harding, Matthew Harvey, Emma Hatton, Lisa Marie Holmes, Claudia Kariuki, Sejal Keshwala, Emma Lindars, Shekinah Mcfarlane, Kayleigh McKnight, Christina Modestou, Brady Isaacs Pearce, Lauren James Ray, Danielle Steers, Laura Tebbutt, Jennifer Tierney, Rodney Vubya.

 Interview by Editor, Olivia Mitchell
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