Showing posts sorted by date for query Fiddler on the roof. Sort by relevance Show all posts
Showing posts sorted by date for query Fiddler on the roof. Sort by relevance Show all posts
Thursday 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
Saturday 2 February 2019
Showstopper! The Improvised Musical, The Other Palace | Review
Showstopper! The Improvised Musical
The Other Palace
Reviewed on Thursday 31st January 2019 by Nicola Louise
★★★★★
There’s a reason Showstopper! won an Oliver award; there’s a reason why this show (which on the tin has the potential to be messy) has been running for near enough 12 years without fail, and that reason is that it's pure brilliance.
Showstopper! is fun, new and refreshing and a different show every performance means you can go back and enjoy the comedy again and again without boredom setting in. There’s always something new and exciting to watch.
The basic premise of the show is this; Cameron Mackintosh wants a new musical, and he wants it written within the next two hours- as audience members we’re invited to help. Our job is to set the ball rolling and call out places for the setting as well as styles of musicals or composers, then vote which ones we think are the best. We also help with the title of the performance, ours was ‘Austria the Moosical’ (can you guess what that was about??)
We had a range of musical styles within out show, Fiddler on the Roof, Mamma Mia, Les Mis, Titanic, The Sound of Music and School of Rock.
There’s clearly a format which the actors follow but this doesn’t make the show less enjoyable. The story and songs are made up on the spot with the band doing very well to keep up with the styles of musicals being called out by the producer who’s sat on stage and helps move the story forward.
From scene to scene there seems to be a leader within the improv group, who the cast refer to for leads. The company work very well together and apart from a couple of actors speaking at the same time, there’s nothing bad to say about this show.
Improv is always going to worry some theatre goers: "Are they going to be boring?", "Are they going to now know what to say next?". But personally I feel improv adds a whole other level to shows. Even scripted shows which include some improv always feel unique and special.
The cast on stage clearly love what they do and this comes through from the moment they step on stage and the first word is spoken. They enjoy the laughter their improv brings and you can see the hard work and dedication they put in to performing a new musical every night.
I wasn’t too sure what I’d make of this show when I first heard about it, but from the moment the show started, I realised that my worries were just that of how I’ve seen previous improv shows performed.
If you’re questioning whether to see this show or not ... STOP! This show defies theatre as we know it and will bring a smile to our face from beginning to end. I’ve already informed friends that they need to see this show, I suggest you run out now and buy the tickets, you won’t regret it.
Showstoppers! The Improvised Musical is currently playing at The Other Palace until the 16th March 2019. Tickets can be purchased via London Box Office here
Wednesday 16 May 2018
The Book of Mormon, Sydney's Lyric Theatre | Review
The Book of Mormon
Lyric Theatre, Sydney
Reviewed on Tuesday 10th March 2018 by Amy Mitchell
★★★★
The Book of Mormon opened on Broadway in 2011 and since then has been showered with Tony Awards, international re-runs and widespread critical acclaim. Now, I’m a self-confessed sucker for show tunes, but to my own surprise I had little to no idea what this mammoth in musical theatre was all about before I took my seat (3 rows from the front- smug!) in Sydney’s Lyric Theatre last week…
Writers Trey Parker and Matt Stone (creators of South Park) and songwriter Robert Lopez (Disney’s Frozen ring any bells?) joined forces to concoct a joyous melange of politically incorrect subject matter, riotous stereotyping and unapologetically crass humour all tied up in an oddly charming, toe tappingly melodic bow.
Book of Mormon follows the journey of two young Mormons and their quest to spread the word of the Church of the Latter Day Saints. Elder Price is a cookie cutter Mormon poster boy while Elder Cunningham is a hyperactive, loveable dork with a penchant for lying and Sci-fi movies. This unlikely duo is sent to a remote Ugandan village on a quest to convert its inhabitants to the Latter Day Saints. Their visions of an Africa a la Lion King are abruptly shattered as they encounter AIDS, female genital mutilation and a tyrannical warlord with an unprintable moniker.
As Elder Cunningham, Broadway’s own A.J. Holmes dominated the stage with his enormous presence and side splitting physical comedy. It was one of those performances where it’s nigh on impossible to imagine there being an actor behind the character.
Elder Price was played by understudy Steve Danielsen. Danielsen was superb, his all Australian good looks and strong vocal performances managed to make the audience warm to an obnoxious and potentially unlikeable character.
In fact, the entire cast was stellar. It’s impossible to decipher who stole the show. Aside from our two main Missionaries, the best performance title could equally have gone to PJ Adzima who played Mission Leader Elder McKinley. His energy could genuinely take your breath away. Also a close contender was Aussie local, Zahra Newman who played Nabulungi, daughter of the village chief. Her vocals in Sal Tlay Ka Siti (Salt Lake City) were nothing short of heavenly.
The Book of Mormon score/lyrics are brilliant and will have you cringing in half delight at the controversial lyrics peppered with comedic hooks. Spooky Mormon Hell had the audience erupting in laughter and Joseph Smith American Moses is equally hysterical.
Each song draws inspiration from well-known musicals, e.g. Hasa Diga Eebowai is reminiscent of the Lion King’s Hakuna Matata. Challenge – try and guess the parody. Hint – think West Side Story, Avenue Q, Fiddler on the Roof, Wicked and Hairspray.
There’s been a certain amount of hullabaloo surrounding the religious and racial overtones of the show. I’m actually surprised Book of Mormon got the go ahead (and unsure if it would if it was pitched in 2018!) but I’m not surprised it went onto become a smash hit. To me, it delivers on so many levels and the delightfully distasteful satire (in true Trey Parker and Matt Stone style) has a palpable social conscience.
Wickedly witty, The Book of Mormon pokes fun at the seemingly un-pokeable and ultimately manages to leave the audience with the cheerfully uncomfortable warm fuzzies. It’s also fantastic to see homegrown Australian talent holding their own (and killing it) alongside the Broadway greats.
The Book of Mormon runs at the Lyric Theatre, Sydney until 2nd September
photo credit: Jeff Busby
Saturday 30 December 2017
Olivia's Top 10 Shows of 2017
This year I saw 105 shows so picking my top 10 was pretty tricky! I know everyone does these posts but it's always interesting to see what peaked everyones interests so without further ado, here are the shows I loved in 2017. Grab a mince pie and settle in!
PS. They're in reverse order as always to bring that extra bit of drama!
10. Yank | Charing Cross Theatre
I saw the West End premiere of this show and completely fell in love. The storyline was gripping, the acting was outstanding and it was a highlight of my summer. Scott Hunter was a particular stand out and I can't wait to see what 2018 brings for him.
9. Follies | National Theatre
This was one of my most anticipated shows of the year and it certainly wasn't a let down. The glorious staging was spectacular and I adored hearing Sondheim's music live as well as seeing queen Imelda Staunton on stage again.
8. Mack and Mabel (LMTO) | Hackney Empire
This was such a surprising show for me. Of course I expected good things from the LMTO but I was so blown away by every performance in Mack and Mabel. Natasha J Barnes singing 'Time Heals Everything' was definitely my stand out vocal moment of the year.
7. Funny Girl | New Victoria Theatre
Natasha also gave an amazing performance as Fanny Brice in the UK Tour of Funny Girl. To date this is the best touring production I have ever seen!
6. Hamlet | Alemida Theatre
Andrew Scott was just spectacular. That's all.
5. Fiddler on the Roof | Chichester Festival Theatre
I must admit, I don't travel outside of London for theatre very often but I am so glad I made the trip to Chichester to see this production which completely blew me away. This show needs a West End transfer and I'm praying its life isn't over.
4. Angels in the America | National Theatre
How could I not mention this?! A marathon show but packed with drama, talent and grit at every moment. Truly a theatrical masterpiece- Broadway get ready!
3. Lady Day at Emerson's Bar and Grill | National Theatre
Audra is just a queen. I was mesmerised by every single moment of this show. I first saw it on press night and then went back with my parents, both times were breathtaking and it was such an honour to see a Broadway superstar on stage.
2. Romantics Anonymous | Sam Wanamaker Playhouse
My lovely friend Hayley took me to see this for my birthday and for some reason I never got round to reviewing it (hopefully I'll do it soon!) But it was honestly just brilliant. Both literally and metaphorically sweet it was the perfect way to spend an afternoon. If you want a heartwarming tale, this is the one for you!
1. Hamilton | Victoria Palace Theatre
I know this is the most typical answer and so not a surprise but Hamilton just blew me away. I still can't believe that it exceeded my expectations and if you can get a ticket, you HAVE to see it!!
I also want to give a special mention to a couple of other outstanding shows which I mentioned in last years wrap up: Rent and Dreamgirls, both of which amazed me again this year! I have a couple of concert shout outs too- Rachel Tucker, Kristin Chenoweth and Lea Michele. I saw Rachel perform 5 times and was completely astounded by her voice and stage presence every time. Kristin had me bawling from start to finish. Her concert was definitely the most memorable I've ever been too. Finally, Lea was a bucket list concert for me and I'm so honoured to have seen (and met) her this year!
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
Tuesday 26 September 2017
In Conversation With... Oliver Ormson | The Addams Family | Interview
Have you always wanted to be a performer or did you have a different dream when you were younger?
I think when I was really young I wasn’t too bothered, I think the first ever thing I wanted to be when I was really young was a policeman. But I was interested in football from a young age cause of my dad so probably a footballer really… But my mum was interested in amateur dramatics so I went that way when I was older. About the age of 16/17 I decided I wanted to be an actor.
Can you explain a little about The Addams Family and how your character Lucas fits into it?
The Addams Family is the classic everyone knows but it’s ten years on and in this story Wednesday (Carrie Hope Fletcher) is all grown up and she’s fallen in love with an American boy from a normal background and I’m that American boy!
So the Addams invite the Bieneke's round for dinner because Wednesday’s got a little secret and it’s a secret she’s kept from her parents. So the main premise is inviting a ‘normal’ family into the Addams family mansion where there’s all sort of ghouls and ghosts going on.
Lucas Beineke is that all-American boy but he likes the darkness and he’s intrigued by it. He’s come from a normal family and the first time he meets Wednesday she shoots a pigeon with an arrow and it lands by his feet in central park and he just falls in love with her straight away cause she’s so different from the background he grew up with.
So Lucas looks all clean cut but he does have a hint of the darkness as well!
Are you anything like Lucas and what drew you to the role?
It was more the project that drew me in. It’s the first time it’s been done in the UK by a professional company. It’s very rare these days that you get the opportunity to create your own role. So I am the first professional Lucas in the UK arnd Ireland so it’s really wow because I get to create and make things which doesn’t happen a lot. Especially on a tour which has been done time and time again; they tell you where to stay on a straight line but I had the chance to play with it which was amazing.
Probably the thing that I’d say that is the Oliver Ormson in Lucas is that I’ve tried to make him a bit dorky. Just a bit silly in that embarrassing phase where you go round to your partner’s house for the first time as a teenager and you’re sort of tripping over your words cause you’re trying to impress so it’s that sort of dorkiness. He just reacts to situations and doesn’t really think about it; he’s trying to be cool so he’s a bit dorky!
Who else besides yourself would you like to see play Lucas?
Oh wow, that’s really hard! I think it would have to be, and I know it’s cliched cause he’s massive at the moment, but it’d have to be Ben Platt. You know, he’s a fellow Hufflepuff as well! He tweeted saying that Evan Hansen is a Hufflepuff and I tweeted saying so is Lucas Beineke so I think we have the same sort of taste. I think he has that character cause he’s done it everyday like that twerpiness and he would sing it like an absolute dream! Unfortunately he’d probably be much better than me but as long as I’m gone and out the picture he can happily have it!
You’ll have to switch and be Evan while he’s Lucas!
Yes! Please make it happen, I’ll get you tickets to the opening night if you can make it happen!
Who in the show would you say is most like their character?
I would say Cameron Blakely who plays Gomez Addams cause he is crazy. He’s full of voices and full of character and he has a little daughter himself, a beautiful little daughter who’s three or four and you can see he has that protective side that Gomez has in the show over Wednesday. But he’s also that embarrassing dad so I’d definitely go with Cameron as Gomez.
If you were one of the ancestors, what would your crazy cause of death be?
This is really cool… erm maybe something silly when I was drunk or something? Yeah something silly like falling in a lake and my ancestors prop would be a can of lager or a pint!
What is your favourite thing to do when you’re not on stage?
This sounds quite cliched but I like to keep fit cause you never know when this jobs gonna end. I do a lot of dancing, not so much in this show but I’ve danced in other shows so I try and keep that up. I don’t wanna relax too much to think I just have to sing and act cause the next job you might wanna do could have a a tap number in it or something like that.
Yeah just try and keep fit really, go to the gym and I’m quite a boyish boy so watch Netflix or football or play games like video games so very cliched unfortunately!
I know you’re a big Harry Potter fan, so if you could bring anyone or anything from the Potter world into our, what or who would you bring?
I would just like a wand. You know, just the elder wand would be fine, the casual elder wand! That’s what I’d bring because I was thinking about the invisibility cloak and stuff but I think after a while that might get a bit boring!
And if you have the wand you can get other stuff with it!
Exactly, like with the wand you can do crazy spells!
Well that’s a lovely segue as my next question is: what show would you wish to do if you had a magic wand?!
As I mentioned I love Dear Evan Hansen but I’ve always wanted to play Fiyero in Wicked. I watched it and thought it was really magical and cool and people always say to me “you could play Fiyero, you can do that!” so if I actually do it I can shut those people up… in a nice way
If you could go back to any era, when would you go to any why?
I love the 80s. I was born in the 80’s, well only just by like 2 months in ’89 so I always claim that I’m an 80s child but to properly go and experience it and to actually live in that time I'd love. And I’ll see my mum and dad in their 20s which would be so weird!
Finally, what is your number one piece of advice for an aspiring performer?
There’s this amazing Bryan Cranston philosophy and he says to just act, just get yourself out there and act. Even if it’s just a local drama group, just hone your skills. Even if you’re doing an amateur production of Fiddler on the Roof you’re gonna learn things from that, you’re gonna be with people that have maybe done professional work before. So I’d say just act and be proactive and productive cause then you learn.
As professional actors we have stories of how we once did am dram and how that helped. So everyone starts somewhere. I think some people think that you come out of college and you go straight into the West End and all of a sudden you’re just a professional actor but you learn a lot of things before that. So just be creative and play and try things out, you’ll always learn things.
Do that and make sure it’s what you want to do and then pursue college or drama school which is an important route in my opinion but you can still do it without that. So go and learn, go and be proactive and just hone you’re skills.
Thank you so much to Oliver for taking the time to chat to me. The Addams Family runs at the New Victoria Theatre until the 30th September before continuing on it's tour.
Tuesday 22 August 2017
In Conversation With... Alexandra Silber | After Anatevka | Interview
If you've been on the tube in the last few months I'm sure you'll have spotted the marvellous Alexandra Silber's face plastered over the walls for Today Tix. Whilst Al's face is up there for her performances both on the West End and Broadway, she is also a beautifully eloquent lady and recently published her debut novel, After Anatevka, which tells the story of Hodel after Fiddler on the Roof.
Alexandra was lovely enough to talk to Rewrite This Story about her writing process, After Anatevka, her transition from West End to Broadway and so much more. Make sure you read until the end to find out how you can win a copy of After Anatevka!
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I went to drama school in Glasgow at the Royal Conservatoire of Scotland before living in London and working the West End for several years.
While I was in my final year at RCS, I was cast as Laura Fairlie in Andrew Lloyd Webber’s The Woman in White opposite Ruthie Henshall, Anthony Andrews and Damian Humbley.
Among many other things, I have also played Julie Jordan in Carousel in the West End, made my Broadway debut opposite Tyne Daly in Terrence McNally’s Master Class, and have sung at Carnegie Hall, Disney Hall in Los Angeles, was nominated for a Grammy for singing Maria in a the first ever symphonic recording of West Side Story with the San Francisco Symphony, and of course, at Royal Albert Hall with the John Wilson Orchestra for the BBC Proms as the titular character in their production of Kiss Me Kate.
Above all, I have been fortunate enough to play two of Tevye’s daughters, one on each side of the Atlantic— the first was in the West End, portraying After Anatevka’s protagonist Hodel (the second-eldest daughter of Shalom Aleichem’s Tevye the Dairyman who is the star of the 1964 musical Fiddler on the Roof) at the Sheffield Crucible and its West End transfer, and last year, played Tzeitl, Tevye’s eldest daughter on Broadway in the most recent Broadway revival.
Portraying both characters for such lengths of time, and with such incomparable creative teams and casts, informed, inspired and shaped the writing of After Anatevka: it truly was a journey from stage to page.
Have you always aspired to be a performer or did you have a different dream when you were younger?
I always knew I wanted to be a professional creative— I’m not certain that acting and singing professionally was the epitome of my dream. As a child and teenager I loved the theatre, felt at home and accepted amongst its “creatures” and had an outlet to explore new worlds, research new ways of life, get inside different people’s minds and heart, and to express so many of my deepest emotions.
I’ve been thinking very deeply about “dreams coming true” recently— possibly because so many people are asking me about it. “Is publishing your novel a dream come true” they will ask, and I don’t entirely know how to answer that. Because of course it is, I have dreamed of sharing my stories with the wider world, to hold a book-shaped book, with actual binding and I have written in my hands
The voices on Broadway cast recordings were not only my inspirations, but my companions, my teachers; I know many people for whom that is a familiar history. But I felt very much the same about characters in books. I was just as enamored with E.M Forster’s Margaret Schlegel as I was with the book and score of South Pacific.
Other than writing, have you got any hidden passions you’d like to pursue?
I love the accordion and have taken several lessons, and I passionately want to visit Antarctica.
What drew you to the roles of Hodel and then Tzeitel in Fiddler on the Roof— are the three of you alike in any ways?
There are too many to mention. I honestly feel this question is best answered within the pages of After Anatevka— and not only the similarities, but the differences, and the growth every human being hopefully acquires as they age and experience life. I had the uncanny joy of being able to understand each woman more deeply as I embodied the other— much like members of the same family come to more deeply understand their siblings as they all become adults.
One of my most treasured passages from After Anatevka is from the penultimate chapter, an epistolary exchange from Tzeitel to Hodel:
“Home, Hodelleh. That place beyond the place where we rest our heads every night. Where our centerpieces, our sewing, our carefully prepared meals, simply do not matter. Where our petty little differences and competitions with one another do not matter anymore.
And I thought of you.
It is odd, Hodelleh. Because I do not know if you shall ever read this, I feel compelled to tell you more than ever. Home—where love shall reign supreme. The kind of home you always held within your heart, my dear sister, the kind no meaningless skill of mine could ever fully capture. How I love you, Hodel. It aches within me that I failed to show you in so many ways. That I provided you with every comfort but the comfort of my heart.
Yet I know that we shall both, as we always did, return to each other. For the love beneath our struggle is so strong. Perhaps in time, the Lord shall reveal to us why it is so difficult.”
My goodness, to embody two such women. What a privilege.
Did you feel any extra responsibility or pressure playing one of the few Jewish female characters in musical theatre?
I believe that if you portray any character or story with honesty and vulnerability, the work will resonate. Our only responsibility as artists is to tell the truth.
After Anatevka tells the story of Hodel after Fiddler. When you research for a role do you think about what happens to the character after the show ends as well as their backstory or was Hodel an exception?
Hodel was absolutely an exception.
The Broadway community and wider world may know me as the most-recent Tzeitel, from the 2016 Broadway revival of Fiddler on the Roof, but from October 2006 to February 2008, I played Tevye's second-eldest daughter, Hodel, in the last West End revival in London. That experience was, without exception, the most immersive and deeply felt of my artistic life thus far. It was like a “first love—” the kind one never forgets, and imprints itself upon you more deeply than any to follow it. Hodel’s strength and sense of purpose, your complex feminine spirit, her wit and determination, her devotion and loving heart. She offered me a chance to find all of these things within myself, and to grow with them.
While all characters tend to endear themselves to you, Hodel haunted me— remained in my cells like an un-rinseable, inextinguishable fuel. Actors often embody traits of the characters they take on, but few characters weave in and out of the soul until you can scarcely detect the line between the emotional truths of one and the other.
If you could write a continuation of any other musical theatre character, who would you choose and why?
Tzeitel. I think we can all agree that I’m now intensely involved in this family’s “future story—” I do feel compelled to finish what I’ve started. Additionally, I don’t think I’ve heard the last of Hodel. We leave her at quite a cliffhanger in After Anatevka!
You’ve made the transition from West End to Broadway and from acting to writing so well. What would your advice be to people hoping to do similar?
Being a “multi-hyphenate” is simultaneously straightforward, and tremendously complex.
To “do” something other than what is listed on, say, your tax return, there is very little required other than to just DO it. You want to write? Don’t wait for a permission slip from the Gods of Writing; just write. An essay. A blogpost. A Tweet. It does’t matter what you create as long as you actually create it, and create it from a place of authenticity.
What’s your writing setup like? Do you have a certain playlist you listen to or a drink you always have?
Yes. I have a beautiful vintage pull-down writing desk! It has been handed down from my mother— she found it on the street when she was in college. When she discovered it, it was covered in layers of paint that she subsequently stripped away, to reveal a beautiful raw wood. The desk has been in my home since childhood, and the handle where you “pull-down” is the face of a lion, that I always thought was the face of Aslan from The Chronicles of Narnia.
I write for about one hour every day, with a pot of tea poured from my perfect little tea pot (gifted to me by actress Lara Pulver), under the supervision of my cat, Tatiana.
Whats a fun fact people might not know about you?
I’m an introvert. In fact, according to the Myers Briggs personality test I’m an INFJ (which is a very rare personality type, about 2% of the world’s population). Many people challenge me on this, based on their mis-impressions of not only me, but introverts in general. Introverts are not necessarily aloof, shy, people-hating trolls, we simply recharge our personal batteries in solitude. Despite my highly developed extrovert behavior, I still require (and enjoy!) lots of time alone to process life.
Also, I have a (fabulous, diva, rescued) cat named Tatiana Angela Lansbury Romanov. She is a star (cue: Mama Rose music)!! She has her own Instagram page, which is: photographs of “Tati” (as I call her) with theatrical captions called @ifeelkitty.…..You’re welcome.
What’s your best piece of advice for an aspiring performer?
For anyone, really: success is not about what you do, it is about how you feel about what you do.
A massive thank you to Al for taking the time to do this interview. Read my review of After Anatevka here.
Interview by Olivia Mitchell, Editor
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