Showing posts sorted by relevance for query Funny Girl. Sort by date Show all posts
Showing posts sorted by relevance for query Funny Girl. Sort by date Show all posts
Saturday 14 July 2018
The IDA Girls (Concert), The Other Palace Studio | Review
The IDA Girls (Concert)
The Other Palace Studio
Reviewed on Wednesday 11th July 2018 by Emma Gradwell
★★★★★
While the rest of the country sat down to watch England vs. Croatia on Wednesday night, a small but select group gathered in the intimate studio at The Other Palace. A few rows of chairs and tables with a convenient bar made it a very personal affair.
We were treated to a classy and sleek evening by London classical crossover girl group IDA. Performing as part of The Big Smoke Festival (The Other Palace's week long music, cabaret and variety festival) Wendy Carr, Laura Coutts, Georgi Mottram and Sarah Vaughan make up the quartet. Having trained at some of the worlds leading conservatoires they have been singing together since 2016 when the met during a West End Production of Gilbert and Sullivan's Princess Ida - hence the name.
We were taken through a journey from Bizet to Adele with clever mashups fusing traditional opera with both pop and musical theatre. The result is truly beautiful. The four ladies may hail from worlds apart - Scotland, Jersey, Ireland and Australia - but their chemistry is undeniable. All of the arrangements are self written making this combination genre completely their own.
After the opening verse of Phantom of the Opera a booming bass-baritone voice could be heard from the back of the room. Rodney Earl-Clarke appeared from the darkness to duet with the girls with superb effect.
Also accompanying was Steinway pianist Dominic Ferris - one half of the critically acclaimed double act 'Ferris and Milne'. There was a special performance of his own at the mid way point allowing for a quick costume change and an update of the Football. Dominic is a very expressive pianist and an absolute joy to hear and watch.
The show was exquisite from start to finish. The IDA Girls are talented, beautiful and funny. I would highly recommend an evening in their company and cannot wait to see what comes next from them.
Tuesday 30 January 2018
Collective Rage, Southwark Playhouse | Review
Collective Rage
Southwark Playhouse
Reviewed on Monday 29th January 2018 by Olivia Mitchell
★★★★
In it's UK premiere by Antic Face, Collective Rage at the Southwark Playhouse is a surprising and alluring show which sees five New York women named Betty, join forces to discover themselves and put on a play within a play.
Whilst Jen Silverman's play is first and foremost about sexuality and finding your voice, it also looks at New York life through a series of dinner parties, "thea-tah" and relationships. These aspects all come together to create one exciting and unique piece of work.
The cast are equally outstanding and do perfect justice to the brilliant script. As Betty One, the rich upper East Side housewife who is constantly annoyed, Sara Stewart is comedic and likeable from beginning to end. Genesis Lynea as the gender fluid boxing coach, Betty Five who captures Betty One's attention is smooth and sleek every moment she's on stage. Her interactions with every cast member are natural and well thought out.
Lucy McCormick is outstanding as Betty Two, showing a well developed character arc as she goes from the quiet, lonely girl, to a more empowered but equally struggling woman by the end. Her breakdown was particularly haunting.
Taking on the role of the brassy, red clothed Latina, Betty Three, Beatriz Romily is perfect. Having discovered the joys of the "thea-tah" on a date with a rich married woman, she is desperate to put on a show and have everyone know her, however she discovers that this may not be the answer to all her problems. Johnnie Fiori is endearing but strong as the truck loving Betty Four who struggles with being in love with her best friend.
Anna Reid's simple set works perfectly for this play as the blackbox space becomes the world of the Betties. Hollie Buhagiar's sound effects work equally well, providing us with a little insight into what's to come in the upcoming scene.
The show is extremely funny and almost caricature-like at times but there are moments of pure poinancy which really bring it back down to earth. Everything about Collective Rage is unapologetic and the whole thing is gloriously feminist and queer. For a laugh a minute show that also makes you think, Collective Rage is the one for you.
photo credit: Jack Sain
Saturday 18 November 2017
Rachel Tucker with Stagebox Choir, Shoreditch Town Hall | Review
Rachel Tucker with Stagebox Choir (Concert)
Shoreditch Town Hall
Reviewed on Friday 17th November 2017 by Olivia Mitchell
★★★★★
If you're a regular reader of this site, you'll probably have twigged that I'm a huge fan of Wicked star, Rachel Tucker. Most recently I saw her perform as a special guest at Kristin Chenoweth's concert and previously in Wicked and her solo concerts at the Zedel; every single time she has completely blown me away with her effortless performances and last night was no exception.
Rachel is a masterful performer, both in terms of her faultless vocals and her ability to embody and live every song she sings. She is magical in the way she transports the audience into her thoughts and make us feel the emotions she's portraying as if we're experiencing them ourselves. The way she interprets songs is unique, extremely moving and I find it incredibly impressive how she is able to switch so quickly from one mood to another.
During act 2 Rachel came off the stage to perform an a capella folk song which had the audience in enraptured silence but within moments of finishing she snapped back to her larger-than-life, joyous self and had the audience laughing out loud. That ability to manipulate an audience's emotions is truly remarkable.
The set list for the night included something for everyone from theatre classics such as 'Children Will Listen' to pop songs and a personal favourite, her own composition 'I'm Falling' which always wows me. This varied programme meant the night flew by and by the time it came to her second encore we still wanted more! Other stand outs included 'The Man That Got Away' and Kris Rawlinson's stunning arrangement of 'No Good Deed' which brings new life to the Wicked classic. Kris and Rachel make the perfect duo, bouncing off one another both comedically and musically. Also great, were Jodie Steele and Amanda Coutts who doubled as stage managers and back up singers- 'Proud Mary' was brilliant and got the entire audience on their feet!
With a few ex-Elphaba's and Galinda's in attendance, it was Emma Hatton who took the stage as the special guest of the night. Dressed in a suitably emerald dress, Emma joined forces with Rachel to perform a jazzed up version of 'I'm Not That Girl' and a lively version of 'That's Life'; the two work wonderfully together and it's so enjoyable to see them having fun on stage together. Also joining Rachel were the Stagebox choir who helped out with a notably touching performance of 'You Will Be Found' from Dear Evan Hansen.
Overall it was just a joyous night of glorious music. Rachel is one of the most versatile performers I've seen; funny, relaxed and charming, her voice is like no other. Powering through every song with her own personal style- belting it out and emotionally reigning it in with equal skill and motivation. Rachel is at the top of her game- a master of her craft who continually delivers time and time again. This was billed as Rachel's 'biggest solo concert to date' but I sincerely hope things get bigger and bigger for her as she continues to charm and wow audiences around the world... but preferably mostly in London so I can be at them all!
Watch my vlog of the concert here
Watch my vlog of the concert here
Wednesday 16 October 2019
9 to 5 the Musical (UK Tour), New Victoria Theatre | Review
9 to 5 the Musical (UK Tour)
New Victoria Theatre
Reviewed on Friday 20th October 2017 by Glenys Balchin
★★★★
9 to 5 is a very enjoyable show, with strong performances by the cast, a great set, fabulous costumes and toe tapping songs to sing-a-long to. The three leading ladies give excellent performances with each having their own individual strength. It certainly feels like a West End performance rather than a touring show at a regional theatre. The storyline is executed well and takes the audience to the final conclusion that it is a man’s world.
9 to 5 is a very enjoyable show, with strong performances by the cast, a great set, fabulous costumes and toe tapping songs to sing-a-long to. The three leading ladies give excellent performances with each having their own individual strength. It certainly feels like a West End performance rather than a touring show at a regional theatre. The storyline is executed well and takes the audience to the final conclusion that it is a man’s world.
The three leading ladies work exceedingly well together, as a band of sisters and leave us with the hope that they are that strong and united off the stage as well. Violet is played by Laura Tyrer, who is the whole package with a charismatic personality and triple threat abilities that wow; she shines within the cast.
Judy played by Amber Davies for me is the real surprise of the night, having last seen her on Love Island. I hadn’t envisaged that she is such a great singer but Get Out and Stay Out is a real highlight as she belts it out so powerfully. Georgina Castle as Doralee gives a very good performance with only the occasional blip in her deep south American accent. It is a hard act to follow when the legend that is Dolly Parton, announces at the beginning of the show that Doralee “is her”! This could colour your opinion of her performance but Georgina held her own and made the role hers.
Accolade, also must go to Lucinda Lawrence who is Roz Keith and gives a strong performance as the pent up frosty, delusional, hopelessly in love secret admirer of Franklin Hart Jnr. Her comedic timing, balletic dance movement and strong singing voice make her a very watchable character.
Sean Needham’s, performance as the male chauvinist Franklin Hart Jnr is perfect, he portrays the male ego eccentricities and bigoted views of women, in a comic manner. But these are issues that have truthfully been faced by many of the women in the audience. Both Lawrence and Needham have a real chemical interaction with each other and work well as a comedy act.
The rest of the cast give a great performance, supporting the main characters and story line with energy and enthusiasm to deliver an excellent show. I have to mention one person that stands out for me in the ensemble is Ross Lee Fowkes who plays Bob; his acting singing and dancing showed great intensity, I was quite transfixed.
Finally, as already mentioned the stage lighting, the scenery and costumes are all perfect for the 80s story line. Having been a girl of the shoulder pads and big hair era, it is all well delivered. It is sad that the political message, that both Jane Fonda and Patricia Resnick so, cleverly put across in a comedic approach on film and stage is still an on-going fight forty-one years on from the film release. I expect that it will be our children’s, children who will finally benefit from equality.
Patricia Resnick has said, “that it won’t be until 2059 that American women will achieve pay equity”. That will be 80 years on since the film was released. I believe that most women could step forward and give an account of male chauvinism and sexual predators in the work place. The show delivers this message in a funny and comic style with great songs but really it is quite sad and profound that we are still talking equality in the 21st-century. There should be a sequel, a comic-tragedy featuring recent events and the “me too” campaign that shows we still have a long way to go.
I would recommend taking your daughters along to see the show and explaining to them why it was produced and what the political message is behind it, and for them to be firmly told that they are equal to the males in their life. All that said and done, I just wanted to say it was a great show, very watchable and I really enjoyed it and would recommend to others.
9 to 5 the Musical runs at the New Victoria Theatre until 19th October before continuing its tour
Tuesday 27 March 2018
Ruthless, Arts Theatre | Review
Ruthless
Arts Theatre
Reviewed on Friday 23rd March by Olivia Mitchell
★★
I've never felt as lukewarm about a show as I do this one. Ruthless wasn't bad but it also wasn't good. Overall the cast were strong, the songs were pretty catchy and there were moments of humour but I really can't describe it as anything else but "meh", which is annoying because I really did want to enjoy it.
Ruthless follows a young girl Tina Denmark who wants to be a star and will do anything in her power to achieve it. Her mother is a typical generic housewife who does everything she's meant to do and never anything self-indulgent. Then we have Sylvia St.Croix, the talent scout, agent, ever present 'pusher' who comes out of no where and stays for the duration of the show.
The story is genuinely funny (at points) and although predictable, it is entertaining to see this camp, spoofed, mixed up story play out. But there's just something which doesn't work. Satire is used cleverly, especially with Tina's mum in the opening number and I enjoyed spotting the musical theatre references such as Mame and Sunset Boulevard but there's only so much repetition of jokes one person can take!
As for the cast, they're strong and entertaining. Our Tina Denmark who perfectly portrayed the stagey maniac was Anya Evans. Anya's performance is stellar and she really was born to be on the stage. Her determination mixed with her psychotic side is extremely entertaining to watch and I would gladly go back just to see her again.
Ever the audience favourite, Tracie Bennett is great as theatre critic, Lita Encore. Although the drunken swagger is somewhat cringey, she give a fabulous performance and commands the stage during I Hate Musicals.
The name of the show, Jason Gardiner is good but generic. His camp, audacious Sylvia St. Croix is fun to watch but not shocking in any way. I get that the whole thing is a sort of parody but it would have been great to have a touch more originality with the way he plays the role.
As the mother, Judy Denmark, Kim Maresca is wonderful. Her embodiment of the role is cheesy but not too over the top and her voice wows, especially in act 2. Harriet Thorpe is suitably biting whilst Lara Denning is sharp and witty.
This show isn't a masterpiece but while I wasn't the biggest fan, I know others who will lap it up. There's certainly a market for this over the top, zany, crude show and I can see it doing well but for me it just needs some tweaking to take it from "meh" to something special.
Ruthless runs at the Arts Theatre until June 23rd.
photo credit: Alistair Muir
Tuesday 8 August 2017
In Conversation With... Karen Fishwick | Our Ladies of Perpetual Succour | Interview
I am an absolutely massive fan of Our Ladies of Perpetual Succour (it was number 5 in my Top 10 Shows of 2016) and its incredible cast. One of its members is Karen Fishwick who plays the role of Kay spectacularly. She embodies various other characters brilliantly and is just a fantastic performer. Karen was lovely enough to sit down and answer some questions and the show, the music and advice for aspiring performers.
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
I went straight from high school to Motherwell College where I did two years of Musical Theatre (HND) and rounding off my BAhons on the Acting course. Before that, all through high school my summers were filled with any creative short courses I could possibly apply for - acting, opera, contemporary dance, circus. I wanted to do it all. I think these were valuable training without noticing it at the time.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
It was always there though I do remember a brief spell of hoping to become a zoo keeper. I remember playing defense on the school football team; everyone chased the ball to the other end of the pitch while I'd stand there on my own and sing. And thus my dazzling football career came to an end.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
Thanks, that's kind. No, I mean, you never know do you? You, of course, always hope a piece will be received well but if you go in thinking "this could be the next big hit" you're kinda focussing on the wrong thing. When I first read it, I was amazed at how different it was to anything else I'd ever auditioned for and that was thrilling. That made it stand out for me. I don't remember rehearsing and thinking oh wow, this is going to be nuts. It was really hard work, that's all we were thinking. Gotta nail this bit, then this bit. When the first audience response came at the Traverse in 2015, that was the moment. I'll never forget it.
I saw the show both at The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work at rehearse change at different venues?
Absolutely. With every single new venue we played, as soon as we got onto the stage it was "ok, what are we dealing with here". We need to know there isn't one corner we'll miss flinging this story at. Eye-balling the audience is one of my favourite parts of the show. The sound would feel different depending on how big or small and venue was. The huge rock moments or intimate confessions need to carry the same wether we're at the brilliantly close Live Theatre in Newcastle or the Theatre Royal in Brighton. Vicky always made sure it was the first thing we'd address.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
A mixture, I think. The classical to rock stuff has different demands. Even within the ELO numbers themselves, they're songs are eclectic! Martin Lowe, our beyond wonderful MD leaves no stone unturned there and we worked hard with him on each sound. His attention to detail for each different style is what makes the show so successful.
How do you keep your voice healthy? Do you have any vocal rituals?
I didn't sing in the play I did before this so a few weeks before we started rehearsal, I made sure I was strengthening it up. I found YouTube videos for that (thank you Verba Vocal Technique). I drinks tonnes of water and try to keep on top of tension in my neck and shoulders. Steaming is good. And not being hungover.
Besides yourself, who would you like to see play your role?
Can I pick anyone? Christopher Walken.
Can you sum up Our Ladies in five words?
Messy. Honest. Loud. Touching. Empowering.
Have you had any funny onstage or offstage mishaps in the show?
For sure. I panicked and took off one shoe once. Did a couple scenes without it. I really didn't know when I'd be able to put it back on. Another time, I accidentally threw a box of candy sticks straight into the face of a girl sitting on stage. Other venues didn't have a chair there, it was muscle memory gone daft! She lived.
 |
| Karen Fishwick (Kay), Caroline Deyga (Chell), Melissa Allan (Orla), Frances Maylie McCann (Kylah), Kirsty MacLaren (Manda), Dawn Sievewright (Fionnula) |
Is there a musical or play you’ve seen recently that you loved?
I freaking loved Book of Mormon! I thought it was so funny and done so well. There's so such much I wanted to see but can't make; Angels in America, Hamlet.
What’s a fun fact people might not know about you?
My great, great, great, great grandfather was a tiny little mushroom.
What’s your best piece of advice for an aspiring performer?
If you work as hard as you possibly can, you will not fail. You will not. What about luck? Work hard to generate it. Nothing will happen if you don't work for it.
A huge thank you to Karen for doing this interview! Keep your eyes peeled for another Our Ladies interview coming soon!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017Interview by Olivia Mitchell, Editor
Thursday 5 April 2018
The Country Wife, Southwark Playhouse | Review
The Country Wife
Southwark Playhouse
Reviewed on Thursday 5th April 2018 by Olivia Mitchell
★★★
Set in 1920s London, a time when scandal, drugs and debauchery were rife, The Country Wife tells the story of Harry Horner who poses as a eunuch in order to sleep with men's wives without suspicion. He meets Margery the, innocent, young country wife of Pinchwife, when she visits London. Pinchwife desperate to keep her chained to him soon loses her to the fun of the bright young things society as her eyes are opened to the ways of the town people and she beings a search to find what makes her happy instead of her loveless marriage. Alithea, Pinchwifes’ sister, is due to marry Sparkish (for social and financial convenience) but when she meets Frank Harcourt who pursues her and offers her the possibility of a happy relationship we see her struggle against what is 'right' and what she wants.
At the time of it's first productions, Wycherley's 1675 comedy was notorious and although it's not as shocking and 'socially-unacceptable' to watch a play about sexual misconduct now, it's amazing how resonant the themes are. With desires, the role of women and more being cleverly brought to life by Morphic Graffiti (designer Stewart Charlesworth and director Luke Fredericks).
Events take place in a number of different locations such as the bedrooms, The Savoy and elegant drawing rooms. The transitions between these are outstanding. Sharp 20s Charleston steps are accompanied by Postmodern Jukebox-esque renditions of songs including Stacy's Mom and Girl's Just Wanna Have Fun as the characters smoothly move the set pieces and props into place. This is a delightful and seamless way to transition as well as to show some of the raucous parties that aren't shown in the actual show itself and also helps keep the action moving.
Something great about this production is that misogyny is avoided by having the women be very self aware of themselves- they know their worth and are willing to do what they want to have somewhat fulfilled lives. In fact, the women are the people who drive the show.
Whilst the play is roaringly funny for the most part, there are times when the switch from humour to seriousness feel too sudden and scenes happen at lightning speed so it's hard to keep up with what's going on.
The cast are very strong, with Siubhan Harrison as the subtle but biting Alithea, Nancy Sullivan as the hilarious, lively Margery and Joshua Hill as the drugged up wingman are stand-outs.
The Country Wife is a little long and felt arduous to watch at times, especially in the first half, but the conversation between the 1920s and modernity and the clever use of humour and staging make it a fun night out at the theatre.
The Country Wife is a little long and felt arduous to watch at times, especially in the first half, but the conversation between the 1920s and modernity and the clever use of humour and staging make it a fun night out at the theatre.
The Country Wife runs at Southwark Playhouse until 21 April
photo credit: Darren Bell
Friday 25 May 2018
Confidence, Southwark Playhouse | Review
Confidence
Southwark Playhouse
Reviewed on Friday 25th May 2018 by Olivia Mitchell
★★
The Southwark Playhouse is a hub for amazing theatre and has been the home to some of my favourite, fresh, exciting, talent-filled productions. Unfortunately, the first UK revival of Judy Upton's 1998 play Confidence is not one of these shows. There is nostalgia and some positives but overall the play feels shaky and underdeveloped.
The plot of Confidence is pretty random. There's a dead hamster, ice cream, flakes and fake dolphins. Ella is on a mission to make money and move to LA where she can mingle with celebrities and live a dream life. For the moment she is stuck with her friend Dean on the pier of a seaside town. From here we see the characters strive for love and money.
Overall the piece feels slow, simmering but never reaching the boil. What could have been explosive moments are dimmed down and any real drama happens too fast for it to have an impact.
The standout performances of the show come from Will Pattle and Rhys Yates who could genuinely be brothers. The two humourously bounce off one another as they vie for money and Ella's love. Will is particularly impressive, especially towards the end - a great professional debut. Anna Crichlow is funny and random as cafe worker, Ruby. Her quirky role provides some comic relief whilst also hinting at a more painful side.
As the commanding, Machiavellian girl who oozes sex appeal and fire, Tanya Burr falls flat. It’s certainly admirable that she is taking steps to make the jump into theatre but taking on a lead role, in an intimate space, with very little to work with has not led to the greatest debut. The character of Ella is someone who is able to wrap people (specifically men) around her finger and make them believe she can offer them everything. Whilst there were brief moments of fluidity and power, ultimately Tanya’s newness and one-dimensional acting is sub-standard and it's hard to believe Ella's power over people.
From a number of sold out performances, it’s evident that Tanya’s fans are booking to see the show and whilst it’s great that this could potentially be introducing new audiences to theatre, this show is far from suitable for her younger viewers. Of course that is not Tanya’s fault at all and this is clearly a step towards her maturing her career, but just a warning to anyone going with younger children that whilst this is a 90s throwback show, the emphasis is on much deeper, less child-friendly themes.
The set design by Amelia Jane Hankin is suitably 90s filled, with the carpet and retro kiosk designs alongside little features such as a walkman adding to the atmosphere.
Something about Confidence just doesn't click. Given more time and a bit of a rework it could be a layered, interesting show but in it's current state there is a unity and flow missing. Hopefully the energy and verve will come and those seeing future performances will experience a solid (if random) story, alongside some wonderful 90s nostalgia.
Confidence runs at the Southwark Playhouse until June 16th
photo credit: Helen Murray
Wednesday 20 October 2021
9 to 5 The Musical (UK Tour), New Wimbledon Theatre | Review
9 to 5 The Musical (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 19th October by Olivia Mitchell
★★★★
If a night of carefree fun is what you're after, look no further than the girl-power, 80s musical that is 9 to 5. Telling the tale of a group of women who are fed up of their misogynistic boss, the show is filled with tongue-in-cheek moments, high energy choreography and of course, the Queen of Country herself: Dolly.
Having seen this show in its various iterations, what's quite amazing is how it retains it's intensity and lavishness wherever it's situated. Musically, Dolly Parton's score pared with arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland is catchy and toe-tapping, whilst, Lisa Stevens' buoyant choreography keeps the momentum of the show going and provides there's always action across the stage. Tom Rogers' design which consists mostly of screens which light up various colours and desks which come in and out, is very effective and adds to the upbeat feel of the entire production.
Jeff Calhoun's production features a fantastic cast who perform with vigour and drive. Stephanie Chandos completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and instantly likeable, Stephanie brings warmth to the role and provides a wonderful moment with Backwards Barbie. Vivian Panka is charming as the naive Judy Bernly who becomes an independent woman and finds herself throughout the show. Her rendition of Get Out and Stay Out is a real highlight and her overall performance is top notch. Louise Redhnapp is entertaining and capable as long term office employee, Violet Newstead. Together the trio are a real force as they take drastic measures to show their sexist boss, Franklin Hart Jnr. (played with faultless comic timing by Sean Needham) who's really in charge.
It's almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. But book writer, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and this remains a strong and necessary advocator of workplace (and life) equality. With a second act of just 45 minutes, this is a crowd-pleasing-production which flies by and serves up female-led-feel-good-fun on a shining platter.
photo credit: Pamela Raith
Tuesday 6 February 2024
Cruel Intentions: The 90s Musical extends its season at The Other Palace
Bill Kenwright Ltd is delighted to announce that the London premiere of Cruel Intentions: The ‘90s Musical (“Sexy, smirky... a fast, funny guilty pleasure” - Evening Standard) will extend its acclaimed season at The Other Palace by 5 weeks to Sunday May 19th.
Step-siblings Sebastian Valmont and Kathryn Merteuil, manipulative monsters flushed with their own sexual prowess, engage in a cruel bet: Kathryn goads Sebastian into attempting to seduce Annette Hargrove, the headmaster’s virtuous daughter. Weaving a web of secrets and temptation, as the two set out to destroy an innocent girl - and anyone who gets in their way - their vengeful crusade wreaks havoc on the students at their exclusive Manhattan high school and the diabolical duo become entangled in their own mesh of deception and unexpected romance, with explosive results...
Wednesday 4 April 2018
In Conversation With... Siubhan Harrison | The Country Wife | Interview
Siubhan Harrison stars as Alithea in the 1920s play, The Country Wife which opens tonight at the Southwark Playhouse. Siubhan told me about her role in the show, the 20s world, audience reactions and more...
Can you explain a little about The Country Wife and how your character Alithea fits into it?
The Country Wife is about a society of sexual liberation where Harry Horner poses as a eunuch in front of men in order to sleep with their wives without suspicion! He meets Margery the young beautiful country wife of Pinchwife, when she comes to London, we soon see Pinchwife lose her to the fun of the bright young things society as her eyes are opened to how town people conduct their relationships and searches for what makes her happy instead of her constricting loveless marriage. Alithea is Pinchwifes’ sister, who is due to marry Sparkish for what we suspect may be financial and social convenience for the pair of them but when she meets his friend Frank Harcourt who pursues her and offers her the possibility of happiness we see her turmoil.
What attracted you to the role of Alithea? Are you alike at all?
Alithea is fabulous, cutting, searing honesty and an absolute hostess, the image of the 1920s glamour girl! I wish I was like her... in real life I’m very clumsy and geeky!
How has it been immersing yourself into the 20s world? What do you enjoy the most?
1920s is so much fun, pretending to be a bright young thing has been a hedonistic, liberating party!
What do you think people will be saying and feeling as they leave the theatre after seeing the show?
Hopefully they’ll laugh, it’s amazing how a play written over 340 years ago can still be so accessible, the language and humour is brilliant!!! The era is so evocative and sexy!
Can you sun up the show in 5 words?
Debauched, funny, liberating, hedonistic, glamorous
If you had a magic wand, which show would you do next?
A spy film! Or a Pinter play
What's your best piece of advice for aspiring performers?
Be playful, be brave!
Massive thanks to Siubhan for taking the time to do this interview. The Country Wife runs at the Southwark Playhouse until 21st April .
Interview by Editor, Olivia Mitchell
Massive thanks to Siubhan for taking the time to do this interview. The Country Wife runs at the Southwark Playhouse until 21st April .
Interview by Editor, Olivia Mitchell
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