Showing posts sorted by date for query Hannah Chissick. Sort by relevance Show all posts
Showing posts sorted by date for query Hannah Chissick. Sort by relevance Show all posts
Wednesday 8 May 2019
Amour, Charing Cross Theatre | Review
Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell
★★★
Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor.
One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...
This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled.
It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.
Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.
The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.
This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat.
photo credit: Scott Rylander
Sunday 26 August 2018
Flashdance, Grand Opera House, Belfast (UK Tour) | Review
Flashdance (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 22nd August 2018 by Damien Murray
★★★★
Book-ended by its ever popular signature song, this was a fantastic feel-good show for people who remember the popular film with its memorable big hit songs or for those who just want an entertaining night of light-hearted escapism (which, judging by public reaction, was 99% of the audience).
Although there were some dramatic moments, this rather shallow and cliché-ridden story was never going to be a platform for displaying acting skills but simply a dance-based showcase for fancy footwork and ridiculously high-energy routines that made me exhausted just watching them.
When you know not to have high dramatic expectations, then you will not be disappointed, but you will be guaranteed to be blown away by this show’s series of storming dance routines for, as a dance-based piece, it proved to be every bit as energetic as one would have expected.
Going back in time to the era of baggy blue jeans, shell suits, work-out outfits, neon leg-warmers and equally bright head-bands, it all began with the mundane and relatively colourless world of welders contrasting in so many ways with the, sometimes sleazy, but always dazzling one of the dancers with Matt Cole’s spectacular and varied routines being so well realised by the extremely fit cast and even including choreographed cyclists at one point.
For those who don’t know the story, it is basically about a tom-boyish welder, Alex (Joanne Clifton), with dreams of training to be a professional dancer at an elite dance academy and her relationship with her well-meaning and influential boyfriend, Nick (Ben Adams), who is also her boss.
The sub-plot centres on another relationship – that of her down-on-her-luck dancing friend, Gloria (Hollie-Ann Lowe) and her wannabe, but unsuccessful, comedian boyfriend, Jimmy (Colin Kiyani).
Surrounded by the symbolic brick and metal stage frame, the dual level set may have looked cumbersome at times, but it was very cleverly designed to be both mobile, functional and versatile, using its many steps, projection screens and positioning points to become everything from a ballet studio to a run-down bar and from a work canteen to a nightclub.
I particularly liked the unusual angular performance space that it created at times and the performance space height variations that it allowed and, common to a lot of shows nowadays, I thought the use of the cast moving the props and set worked well for slick and distraction-free scene changes.
Andrew Ellis’ lighting plot was varied (often pulsating to the music) but was also subtle during the more dramatic scenes and very effective at key moments, while the blue and red neon lighting helped to establish the era of the piece.
With such a poor script, director, Hannah Chissick, must have had a difficult job inspiring her cast in the non-dancing parts of the show, but she did capture the frustrating reality of the audition process.
Strictly Come Dancing champion, Joanne Clifton, was a natural on stage as she took the demanding challenges of the dance routines in her stride; totally nailing the films two iconic moments (the chair-drenching Act 1 finale and the Academy audition routine), and, surprisingly for some, coping well with her acting and singing roles.
In many ways, this piece gave former A1 star, Ben Adams, very little to do, as – not being involved in the dance scenes - he had to rely on a few acting moments to show his skills.
I felt he was very much under-used, but, thankfully, as a more romantic character, he did get to use his impressive vocals to good effect, especially in his duets with Clifton.
Both Hollie-Ann Lowe and Colin Kiyani impressed here as the less successful couple, with Lowe capturing her character’s frustration about her general bad luck and life with her failed comedian boyfriend; a role that Kiyani made his own as he realised their relationship was more important than his dreamed about comic career.
Also worthy of mention were Demmileigh Foster as dancer, Tess, who was excellent throughout with great stage presence and top dancing skills, and Carol Ball’s Hannah; a Grand Dame of dance who lives in the past reminiscing about the successes of her glory days with unrealistic hopes for more.
Musical Director, George Carter’s 5-piece band offered solid backing throughout with musical highlights including: the song of dreams and hopes, It’s All In Reach; the female ensemble showing the first signs of what was to come in terms of manic movement during Maniac; the comic routine, Put It Down; the male choral work of Justice; the energetic and almost acrobatic version of I Love Rock And Roll; the duets, Here And Now and Hang On; the Act 1 finale reprise of Maniac; and Where We Belong, which sounded like it was written and performed by Dean Friedman .
Some additional songs for the stage version worked better than others, but it was always going to be difficult to match the quality of the show’s big well-known hit songs.
Finally, What A Feeling at the end of the show was well worth the long wait to see the iconic audition piece recreated, before a long curtain call and an all-dancing finale which gave everyone a chance to throw some serious moves centre stage (even Ben Adams).
It must be said that these dancers worked harder in the finale than most performers do in an entire show … never mind What A Feeling … What A Dance Show … you would be a Maniac to miss it!
Flashdance runs at the Grand Opera House, Belfast until 25th August
Tuesday 21 November 2017
Flashdance (UK Tour), Liverpool Empire Theatre | Review
Flashdance (UK Tour)
Liverpool Empire Theatre
Reviewed on Friday 20th October 2017 by Becca Cromwell
★★★★
Legwarmers primed (not really!) I headed to Liverpool for a night at the theatre. This time, it was to see Flashdance, the stage adaptation of the 1980s hit musical originally starring Jennifer Beale.
This production stars Joanne Clifton (best known for Strictly Come Dancing, Thoroughly Modern Millie and soon to star in Top Hat) as the energetic and ambitious Alex Owens and Ben Adams (A1) as the charming Nick Hurley.
With direction from Hannah Chissick and choreography by Matthew Cole, I had high hopes. From the moment the show started, I was gripped. I must admit, I had never seen Flashdance and all I knew of it was the water scene and a couple of 80s hits, and I was thoroughly impressed.
Joanne Clifton wowed as Alex, a welder with dreams of being a professional dancer. From the opening note, Clifton impressed with her vocals and astonished with her impeccable dance skills. She really is one to watch.
Ben Adams was spectacular as Nick Hurley, the latest of the Hurley family to own the factory Alex works in. His acting was believable, and his singing was, of course, perfect. Upon hearing that he was in a boyband, I was sceptical but he blew the sceptics away within minutes of stepping on the stage. The audience members around me had come not knowing who he was, and left impressed. As did I.
The show included many of everyone's 80s favourites, including 'What a Feeling', 'Maniac', 'I love Rock and Roll' and 'Gloria'. These were executed well, and pleased the crowd massively. The rest of the numbers worked nicely, with the number 'Here and Now' standing out amongst the rest.
This scene between Alex (Clifton) and Nick (Adams) is your classic musical theatre romantic duet between two characters realising they are in love and who are wanting to savour the moment forever. The vocals from both are almost flawless, and the crowd loved it. 'Here and Now' has just been released on iTunes, sung by Clifton and Adams, and I urge you all to buy it.
Alex's friends Gloria (Hollie-Ann Lowe), Kiki (Sia Dauda) and Tess (Demmileigh Foster). Their vocals were outstanding and the dancing incredible. The entire cast are extremely talented performers. Colin Kiyani played Jimmy and his performance was thoroughly enjoyable - I enjoyed the cheesy jokes! Carol Ball was fantastic as Hannah and Sasha Latoya played Louise, whose vocals shone in the finale.
There were unfortunately a few technical issues, with one of the two screens not working properly and appearing to be loading every minute or so and some lines being missed by microphones. However, these did not distract from the outstanding performances given by the cast, nor did they let that stop them. The atmosphere and energy were incredible from the start until the very end. The audience were up dancing along to the megamix during the curtain call, and left thoroughly entertained.
Flashdance continues its UK tour into 2018.
Saturday 29 October 2016
Side Show, Southwark Playhouse | Review
Side Show
Southwark Playhouse
Reviewed on Thursday 27th October 2016 by Olivia Mitchell
★★★★Reviewed on Thursday 27th October 2016 by Olivia Mitchell
Side Show is an original musical which is unique in more than one way. Firstly because it tells the story of conjoined twins Daisy and Violet Hilton and secondly because it flopped not once but twice on Broadway. The original 1997 production ran for a mere 91 performances with the more recent 2014 revival running for only 56, perhaps it was not a Broadway audiences cup of tea or perhaps it did not have the finesse and omph which this current production does.
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