Showing posts sorted by relevance for query In The Heights. Sort by date Show all posts
Showing posts sorted by relevance for query In The Heights. Sort by date Show all posts
Saturday 31 December 2016
Olivia's Top 10 Shows of 2016
Without repeats, I saw 59 different shows this year so compiling this list has been difficult to say the least! This has been a brilliant year for theatre and through this website I really feel that I've become a part of the theatre community. 2016 has seen some brilliant big budget shows as well as smaller fringe ones, many of which have thrilled me. This list is of the shows that stuck with me long after I'd seen them and that I feel are very resonant in our 2016 world. This will probably be a bit of a long post, I have a whole year to fit in after all, so grab yourself a cuppa and some biscuits and enjoy!
This list is in reverse order, cause we all need that extra bit of excitement in our lives.
One of Paul Taylor-Mills' incredible productions of 2016. The music was performed beautifully and the touching and heartbreaking story of conjoined twins Daisy and Violet was told sincerely and gracefully by Laura Pitt-Pulford and Louise Dearman.
Did anyone not like this show? All I heard were incredible reviews and rightly so. An exciting and refreshing revival of a much loved Classic which ticked all the boxes of a hit musical. Charlie Stemp is talent on another level. I'm sure we'll be hearing plenty more good things about the show and cast in 2017!
This was my first visit to The Union Theatre and wow was it a good first. I absolutely adored this show. I was completely unfamiliar with the music and was just blown away by it. The cast were sublime and the story telling was impeccable. I'm sure this would be a huge hit if more people got to see it.
27 must have been one of the most hyped musicals of 2016 and I could certainly see why when I saw it. It's a musical like I've never seen before, so fresh and different to what's currently on the West End stages. The plot twist at the end had me physically breathless, a stunning piece of artistry.
This was another small show but it definitely packed more than a small punch. It was sweet, pink, sassy and sumptuous. One of those shows which really made you think and reflect on your life. Lauren Samuels gave a standout performance!
I saw this show alone so the minute I stepped out of the theatre I called my friend to fangirl about it like a mad woman. I was completely awestruck by the whole performance. It was moving, funny, relevant and thought-provoking. The use of songs was done smoothly and effectively and it was overall just an A* worthy production.
This was the perfect treat to see just before Christmas. Although the story is slightly dated and everything is a little over the top, it's a fantastic production full of sweetness, heartbreak and love. Scarlett Strallen's performance was absolutely impeccable and nothing short of perfection. With the amount of people I've told to see this, I wouldn't be surprised if it gets a West End transfer in the near future.
I've grown up with Rent so finally seeing it on stage was a very special experience for me. Each cast member is fully immersed into their roles and the whole production is raw, gritty and believable. Philippa Stefani gives the performance of a superstar and had me in floods of tears. The production will continue to tour next year and I'll certainly be seeing it again so don't be surprised if it features in my top 10 of 2017 too!
The St James theatre was on fire this year! The Last Five Years is another one which I've wanted to see on stage for years. Jason Robert Brown's story is heart-warming and heart-breaking at the same time. It's always a joy to see Samantha Barks on stage and seeing her shine as Cathy was even more wonderful because of how incredibly she showed off her effortless belt and sincere acting. The wonderful mix of simplistic staging, the stellar duo of Barks and Bailey and Jason's beautiful music, rightfully earn The Last Five Years my number two spot!
1. Dreamgirls: Savoy Theatre
If you haven't heard about Dreamgirls' triumphant return to the West End then you must have been living in a cave. This was the 2nd to last show I saw and I couldn't be happier that I could end the year on such a fantastic note. This has got to be the theatrical spectacle of the year, the sets, costumes, choreography and cast are all exquisite and I cried a bucket load of happy tears, which I never do! Go see Dreamgirls in 2017, I guarantee you'll leave singing it's praises!
So there's my top 10 shows, of course there's other brilliant ones and I'm sure your list varies but this has been a brilliant year for theatre and I can't wait to see what 2017 brings *cough* Hamilton *cough*
But wait, where's that other show that I've been posting and tweeting about like crazy and have seen 32 times!? I haven't forgotten it, I just wanted to give it a special mention because its such a special show. So my "The Show Which Changed My Life: 2016" award goes to IN THE HEIGHTS at the Kings Cross Theatre! I've done a billion posts on it (just search it on the homepage) so I don't need to write any more soppy words but this show has seriously been my everything this year. I've met incredible people from it, both fans and cast members and I'm so incredibly grateful for that. Unfortunately I won't be at the last show as I'm in Australia (boo hoo, woe is me, right?) but I'm so sad its closing, and I'm sending all my thoughts and positive vibes to the theatre gods that they will bring it back because I will never be ready for the lights to go down on Washington Heights! Thank you In The Heights for being there and helping me and I'm sure many others, through tough times and making us feel at home in the theatre. Even if you had no idea how you were helping, I guarantee you made some tough days just that much easier. No pare sigue sigue!
I hope you had a brilliantly theatrical year too and I'd love to hear your favourites so drop me a comment on here or tweet me @OliviaMitche or @RewriteThisWeb
Au Revoir 2016! Stay Stagey, 2017!
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
Friday 1 March 2024
Standing at the Sky's Edge at the Gillian Lynne Theatre REVIEW: A Perfect Tale of Hope and Connection
Gillian Lynne Theatre
Standing at the Sky's Edge is a captivating journey that swept me off my feet and left me utterly spellbound. From the moment the lights dimmed and the first notes filled the air, I was transported into a world where every emotion felt raw and real.
The story, set across three generations, unfolds with such grace and authenticity, drawing the audience into the lives of the characters living in Sheffield's iconic Park Hill estate. Through their joys and struggles, their dreams and disappointments, I found myself rooting for each one of them as if they were old friends.
Whilst this is technically a jukebox musical, it doesn't feel clunky as is so often the case. Richard Hawley's compositions, with Tom Deering's orchestrations are a beautiful fusion of rock, folk, and soul, each melody weaving its way into the narrative to really capture the essence of the musical. The lyrics are so poetic and heartfelt, they brought tears to my eyes and chills down my spine. This is a masterfully crafted musical that is so different to other West End offerings, in all the best ways.
Set wise, Ben Stones has done a glorious job, bringing the industrial feeling of Park Hill to life, but also capturing the warmth which filled it. Mark Henderson's fantastic lighting design also contributes to this realistic feeling, with even the first scene literally brining the sunrise to life. From the bustling streets of Sheffield to the towering heights of Park Hill, every detail is so meticulously crafted that I felt like I was actually there, witnessing the story unfold before my eyes. In my opinion this is a show which needs multiple visits because there's just so much to see, every nook of the stage is filled with action and there are so many stories going on that you could watch ten times and still spot something new!
But what truly struck me was the way this musical resonated with me on a personal level. Despite never having set foot in Sheffield, I felt a deep connection to the characters and their journey. Their struggles felt familiar, their triumphs felt like my own and whilst I didn't directly relate, the emotions portrayed are so genuine and truthful, you can't help but be moved by the tales of hurt and hope.
These intense feelings are a testament to the vast ensemble cast who are outstanding in every way. Elizabeth Ayodele as Joy brings subtle but effective character growth that melds to her surroundings, whilst Samuel Jordan is every level of charming as Jimmy, both also give brilliant vocal performances, a common theme throughout the cast. Opening the show, Jonathon Bentley sets the tone for the piece and showcases his beautiful voice which equally shines during his other solo moments. Perhaps the character with the biggest arc is Harry, portrayed with such nuance and integrity by Joel Harper-Jackson. Mesmerising is a word which gets thrown around a lot but Joel's performance is utterly the embodiment of it, as he brings to life a character that feels so multi-dimensional and showcases his innate acting ability. As his loving housewife partner who slowly finds her voice, Rachael Wooding is a powerhouse, with another slow burn performance that peaks in the second act and has sniffles filling the auditorium. Laura Pitt-Pulford gives one of my favourite vocal performances of the show with 'Naked in Pitsmoor' and again, brings to life her character Poppy perfectly. Lauryn Redding is her ideal counterpart, serving some wonderful vocals, especially during the title song and also bringing some lightness amongst the heavy themes of the show. The entirety of the cast bring this world to life and they're all stars. Mention must also go to the booming bassist who growls and grounds the Act two opening number 'Standing at the Sky's Edge'.
In the end, Standing at the Sky's Edge isn't just about the music or the set design – it's about the human experience. It's about love, loss, and the resilience of the human spirit. It's a reminder that no matter where we come from, we're all connected by our shared humanity.
Standing at the Sky's Edge touched me in a way that few musicals ever have. It's a testament to the power of storytelling and the magic of theatre. If you have the chance to see it, don't hesitate – it's an experience you won't soon forget, and the act one opening is one of the best theatrical moments possible to see on stage right now.
★★★★★
Reviewed on Thursday 29th February 2024 by Olivia
Photo Credit: Brinkhoff-Moegenburg
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 3 August 2018
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
Monday 21 February 2022
New Cast Announced for & Juliet
Tom Francis is to play Romeo in & Juliet, as the award-winning show today announces new cast. Tom, who starred in the recent acclaimed production of Rent, will join the company next month, in the joyous musical which won 3 Olivier Awards and 6 Whatsonstage Awards.
Julius D’Silva will also join the cast as amorous Frenchman Lance, opposite Keala Settle as Nurse. Keala - internationally renowned for her starring role in the global smash hit movie The Greatest Showman in which she performed the iconic song “This Is Me” – will be making her West End debut.
They will all join the production from Tuesday 29 March 2022 at the Shaftesbury Theatre, where the show recently extended its booking period through until Saturday 24 September 2022.
Miriam-Teak Lee – who was awarded the Olivier Award for Best Actress in 2020 for her performance as Juliet – leads a cast including Cassidy Janson, who also won an Olivier Award for Best Supporting Actress for her portrayal of Anne Hathaway, Oliver Tompsett as William Shakespeare, Tim Mahendran as Francois and Alex Thomas-Smith as May.
David Bedella continues his Olivier Award-winning performance as Lance until Saturday 26 March, as does Jordan Luke Gage as Romeo and Melanie La Barrie as Nurse.
The new ensemble includes Ebony Clarke, Bessy Ewa, Collette Guitart, Cassandra Lee, Nathan Louis-Fernand, Zara MacIntosh, Carl Man, Christian Maynard, Rachel Moran, Owen Saward, Aaron Shales, Benjamin Terry and Suki Wong, who join Ivan De Freitas, Rhian Duncan, Alex Tranter, Sophie Usher and Rhys Wilkinson who continue with the show.
Romeo who?! With her bags packed and ready to escape Verona, Juliet recovers from heartbreak in the best way possible… by dancing the night away with her best friends by her side! But when the sparkle fades, the confetti falls and reality catches up, it’s clear that Juliet needs to face her past in order to find her future. Can she reclaim a story that has been written in the stars? Is there really life after Romeo… or could he be worth one more try?
Come along for the ride as the original Anne Hathaway takes on her husband William Shakespeare to remix his legendary play. As comedy meets tragedy, will Juliet get the ending she truly deserves? And most importantly, can their love survive this battle of wills?
Fabulously fresh and riotously funny, & Juliet explodes with dozens of pop anthems by legendary songwriter Max Martin, including … Baby One More Time, Since U Been Gone, Roar, It’s My Life, I Want It That Way, and Can’t Stop the Feeling! The show also includes the brand new song One More Try, written especially for the show by Max.
Brought to life by an award-winning creative team, this vibrant, colourful and timely musical is directed by Luke Sheppard (In the Heights, Rent and What’s New Pussycat?) with a story by David West Read (Netflix’s Schitt’s Creek), electrifying choreography from Jennifer Weber and stunning set design from Soutra Gilmour.
Max Martin and Tim Headington present & Juliet, which is produced by Martin Dodd, Tim Headington, Max Martin, Jenny Petersson and Theresa Steele Page.
Monday 26 June 2023
Pink at BST Hyde Park review: An Electrifying Performance Which Soars to New Heights
truly showcased Pink's versatility and fearlessness as an artist, cementing her as one of the best in the business"
P!nk: Summer Carnival
BST Hyde Park
★★★★
In a stunning showcase of talent and entertainment, last night Pink took to the Great Oak Stage at Hyde Park, to perform a captivating show which closed her weekend at the BST festival. An awe-inspiring experience, her limitless energy, exceptional connection with the crowd, astonishing circus abilities, and unwavering vocals took the spotlight and created a really really entertaining evening. Although there were a few moments of slight lulls, the other exhilarating moments more than made up for them, resulting in a truly unforgettable evening of pure enjoyment.
Pink's natural ability to engage with her audience was truly extraordinary. From the moment she stepped onto the stage, she effortlessly commanded everyone's attention with her charming presence. She skilfully interacted with the crowd throughout the concert, making each person feel like an integral part of the performance. From taking various teddy bears, to celebrating first concert experiences and showcasing a fan's artwork, her interactions were authentic and heartfelt, creating a really welcoming atmosphere and some truly memorable audience experiences.
It's not a Pink show without some gravity defying circus acts and even at the vast open air venue she did not disappoint. Whether she was soaring high above the stage showing aerial silks or executing some beautiful choreography whilst suspended in the air, her talent left spectators in awe. These mesmerising moments added a dynamic element to the show, that truly showcased Pink's versatility and fearlessness as an artist, cementing her as one of the best in the business.
Pink's vocals remained flawless throughout the entire evening, delivering powerful performances filled with precision and emotion. Her voice effortlessly spanned a wide range of genres, captivating the audience with its raw power and vulnerability. Whether performing a song she'd written or one by someone else, each note was infused with passion and authenticity, leaving a lasting impact on everyone fortunate enough to witness her remarkable talent firsthand.
As the sun began to set, the lighting design flawlessly complemented the changing atmosphere, creating a visual spectacle that enhanced the overall experience. The lighting design effectively worked alongside the sun and shadows of nature, and the golden hue which accompanied the sunset was especially magical as it bathed the stage in a captivating glow.
Adding another layer of depth to the performance, the well-incorporated video elements were super effective. During the poignant song Irrelevant, large screens displayed videos highlighting female empowerment and the Black Lives Matter movement, creating a really significant and moving moment. These thoughtful additions not only showcased Pink's commitment to social justice but also deeply resonated with the audience, reminding everyone of the transformative power of music.
Pink's concert at Hyde Park was a remarkable demonstration of talent that left an enduring impression on all attendees. Her exceptional audience interaction, mind-blowing circus skills, and flawless vocals were the pillars of an evening that will be cherished. While there were fleeting moments of respite, they were quickly overshadowed by the sheer energy and excitement that filled the show. An undeniable triumph and a testament to her artistry, Pink and her team created a multi-sensory experience that was a treat for all in attendance.
Reviewed on Sunday 25th June by Olivia Mitchell
photo credit: Dave Hogan/Hogan Media
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 1 November 2023
Bat Boy the Musical at the London Palladium Review: A Campy Delight
Bat Boy the Musical in Concert
London Palladium
I had the pleasure of spending Halloween at Bat Boy the Musical in concert at the iconic London Palladium, and it was truly a wild, wacky, and wonderful show. The talented cast, which included Jordan Luke Gage, Jodie Steele, and Trevor Dion Nicholas, delivered an electrifying performance that left the audience thoroughly entertained.
The campy nature of the production was evident from the get-go, and it added to the overall charm of the show. The exaggerated characters, over-the-top antics, and quirky humour all contributed to a delightfully eccentric atmosphere that had the audience in stitches. Victoria Hamilton-Barritt in particular is a complete comedic superstar, perfectly bouncing off the crowd and having everyone in stitches from the smallest movement or expression.
However, it wasn't all smooth sailing. There were some noticeable sound issues throughout the performance. Missed lines and an uneven balance between the orchestra and vocals meant that, at times, it was challenging to hear the lyrics properly. While these technical hiccups did momentarily detract from the overall experience, they were overshadowed by the sheer fun of the show.
For those unfamiliar with the story, Laurence O'Keefe's Bat Boy the Musical is a quirky tale about a half-human, half-bat creature who is discovered in a cave and taken in by a family in a small town. The musical explores themes of acceptance, prejudice, and the complexities of human nature, all while delivering it with a humorous and satirical touch.
Despite the sound issues, the show's humor and the cast's stellar performances shone through. The witty one-liners and comedic timing of the actors had the audience roaring with laughter, making it easy to forgive the occasional technical glitch.
Jordan Luke Gage gave an endearing performance as the title Bat Boy, showcasing stupendous vocals as well as really well done and hilarious characterisation; continually rising to new heights, I cannot wait to see what he takes on next. Jodie Steele's portrayal of the struggling sister balanced superbly with Gage's and had some solid development and growth throughout. Completing the family pack, Trevor Dion Nicholas gave a vocal powerhouse performance and made the morally wild father a stand out performance. Tosh Wanogho-Maud was a complete powerhouse, giving some of the best vocals of the night, despite not having a hugely developed character. The entirety of the supporting cast and choir also did an excellent job of bringing the Bat Boy world to life.
One aspect that truly stood out was the effective and simple staging. The use of minimal sets and props allowed the audience to focus on the characters and the story. It was remarkable how such a straightforward approach could be so striking and immersive. This also allowed Rhys Wilkinson's well thought out and adapted movement to really shine and add a finessed element to this one night only performance.
Bat Boy the Musical was a wild, blood filled, hoot of a musical, with a fantastic cast and an abundance of humour. While the sound issues were a minor drawback, the overall experience was thoroughly enjoyable, leaving the audience with smiles on their faces. A hilarious and campy musical done so well!
★★★★
Reviewed on Tuesday 31st October
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 18 December 2018
Alice: The Musical, Lyric Theatre, Belfast | Review
Alice: The Musical
Lyric Theatre, Belfast
Reviewed on Saturday 15th December 2018 by Damien Murray
★★★★
20 years after I first reviewed its premiere production at the venue, Paul Boyd’s is back at Belfast’s Lyric Theatre with a reworked and updated version of his successful and inventive musical adaptation of the Lewis Carroll classic about Alice’s dream-like journey into the wild and wacky world of Wonderland.
While the zany characters of Wonderland with their impressive costumes (thanks to designers, Gillian Lennox and Erin Charteris) combine with Boyd’s predominately pop-orientated and catchy score to please the children, there is plenty here to engage adults too; not least the topicality of the piece with many character and scenario parallels to the on-going, and equally bewildering, Brexit situation.
Since its premiere, this acclaimed show has performed throughout the UK and in theatres as far away as America and Japan… and it is easy to see why.
Offering an alternative to pantomime, it is a perfect family treat for the Festive period, but – not having any seasonal restrictions – remains an equally relevant retelling of a classic at any time of the year.
Played out on Stuart Marshall’s relatively open set, with lots of attractive graphics from the story, and under Paul Keogan’s deceptively simple, but highly effective, lighting plot, this seamless, energetic and fast-paced production allows no respite for the hard-working cast.
Indeed, it is hard to believe that such a complex show can be staged so effortlessly by such a small cast (only seven in number!) and they deserve full credit for, even on a double show day, there was no cutting of corners or lack of commitment from anyone at the matinee performance I attended.
In the role of a narrator, Charlotte McCurry’s ever-watching Cheshire Cat guides us through the dream-like adventures with a high degree of vocal clarity, while Christina Nelson’s suitably scatty White Rabbit adds to the wonderful sense of confusion in Wonderland throughout.
As the soft-spoken and gentle Alice, Ruby Campbell is aptly confused and bewildered and deservedly wins the affections of the younger audience members from an early stage, while Allison Harding’s pompous and impatient Queen of Hearts represents the opposite end of the personality spectrum.
In multiple roles, the trio of male actors, Mark Dugdale (The Caterpillar and Mad Hatter), Adam Dougal (Tweedledee, The March Hare and The White Knight) and Rea Campbell-Hill (Tweedledum, Dormouse and The King Of Hearts) are all equally talented.
Dugdale excels both as the flamboyantly dressed Mad Hatter and as the popular Caterpillar who, as a butterfly in waiting, is at a disadvantage because of his fear of heights and his air sickness.
While Dougal is superb as the eccentric and not so inventive White Knight, a stand-out moment of the show is when he teams up with Campbell-Hill, as the theatrical and entertainment duo, Tweedledum and Tweedledee, to deliver a great two-man routine.
Other highlights here include the theatricality of the ‘shrinking’ scene and the highly entertaining Tea Party scene.
With no ensemble or dancers to help them, the seven cast members are not only uniformly good actors but are also, by necessity, all exceptionally strong singers and dancers and they all do justice to Deborah Maguire’s decisive choreography and to Boyd’s knowing direction and musical direction of his varied and pre-recorded score.
As a perfect alternative to pantomime, this inventive, colourful, entertaining and story-based production will engage the entire family (except, perhaps, those under 3) with its well-known and well-loved characters and dream-like adventures.
Nothing makes sense in the wacky world of Wonderland, but it would be equally senseless if you were to miss this magical musical … and they will welcome you, even if your name is not Alice!
Alice: The Musical runs at the Lyric Theatre, Belfast until Saturday 5th January, 2019
Photo credit: Melissa Gordon
Wednesday 11 April 2018
Sunset Boulevard (UK Tour), New Wimbledon Theatre | Review
Sunset Boulevard (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 10th April 2018 by Glenys Balchin
★★★★★
Sunset Boulevard is wonderful musical with great music, amazing performers, awesome staging and lighting and superb costumes and makeup. The atmosphere on opening night was electric and the New Wimbledon theatre provided an iconic setting for this fabulous musical.
I had my trepidation’s about whether I was going to enjoy Sunset Boulevard. I had seen the film telling the dark tale of the fading Hollywood silent screen goddess trying to make a comeback who gets intwined in a dark world with her young screenwriter and lover; but I doubted how it would work as a musical. How wrong was I to doubt this wonderful operatic music of Andrew Lloyd Webber alongside the brilliant writing and lyrics of Christopher Hampton and Don Black. The melodramatic film-framework is embellished to bring Sunset Boulevard up to the heights of a Grand Opera.
The entire cast must be congratulated on their performance but in particular Ria Jones who is sensational. Her character interpretation is phenomenal as she becomes Norma Desmond. She engages with the audience immediately as we're drawn into her world of despair and the larger than life dramatisation of sorrow grief of yesteryear.
To go with that outstanding acting performance is Ria's fantastic voice- how does that voice come from such a diminutive frame!? I have to say I was wondering how Ria would compare with the voraciousness of Gloria Swanson in the 50’s movie, well she did! What’s more-she is every inch a frightening diva; as Norma tumbles into madness in the final scene - “Mr DeMille Lights Cameras” Ria Jones herself has reached the realms of a superstar and I can’t wait to see her in another production.
Moving on to Ria ‘s co-star, Danny Mac, the Strictly Come Dancing finalist really holds his own against the formidable singing voices of Ria Jones and Adam Pearce. As Danny’s ex strictly judge would say “I didn’t like it I LOVED it” his performance is excellent, enjoyable, energetic, easy on the eye and his rendition of Sunset Boulevard is extraordinary.
Special mention of the fabulous Max, Norma's butler played by Adam Pearce who's voice is astounding and Molly Lynch who gives a mesmerising performance playing sweet Betty.
The scenery is particularly atmospheric. On the top it's fairly simplistic but once you look closer there's a level of complexity which is intrinsic to the whole plot developing. The use of lighting and old films gives you shivers down the spine, as if you are a prisoner in that oppressive mansion yourself.
The costumes capture the Hollywood era perfectly, bringing glitz and glamour. Norma’s flamboyant, elegant and surreal costumes, life and personality really make her one of the most iconic of characters.
Last but not least, praise must go to the orchestra who provide the heartbeat of the musical playing the opulent and lavish musical scores of Andrew Lloyd Webber, which are resounding in my head from last night. The songs provided magical moments bringing the whole show together as the cast performed them pitch perfectly.
I cannot praise this show enough, it was a wonderful experience to watch this truly brilliant cast transfer me to a world of “make believe”. The thing I love about theatre is it's escapism, the world of suspense from reality and when I see a show like this it makes me to want to go more and more. So, if there's one theatre trip you have to do this year, make it Sunset Boulevard!
Sunset Boulevard runs at the New Wimbledon Theatre until April 14th before continuing it's UK Tour.
photo credit: Manuel Harlan
Saturday 17 September 2016
Something Wonderful, Royal Festival Hall | Review
Something Wonderful
Royal Festival Hall, Southbank Centre
Reviewed on Thursday 15th September 2016 by Olivia Mitchell
★★★★
Last night the Royal Festival Hall played host to a wonderful exploration and celebration of the music of Rodgers and Hammerstein in a fabulous one of concert featuring some of the West Ends best performers. Emma Kingston, Louise Dearman, Michael Xavier and Ryan O'Gorman fabulously performed songs from one of the best musical theatre partnerships of all time, treating us to some of their well known songs as well as some hidden gems.
Sunday 8 March 2020
Christopher Tendai on Taking Off The Mask | Identity, Turbine Theatre | Interview
Christoper Tendai is an established performer, having starred in many West End musicals, UK tours, television specials and various commercial projects. His most recent and perhaps most daunting endeavour is launching his own dance company: CTC. The company are soon showcasing a new show at the Turbine Theatre, which looks at what makes us individual through the mediums of dance, spoken word, art and more...
Tell us a little about CTC Dance Company and how it came about...
CTC Dance Company is an upcoming company renowned for its versatility and uniqueness through movement.
The company has been running for 2 years now and started from a short film I created called Imperfections (which can be found on my YouTube channel). Creating CTC was probably one of the best decisions I’ve ever made. It’s my pride and joy and I hope that one day it will be recognised like the McOnie and Mathew Bourne Companies.
You're broaching a whole host of important topics in just 60 minutes, what's included?
Yes we are and I think these subjects are so relevant to create a discussion in the time we live in. We speak about Mental Health, LGBTQ, Feminism and Social Media Through Society. Within the show we see our main character; Caitlin, go on a journey of self discovery and to explore and embrace her own unique identity.
Our identities are formed from what people think of us, the laws we follow that have been placed by society and the biggest one of all: social media.
We always have to be the perfect version of ourselves. But what is perfect? Shouldn’t our own self be enough? Through Identity, we want to inspire people to embrace who they really are. There’s only 1 you in this world.
Mental health awareness is a big part of this show. Dance and creativity is a great outlet to centre yourself and improve your mental health so what would you tell people wanting to get into dance?
I would tell any aspiring dancer/performer that anything is possible. If you put your mind to it, you can achieve your dreams. I started dancing when I was 18yrs old and I made sure I lived and breathed it so I could be as good as the dancers that had been dancing since they were 3.
Since graduating I have danced in various musicals from the West End (Hamilton, In The Heights, Matilda, Jesus Christ Superstar) to UK Tours (Hairspray), Commercial work (Strictly Come Dancing, Fleur East, Rita Ora, Hugh Jackman) to Television (Episodes, The Golden Circle). And now I am choreographing and producing my own production by my company which has transferred Off Westend from Edinburgh Fringe 2019.
So I would say: Stay Focussed. Stay inspired. Work Hard. It all pays off!
Social media can be both a blessing and a curse, how are you incorporating it into Identity?
We touch on social media within the show and I feel it couldn’t be more relevant right now, especially with the recent awful tragedy of Caroline Flack.
Social media is great in ways of course, but somehow it has become a platform to cause harm to people’s mental health. We showcase a section of our show about the way that we are perceived on social media. The show always goes back to a Polaroid picture which has many different meanings. We want to begin an open and positive conversation about it.
What would you like people to feel as they leave Identity?
We want people to leave feeling inspired to be their own version of themselves. We want to show people that no matter what you’ve been through, you are still here today and can change your future path to whatever you want it to be. We want to start the conversation of mental health and remind people that they are important within this world.
Why should people come and see Identity?
People should come and see the show because it’s something completely different which hasn’t been done before. We are not just dance but dance theatre, incorporating different elements to the show such as; Spoken Word, Live Music and Physical Theatre. Come and support and start the conversation on Mental Health Awareness!
Identity plays at the Turbine Theatre from 10th-14th March. £12.50 discount tickets are available by using the code: CTCDANCE1
Interview by Editor, Olivia Mitchell
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