Showing posts sorted by relevance for query Lee Newby. Sort by date Show all posts
Showing posts sorted by relevance for query Lee Newby. Sort by date Show all posts

Wednesday 24 July 2019

The View Upstairs, Soho Theatre | Review


The View Upstairs 
Soho Theatre
Reviewed on Tuesday 23rd July by Olivia Mitchell 
★★★★

Whilst victories in the LGBTQ+ community are rising, and social attitudes and actions are, for the most part, much more positive, there's still much to fight for, as Max Vernon's musical highlights.

In its European premiere at the Soho Theatre, The View Upstairs cleverly creates a conversation between the past and present by visiting the UpStairs Lounge, a New Orleans gay bar which was the subject of an arson attack in 1973 which killed 32 people. The tragic story is one which has often been wiped out from history and was even minimised by news outlets at the time, so it's an honour to see it brought to life so thoughtfully. 

The story follows Wes, the 2019 "influencer" and fashion designer who is buying the dilapidated bar in the modern day. His estate agent leaves, and in a somewhat mystical, drug-filled flurry of curtains, he is transported back to the bar as it was on the day of the fire. Who we are then introduced to are the various people, decked out in bell bottoms, who find solace and friendship in the safe space the UpStairs provides. Wes' eyes are gradually opened to he struggles of being gay in the 70s and he questions how he leads his life in the modern day. 

Wes is a smartphone-addicted go-getter who often veers into a caricature of a Gen Y person, but is  still intensely entertaining and relatable. As a whole the book features a lot of stereotypes which are not always believable enough, but there are hilarious one-liners throughout, as well as many thought-provoking moments. 


What the script lacks is made up for in spades by the utterly phenomenal cast. Tyrone Huntley is effervescent in his performance and provides vocals which need to be heard; Huntley also manages to create a fantastic balance between impudence and vulnerability, which really makes the audience root for him. The chemistry between the entire cast is second to none, with Wes and Patrick (Andy Mientus) providing especially well thought out interactions. Mientus draws the eye thanks to his incredibly subtle but highly calculated movements which make him seem as though he isn't acting at all.

The uniformly thrilling cast bring vocals that will cause involuntary whoops and goosebumps in equal measure. Among a team of stars, Carly Mercedes Dyer and Cedric Neal stand out because of their powerhouse voices which ring out with sincerity as well as power. Victoria Hamilton-Barritt is magnetic as the caring, religious mother Inez; whilst Garry Lee provides vocals and sass and her drag queen son Freddy. John Partridge and Declan Bennett are well rounded and striking in their performances and Joseph Prouse and Derek Hagen give memorable, if brief performances. This is a fantastic ensemble piece which has momentum and catchy tunes, but more importantly, heart.

Fabian Aloise and Ruthie Stevens's choreography is slick and feels part of the characters own movements. Lee Newby's set is basic but evocative as is Nic Farman's lighting which expertly matches the moods of the show, although at times felt just a bit too dark.

Jonathan O'Boyle has directed a moving production which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight. 

photo credit: Darren Bell

Tuesday 7 June 2022

Full Cast and Creative Team Announced for Billy Elliot the Musical


Curve has announced the cast and creative team for its upcoming Made at Curve production of Billy Elliot the Musical.

The first new UK production is directed by Nikolai Foster (A Chorus Line, Sunset Boulevard – At Home, West Side Story) and will run at the Leicester theatre for six weeks only from Thursday 7 July to Sunday 14 August. Press night will take place on Thursday 14 July.

The titular role of Billy Elliot, the miner’s son with a passion for ballet, will be performed by Leo Hollingsworth from Nottinghamshire, Alfie Napolitano from Northamptonshire, Samuel Newby from Hertfordshire and Jaden Shentall-Lee, whose family live in Leicestershire.

Billy’s dance teacher Mrs. Wilkinson will be played by West End and Broadway legend Sally Ann Triplett, whose iconic roles include Reno Sweeney in Anything Goes (National Theatre and Theatre Royal Drury Lane) and Young Phyllis in Follies (Shaftesbury Theatre), as well as Martha in the recent Made at Curve UK tour of White Christmas.

Michael, Billy’s best friend will be performed by Bobby Donald, Lucas Haywood, Ethan Shimwell and Leicester’s Prem Masani, who will make his stage debut in the production.

All hailing from the East Midlands, Pearl Ball, Caitlin Cole, Lola Johnstone and Ellie Copping – who returns to Curve’s stage having previously appeared as Susan Waverly in the 2018 Made at Curve production of White Christmas - will share the role of Debbie, Mrs. Wilkinson’s daughter.

Joe Caffrey, who previously performed in the West End production of Billy Elliot the Musical, will join the cast as Billy’s Dad Jackie, while Broadway and West End sensation Rachel Izen will play Billy’s Grandma Edna. Luke Baker (Everybody’s Talking About Jamie, the Made at Curve UK tour of Grease) will play Billy’s older brother Tony and Jessica Daley (recently seen in Made at Curve productions of White Christmas and The Music of Andrew Lloyd Webber) will play Billy’s Mum.

The adult company will be completed by Craig Armstrong as George, Minal Patel as Big Davey, Cameron Johnson as Mr. Braithwaite, Micky Cochrane as Scab, Robin Paley Yorke as Lesley, Christopher Wright as Mr. Wilkinson, Michael Lin as Pit Supervisor, Jonathan Dryden Taylor as Posh Dad, William Atkinson as Older Billy and ensemble, and Steph Asamoah, Tori McDougall, Anna Rossa and Louie Wood as members of the ensemble.

The young company of ballet dancers and boxers, most of which are Midlands-based or have local family connections, will feature Willow Adamson, Maddie Seren Ashley, Oliver Back, Aneeka Kaur Bains, Ella-Rose Blackburn Price, Harvey Clarridge, Lily Corkill, Miley Dalton, Matisse Didier, Isabelle Francis, Ethan Galeotti, Rahul Gandabhai, Isla Granville, Uzziah Gray, Orlaith Rae Hunt, Ava Rose Johnson, Ava Mia Komisarczuk, Kyrelle Lammy, Lienna-Jean Langdon, Tahlia Maddox, Lorcan Murphy, Nesisa Mhindu, Sophia Pirie, Hayden Polanco, Gopal Thacker and Mirabelle Varakantam.

The Made at Curve production of Billy Elliot the Musical will by choreographed by Lucy Hind, with Musical Supervisor and Musical Director George Dyer. The set will be designed by Michael Taylor with costumes designed by Edd Lindley. Also joining the creative team are Lighting Designer and Curve Associate Ben Cracknell, Sound Designer Adam Fisher, Props Supervisor Lizzie Frankl, RYTDS Resident Assistant Director Lilac Yosiphon, Birkbeck Trainee Director Thyrza Abrahams, Associate Choreographer James Berkery, Dialect Coach Elspeth Morrison, Fight Director Kev McCurdy and Head Chaperone Helen ‘H’ Mclaren-Frost.

Children’s casting is managed by Jo Hawes, with adult casting led by Curve Associate Kay Magson CDG.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“We are beyond excited to share our extraordinary cast for Lee Hall and Elton John’s astonishing musical Billy Elliot, ensuring this summer in Leicester is truly memorable.
“Billy Elliot is a musical filled with incredible characters, epic ideas and at its heart, the story of a young boy who has the passion and courage to dance down a different path from the one prescribed for him. We are thrilled to be working with our four Billys - Alfie, Leo, Jaden and Sam - and the entire young company - all hugely talented, brimming with energy and representing the very best young talent in the UK today.
“And leading the entire company, theatre legend Sally Ann Triplett takes on the role of the inspirational teacher we all need in our lives, Mrs. Wilkinson. Joining Sally, we are proud to welcome a first-class company to Curve, totally 55 performers! This is by far the most ambitious show we have staged at Curve and there is no better time to present this musical which recognises the value of culture in our society, the importance of expressing your truest self and gives a voice to the courageous working-class communities who are depicted in Lee Hall’s astonishing play. All beautifully framed by Elton John’s electrifying score.”

Based on Stephen Daldry’s BAFTA-winning 2000 film starring Jamie Bell and Julie WaltersBilly Elliot the Musical features music from Elton John and book and lyrics by Lee Hall. The musical first premiered at London’s Victoria Palace Theatre in 2005 and went on to win a host of international awards, including four Olivier Awards and ten Tony Awards.

Tickets for Billy Elliot the Musical at Curve be purchased on Curve’s website www.curveonline.co.uk, over the phone by calling 0116 242 3595 or in-person at Curve’s Box Office.

photo credit: Marc Brenner

Thursday 5 March 2020

The Last Five Years, Southwark Playhouse | Review


The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell 
★★★★

Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.

This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story. 

Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.

Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.


Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.

As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey. 

Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.

With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.

The Last Five Years plays at the Southwark Playhouse until 28th March

photo credit: Pamela Raith

Thursday 11 October 2018

Mythic, Charing Cross Theatre | Review


Mythic
Charing Cross Theatre
Reviewed on Wednesday 10th October 2018 by Olivia Mitchell 
★★★★

I have to start this review by saying that I need a Mythic cast recording right this moment! The entire show is super catchy and you can bet that if/when a recording is released, it's all I will be listening to. 

Mythic is a 90 minute, humourous, dynamic and all round brilliant show which looks at the Greek Gods in a way they've not been seen before. In this reinvention, we follow Young Persephone who is trying to find herself and her talent, whilst her mother (and Mother Earth herself) Demeter, is struggling to let her little girl grow and flourish in the way she allows her plants to.

Marcus Stevens and Oran Eldor's upbeat pop/rock score is catchy beyond belief, and features song after song that will keep you entertained and on your toes. From the moment the show opens the tone is set: we are in for a 90 minute comedic show that's fully self-aware and able to subtly look at some deeper subjects.

There's no denying that this show is cheesy but that's what makes it so great; from the use of props (shrubs which are tossed around the stage) to the joke filled lyrics, Mythic manages to balance humour and integrity well. The show could easily become a mess but instead it is sleek, and emphasises its cliches to make them thoroughly entertaining rather than draining.

The re-imagined Olympia certainly feels like party central, with the music creating the perfect soundtrack for a night out. The variations in moods are also achieved well, with highly uplifting numbers, as well as darker numbers and moving ballads. For the entirety of the show, Mythic manages to remain well-connected to the myths, whilst making the entire thing feel fresh and contemporary. 


The characters are highly stereotypical, with a sleazy father (Zeus), a daughter who feels trapped (Persephone), a typical bad-boy (Hades), an overprotective mother (Demeter) and an attention-deprived daughter (Aphrodite). However, they are more than they appear on the surface and are all well-rounded enough to make us really root for them and become invested in their struggles throughout the 90 minutes.

Mythic's five principles do a wonderful job of motoring the story along whilst providing well thought out performances. Daniella Bowen is suitably hippie and genuine as protective mother, Demeter. Her performance of What Mothers Have To Do shows her power as a performer and the whole role really showcases her versatility. As her daughter Persephone, Georgie Westall is a strong female lead; perfectly embodying the headstrong aspect of the character, without making her unlikable. Vocally she is super strong, with Irreversible providing a stand out moment and showing that Georgie is sure to be a name on the London theatre scene for the foreseeable future. 

Michael Mather does a brilliant job as the leather clad bad-boy Hades. Again showing versatility through his portrayal which is both fiery and vulnerable. His killer voice and great stage presence make Michael perfect for the role and his great chemistry with Georgie make them a perfect pair to play out this crazy love story.


Genevieve McCarthy is part Regina George, part Karen Smith in her portrayal of the wannabe daddy's girl, Aphrodite. Alongside Tim Oxbrow as Zeus, the father who's focussed on power rather than his daughter (well, one of them), there is great comedic timing and the duo work well together; especially towards the end when the dynamics change. The ensemble are supremely strong, supplying us with killer vocals and witty one liners throughout. Mentions go to Eloise Davies and Ben Welch who catch the eye in their various roles and, to the fantastic diction of the overall ensemble. For a show that is almost entirely sung through, we do not miss a word due to the fantastically sharp delivery from everyone.

Everything in this show works in precise union, with Lee Newby's costumes and sets not only matching the world of the God's but also highlighting and literally being highlighted by Jamie Platt's lighting design which is precise and not at all overbearing. Sarah O'Gleby has done a fabulous job with choreography and direction and whole piece just feels like a step in the right direction for theatre in the West End. For a godlike way to spend 90 minutes, don't look any further than the Charing Cross Theatre and Mythic.

Mythic runs at the Charing Cross theatre until 24th November

photo credit: Marc Brenner