Showing posts sorted by date for query London Musical Theatre Orchestra. Sort by relevance Show all posts
Showing posts sorted by date for query London Musical Theatre Orchestra. Sort by relevance Show all posts

Friday 19 November 2021

My Fair Lady to Open at the London Coliseum


New York’s Lincoln Center Theater’s critically acclaimed and multi award-winning production of Lerner & Loewe’s much loved MY FAIR LADY will transfer to the London Coliseum for a limited summer engagement in what will be the first major West End revival of the show for 21 years. The season comes as part of the ongoing celebrated tradition of summer musicals at the London Coliseum. The perfect way to celebrate London’s theatre scene as it blossoms once more after the pandemic. Performances begin on 7 May 2022 with an opening night on 18 May 2022.

Tickets will go on sale to the general public on 23 November 2021 at 10am. For the latest news and to be amongst the first to access tickets please sign up to the mailing list at www.myfairladymusical.co.uk 

Directed by Bartlett Sher, this sublime production, which premiered in the spring of 2018 at Lincoln Center’s Vivian Beaumont Theater, was the winner of the Tony Award for Best Costume Design,  5 Outer Critics’ Circle Awards including Best Musical Revival, the Drama League Award for Outstanding Musical Revival, and the Drama Desk Awards for Best Musical Revival and Costume Design. The London production will feature the English National Opera’s award-winning Orchestra playing Frederick Loewe’s ravishing score.

Bartlett Sher said: “Getting a chance to revisit Shaw's extraordinary story of class and privilege in a new age, and especially for London audiences, is a rare and special event.  And I am also thrilled to be back at the ENO and the Coliseum, a perfect space for this epic musical.”

“Lerner and Loewe’s My Fair Lady has returned to Broadway in a smashing new production from Bartlett Sher (The Sound of Music, The King and I).”
The Guardian

“Lavish revival of Lerner and Loewe’s 1956 masterwork…”
The Washington Post

My Fair Lady tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady”. But who is really being transformed?

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, MY FAIR LADY boasts a score including the classic songs “I Could Have Danced All Night,” “Get Me to the Church on Time,” “Wouldn’t It Be Loverly,” “On the Street Where You Live,” “The Rain in Spain,” and “I’ve Grown Accustomed to Her Face.” 

“Thrilling! Glorious and better than it ever was! A marvellous and transformative revival.”
New York Times

Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion, Lerner & Loewe’s MY FAIR LADY premiered on Broadway in March 1956, winning 6 Tony Awards including Best Musical, and becoming the longest-running musical in Broadway history at the time. Following this success, the production transferred to London in 1958, where it played in the West End for five and a half years. 

MY FAIR LADY has seen many notable revivals and adaptations, including the acclaimed 1964 film starring Audrey Hepburn and Rex Harrison, which won eight Academy Awards, including Best Picture. Most recently on the London stage, Cameron Mackintosh’s 2001 revival at Theatre Royal Drury Lane won three Olivier Awards, and later toured across the UK and Ireland in 2005.

James L. Nederlander, Jamie Wilson, Hunter Arnold, Playful Productions and the English National Opera present the Lincoln Center Theater production of Lerner & Loewe’s MY FAIR LADY at the London Coliseum, with sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Donald Holder, sound by Marc Salzberg, original musical arrangements by Robert Russell Bennett and Phil Lang, and dance arrangements by Trude Rittmann. 

Full casting for the London production will be announced in due course.

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Monday 21 October 2019

Cinderella, Cadogan Hall | Review


Cinderella
Cadogan Hall
Reviewed on Sunday 20th October 2017 by Olivia Mitchell 
★★★★

Yesterday, Cadogan Hall played host for a one-night-only staged concert of the much loved musical, Cinderella. Written in the 50s by Rodgers and Hammerstein for television, the musical has since been adapted for various stage productions but until now, hasn't been seen in London. Thanks to the exceptional London Musical Theatre Orchestra and stellar cast, that changed last night and those in attendance were treated to a sparkling night of magic.

Upon entering the auditorium bathed in purple light, the mystical scene was set and as the cast stepped out we were transported to a kingdom where kindness wins and anything is possible. Directed by Jonathan O'Boyle, this really was a stunning production which hopefully paves the way for future Cinderella-filled magic in the West End.

Thanks to the LMTO under the baton of Freddie Tapner, the sumptuous score was really the star of the night. Evoking fairytale vibes, causing laughter and creating a romantic atmosphere even before the stellar performers joined in, the performance just reminded us how excellently sumptuous Rodgers and Hammerstein's work is.

The semi-staged concert was brought to life by George Reeve's projections which fit the space exceptionally and looked as though they were drawn straight from a long lost storybook. They transported us from setting to setting and breathed life into moments which would be grand spectacles in a fully staged production.

With a group of some of the biggest names in the West End, it was expected that the performers would be top notch and boy they did not disappoint. The stunning cast took us on a romantic journey filled with socially relevant comments and a boat load of whimsy. Mazz Murray was fantastically malicious and biting as the evil stepmother, whilst Dianne Pilkington was her contrast and the crazy but magical and airy fairy godmother. Zoe Rainey gave a sweet performance as Ella's "kind" stepsister Gabrielle, and Jodie Jacobs completely blew everyone away with her killer vocals and fantastically characterised portrayal of Ella's other sister Charlotte. 

As our leading lady for the night, Christine Allado gave a beautifully strong performance. With a grace and elegance any Princess would be proud of, Allado was a joy to watch on stage and her pristinely clear vocals filled Cadogan Hall with ease, power and wonder. In the role of the royal suitor Jack Yarrow was perfection. With an absolutely astounding voice, it's clear why he has begun taking the West End by storm.

This production of Cinderella is very much for a modern audience as it showcases the need for kindness alongside social reform. Ella's alertness to injustices outside those she faces in her family home is moving to see and works well alongside the romantic plot that is not all roses and chocolates. The political slant feels highly relevant, as well as allowing for extra comedic moments and I don't doubt this show would have a welcome place in the West End.

photo credit: Darren Bell
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Tuesday 11 December 2018

A Christmas Carol (LMTO), Lyceum Theatre | Review


A Christmas Carol (LMTO) 
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell 
★★★★★

The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.

Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life. 

Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions. 


Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.

As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances. 

The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice.  David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.


I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.

The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.

The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre. 

A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm

photo credit: Nick Rutter
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Saturday 3 November 2018

Girlfriends, Bishopsgate Institute (LMTO) | Review


Girlfriends
Bishopsgate Institute
Reviewed on Friday 2nd November 2018 by Olivia Mitchell
★★★

The London Musical Theatre Orchestra are taking a short residency at the Bishopsgate Institute whilst they perform a concert version of Howard Goodall's Girlfriends which follows a group of women as they join the Women's Auxiliary Airforce during World War Two.

Complete with new orchestrations specifically for the LMTO, Girlfriends has some beautiful virtuosic moments which are wonderfully showcased by the orchestra, led by Freddie Tapner. As always, the orchestra give a sleek performance, however, compared to previous concerts where the LMTO have had solo showcase moments playing musical interludes such as the police scene in Mack and Mabel, there weren't any moments where we could purely appreciate the orchestra. These concerts always tend to provide a platform to appreciate stripped back music which of course we could still do, but this particular production lacked some of the "wow" orchestral moments previously experienced.

Whilst the orchestrations are lovely, a lot of the music feels similar and there are a lot of songs which are repetitive. Many of the melodies are catchy but when heard time are time again, become ineffective in conveying the mood/drama they intend to and I believe the whole piece would be much more moving emotionally and technically sleek if it was cut down and smoothed out. That's not to say that there weren't some outstanding moments, especially when the women join together for tight choral moments of chromatic harmony which effectively push the pain and confusion felt by everyone during the war.


The cast are the best of the best who work well as a team and individually. As best friends leaving their "ordinary" lives to join the WAAF, Lucie Jones and Lauren Samuels show off their divine vocals and natural chemistry with effortless talent. Natasha Barnes is vocally stunning, whilst Vikki Stone gives both a humourous and heartbreaking performance and Bronté Barbé gives a memorable performance of The Chances Are. Rob Houchen and Chris McGuigan both give strong performances which showcase their talents whilst perfectly framing the women, as they should in a show focussed on female strength.  

Despite the dramatic content, the show itself never reaches a boiling point and somewhat lacks intensity. During act one, I couldn't help but think the show was romanticising war with the various love affairs that formed; however, a moment of text in act two changed that view and brought the stark reality of war back to the heart. Victoria Gosling MBE explains that she was born in a free world and grew up hearing "All You Need is Love" whilst for her grandparents, "All They Had is Love". This reminds us the importance of relationships both romantic and non-romantic as well as how lucky we all are to be able to watch this show without having experienced the pain and turmoil that accompanied the women featured.

Despite this not being my favourite production form the LMTO, there is no denying that the wealth of talent on offer gave remarkable performances. The melodic, complex music does provide moments of power and if anything, this show serves as a fantastic celebration of women and the crucial roles they had in the Second World War. 

photo credit: Nick Rutter
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Monday 10 September 2018

Proms in the Park, Hyde Park | Review and Five Reasons to Go


I have always loved the BBC Proms especially the last night which I have only ever seen on the TV. I was never really that aware of its alter ego The Proms in the Park, that is until last night. A friend and I were not only fortunate enough to attend this musical extravaganza but we were also given access to the VIP and Press arena. I can honestly say that it was one of the best evenings out I have ever had. 

 Every year the line-up of performers changes, this year as in previous years the event was hosted by the multi-talented Michael Ball. He was absolutely perfect in this role, linking everything seamlessly whilst making everyone feel included and thoroughly enjoying himself, which was totally infectious. 


The afternoon kicked off at 3pm with the BBC DJ Tony Blackburn, who was then followed by the London based, Country, Folk, Pop quartet The Wandering Hearts. We were then treated to outstanding performances from The Rock Choir with the BBC orchestra followed by Lisa Stansfield, who performed some new material and wowed us all with her older hits. Matt Goss was next accompanied by the BBC Big Band, his set was not only excellent, but he also personally surprised and shocked a superfan. 

Another highlight was the hugely talented and energetic cast from Bat out of Hell, led by Jordan Luke Gage and Christina Bennington, who had everyone on their feet belting out the songs. Just a small plug, if you only go to one show in London this year go and see Bat out of Hell, you won’t be disappointed! Also, on the bill was the young saxophonist Jess Gillam and award-winning songwriter Albert Hammond who were both outstanding. 

The Maltese opera star Joseph Calleja was wonderful, and my personal favourite Josh Groban performed a truly beautiful version of Somewhere over the Rainbow, among other stunning songs. It was then time for the headline act which this year was Gladys Knight. What a fantastic performance she gave, she still has the most incredible voice and had all 40,000 of us dancing and singing along to all the hits we know and love. 

Then came the iconic flag waving finale, it was so amazing to be part of this experience which was being mirrored over at the Royal Albert Hall. We all played our part in the rousing renditions of Land of Hope and Glory and Jerusalem. A spectacular firework display was a very fitting end to a truly wonderful day. I hope to be fortunate enough to go again next year and as if the musical performances aren’t enough of a reason to go, here are 5 more: 

  • This event is in the most glorious setting of Hyde park in central London, arrive early and take a stroll around this magnificent space. Maybe take a boat out on the lake, marvel at the stunning plants, trees and statues or simply sit peacefully and watch the world go by for a while, before entering the arena. 
  • This is a wonderful iconic event to attend, whether with a group of friends, as a couple or a family but even if you went alone you wouldn’t be for long. The camaraderie amongst the attendees was like nothing I have ever experienced at a large event or concert. People of all nationalities and ages from tiny tots to shall I say a more mature contingent were sharing, stories, drinks, food and lots of laughter. 
  • Whatever your taste in music there is absolutely something for everyone, from musical theatre, to Opera, rock, pop and disco. This is a wonderful opportunity to see a multitude of fantastically talented artists at one venue. 


  • The organisation of such a huge event, 40,000.00 people attended, is mind boggling and needs to be seen to be believed. I have no idea how something like this is put together so slickly. From the fabulous selection of food and drink vendors, the security, the staging, lighting, superb sound and visuals to the properly plumbed in toilets. Certainly, a feat of engineering in themselves. 
  • This event is a wonderfully eclectic mix of music, food, fun and revelry mixed with the superb Pomp & Circumstance associated with the Proms. In the words of a fellow reveller “it made you proud to be British”. 
★★★★★

 Review by Melanie Mitchell

 photo credit: Mark Allan
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Sunday 26 August 2018

On The Town (Prom 57), Royal Albert Hall | Review


Prom 57: On The Town (BBC Proms)
Royal Albert Hall 
Reviewed on Saturday 25th August 2018 by Olivia Mitchell 
★★★★

What better way to celebrate what would have been Bernstein's 100th birthday, than at the Royal Albert Hall with a glorious performance of On The Town?! Written in 1944 with Adolph Green, Jerome Robbins and Betty Comden, this show is a light-hearted look at love which takes place over 24 hours in New York and is accompanied by beautifully woven music.

The plot follows three sailors who are in the Big Apple for one day only. Their time soon becomes commanded by some humourous, strong, powerful women who provide a larger than life experience. Each character is memorable and brilliantly performed by the stellar cast which celebrates some of the best the West End theatre scene has to offer. 

Each cast member came at their roles with vigour and embraced both the humour and more nuanced moments, fantastically. Whilst the humour is repetitive at times, it was very well pulled off, with well timed motifs remaining humourous instead of grating, especially the entrances of Pitkin (Barnaby Rea) whilst his fiancé Claire (Celinde Schoenmaker) and Ozzie (Nadim Naaman) were getting closer and closer.


Nathaniel Hackmann's smooth vocals were especially striking as the lovestruck Gabey, whilst Siena Kelly was perfectly flirty and humourous as Miss Turnstiles, Ivy Smith. Claire Moore was equally witty as drunken singing teacher, Madame Dilly, and earned several laughs from the audience.

Whilst the entire leading cast were extremely strong, it was Come Up To My Place, a back-and-forth duet by Hildy (Louise Dearman) and Chip (Fra Fee) which provided the most memorable scene of the night.

This very simplistic concert, whilst beautifully staged by Martin Duncan, with basic projections and innovative prop usage, really just highlighted how stunning the score of On The Town is. The music has wit and sharpness embedded in it which brings the story to life without a need for dramatic sets and scene changes.


John Wilson brought the vivid score to life, conducting the London Symphony Orchestra with energy and bringing out flawless sounds. The varied musical sections showcased the adaptability and versatility of the orchestra and really evoked feelings of the golden age.

The full-house of the Royal Albert Hall were treated to a truly spectacular performance which you would be a fool to miss on BBC catch up! Full of joy and life, watching On The Town was a joyous experience.

photo credit: Mark Allan
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Sunday 15 July 2018

A Stagey Guide To Singing... Josefina Gabrielle | Chicago | Stagey Sunday

Welcome back to Stagey Sunday! I hope you're all well and not too saddened by the football... although if you're reading this, the chances are that you were at the theatre instead of in front of a TV! Anyway, this weeks guide to singing is brought to you by the female lead of Chicago the musical, Josefina Gabrielle who plays Velma. Josefina started her career as a dancer before transitioning into the world of singing so it's really interesting to hear how she built up her voice and stamina to be able to perform such a demanding role...


Can you tell me a bit about your vocal journey? 
Well I went to a theatre school, Arts Educational school, from about the age of 10 so we had an all round performing arts education. It incorporated singing, ballet, jazz, modern, tap, drama, you name it! So I had that in my life for as long as I can remember. 

 Then I specialised in Classical ballet, so I danced only for quite a few years and, I worked abroad. When I came home to London after about 8 years, I joined Carousel the musical which was being done at the National Theatre. They needed strong ballet dancers so there was this perfect break from one world into the next so then I was surrounded by singing again and kind of got back on the saddle with that. 

 I had been a soprano and hadn’t really experimented with the musical theatre sound, mixing or belting or anything like that so I learnt a lot about that during my time at Carousel. I learnt a lot about different voice types as I joined different companies and slowly developed a belt voice which was quite daunting at first because it’s quite muscular, you know you can push the wrong way and make yourself hoarse. So that was quite an interesting journey and I think having a typical dancer mentality I pushed it quite a lot which made it strong but compromised it’s flexibility. So that’s been my journey into different sounds! 

I went to a singing teacher for a little while who gave me all the knowledge on how to belt but it felt painful, so I shied away from it. But as I came to acquire, note by note slowly, I was able to process what she’d told me to do. But at the time it felt scary. It’s like doing push-ups! Twang and tilt are also an important part of that- I’ve learnt all the terms along the way! 


Was there anyone or anything that got you into music in the first place? 
I’ve always enjoyed music, my primary school before I went to ArtsEd- my mum has since told me cause you don’t think about these things as a child- focussed a lot on the arts so we did have a lot of musical appreciation. I remember playing all the percussion stuff and recorder and clarinet and things. So I’d already started that journey at my primary school so I think it's always been a part of my life. 

And then in the classical ballet world you dance to so much music. I feel like I’ve got quite a nice, wide variety of music that I appreciate and it’s quite wonderful to identify and recognise composers easily because I’ve acquired it as opposed to studied it. Rodgers and Hammerstein are a musical duo that I absolutely adore and Stephen Sondheim as well because there’s so much research and such an education while you're performing and learning the subjects and your journey. It's fascinating. And the structure of the way they write just does it for you really. 

I think maybe because I’ve come through dance, I’ve been a little gung-ho with my singing and sometimes I've not thought “well this is as good as it gets”; I've dared to be a bit rough on my voice and sort of thought, well, I’ll just face the consequences… I don't find that pure singing comes easily to me so I focus very much on telling the story through song and that seems to find my voice; so there’s always the thing of juggling the X and the Y, the technique and the emotion and I think I focus more on the emotion and hope the technique will follow! 

Josefina Gabrielle and Hugh Jackman as Laurey and Curly in Rodgers and Hammerstein's Carousel

You've had a long career with Chicago now so you must know a lot of it like the back of your hand but are there any moments you still find hard or have to put extra focus on? 
I do find every every show that I do, I play my voice in, I’m not a person that can just pick something up and sing it beautifully. I need to almost dig a trench in my voice so once it’s played in I can do it. I’ve found that if I just treat it with respect but don’t get too fixated on it, it will find it’s way. I find a lot of that is once the breathing becomes choreography, you automatically prepare in the right way and you know when to hold, when to let go and when to not step on the gas. That just comes with repetition. I think that the moment my breathing has sorted out it’s choreography then I’m in safe hands. I also feel that I'm very much a voice that works with a mic. So the mic informs how I’m going to hold back or let go. 


You've recently had Mazz Murray join the cast of Chicago as Mama who your character Velma is very close to; what’s your process like when you work with someone new in terms of figuring out how to blend and balance one another? 
Again that comes with time, we’re early on so we’re still blending. But she's a wonderful musician and has one of my favourite voices. You know you're in fantastic hands and you just you feel and you listen and that’s how you come together, just like any orchestra would really. 


What are your tips for maintaining good vocal health? 
Drink a lot of water, the usual. Sleep, always get a decent amount of sleep. I have to be careful with acid reflux so I try not to eat too late at night. If I do eat too late at night or am feeling full or even just in case, I’m never far from Gaviscon Advance. Until you know about acid reflux, you may not even know you have it; it’s basically where the acid comes up your oesophagus and can sit on your cords and swell them. I didn’t realise but I’d often wake up coughing at night and I now know it’s because of the acid so now I'm very aware of that as it got me a lot of trouble in the past. 

I have an excellent warm up tape from by singing teacher Mark Meylan which I do religiously before every show and even when I'm not working, I’ll try and do that warm up regularly because my singing muscle needs to be looked after regularly. I’m not a person that can just sing, I need warming up well for flexibility. 


Who would your dream duet partner be? 
I’ve never really though about that! Well I just had the most amazing time singing with Ruthie Henshall; that felt wonderfully organic and I enjoyed it enormously. I'm now having a wonderful time working with Mazz and we're on a new journey. I even put this in Mazz Murray’s card on opening night that I have a laminated wish list of leading ladies I'd like to work with and two of them have come along at once! 


Could you tell me your top piece of advice for aspiring performers in terms of finding and maintaining their voice? 
Well I’ve kind of already blended those answers into my others but I’d say, don’t get upset because the emotions really affect your voice, they’re both in the same place so it can hinder performance. Breathing is terribly important and don’t push something they doesn’t want to go there- coax it gently and it will come!


A huge thank you to Josefina for taking the time to give her stories and advice on singing. You can catch her in Chicago at the Phoenix Theatre until 5th January 2019.

See you next Sunday for the final instalment of our singing guides!
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Thursday 21 June 2018

Kiss Me, Kate, London Coliseum | Review


Kiss Me, Kate
London Coliseum
Reviewed on Wednesday 20th June 2018 by Olivia Mitchell 
★★★

Kiss Me Kate is Cole Porter's 1949 musical play in two acts which interweaves a production of The Taming of the Shrew with a number of dramatic backstage battles. After touring for a while, Opera North's production has slipped into the London Coliseum for a short run which showcases it's glorious score and stellar cast.

The book is certainly at the core of this show. We see the actors putting on a revised musical version of the Taming of the Shrew in addition to focussing on the battle between actors and ex-partners, Fred Graham and Lilli Vanessi who can't seem to budge one another. At times, especially in Act 2, the show does drag; at three hours long you certainly need to grab a coffee beforehand but there's also enough variation to keep you somewhat on your toes.


The plot is helped along by the smooth set transitions that come from Colin Richmond's minimalistic backdrop featuring painted drops and revolving slides. These cleverly transport us from on stage, to backstage, but the whole production does feel a bit small for the vast space of the Coliseum. Much of the front stage is not used which makes the show feel distanced and somewhat unwelcoming as things get lost whilst being performed at the rear of the stage. Richmond's costumes are beautiful and bring an almost modern twist to the show whilst maintaining it's traditional  Shakespearean roots.

The classic orchestrations are played in all their original glory which is truly magnificent to hear. From the jazzy Too Darn Hot to Olde English melodies, the orchestra of Opera North, led by David Greed do an outstanding job of making everything buoyant and virtuosic.

You couldn't ask for a better cast to perform this monstrous show; drawn from both the opera world and the musical theatre world, they combine to create some magical moments. Baritone Quirijn De Lang and soprano Stephanie Corley are musically outstanding as Fred and Lilli. Two fiery characters, they give boisterous performances which bite and claw, with a loving undertone throughout. Corley's I Hate Men is a true powerhouse moment.


Zoë Rainey sings as if her life depends on it and completely steals the show in act two with her vast rendition of Always True To You In My Fashion. The multiple repetitions in this song and others do become somewhat draining but Rainey's performance is worth the ticket price alone as she performs with energy and vocal brilliance.

Act two provides spellbinding moment after spellbinding moment with Alan Burkitt's tap number completely dancing everyone off the stage. He gives a magnetic, faultless performance which could be watched over and over.

A the two gunmen, John Savournin and Joseph Shovelton steal the scenes they're a part of and give humourous performances throughout.


The ensemble do a wonderful job of bulking out the show but at times do feel underdeveloped, especially in terms of choreography. There could have been some really powerful group choreographic moments but unfortunately these were left out.

Kiss Me Kate has comedy, innuendos, a beautiful score and a stellar cast. It's a long show that could definitely be chopped here and there but there's no denying that it's a marvellous piece of theatre. Despite some issues, the gems of performances that are spotted around do make it a Wunderbar production.

Kiss Me Kate runs until June 30th at the London Coliseum

For tickets and information about the show, visit https://www.londonboxoffice.co.uk

photo credit: Tristram Kenton
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Tuesday 29 May 2018

A Little Princess, Southbank Centre | Review


A Little Princess
Southbank Centre 
Reviewed on Monday 28th May 2018 by Olivia Mitchell
★★★

After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa's lesser-known show A Little Princess was brought to the west end for it's UK Premiere at the Southbank Centre. Telling the story of Sara Crewe, a girl sent from Africa to a boarding school in London where she meets mean girls and a strict headmistress, this is a sweet story, with melodically beautiful songs and a heartwarming moral. 

As Miss Minchin, the headmistress who's a melange of Miss Trunchbull, Mrs Lovett, Mdme. Thenadier and others, Amanda Abbington was good. In her musical theatre debut she did well to convey the tiredness of the character but lacked menace. Vocally she was a little lacking and tended to speak-sing but still gave a pretty solid performance and I look forward to seeing her tackle future theatrical roles.

Danny Mac was dashing as ever as Captain Crewe, with wonderful vocals alongside a sweet connection with the children of the cast. The pacing of the show itself is funny and means that all the characters are a little under-developed. We got to see a lot of Captain Crewe at the start but as the show went on (especially in Act 2) everything felt rushed. With some rewrites this could be a lovely show and it would be great to see Danny having a bit more time to shine. Mention must go to his stellar performance in the pattersong-esque, Timbuktu.

Equally deserving of more time to shine was the stunning Rebecca Trehearn who always manages to steal her scenes. As Miss Amelia, the ditsy sister of Miss Minchin, Rebecca gave a wonderfully humourous performance and shone in her solo, Once Upon a Time.

Alexia Khadime and Adam J Bernard as Aljana and Pasko gave vocally stunning performances despite being a little overpowered by the orchestra at times. 

This was the first production which had actual children playing the children and it was them who stole the show. All the young cast did a great job of owning their roles, with Jasmine Nituan giving a heartfelt, funny performance as Sara's best friend and maid, Becky.

Jasmine Sakyiama is truly a star in the making. Her performance as Sara Crewe was 100 miles a minute from the start with her vocals and emotive facial expressions never failing. Of all the children, Jasmine also had the strongest diction which made her stand out even further. Keep an eye on this girl because she's going to go far!

Nic Farman's lighting added a mystical, magical vibe to the story which was lovely and took the show from a simple concert to an emotive production.

Despite enjoying this production, it does need some edits. I'm no one to say what these edits should be, but Act 2 felt extremely rushed and there were a number of moments that felt unnecessary/over-extended. However, the cast were great and I hope this isn't the last we see of this sweet show in the UK. 
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Wednesday 2 May 2018

Chess, London Coliseum | Review


Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell 
★★★

Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum. 

The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming  and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.

Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming. 


Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.

On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own. 

Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.

The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more. 


Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum. 

There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short. 

Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it. 

Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with. 

Chess runs at the London Coliseum until June 2nd.

photo credit: Brinkhoff Mögenberg
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