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Saturday 9 March 2024
Reneé Rapp 'Snow Hard Feelings' Tour in London and Intimate Acoustic Show REVIEW
Reneé Rapp's Snow Hard Feelings Tour
Eventim Apollo, Camden Roundhouse and Banquet Records
Having followed Reneé Rapp since 2018 and attending her debut London show last year, I snapped up tickets for her London residency in an instant and waited with extreme levels of excitement to see her perform again. It's funny having watched someone for so long, you feel a strange sense of pride without even knowing them personally. Perhaps with Reneé it's even stronger because of her connection to us fans that makes her feel almost like a friend, even on the other side of the Atlantic. So, going into the weekend I knew it was going to be special, but it turned out to be so much more than that.
From her breakout role as Regina George in Mean Girls on Broadway and then the recent film adaptation, to her portrayal of Leighton in the charmingly relevant The Sex Lives of College Girls series, to her acclaimed debut album, Rapp has grown from strength to strength, gaining an adoring fanbase along the way, and always staying true to her values of honesty and integrity. Last year her first full length album was released to much critical acclaim (snubbed by the Grammy's, but we move) and this tour was a testament to her evolution as an artist, and a celebration of her impressive musical intuition and writing skills. I won't go into depth because we'd be here forever but for me it's a no skip album that perfectly blends elements of pop, rock, and theatre to create a spellbinding journey. Lyrically it hits hard and musically it offers variety and so much melodic interest whilst still retaining a very Reneé feel.
Watching last year's concert, with music from Rapp's EP 'Everything to Everyone' it was hard to imagine it could get better but with time, it seems Renee has grown in confidence and truly proves to be born for the stage. Two of the shows I saw (Hammersmith Apollo and Camden Roundhouse) were part of the Snow Hard Feelings Tour, which included a mixture of songs from both releases. During these full production concerts, Rapp commanded attention with her dynamic vocals and infectious energy, delivering unforgettable performances, supported by her brilliant band and excellent lighting and video design.
But it was Rapp's acoustic performance at Banquet Records that truly showcased her vocal prowess and artistry. Stripped of elaborate production, Rapp delivered soul-stirring renditions of her songs, allowing her powerhouse vocals to take centre stage. With each note, she demonstrated remarkable control and nuance, effortlessly navigating through intricate melodies and emotive lyrics. Her performance was a masterclass in vocal performance, with faultless transitions between delicate falsetto and powerful belting.
I've always been in awe of Reneé's vocal technique, from her rounded vowels, to her impeccable breath control, phrasing and healthy belt, so getting a chance to witness it close up felt really special. Vocally she shone in all three shows, but there's really something magical about an acoustic show, with only a few hundred people all living in the moment and experiencing someone's innate talent. This show's version of 'Snow Angel' will go down as one of my favourite live vocals I've ever heard.
Throughout the shows, Rapp's authenticity and vulnerability were palpable. Whether sharing personal stories or engaging in playful banter with the crowd, she created an intimate connection that made everyone feel like old friends. Despite the occasional interruptions caused by fainting fans, Rapp handled each moment with grace and humour, turning potential disruptions into endearing anecdotes. Plus, her ability to convey emotion through her vocals and infuse each lyric with depth and sincerity, creates an intimate connection with her audience. Part comedy show, part concert, you're sure to be laughing out loud and probably crying during a Reneé Rapp concert.
Music is such a community former, and these shows were testament to that. From standing in the queues to waiting in the venue for the concert to start, I got chatting to so many people and felt like I was in a room of likeminded people who just wanted to have a good time. The ethos of acceptance and friendship which Reneé fosters, trickles down to her fans, allowing the creation of a brilliantly welcoming environment. There are also a number of excellent audience chants which when screamed out, really unite the crowd, and I must say, as a Brit I feel like we really excel at these, thanks to our years of assemblies and pantomimes. The signs held up by fans added to the sense of community, but unfortunately there were many which veered into objectification. Sign culture and boundaries is a whole topic of it's own but Reneé navigated these situations with poise, reminding fans of the importance of respect; let's just hope people chill out for her next performances.
The support acts, Towa Bird and Sekou, brought their own energy to the stage, setting the perfect tone for Rapp's captivating performances. Towa Bird, with their soulful melodies and infectious energy, warmed up the crowd with their genre-bending sound, seamlessly blending elements of indie-pop and R&B. Their dynamic performance left a lasting impression, showcasing their undeniable charisma and artistry. Meanwhile, Sekou captivated audiences with his powerful vocals and heartfelt lyrics, delivering an electrifying performance. At only 19 years old, he's sure to go from strength to strength and I can't wait to see him flourish in the music industry.
As the final notes of 'Snow Angel' echoed through the venues and confetti rained down, it was clear that Rapp's London shows had left an indelible mark on all who were lucky enough to witness them. With her unparalleled talent, genuine connection to her fans, and unwavering authenticity, Reneé Rapp has proven once again why she is a force to be reckoned with. And as London basks in the afterglow of her triumphant performances, one thing is certain: the star of Reneé Rapp is only just beginning to rise. Bring on the Reneésance.
★★★★★
Reviewed on 1st, 2nd, 3rd March by Olivia Mitchell
Photo Credit: Olivia Mitchell
Thursday 8 February 2024
Kathy and Stella Solve A Murder! transfers to the West End
Francesca Moody Productions, Kater Gordon, Wessex Grove and Fiery Angel are delighted to announce that award-winning smash-hit murder mystery musical Kathy and Stella Solve A Murder! will transfer to the Ambassadors Theatre in the West End for a strictly limited season from 25 May - 14 September after thrilling audiences in Edinburgh, Bristol and Manchester. Tickets are now on-sale at www.kathyandstella.com with 5000 under £25 and a ticket lottery to be announced.
Bronté Barbé and Rebekah Hinds will reprise their roles as Kathy and Stella alongside Imelda Warren-Green who will once again play Erica. Further casting is to be announced.
Originally brought to the stage by Francesca Moody Productions and Kater Gordon Kathy and Stella Solve A Murder! won Musical Theatre Review’s Best Musical Award at the Edinburgh Festival 2022. The production reunites the writing and musical talents of Jon Brittain - Book and Lyrics / Co-Director and Matthew Floyd Jones - Music and Lyrics who previously collaborated on the critically acclaimed, Fringe First award-winning A Super Happy Story (About Feeling Super Sad). Fabian Aloise Co-Directs and Choreographs.
BFFs Kathy and Stella host Hull's least successful true crime podcast. When their favourite author is killed they are thrust into a thrilling whodunnit of their own!
This big-hearted, laugh out loud musical follows the unlikely crime-fighting duo as they put their friendship on the line to become part of the story. Can they crack the case, (and become global podcast superstars) before the killer strikes again…?
Monday 5 February 2024
Cara Delevingne and Luke Treadaway to join the cast of Cabaret | THEATRE NEWS
The award-winning West End production of Cabaret at the Kit Kat Club is thrilled to announce that actress and model Cara Delevingne will play Sally Bowles, and Olivier Award-winning actor Luke Treadaway will take on the role of The Emcee from March 11 to June 1, 2024. Delevingne expressed her excitement about making her stage debut, while Treadaway is thrilled to join the Kit Kat Club production.
The show is booking until February 2025, and Cara Delevingne will have specific dates when she won't be performing*. They join Michael Ahomka-Lindsay as Clifford Bradshaw, Beverley Klein as Fraulein Schneider and Teddy Kempner as Herr Schultz. Nic Myers plays the role of Sally Bowles once a week.
Completing the company are Wilf Scolding as Ernst Ludwig, Jessica Kirton as Fraulein Kost/Fritzie, Liv Alexander as Texas, Natalie Chua as Frenchie, Taite-Elliot Drew as Hans, Damon Gould as Victor, El Haq Latief as Helga, and Travis Ross as Bobby, joining Laura Delany as Rosie, Grant Neal as Herman/Max and Hicaro Nicolai as Lulu. The cast is completed by Rebecca Lisewski, Ela Lisondra, Nic Myers, Andy Rees, Toby Turpin and Patrick Wilden.
The prologue company are Rachel Benson, Ami Benton, Onyemachi Ejimofor, Joseph Hardy, Liz Kamille, Andrew Linnie, Aine McLoughlin, Jack William Parry, Jazmyn Raikes, Oliver Stockley and Ena Yamaguchi.
Cabaret, praised as the ultimate theatrical experience, opened in December 2021 and won seven Olivier Awards in April 2022. The Broadway production featuring Eddie Redmayne and Gayle Rankin is set to open at the Kit Kat Club in April.
Transforming the theatre with an in-the-round auditorium and reimagined spaces, the Kit Kat Club invites guests to enjoy pre-show entertainment, drinks, and dining. The musical, featuring iconic songs like "Wilkommen" and "Don’t Tell Mama," is directed by Rebecca Frecknall, with set and costume design by Tom Scutt and choreography by Julia Cheng. The production promises a unique and immersive experience for audiences.
*Cara will not be performing on the following dates - Wednesday 13 March (matinee), Thursday 21 March (evening), Wednesday 27 March (matinee), Thursday 4 April (evening), Tuesday 9 April (evening) Wednesday 10 April (matinee and evening), Thursday 11 April (evening), Friday 12 April (evening), Thursday 18 April (evening), Wednesday 24 April (matinee), Thursday 2 May (evening), Monday 6 May (evening), Tuesday 7 May (evening), Wednesday 8 May (matinee and evening), Thursday 16 May (evening), Friday 17 May (evening), Saturday 18 May (matinee and evening), Wednesday 22 May (matinee) and Thursday 30 May (evening).
Photo credit: Jay Brooks and Emilio Madrid
Thursday 18 January 2024
Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony
Rehab the Musical
Wyndham's Theatre
Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.
The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.
Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.
However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.
The undeniable chemistry between Maiya Quansah-Breed (Lucy Blake) and Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.
Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.
Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.
A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments.
While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.
★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday 18 November 2023
Jamie Muscato to Perform Solo Concert at Cadogan Hall
Fourth Wall Live, in collaboration with Westway Music, is thrilled to present West End sensation Jamie Muscato live at Cadogan Hall on Saturday, July 21, 2024, at 6:30 pm. Tickets for this exclusive event go on sale starting Monday, November 20, at www.fw-live.com and www.cadoganhall.com.
Renowned for his outstanding contributions to musical theatre, Jamie Muscato, known for his roles in Moulin Rouge and Heathers, will showcase a new solo concert at Cadogan Hall in 2024. Muscato has an impressive repertoire, including performances in Les Misérables, Once In Concert, and Sweeney Todd.
Jamie Muscato's versatile talent extends to TV and film, with notable credits such as Chemistry of Death, Darkness Rising, and The Trial of Christine Keeler.
Fourth Wall Live, recognised for its successful productions like Bonnie and Clyde The Musical In Concert, consistently brings top-tier entertainment to audiences. Their recent shows have featured Broadway favourites like Jeremy Jordan and Audra McDonald, emphasising their commitment to showcasing stars from both the West End and Broadway. Additionally, Fourth Wall Live proudly produced the What’sOnStage Award-winning Bonnie & Clyde The Musical, concluding a successful run at the Garrick Theatre in London’s West End.
Thursday 16 November 2023
SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly
SuperYou! the Musical in Concert
Lyric Theatre
Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.
After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.
What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.
Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.
Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.
Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling.
There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.
Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons.
In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere.
Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene.
★★★
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 20 September 2023
Police Cops: The Musical at the Southwark Playhouse Review: A Hilarious Riot of a Show
Southwark Playhouse (Borough)
★★★★
Who'd have thought a comedy musical about the US police force could be so entertaining? Well, Police Cops: The Musical proves it's possible. Fresh from wowing crowds at the Edinburgh Fringe, this lively spoof of 80s American action films has now hit London.
Created by Zachary Hunt, Nathan Parkinson, and Tom Roe, this musical takes you on a wild ride through all the clichés of action movies. It follows Jimmy Johnson, a regular teenager turned aspiring 'best damn police cop ever' after a tragic loss. He sets off on a mission to take down the big bad criminals, teaming up with a retired rogue cop, jetting off to Mexico and reconnecting with his high school crush. And all of this is delivered with a relentless dose of stupendously silly comedy.
In this latest iteration of Police Cops, the original team have penned some brilliantly witty lyrics, set to a catchy score by Ben Adams of Eugenius, drawing on musical theatre tropes and classic 80s hits. Andrew Exeter's set and lighting work is magical once again, contributing to a high-energy, high-budget production.
Police Cops: The Musical is outrageously ridiculous yet impressively slick, excellently performed, and keeps you engaged throughout. The humour is silly and over the top, and the cast and crew showcase their real skill in blending comic satire with musical theatre and improv, hitting every comedic and musical beat perfectly. Through the recurring gags, hilarious stage craft and show-stopping numbers it's clear this team understands their genres and have created something uniquely entertaining by merging them. Plus, the writing is really self-aware, touching on outrageous ideas but never crossing the line.
Melinda Orengo, Natassia Bustamente and at this performance Mychele Lebrun as well, all deliver standout performances. All three seamlessly blend polished musical theatre with offbeat character comedy. Zachary Hunt, Nathan Parkinson, and Tom Roe, the masterminds behind this show, also star in it, showcasing their versatility. Hunt, as the leading man, pours endless energy and enthusiasm into his role, while Roe's sharp comic timing and Parkinson's unhinged characters add to the laughter.
One of the most delightful aspects of Police Cops is how evident it is that the entire team is having a blast. You can often catch cast members trying to stifle their laughter, and the musical director, Gabriel Chernick, exudes such joy, especially during a hilarious improv section involving sweets!
In Ameri-conclusion, Police Cops: The Musical is an unexpected treasure, blending zany satire with polished, professional musical theatre. It's hard not to have a grin plastered on your face throughout the performance—it's an absolute blast!
Reviewed on Tuesday 19th September by Olivia Mitchell
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 15 September 2023
The Little Big Things at Soho Place Review: Shines as a Celebration of Disability
The Little Big Things
Soho Place
★★★★
The Little Big Things at Soho Place presents an emotional journey that triumphs in depicting the resilience of the human spirit. Based on the story of Henry Fraser as told in his 2017 memoir of the same name, the musical tracks his journey from a budding rugby player, to being paralysed from the neck down after a freak diving accident on holiday in Portugal. This production is a testament to the power of adaptation and determination, and instead of being a somewhat patronising portrayal of becoming an inspiration after a life trauma, it showcases the transition from the person Henry was pre-accident to who he became post-accident. It also looks at how Henry's family deal with the changes and features the work of the NHS as well as a small romantic subplot. Each aspect makes this a truly uplifting and charmingly British musical, which feels like it's actively trying to shy away from the typical style of storytelling that often surrounds the stories of disabled people.
Nick Butcher (music) and Tom Ling (music and lyrics) clearly have a talent for writing high energy songs and ballads that tug at your heartstrings. The music is primarily upbeat and big however, while deeply engaging during the performance, the songs don't engrave themselves into memory once the curtains fall. The performances are undoubtedly and unanimously captivating, enriching the scenes and evoking a range of emotions. However, a few standout, memorable tunes would have elevated the overall experience and resonated long after leaving the theatre.
The integration of projections and lighting (Howard Hudson) in The Little Big Things is nothing short of remarkable. The creative use of light and visuals immerses the audience into the heart of the story, enhancing the emotional impact of the narrative. The play of light and shadows amplifies the depth of the characters' struggles and triumphs, leaving a lasting visual impression.
Director Luke Sheppard fearlessly pushes the limits of accessible theatre, infusing innovation, vitality, and charisma into an already poignant narrative. The staging is in constant motion, driven by Mark Smith's lively choreography, which ingeniously integrates moments of BSL (British Sign Language) and embodies the joy and celebration which is infused throughout the show.
Despite the undeniable power of the narrative, there are moments when the production grapples with sudden transitions and dialogues that could benefit from a smoother flow. The pacing occasionally feels a bit clunky, disrupting the overall rhythm. However, this doesn't detract significantly from the musical's poignant message of resilience and adaptation.
The cast's performances are stellar, embodying the characters with authenticity and dedication. Their portrayals breathe life into the story, allowing the audience to connect deeply with the struggles and triumphs of the characters. The musical shines as a celebration of disability, showcasing the strength and adaptability required to navigate a new life.
The Little Big Things is a moving musical that speaks to the resilience of the human spirit. The impeccable use of projections and lighting, along with a talented cast, creates a poignant theatrical experience. Despite minor pacing and memorability concerns, the musical stands as a heartfelt celebration of perseverance and a glowing portrayal of adapting to life's challenges. The little faults don't take away from the big things that make this show as glowing and special as it is and I wholeheartedly recommend it to anyone seeking a meaningful and uplifting night at the theatre, just make sure you take some tissues with you!
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 25 August 2023
Love Never Dies in Concert at the Theatre Royal Drury Lane Review: Musicality Reigns Supreme
Love Never Dies in Concert
Theatre Royal Drury Lane
★★★★
Once again, the LMTO and Fourth Wall Live have joined forces to bring a musical to life in concert form with a stellar cast and stunning music. This time, it’s the much discussed and dissected Love Never Dies, which hasn’t been staged in the West End since 2011. For two days the Theatre Royal Drury Lane played host to the latest iteration of the show which mesmerisingly took audiences back to the world of the Phantom and Christine. With the spotlight on a talented cast, and powerful orchestrations, this concert rendition really let the music shine and provided a memorable theatrical experience for those in attendance.
With such a brilliant cast, it’s no surprise that the performances were broadly nothing short of exceptional, capturing the essence of the characters and their emotions. Celinde Schoenmaker stepped back into the role of the beloved songbird, Christine Daae and did so in an utterly magical way, with her soaring soprano perfectly bringing the score to life and dazzling throughout her time on stage. Alongside her, Broadway veteran Norm Lewis put mask back on (in this case a swanky gold number) and became the musical Phantom of the Opera once again. His gorgeous baritone vocals provided some spectacular moments, especially in the rousing Till I Hear You Sing and it’s always a treat to see him on a West End stage. It did however seem that the rock number The Beauty Underneath was not performed live, which is a bit disappointing in a show of this calibre, and it would be interesting to know what prompted this decision from the creative team. This isn’t a criticism of anyone in particular, but perhaps opens a wider conversation about how these concert versions are rehearsed and put together. Of course it’s a massive task to create such strong shows in a short amount of time and given their minimal runtime it’s understandable that the turnaround has to be fairly quick, but it would be curious to know if it’s possible to create a rehearsal process that works for everyone involved and doesn’t leave the audience feeling shortchanged.
Aside from this, the music was incredibly strong, with a number of stand out moments that brought to life the deeply evocative and emotive feelings which course through this show. As Meg Giry, Courtney Stapleton brought a lovely buoyancy and freshness which showed the character in a new and engaging light, whilst Matthew Season-Young provided some strong vocal moments as Raoul. The supporting cast, including the London Musical Theatre Chorus deserve commendation for their remarkable vocals which truly soared in the Theatre Royal Drury Lane.
Staging wise, this was one of the less full-out concerts compared to others but it still did an excellent job of evoking the world of Phantasma and showcasing some of the whimsy of Coney Island. Rebecca Brower’s costumes were very in keeping with the gothic vibes and cleverly mirrored some of those from the original Phantom production, overall creating a dynamic atmosphere which cleverly set the place and time, without overshadowing the music.
The LMTO orchestra, under the baton of Freddie Tapner, masterfully captured the intricate emotions of the music, underscoring the characters' journeys with every note. The majestic melodies and haunting refrains were a testament to the timeless quality of Lloyd Webber's composition and it was such a treat to hear the score performed by such a large group of highly talented musicians.
While Love Never Dies has faced criticism for its narrative depth, the concert format seemed to address some of these concerns. The live performance allowed the characters to shine and their relationships to be explored with greater nuance. A lot of the plot is quite frankly ludicrous and the characters have taken complete 180s from their initial iterations but this concert format seemed to be a perfect vehicle for highlighting the strengths of the piece while minimising its perceived weaknesses.
Overall Love Never Dies in Concert, was a captivating and emotionally resonant experience. The talented cast and impeccable orchestral accompaniment combined to create a theatrical event that honoured the legacy of its predecessor while standing as a powerful production in its own right. Many of the original book issues still stand but from the audience reaction, it’s clear that this is still a show which many hold close to their hearts.
Reviewed on Tuesday 21st August 2023 by Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 22 August 2023
Death Note the Musical in Concert at the London Palladium Review: An Ambitious and Engaging Evening
a testament to the creative team's dedication to translating the essence of Death Note to the stage"
Death Note the Musical (Concert)
London Palladium
★★★★
In its first ever English language performance Death Note the Musical in Concert provides an engaging experience, that beautifully combines a concert style show with the allure of a full-fledged production, including captivating staging, meticulously designed costumes, and expertly executed choreography. Drawing inspiration from the iconic Death Note franchise, which originated as a manga series written by Tsugumi Ohba and illustrated by Takeshi Obata, this musical adaptation pays homage to the rich history and context of the source material.
The exceptional cast, which include remarkable talents such as Frances Mayli McCann as Misa Amane, Dean John Wilson as L, Aimie Atkinson as Rem and Adam Pascal as Ryuk, deliver performances that breathe life into the characters. Their portrayal of the characters showcasing both their impressive vocal prowess and their deep understanding of the emotional complexities within the story which questions morality, justice and power.
While the storyline can be a bit challenging to follow, particularly for those not acquainted with the original Manga, the production's sleek execution manages to pack in a lot without feeling overwhelming. The adaptation skilfully navigates the intricate plot points, a testament to the creative team's dedication to translating the essence of Death Note to the stage.
The translation of various elements from the manga to the stage is nothing short of impressive in this truly ambitious concert debut. The show's director, Nick Winston, and the rest of the creative team, including choreographer Alexzandra Sarmiento and costume designer Will Skeet, deserve commendation for their remarkable work in seamlessly integrating these elements into the live performance. The audience's palpable elation is a testament to the success of this collaborative creative endeavour.
The pre and post-show buzz, along with the audience's enthusiastic reactions, clearly indicate that Death Note the Musical has found its niche. Wonderfully, it manages to attract those who might not typically be drawn to musicals, thanks to its connection to the established Death Note franchise and the efforts of the cast and creatives. This broad appeal speaks volumes about the production's ability to engage and captivate diverse audiences.
Admittedly, the sound balance did exhibit some issues on opening night, which can be expected with such an ambitious score. While it occasionally detracted from the overall experience, it's understandable for a complex production. Once the sound balance is finely tuned, there's no doubt that this show will achieve the impactful resonance it aims for.
Death Note the Musical in Concert at the London Palladium showcases the successful fusion of storytelling, outstanding performances, and production design. By highlighting the talents of the cast, and thanks to the creative vision, the musical celebrates the legacy of the Death Note franchise while crafting a unique and captivating theatrical experience. The show's potential to become an unforgettable sensation is evident, and with further refinements, it's poised to leave a lasting mark on the world of musical theatre and is a must see for fans of the source manga.
Reviewed on Monday 21st August 2023 by Olivia Mitchell
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Monday 17 July 2023
The Wizard of Oz at the London Palladium review: A Delightfully Nostalgic Experience
a visual spectacle that fits so well with the whimsical and well-loved world of Oz"
The Wizard of Oz
London Palladium
★★★★
Magic, wonder, and unforgettable melodies reign supreme as you step into the mesmerising world of The Wizard of Oz at the London Palladium. This enchanting production, a transfer from the Leicester Curve, weaves a delightful experience that is sure to captivate audiences of all ages.
Thanks to Nikolai Foster’s direction, once the curtain rises you will find yourself immersed in a world of imagination and fantasy. The detailed costumes, effective sets and strong video effects seamlessly blend together to create a visual spectacle that fits so well with the whimsical and well-loved world of Oz. The semi-modern, steampunk aesthetic lends a unique twist to the classic tale, infusing it with a fresh and vibrant energy.
The cast of The Wizard of Oz delivers exceptional performances, breathing life into the beloved characters with charm and charisma. Dorothy, portrayed by the stunning Georgina Onuorah with innocence and determination, effortlessly captures our hearts as she embarks on her journey to find her way back home. Joining Dorothy on yellow brick road are three iconic friends she makes. Searching for courage, the Cowardly Lion is played superbly well by Jason Manford, who is perfectly evocative of Lahr in the film but with a spin of his own that really works. Looking for a heart the Tin Man is oiled by well by Ashley Banjo who creates some really brilliant moments; the vocals aren’t as stellar as they could be but his dance skills and charisma more than make up for it. Completing the quad is Louis Gaunt as the Scarecrow searching for a heart, who is utterly charming and a real triple threat. The chemistry between the group is well portrayed, however on stage you don’t feel as a strong of a connection to their journey and never root for them quite enough; their story is enjoyable but not as emotionally intense as it could be.
The other supporting cast members shine in their respective roles, each bringing their own unique flair and personality to the story. Christina Bianco’s Glinda and Dianne Pilkington’s Wicked Witch of the West are throughly entertaining, if a little underdeveloped but both provide some of the stand solos of the show. The musical numbers in The Wizard of Oz combine Andrew Lloyd Webber's new compositions with the beloved songs from the classic film and while Webber's additions may not steal the spotlight, they seamlessly blend with the original score, enriching the overall experience. The familiar melodies of ‘Somewhere Over the Rainbow’ and ‘Follow the Yellow Brick Road’ undoubtedly take centre stage, evoking a wave of nostalgia and bringing smiles to the faces of the audience.
This musical really does exactly what you’d expect it to in telling the story which so many love. All the classic moments are featured and there are also some fun things to spot such as Ozified show names (West Witch Story, Margaret Hamilton etc…) a hidden Olaf and some swanky costumes which are truly Ozian. However, act two is a little bit lacking as a whole, with the video aspect which is so effective in act one, becoming gimmicky and a little basic, especially when showing the wicked witch’s army and the flying monkeys. Moments which could have been really awe-inspiring are instead brushed over and there’s never a true wow moment.
A way the production does soar is in how it pays heartfelt homage to the original book by Frank L. Baum, incorporating references that will surely delight fans. The inclusion of Dorothy's return to Kansas in her Oz dress adds a touch of nostalgia, serving as a loving nod to the source material. These thoughtful gestures elevate the production, reminding us of the timeless charm that made the story a classic in the first place.
It’s not a faultless show but The Wizard of Oz offers a delightful escape into a world of fantasy and adventure. With its talented cast, striking visuals, and heartfelt nods to the original, this production is well worth seeing. Whether you are reliving cherished childhood memories or experiencing the magic for the very first time, this show will transport you to a place where dreams come true and a trip to Oz should definitely be part of your summer plans.
Reviewed on Wednesday 12th July 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 7 July 2023
Matthew Kelly and Denise Welch to star in world premiere of The Gap at Hope Mill Theatre
Hope Mill Theatre is thrilled to announce the world premiere of a captivating new play, titled The Gap, written by Jim Cartwright and featuring the talented duo of Matthew Kelly and Denise Welch. Directed by Anthony Banks, this highly anticipated production will grace the stage of Hope Mill Theatre from February 9th to March 9th, 2024, for a limited engagement. Mark your calendars as tickets go on sale starting July 8th.
The Gap delves into the audacious adventures of Walter and Corral, two individuals who haven't crossed paths in half a century. Once inseparable during the vibrant '60s in Soho, Walter finds himself up north while Corral remains down south. However, a chance phone call reunites them for one magical night, and before they know it, they're immersed in their old tricks once more.
Matthew Kelly, renowned for his exceptional performances on both stage and screen, graces us with his presence in this production. With an illustrious career that includes memorable roles such as the original Stanley in Funny Peculiar, Waiting For Godot alongside Ian McKellen and Roger Rees, and a captivating portrayal of Lennie in Of Mice and Men, for which he earned an Olivier Award for Best Actor, Matthew Kelly's talent shines brightly. His recent theatre credits include Noises Off, The Habit Of Art, and The Dresser, among others, showcasing his remarkable versatility. Not only a master of the stage, Matthew has also made his mark on the screen, with notable appearances in various TV shows and presenting credits on beloved programs such as You Bet! and Stars in their Eyes.
Joining Kelly is the esteemed actress Denise Welch, whose upcoming engagement in Diana: The Musical at The Eventim Apollo has already garnered significant attention. Denise's theatrical repertoire boasts impressive performances in productions like Calendar Girls the Musical, The Rise and Fall of Little Voice, and Steel Magnolias, to name a few. Her television career includes series regular roles in shows like Coronation Street, Waterloo Road, and Hollyoaks, solidifying her presence in the industry. As a regular panellist on ITV's Loose Women since 2001, Denise continues to captivate audiences with her engaging presence and insightful commentary.
Playwright Jim Cartwright and director Anthony Banks express their excitement about collaborating once again after their successful ventures with Mobile Phone Show in 2013 and Raz in 2016. They eagerly anticipate witnessing the extraordinary lives of Walter and Corral come to life through the exceptional talents of Denise Welch and Matthew Kelly, spanning five decades of change.
Matthew Kelly, filled with anticipation and enthusiasm, exclaims, "Dear Manchester, I'm coming home, and what better reason to return than with actress Denise Welch and playwright Jim Cartwright. We will star in the world premiere of Jim's remarkable new play, THE GAP, at Manchester's prestigious venue, Hope Mill Theatre. This funny, moving, and exquisitely crafted play will showcase the superb talents of Denise Welch, and I will be right by her side, shining throughout. Directed by Anthony Banks, this top-tier team embarks on an exceptional project at an extraordinary venue. I couldn't be more thrilled and excited. I invite you all to join us and be a part of this unforgettable experience. Sincerely, Matthew Kelly off the Telly."
Denise Welch expresses her elation, stating, "I am incredibly excited to return to my first love, theatre, and collaborate with the fantastic team at Hope Mill Theatre next year. Working opposite Matthew Kelly in a new play by Jim Cartwright is truly a dream come true. I hope each and every one of you will come and witness what promises to be an outstanding production."
The Gap is produced by Hope Mill Theatre
photo credit:
Thursday 6 July 2023
Initial Cast Announced for Elf the Musical at the Dominion Theatre this Winter
Celebrating its 20th anniversary since the original release of the motion picture featuring the talented Will Ferrell, the worldwide sensation and holiday classic, Elf, is set to grace London's Dominion Theatre once again. Following its overwhelming success last year, the smash-hit musical adaptation returns for a second consecutive year, delighting audiences from 15 November 2023 until 6 January 2024.
Returning to reprise their memorable roles are the talented Georgina Castle, known for her performances in Dirty Dancing and Mamma Mia, as Jovie, and Rebecca Lock, renowned for her roles in The Phantom of the Opera and Avenue Q, as Emily Hobbs. Nicholas Pound, recognised for his appearances in Cats and The Rocky Horror Show, brings Santa to life once again, while the multi-talented Kim Ismay, known for her roles in Wicked and Saturday Night Fever, takes on the character of Debs. Dermot Canavan, celebrated for his performances in Hairspray and Oklahoma!, embodies the Store Manager. Stay tuned for further casting announcements, including new actors who will portray the roles of Buddy and Walter Hobbs.
Based on the beloved 2003 New Line Cinema hit, Elf features a captivating book by Tony Award-winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone), accompanied by enchanting songs composed by Tony Award nominees Matthew Sklar and Chad Beguelin (The Wedding Singer).
This production will once again be brought to life under the expert direction of Philip Wm. McKinley, with choreography by Liam Steel. The original set and costume designs by Tim Goodchild, along with lighting design by Patrick Woodroffe, immersive sound by Gareth Owen, and video design by Ian William Galloway, will transport the audience into Buddy's world. The casting process will be overseen by Grindrod Burton Casting.
Elf tells the heartwarming and humorous tale of Buddy, a baby who accidentally finds himself in Santa's gift bag and is whisked away to the North Pole. Raised as an elf, Buddy remains unaware of his human origins, but his size and toy-making struggles eventually lead him to discover the truth—he's not an elf and will never truly fit in at the North Pole. With Santa's blessing, Buddy embarks on an extraordinary journey to New York, in search of his birth father, to uncover his true identity, and to remind the city of the genuine spirit of Christmas.
photo credit: Mark Senior
Tuesday 9 May 2023
Operation Mincemeat at the Fortune Theatre a review: The must see musical of 2023
Operation Mincemeat
Fortune Theatre
★★★★★
If you're looking for a unique and intriguing musical, then look no further than Operation Mincemeat in its West End transfer to the Fortune Theatre. This production tells the incredible true story of a WWII deception operation, that although morally grey, helped Britain win the war and it does so with style, charm and heart in spades.
The star of this exciting musical is undoubtedly the music which manages to be both catchy and poignant, with some of the wittiest lyrics in the West End right now. The book, music and lyrics are expertly constructed by SpitLip founders David Cumming, Natasha Hodgson, Zoë Roberts and Felix Hagan (four of whom also star) and the whole show is maelstrom of musical magic. You'll find yourself continually laughing out loud and then all of a sudden wiping tears from your eyes as this hug of a musical manages to wrap you around its theatrical finger.
Every performance from the talented cast -completed at this performance by Claire Marie Hall, Jak Malone and Geri Allen (in her cover debut)- is a standout one. The precision with which they perform is just astounding and thanks to the script, there's a perfect balance between humour, satire and drama.
Aesthetically, Operation Mincemeat is a sleek mission. Ben Stones' set and costumes are perfectly evocative of MI5 and wartime London, as well as having a healthy dose of camp dramatics. One scene in particular features costumes perfect for a bedazzled version of Sweeney Todd! Really clever direction by Robert Hastie and joyous choreography by Jenny Arnold both let the story and performances to soar and ideally balance the line between allowing the performances to be genuinely funny without being cringe inducing. Shoutout must also go to Publicity Designer Bob King Creative for the genius artwork which accompanies the show. Once you see it, you won't un-see it!
In summary, this show is the epitome of fun. Poking fun at everyone and everything it is a satirical, stupendous, stomper of a show that will have you entertained and inspired. The new must-see musical, it needs to be booked immediately!
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 15 March 2023
Girl From The North Country (Tour), New Wimbledon Theatre | Review
Girl From The North Country (Tour)
New Wimbledon Theatre
★★★★★
Set to Bob Dylan’s poetic and politically charged back catalogue, Girl from the North Country introduces us to a rabble of lost souls at Nick Laine’s destitute guesthouse in 1930s Minnesota. Laine’s wife Elizabeth, adopted daughter Marianne and son Gene live alongside a host of wayward drifters, all with their own secrets and stories to share. Connor McPherson’s book is simple yet elegant; tragic anecdotes unravel across the next two and half hours, each punctuated by a song from Dylan’s discography. The musical numbers do not necessarily move the plot forward but are instead perfectly used to capture microcosmic moments in time.
Girl from the North Country is a real character piece, allowing a talented ensemble cast to individually shine. Frances McNamee gives a heartbreaking turn as Nick’s sick wife Elizabeth, masterfully shifting between moments of lucidity and child-like tantrums. Her performances of ‘Rolling Stone’ and ‘Forever Young’ are particularly spellbinding. Justina Kehinde shines as the spirited and effervescent Marianne, whilst Eve Norris (Katherine Draper) and Gregor Milne (Gene Laine) deliver an easy, understated version of ‘I Want You’ in Act one.
Dylan’s best known songs have been transformed tremendously by Simon Hale. Many take on an almost choral quality, including a stunning acapella section which closes the show and numbers lead by the soulful Maria Omakinwa as long-term resident and Nick’s lover, Mrs Nielsen. Other numbers are jaunty and percussive, creating a wonderfully varied musical landscape.
Rae Smith’s set and costume design are austere and efficient but entirely period appropriate, whilst Mark Henderson’s clever use of recurring spotlights against a backdrop of haunting silhouettes give several numbers an almost confessional feel. Time appears to stop still as interior monologues are shared under a stark beam of light. A twenty-strong ensemble fills an otherwise sparse stage; they execute Lucy Hind’s choreography with gumption, convulsing in sync as if we’re witnessing an evangelical awakening.
This production feels prophetic, visceral and cathartic all at once. Like an open wound, it pours with the voices of the lonely and disenfranchised during one of America’s darkest decades. However, there are several revelatory, uplifting moments and welcome flashes of caustic humour. Girl from the North Country is a moving testament to the tenacity of the human condition and a truly class act.
Reviewed on Tuesday 14th March 2023 by Hope Priddle
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 8 March 2023
Five Reasons to see Heathers the Musical on Tour
Since making its London debut in 2018, Heathers the Musical has gained a massive cult following and has gone on to do a number of London runs and touring productions. This current version takes the iconic show around the UK and features a fantastic cast who absolutely nail the roles. If you're still debating whether you should catch the show on tour, here are five reasons why we think you should...
The Soundtrack is Super Catchy
Kevin Murphy and Laurence O’Keefe’s book, music and lyrics have so many witty moments where you'll be laughing out loud and there are also some genuinely touching moments. The music is engaging and camp with so much 80s realness woven throughout. If you're remotely stagey, you've probably heard some of the songs, most likely Candy Store which is a definite stand out of the show. Aside from the humourous songs there are some very heartfelt moments like Kindergarten Boyfriend, a beautiful soliloquy performed by Martha aka Kingsley Morton, and some definite earworms such as Seventeen and Shine a Light.
The Cast are SO Talented
This touring cast are one of the strongest I've seen in Heathers with a number of standout performances and some great ensemble work. As Veronica Sawyer, Jenna Innes gives a really well developed performance and feels vocally strong throughout. Her chemistry with the brooding serial killer JD (Jacob Fowler) is pretty strong and the duo really shine in their moments together, especially when the drama really gets going. The Heathers themselves bring all the farce and sass you'd expect. Elise Zavou is enjoyable as Duke, Verity Thompson is hilarious and vocally dreamy as Chandler and Billie Bowman really highlights the reluctance of McNamara to go along with her 'friends' and gives a surprisingly nuanced and emotive performance, not always seen in Heathers.
The Production Value is Really Strong
This is a show which transfers so effectively to touring, David Shields' 80s design is bright and engaging whilst Ben Cracknell's lighting is super effective, especially when highlighting the cast in their signature colours. The fairly simple set is elevated by a number of special effects and costume quick changes, all of which really feel at home on a touring stage. The slow mo fight scene and clever sound effects (Dan Samson) for the croquet game work really well too, and the ensemble do so much to really embellish all the scenes, with individual characteristics and storylines shining through and adding a lot of interest.
It's Melodrama at its Finest
Whilst Heathers touches on some really sensitive topics, it does so in a way that is hilariously over the top. It's camp and angsty at the same time. With deep moments suddenly balanced with a gag; the more times I see this show, the more effective I think it is. Kurt Kelly (Alex Woodward) and Ram Sweeney (Morgan Jackson) are peak hilarity in their portrayals and really lean into the teen humour of the piece. The whole shebang, with the ott choreography and character entrances make the whole thing so dramatic you cant help but enjoy it. Once you get over the slight cringe of it all, it's a really fun night out!
The Audience Atmosphere Needs to be Experienced
Heathers is an absolute crowd pleaser that has made and retained so many fans over its time and the way these fans love and support the show is truly lovely to experience. Cheering and whooping as if their family members are on stage, the audience appreciation is so real and makes for a really warm feeling theatrical experience.
Heathers The Musical plays at the New Victoria Theatre, Woking until 11th March 2023 and then continues its tour
photo credit: Pamela Raith
Monday 20 February 2023
No Limits, Turbine Theatre | Review
Turbine Theatre
Reviewed on Friday Friday 17th February 2023
★★★
Currently playing at the Turbine Theatre, No Limits, a song cycle by Sam Thomas is a number of vignettes of millennial/gen z life which are uniformly well performed but sometimes lack enough depth to really make them pop.
That’s not to say the show is bad at all, but there are a few songs which don’t quite pack a punch and you’re left wanting just a bit more. As a song cycle, cohesion isn’t necessarily expected but I do think this piece could be elevated by having a bit of a through line to hold it all together and guide its journey so it’s a bit less of a mish-mash of individual stories.
However, as performances go, you truly couldn’t ask for more than those that this cast provide. The five strong ensemble give impeccable vocals.
Hannah Lowther (#Catfish) is masterful in her nuanced facial expressions, which convey so much emotion through the tiniest movements. She’s a vocal athlete who sounds completely in control at all times and is an absolute dream to watch and hear. Playing the #Fighter Michael Mather has some fantastically strong vocal moments, especially when bringing his rockstar dreams to life. As #Dreamer Natalie Paris is the embodiment of a star. With a tone that is buttery and riffs for days, her vocals are enough to rival anyone in the top 40 and she provides some of the most moving performances of the evening. Mary Moore (#Funemployed) really gets a chance to shine in this show and it’s a treat to see. She not only gives a brilliant vocal performance but is also incredibly witty and they also have excellent chemistry with all the other performers. Owen Clayton as #Romantic is the perfect compliment to the cast and is sweetly endearing in their performance and once again serves killer vocals throughout.
It's particularly impressive how well the five person cast use the small space of the Turbine stage. Thanks to Justin Williams' sleek set and Rhys Wilkinson's great movement direction, it never feels like they're on top of one another (except when necessary!) and the whole thing flows very well.
Alex Musgraves' lighting helps to elevate each song, for example transforming the space into a comedy club vibe for one number, and Richard Carter's sound design makes the piece feel intimate and personal.
No Limits is sickly sweet at times but overall its an ode to positivity and the importance of your own stories. It's not groundbreaking but it's a really good night out with an absolutely wonderful cast.
photo credit: Danny Kaan
{AD PR Invite- tickets gifted in exchange for honest review}
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