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Sunday 3 September 2017

In Conversation With... Stacey McClean and Stevi Ritchie | Sword and the Dope | Interview

Sword and the Dope is a musical retelling of the story of King Arthur, written by a dyslexic who can not read or write music but wrote the show as a bet/joke with a friend. It has now gone out for over 150 shows at three different venues prior to this run. Sword and the Dope stars Stacey McClean and Stevi Ritchie who sat down with Rewrite This Story to talk all about the show.



Can you both give a brief overview of your career and what your highlights have been?

Stacey: I was once a member of pop band S Club Juniors. Highlights from my time in the band were probably performing a Wembley and for the Queen at Buckingham Palace. Also getting down to the final 24 and performing for Kylie in Dubai when I went to the judges houses for X Factor.

Stevi: I started performing at the age of 15 at my high school in Grease the musical and played Kenickie. I've always loved performing but got many knock backs. But 2014 I entered the X Factor and since then life has changed.


You’re both musicians, how has the transition to concert performances to musical theatre been?

Stacey: In ways it is very different. Put me on stage with a mic and a band and I can do it with my eyes closed, but theatre is a little more challenging for me. It's a lot more intense, there is a lot of preparation involved and a lot more a stake. 

Stevi: For me it's been amazing and I've always loved musical theatre I trained at LSMT. Playing a prince in this show is great and taking me out of my comfort zone but I love it.


Can you explain what The Sword and the Dope is about?

Stacey: Sword and the Dope is a comedy musical with a politics edge. Think Monty Python, Black Adder and politics in a way you have never seen! 

Stevi: A sideways telling of King Arthur with a modern day political twist. One review said British humour at it's best with great musical numbers, for me that sums it up well. 



What drew you to the production? Are your characters anything like you?

Stacey: I play Sir Lancelot, a Knight who is a huge fan of the Green Party, so nothing like me really as I'm not into politics in the slightest. My character reminds me of Hermione from Harry Potter, slightly irritating, bit of a know it all who no one wants to listen to. The script was what sold it for me initially, I laughed my head off when I first read it. 

Stevi: I loved the script and especially the songs they are amazing. The character is similar to me it's cheesy and he loves singing.


The Sword and the Dope is a retelling of the story of King Arthur, if you could retell any story which would you choose?

Stacey: Amy Winehouse, now that would be a fantastic role!

Stevi: I would retell the story of maybe Bruce Lee or Elvis Presley or Freddy Mercury.


Can you sum up the show in five words?

Stacey: Funny, ridiculous, offensive, rude and camp! 

Stevi: Witty, camp,cheesy,Funny,eccentric.
Is there a play or musical you’ve seen recently that you loved?

Stacey: I have been to see Our Ladies of Perpetual Succour at the Duke twice now I loved it so much.  

Stevi: I love Les Mis and Grease.


Do you have any dream roles?

Stacey: Dream role would probably be Sophie in Mamma Mia, the lead vocal in Thriller and anything Disney!

Stevi: Yes, Thenadier in Les Mis or Kenickie in Grease.


Whats a fun fact people might not know about you?

Stacey: I was one belt away from a Black Belt in Taekwondo when I was 7 but I gave it up because I wanted to sing!

Stevi: Think everyone knows everything about me due to the press and being in the public eye.


What’s your best piece of advice for an aspiring performer?

Stacey: You have to have a thick skin in the industry otherwise you won't survive. The amount of times you get knocked back is not necessarily a reflection of how good you are, and that's something you have to be prepared for. I'm a firm believer that you get out what you put in.
Stevi: Just keep going and be you.


Thank you Stacey and Stevi for this interview. The Sword and The Dope is on at Waterloo East Theatre from Tuesday 5th September until Sunday 1st October.

 Interview by Olivia Mitchell, Editor

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Monday 6 February 2017

In Conversation With... Cleve September | Hamilton | Interview

Cleve September is a rising star of the West End. He recently starred in Annie Get Your Gun and In The Heights to much acclaim and has just been cast as Laurens/Philip in the upcoming West End production of Hamilton so it safe to say he's destined for stardom! 




Was being a performer what you always dreamt of or did you have a different career path in mind when you were younger?


I've been singing since I can remember but only started dancing about 6, nearly 7 years ago. Before that I was really into my sports.. I played a lot of basketball and rugby. And I also love 100m and 200m sprints. So I was quite athletic because I got into musical theatre. And the dream back then was to be in the Olympics.
You just finished playing Sonny in In The Heights to much acclaim. It just seems like the funnest show and cast to be a part of. Can you sum up that experience?


Really there are no words to describe how incredible the experience was! In The Heights will always have a place in my heart, as will the cast! They were all such incredible human beings! And they really made my first professional job so amazing.
Did you feel any extra pressure joining so many original Southwark Playhouse cast members when you joined the show at the Kings Cross Theatre? How did you put your own spin on the role?

Not at all because everyone was so welcoming and everyone was so supportive! And I wasn't expected to do the things that Damian can do or did in the show so I could do a bit of creating and figuring out how my body wanted to move in terms of the dance routines. And we just found new things.
You definitely became a fan favourite at Heights; did you expect to gain so many fans in your first role after training?


I didn't know that I was a fan favourite... I had no idea what to expect but I am so thankful for the fans because their love and constant support was amazing throughout the run.
The Kings Cross theatre is super intimate. Are you excited to perform in the Crucible and other larger venues in the future? Do you prefer more intimate or bigger venues?


I'm yet to experience a bigger venue... so I'll let you know!
Annie Get Your Gun is such a Classic musical. Did it get a modern twist in your recent production or did it stick to its original roots?



Nope there was no modern twist to it, we very much stuck to the roots and played it truthfully! The choreography was stunning and it was such an honour and a pleasure working for the team of creatives behind that show!


Can you explain a little about Annie Get Your Gun and how your character Tommy fits into it?


AGYG is about a woman called Annie who is an incredible shooter. She falls in love with a 'swollen headed stiff' named Frank Butler and their story of how they fell in love through the circumstances that they were put through. My character had his own little love story going on with a character called Winnie Tate, who's older sister Dolly, forbids them to be together.
What was your biggest challenge with taking on this role?



I had more than one big challenge haha. The style of Choreo and also singing in a legit style were the two biggest challenges for me as they were both very new to me. However once I managed to kinda wrap my head around it I had the most incredible time! 
If you had a magic wand, which show would you do next? 


Hamilton 👀👀
You have a five minute break during rehearsal, what do you spend that time doing?


If there is food near my I'm eating, or trying to wrap my head around something that may have confused me or I might have done wrong..


You studied at Mountview, what was the best piece of advice your were told during your time there?


To be a sponge and soak everything up that works for me!



Thank you so much to Cleve for taking the time to answer these questions. Make sure you go see Cleve in Hamilton and any other shows he does- you'll love him!


Interview by Olivia Mitchell, Editor

Follow Cleve on twitter here
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Friday 1 March 2019

Rock of Ages (UK Tour), New Wimbledon Theatre | Review


Rock of Ages (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 28th February 2019 by Olivia Mitchell 
★★★

Lets start by saying that this is not a musical masterpiece by any means, but it is a super self-aware, high intensity, fun and crazily well performed show, that'll definitely have your toes tapping to some of the most well-loved rock classics.

The story, which is highly basic, follows small town girl, Sherrie and city boy Drew, who meet on the sunset strip whilst trying to achieve their Hollywood dreams. When German developers sweep into town, they threaten to ruin the rock n roll fairytales of everyone and the gang have to fight (and sing) for the the strip.

Rock of Ages absolutely doesn't take itself seriously, and instead revels in the cliches and nostalgia of the 80s with power ballads, rockers, shoulder pads and skimpy costumes. The minimal storyline is made up for with epic performances and a whole lot of fun. You can expect cheesy backdrops and props, tongue in cheek choreography, a rocking score and sexy rock chicks peppering the stage.


The flimsy script is brought to life by animated and intense performances from the cast. As  Sherrie, Jodie Steele belts out power ballads with vocal skill and ease, whilst her love interest Drew, is played incredibly well by Luke Walsh who has an outstanding voice. Zoe Birkett delivers completely stellar vocals in her small role as Justice and Kevin Kennedy brings vibrance and humour to Dennis who could easily command the stage as a bigger role. Kevin Clifton brings a surprisingly well rounded performance as the embodiment of sex and drugs and rock n roll, Stacee Jaxx. 

Also keeping up the humour and energy is Rhiannon Chesterman  as Regina who's voice is criminally underused but she does a great job with the script she's given. As German duo, Vas Constanti and Andrew Carthy are caricature's to the extreme but completely know how to work to the audience. 

The ensemble of skimpily clad men and women add moments of interest away from the main action and make the simplistic stage feel full and vibrant. It's Lucas Rush as Lonny who really steals the show with his charismatic performance and natural audience banter. He breaks the fourth wall with ease and seems to constantly be thinking of ways to entertain, and these pay off!


Nick Winston's direction and choreography is pretty strong throughout, although at time it feels like too much is happening at once, and what little story there is, becomes even more shadowed by other movement or action spread across the stage. At the same time, that does kind of sum up the show which is essentially a wacky showcase of some hit songs that have you not sure where to look or what to think.

Rock of Ages is thick with cliches, crudeness and semi-nudity but it's certainly fun. If you want a moving, dramatic narrative and a PG show, this is absolutely not for you. But, if you want great performances and a pretty electric atmosphere and some raucous, rocking fun, then pop along and have a fun night!

Rock of Ages runs at the New Wimbledon Theatre until March 2nd before continuing it's UK Tour.

photo credit: Richard Davenport

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Thursday 15 November 2018

Hadestown, National Theatre | Review


Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell 
★★★★★

Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.

Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld. 

This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.


The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.

The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch. 

Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.


Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.

Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.

This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.

Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.

Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks

{AD PR Invite- tickets gifted in exchange for honest review}
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Sunday 10 June 2018

In Conversation with... Andrew Polec and Christina Bennington | Bat Out of Hell | Interview | Stagey Sunday


Hi! Welcome back to Stagey Sunday, where we are focussing on Bat Out of Hell for the entire month of June. This week we have an exclusive interview with Andrew Polec and Christina Bennington about their lives whilst starring in Bat Out of Hell....


 For anyone that hasn't seen the show, can you explain a little about the story line and how your characters fit into it?
Andrew: I play Strat, he is the leader of this Lost gang who are all 18 and never age. We're set in this post-apocalyptic world; the island of Manhattan, due to some cataclysmic event has broken off from the rest of the country and floated out to sea. On this island there's a dictator named Falco who Strat is rebelling against and doing his best to liberate the people of Obsidian, give them equality, make them all feel special and give them value in their lives. As he is rebelling against Falco and this violent revolution, he suddenly realises that Falco has a beautiful daughter who's name is Raven...

 Christina: We find Raven on the eve of her 18th birthday. She has been watching Strat and the gang of The Lost for basically as long as she can remember. They have all the freedom and liberation that she's always wanted so she eventually manages to escape and meet Strat. From there it's all about love for the two.
Andrew, you were involved in the show from the workshop stage, so what was that like and how was it for you Christina, joining a little later. Did you both know how big the show would end up?
C: Absolutely not! I did I guess an average audition process, I say average in that I got the call from my agent and I went to various rounds, but that was probably where the average ended. There were lots of very interesting movement workshops that we did, I got paired with different people to read the Strat and Raven scenes. We also had stamina tests to see if we could sing the songs multiple days in a row. So I would come in and sing All Coming Back to Me Now, four of five times getting higher and higher and higher, and then come back the next day and do it all again to see if I could sustain it. I thought it was a fantastic challenge- great fun! 

 I don't think I ever thought it would be this big and I don't think I ever thought that it would be such a wonderful experience for me, personally and professionally, to grow in the way I perform. It's been really wonderful. It was great also, working with Andrew because he already had the job so wasn't part of the audition process. It was really interesting reading against all the potential alternate Strats but never reading with the actual Strat so it's serendipity that it's all worked out so well.

Do you have any pre-show rituals?
A: I have two posters in my dressing room where I've put all the rock and roll idols that I think inspire the show; there's Jim Morrison, there's Chuck Barry, there's Jimi Hendrix, Meatloaf, Jim Steinman and Iggy Pop. I basically ask that they come and help us on this journey because the show takes a lot of energy, you've got a lot of bodies up there that are burning 10,000 calories a minute!

 C: My pre-show ritual is also  really rock and roll... I listen to the Harry Potter audiobooks everyday, every single day. From after warm up until just before the half to kind of calm my brain down. Cause it's something I'm so familiar with it kind of clears my head of everything that's an outside influence. Then once it hits the quarter I play different music everyday that I think Raven would listen to, so then it does become slightly more rock and roll! So from me to Raven really
Have you had any onstage mishaps?
C: Oh yeah! 
A: Tonnes!
C: One the other day was really good. Andrew fell off the tower when he jumped down...
A: Cool, lets just talk about the one where I hurt myself!
C: No but it's brilliant because in this show a mishap often becomes something incredible because Jay (Scheib) has encouraged us to be really free and flexible. In rehearsals he often asked up to include falls on purpose to force ourselves to be really in the moment. If you see the show, you'll notice that I fall over on-purpose-accidentally a lot... it's a real trope for Raven.

 A: I think probably the biggest mishap was our first preview ever in Manchester. I had it in my mind that I would run down to the bottom of the stage and bring Christina along with me and I just slipped and we just started flying towards the end of the stage. In Manchester there was just an 8 metre drop  and I knew that if we fell we'd probably not have legs like we have now! Fortunately, Christina grabbed me by the scruff of my neck and kept me from falling.

 C: So fans of Andrew Polec, you're welcome!

Bat Out of Hell is so full on, how do you relax and calm down after a show?
C: It is difficult to go to sleep afterwards because it's so exciting. At the end of the show every night there's a massive buzz from the audience, they're on their feet, screaming and you feel like a rockstar with everyone coming together to celebrate this amazing music. I guess I like to eat after the show, watch something good and try and chill out.

 A: Yeah, food is nice!
You have a five minute break in rehearsals, what are you doing?
C: I don't wanna say eating again! We're probably chatting about something that's happened in rehearsals. We do tend to talk a lot about constantly looking for ways to do things differently and improve so you'll probably just catch us discussing.

 A: Mostly we're walking up the stairs!!
What's your favourite part of each others track?
C: One of my favourite bits ever is after I leave Revved, I stand  at the side, and I watch from the stage left wing and the screen of Hope Rock,  Andrew and the main Lost gang singing the end of Revved. I think it's absolutely incredible and I love it. I think Andrew is a force of nature and I love watching it, it's so exciting and there's so much visceral energy. Raven doesn't ever see that Strat which I think is so wonderful  because she sees a completely other side of him. So it's really interesting for me to see that force.

 A: I really, really admire Raven's whole scene in her  bedroom during Heaven Can Wait. If I  have enough time after the interval preparations and can get down to the video screen then I watch the perspective of the camera as she sings the whole song and it's really cool.  She blows it out of the water every night, she remarkable!

Are you like your characters at all?
C: I'd love to say yeah, I'm really cool like Raven  but I guess I can be tempestuous sometimes like she can. The thing about Raven is that she's all about life or death, that first  love that is absolutely everything. In that way I guess we share  something that we both think love is probably the most important thing in life. But the intensity with which she feels it is more like 17 year old me than it is current me.

 A: I guess Strat and I are both hopeful. I think what surprises people when they meet me is that I'm more soft spoken than Strat. Considering he just shouts on stage all night, I think when they meet me they're like "where's your high-octane energy?". 

 They're certainly characters and they continue to grow and develop everyday that we work on them. They're good friends to have around.
Other than yourselves, who would you like to see play your roles?
A: I think I'd love to Jim Morrison to play this part, I think that would be a lot of fun. Or someone like Elvis would be really fun.

 C: Ellen Foley was involved in the first stages of the show playing the Wendy/Raven character so it'd be really cool to see  what she would do with Raven as she is now.

 A: You're absolutely right, I mean Jim Steinman hands down should be playing Strat- he's even on the t-shirt.

 C: If it had to be someone from the cast I think one of the super swings should have a go. I'd pay good money to see someone like Jono play Raven!

Finally, can you tell me your best piece of advice for anyone wanting to get into performing?
C: I would say, be very sure of yourself and your  strengths and weaknesses. Believe in yourself and your ability because no one else can do that bit for you.

 A: Love what you do, no matter what you end up doing. As long as you take joy in your work then you've found the secret of life and you'll be happy.

 C: and be nice!

 Watch the full interview plus some fun games here:


 Thank you Holly for organising all of this, Andrew and Christina for filming with us, Sophia for being camera woman extraordinaire and all the lovely staff at the Dominion Theatre.

Join us next week to see Emily Benjamin become her character, Mordema!

Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018

 Interview by Editor, Olivia Mitchell

photo credit: Specular
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Friday 14 September 2018

Heathers, Theatre Royal Haymarket | Review


Heathers
Theatre Royal Haymarket
Reviewed on Monday 10th September 2018 by Olivia Mitchell
★★★★

Every so often a show comes around which receives an exceptional amount of hype and has the West End buzzing. Heathers is currently that show and the good news is that it truly lives up to it. Based on the 1989 film starring Winona Ryder, this musical adaptation is full of energy and humour as it balances the line between political correctness and incorrectness. We find ourselves drawn towards the darkness but also cringing at the atrocities that go on.

Laurence O'Keefe had huge success with his adaptation of Legally Blonde and has applied his winning formula once again to bring this show to life with a camp, sassy and at times melancholic score. The plot follows Veronica Sawyer, a girl who is 'different' to the others at her school and longs for unity between all cliques and social standings. However, in order to make it through High School, she befriends the rulers of the school, the "lipstick gustapo" made up of three girls named Heather. Our protagonist then meets a brooding new boy, Jason J.D Dean who turns out to be a kill happy psychopath. From there on there are deaths, parties, funerals and a whole lot of destruction.

When the movie came out in 1989 it became an instant hit and then received a cultish following when it opened off-Broadway in 2014. The show's transition to the West End has been no different as teens and young adults flood to the theatre with scrunchies in hair and  pleated skirts on to see this wildly fun but disturbing musical brought to life.

The entire cast bring this show to life with vivacious passion and immense talent. Leading the gang, Carrie Hope Fletcher is a powerhouse as she battles between what's right and wrong and what she wants to do to boost her social standing/love life. Carrie steps  on stage to well deserved cheers and blows the roof of with her entire performance, especially her new song 'I Say No' which gives her a backbone and the rough 'Dead Girl Walking Reprise'. Veronica's moments of strength are certainly where Carrie shines but she is also humourous and likeable as she swoons over JD.

Under Andy Fickman's direction, Jamie Muscato plays the mysteriously murderous JD with an intensity that you can't help but be drawn to. Whilst it's not wise to partner up with a murderer, we all love a bad boy and the combination of JD's smooth talking and Jamie's perfectly rough voice make us feel for him a little bit, even though he becomes a monster before our eyes. Muscato's frenetic energy in 'Meant To Be Yours' is certainly a theatrical highlight of the year.

The three Heathers waltz around the stage as one but have quirky personality traits which are owned and embodied by each. As leader of the pack, Heather Chandler who "floats above it all", Jodie Steele is brilliant. Her permanent scowl, sharp movements, sublime vocals and stellar comedic timing make her perfect for the role. Sophie Isaacs brings an innocence to Heather McNamara which is interesting to play out. Whilst she is part of the mean girl group, it's clear from the outset that she is merely following the pack and wishes to break away. Isaacs' rendition of Lifeboat is a pin-drop silence moment which stands out in the show. As the final Heather, Duke, T'Shan Williams is feisty and aggressive, with her solo Never Shut Up Again earning her laughs and cheers from the audience. 

Stand outs of the cast also include Jenny O'Leary who gives a moving performance of Kindergarten Boyfriend, Rebecca Lock who brings the entire theatre to life with her fiery, belt-tastic Shine a Light and Christopher Chung and Dominic Andersen who are humour embodied as the jocks who combine to create Kram. Ensemble members Lauren Drew and Olivia Moore also catch the eye throughout.

Gary Lloyd's choreography is especially effective with the Heathers, namely during the iconic Candy Store which sees them sashaying round the stage but in true Heathers style, being in complete control the entire time and never stepping out of sync with one another.

Mention must go to Ben Cracknell's lighting, which like the music, intensifies every emotion on stage. Particularly effective are the varying tones of light between the characters. The Heathers are of course lit in their iconic colours (brought to life vibrantly through David Shields' costumes) but whats most striking are the moments when Veronica is lit in warm spotlights whilst JD is basked in stark, almost grey tones. This highlights the contrast between the true evil and the kind-of-forced-into-evil in a clever way.

Most of the subject matter of this show is uncomfortable but sadly ever present: bullying, suicide, murder, depression. Heathers does a good job of satirising the sensationalism of them and shines a light (pun intended) on the fact that unity and kindness are always the way forward.

Whilst this isn't a light hearted show in content, the songs are crazily catchy, the talent level is ridiculously high and it's just a really good night out. For Big Fun, get down to the Theatre Royal Haymarket!

Heathers runs at the Theatre Royal Haymarket until 24th November

photo credit: Pamela Raith
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Friday 8 February 2019

Anthropocene, Hackney Empire | Review


Anthropocene
Hackney Empire
Reviewed on Thursday 7th February 2019 by Lucy Jardine
★★★

Anthropocene opened at the Hackney Empire on Thursday 7th February. After some considerable hype and therefore a sense of anticipation, I found myself scratching my head and, frankly, was left with a sense of disappointment. 

Anthropocene is the story of an arctic expedition, with various set-piece characters: the journalist out to get his story, the pompous funder of the expedition and his wife, his daughter and her love interest (who is murdered) thrown in for good measure.... The story centres around the discovery, by the expedition team, of an ethereal being trapped in ice, who proves to be alive once the ice is hacked away. Jennifer France, who plays 'ice', was the star of the show. Her high soprano matched the other-worldly nature of the character she played; it was a joy to listen to her. 


As for the score, well, call me old-fashioned, but I like a bit of a melody. There was none, and nothing to latch on to. The most exciting parts were when all three female leads sang together, creating the only too brief and infrequent magical moment. 

The set itself was fairly sparse - some white drapes, a white ladder or two and some odd-looking red shapes at front stage left and front stage right - it took me nearly up to the interval to realise that they were meant to represent the outline of the ship and that we were therefore supposed to be inside it.

All in all, I'd say if you're in the neighbourhood, do pop along, but don't go out of your way.

Anthropocene runs at the Hackney Empire until 9th February 2019

photo credit: James Glossop
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Wednesday 11 January 2023

Six the Musical, Vaudeville Theatre | Review


Six the Musical
Vaudeville Theatre
Reviewed on Tuesday 10th January 2022 by Olivia Mitchell 
★★★★★

Entering the Vaudeville theatre last night there was a bustling energy, not just because everyone was excited to see Six but because the cast of the highly addictive tv show, the Traitors were in the audience. Murmurs of “traitor” and “faithful” filled the air and the buzz was certainly something, who knew we’d all be so starstruck!? However, once the curtain was drawn it was all eyes on the Queens and a glorious 75 minutes followed.


Going into a new year it’s great to see that Six the Musical is as vibrant and wonderful as ever. The current queens of the castle do an outstanding job of keeping the energy of the show fresh and truly engaging so that both first time audiences audiences and longtime Six fans can feel like they’re experiencing something special. 


The cast, made up of Rhianne-Louise McCaulsky, Baylie Carson, Claudia Kariuki, Dionne Ward-Anderson, Koko Basigara and Roxanne Couch are a complete group of powerhouses who give stellar solo performances as well as backing up and complementing each other brilliantly. The camaraderie on stage is clear to see and really adds to the overall message of empowerment and support which is at the heart of the show. Special mention must go to Baylie Carson who is an absolute dream to watch as they bring something completely fresh and charming to the role of Anne Boleyn; I cannot wait to see all their future theatrical endeavours (Fangirls UK please!)


Having been playing at the Vaudeville theatre since 2021 the show feels completely settled and has perfectly upgraded from its first long term home, the Arts, to now filling the space on the Strand. The bigger space allows more to witness to wonder of the musical but the clever, cosy set design means none of the intimacy is lost. Emma Bailey's design is the ideal backdrop for this concert style musical. The simplistic framework really allows the performances to shine but there are also some really clever elements such as the throne which rises up grandly. Paired with Tim Deiling's lighting, you really do get the fully visceral concert experience.


A Tudor tale like no other Toby Marlow and Lucy Moss' show continues to get better and better and there's no end in sight for its reign of brilliance. Six the Musical will have you bowing down to the queens and then on your feet to dance along with them- go see this show.


photo credit: Pamela Raith


{AD PR Invite- tickets gifted in exchange for honest review}

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Tuesday 29 October 2019

Soho Cinders, Charing Cross Theatre | Review


Soho Cinders
Charing Cross Theatre
Reviewed on Monday 28th October by Olivia Mitchell
★★★

It's in the colourful carnival of Old Compton Street that we meet Robbie, our Cinderella in this re-telling of the classic tale. He's a young man trying to find his place in the bustling city as he works in a laundrette once owned by his mother, and struggles with his step-sisters who are trying to take what little he has. Things get even more stressful when Robbie begins seeing mayoral candidate James Prince and having a questionable relationship with a sleazy Lord. He ends up at the heart of a media scandal and faces losing everything... But this is a fairy tale so you can guess how it ends!

Anthony Drewe and Elliot Davis' book has some witty moments and certainly turns the classic tale on its head, as well as featuring more heartfelt moments. The LGBT representation for the most part is strong and the team have done well to modernise the show. However, there are aspects which seem to have been glossed over. The characters discuss knowing a man is straight because he's wearing a wedding ring which just screams dated, as does the implication that these modern online relationships take place over Skype. They're little details for sure, but do detract from a piece that really has the potential to feel relevant and of the time. Similarly, the variety of musical genres and the story itself is certainly representative of Soho but it would be nice to see some of that diversity reflected in the cast.

As Robbie, Luke Bayer is the standout. His charming personality and smooth vocals make him a protagonist the audience roots for and he really is the heart of the story and all it stands for. Bayer's performance of They Don't Make Glass Slippers is especially enrapturing. As Velcro, his best friend and partner in crime, Millie O'Connell gives a strong performance. Despite being underused in act one, O'Connell really comes into her own in the second half and provides some of the most touching and realistic moments. Her quick wit and sarcastic nature are entertaining to watch and the playful banter and easy chemistry between the pair can surely remind us of our own friendships. Two friends supporting each other is wonderful to see and really grounds the often over-the top-piece.

George Stiles music and Anthony Drewe's lyrics are a combination of upbeat laugh-a-minute numbers, forgettable babbles and fairy tale sweet duets. The Stepsisters' duet Fifteen Minutes is especially energetic and well performed. Natalie Harman and Michaela Stern do a great job of bringing the characters to life and only occasionally teeter on the edge of overacting. O'Connell's duet with Tori Hargreaves is another touching moment and a real highlight of the second act.

Thematically, this seems to be a piece which will remain ever relevant but it needs an extra touch of magic to keep audiences coming back. The political and sexual harassment aspects permeate the musical but it's the importance of love and friendship which reigns strong at the end. Soho Cinders isn't life-changing but it allows us to experience tongue-in-cheek, energetic performances which will entertain for the duration of the show.

photo credit: Pamela Raith
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