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

Saturday 7 January 2017

A West End Guide To Singing | Gabriela Garcia

I am one of those people who is obsessed with hearing other peoples stories and tips and tricks of how they do what they do. So when I see any show I instantly want to pick the brains of the cast about how they sing as well as they do. I'm sure I'm not alone in this so I'm starting a series called 'A Stagey Guide To Singing' where West End stars will answer a series of questions about singing! I hope you find it interesting. Let me know if you have any specific questions or people you'd like answers from!



So for our first instalment we have all of Gabriela Garcia's singing secrets! Gaby is currently starring as Nina in In The Heights and her voice is blowing away people every night so without any more rabble, here we go...

When did you realise you could sing? Did you have singing lessons?
I always liked singing since I can remember but I have videos of me being totally tone deaf all the way up to when I was 16! I started taking singing lessons at 16.


How do you keep your voice healthy, do you have any rituals before shows?
I go to singing lessons regularly (once a month maybe once every 2 months) and I do a short vocal warm up - I concentrate more on my breath warming up rather than my voice. I have to sing through 'BREATHE' before every show on my own just to make sure everything is in place lol


Have you always been able to belt? If not, when did you start belting?
hmmm belting...I guess I was always able to belt as I thought belting was just shouting...during my time at drama school my teachers started to teach me a safer way to 'belt' by mixing and making the sound a bit 'smaller' this is to be able to sing 8 shows a week safely.


What vowels do you find easiest to belt? Do you modify words to make them easier to sing?
Yes, its all about the vowel modification - keeping the vowels as narrow as possible work for me.


What tips do you have for singing and dancing at the same time?
hmm I'm still learning how to merge the two as the breathing is so different! I guess identifying the breathing moments in the choreography and being conscious of not 'pushing'


What's the best exercise to get your voice ready for belt/twang?
I just do witchy and baby sounds which works for me


Overall, what's your number one piece of advice for finding and developing your singing voice?
You never stop learning and you are always developing your technique I guess being open to different teachers advice and being able to identify what works for you and what doesn't.

Interview by Olivia Mitchell, Editor

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Tuesday 29 March 2022

Tom Felton, Mandip Gill, Beatriz Romilly and Sam Swainsbury to Join Cast of 2:22 A Ghost Story


Producer Runaway Entertainment is delighted to announce casting news for the transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 - A Ghost Story for a third season to the Criterion Theatre. The run at the Criterion follows two record breaking runs at the Noel Coward and Gielgud Theatres and three Olivier Nominations including Best New Play as well as winning the Best New Play category in the Whatsonstage awards.
 
Tom Felton will play the role of Sam. Having made his breakthrough as ‘Draco Malfoy’ in the Harry Potter series of films, Tom has gone on to star in award winning films The Rise of the Planet of the Apes, A United Kingdom, and Belle, television series The Flash, Netflix filmThe Forgotten Battle and was most recently seen on screen in SKY’s Save the Cinema. Coming up, he will star in Independent Film Burial.
Tom Felton said: “I’m incredibly excited about getting to play in 2:22. I first started acting age 6 in a local theatre group and I haven’t trodden the boards since. I love the play, I’ve taken all my family to see it & everyone leaves with a smile. I’m thrilled to be part of this summers cast and will have a lot of fun with it.”
Mandip Gill will play Jenny. Mandip played companion Yasmin Khan in series 11, 12 and 13 of Doctor Who opposite Jodie Whittaker. She also played Phoebe McQueen in Hollyoaks and has appeared in Cuckoo, Doctors, The Good Karma Hospital and Casualty.
 
Mandip Gill said: “I am thrilled to be making my West End debut as part of the new cast of an already successful show. I am equally scared of ghosts so this should be fun” 
 
Beatriz Romilly will play the role of Lauren. Beatriz was born in Spain. She is best known for her work in Assassin's Creed Valhalla, Final Fantasy XIV: Shadowbringersand War of the Worlds. She has also appeared on stage at Chichester Festival Theatre, Shakespeare’s Globe and The Bush Theatre.
 
Beatriz Romilly said: "I’m delighted to be returning to London and joining the new 2:22 company. I feel very lucky to be working with Matthew Dunster again, and getting a chance to dive into Danny Robins nail biting script with such a wonderful creative team and cast.”
 
Sam Swainsbury will play Ben. Sam is known best for his roles as Jason in the BBC sitcom Mum and Rowan in the 2019 film Fisherman's Friends. In 2015, Swainsbury featured in the film Thor: The Dark World, In 2017, Swainsbury appeared on Fearless, In 2019, he appeared in Victoria as Dr John Snow.
 
Sam Swainsbury said: “It's such a privilege to be joining the 2:22 company! I was really drawn to the script. It's engaging, funny, exciting and poignant, but… there was something else. Something I can’t put my finger on. Drawing me to it. Almost like… like a voice. From another place. That’s normal, right?!”
 
Matthew Dunster said: “Planning our 3rd iteration of 2:22has been just as exciting as the first two; working with Danny and my Co-Director, Isabel Mar, and our brilliant casting directors to re-imagine the characters once more. It’s such a privilege to do that and to know audiences are excited about ‘who’s next?’  We have a wonderful cast that once again is loaded with surprise, excitement and West End Debuts. People love watching this show and we love making it.”
 
After breaking all box office records for a new play at the Noel Coward Theatre; described as the theatre event of the year and the hottest ticket in the West End; and after weeks of sell-out performances, the show transferred for another record breaking run at the Gielgud Theatre. The run there ended in February and a third season, this time to the Criterion Theatre, was immediately announced. 
 
2.22 - A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?
 
“There’s something in our house. I hear it every night, at the same time.”
 
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.
 
Danny Robins said "I'm overjoyed to have a cast of this outrageously exciting calibre for our new season. Tom and Mandip are stellar talents who I have admired for years, Sam is awesome and will be known and loved by comedy fans and Beatriz is someone I know is bursting with ability and on the cusp of stardom. Each new cast unlocks new surprises and thrills for me as a writer, each actor bringing their own distinctive take to the play. If you haven't seen 2:22 before, there's never been a better reason to come, if you have seen it, come back and see it again with this exciting line-up!” 
 
2:22 - A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, co-direction by Isabel Marr, casting by Jessica Ronane CDG and illusions by Chris Fisher.
 
2:22 - A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 
 
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Monday 4 June 2018

When The Curtain Falls (Book), Carrie Hope Fletcher | Review


When the Curtain Falls by Carrie Hope Fletcher
Published: 12th July 2018 by Little Brown Books
★★★★★

The latest edition in Carrie Hope Fletcher's book empire, When The Curtain Falls (the same title as her debut album) is all about theatre and romance, aka, my dream. The book follows two young lovers, Oscar Bright and Olive Green as they meet backstage whilst performing in a revival of a show in which tragedy struck 50 years earlier. Through a series of flashbacks and memories, we discover what happened to the original lovers, Fawn Burrows and Walter Brown, and whether tragedy is set to strike again. With heartache, tragedy, theatre and a little bit of magic, When The Curtain Falls is the perfect read to wrap you up and transport you to the glittering lights of the West End.

Carrie's writing is lyrical but easy to read. Reading her books feel as though you're listening to a friend talk; When The Curtain Falls especially, has a relaxed feel about it. 

In a previous review of All That She Can See I wrote that Carrie's writing has a theatrical feel, this is obviously even more evident in this story which is all about the stage, performing and backstage antics. There are a whole host of stagey references which any avid theatre fan will love spotting. I especially loved the fact that the first musical Olive saw was Beauty and the Beast, which was my first too and that she lives in Turnham Green- West London represent! 


The section at the start where Olive is talking about being in the 'theatre world' and the 'real world' is just one very interesting and relatable moment. When you go to shows a lot and are part of the theatre scene it feels like it's the only thing that exists and that everyone knows everyone, but once you go back to the 'real world' very few people have the same connections. It’s the same with theatre stars, at their theatre they are famous, signing autographs and standing for photos but once they turn the corner they blend into the crowd and normal people wouldn't bat an eyelid seeing them. This ramble has very little relevance to this review, other than saying that it's very clever how Carrie has worked tidbits of the musical theatre world into the story without making it overbearing or factual. The entire story flows with the ease of watching a really good show.

The romance between the lead couple is extremely sweet, if at times cringey. You can almost see the way the pair look at one another and at times it feels like we're invading a private moment whilst we read. The mirrors between the 1952 relationship and the current one are well written and interesting to see. All the characters are well developed and I couldn't help but wonder if anyone, especially Tamara, is based on anyone Carrie has come across in her career! With Moulin Rouge vibes, I can so see this story as a swooping romance film.


When The Curtain Falls is a theatre fans dream. With stagy references, a beautiful romance and some unexpected plot twists, there's not much more you could ask for in a book. This is certainly my favourite of Carrie's novels and I hope she continues to include theatre in her work. I also hope that the magic of this book will welcome new people to the theatre so they can experience whatbthe stars of the story do (perhaps with less drama though!) 

It's clear how much passion and love Carrie has for the stage and it really comes across in her heartfelt writing. I urge you to pick up When The Curtain Falls and to escape into a beautiful world for a few hours.

Review by Editor, Olivia Mitchell

{AD PR Product- book gifted in exchange for honest review}
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Tuesday 31 December 2019

Olivia's Top Shows of 2019



This year I saw 150 shows, from glitzy West End productions to smaller fringe pieces and many UK tours. Before we step into the new decade, I want to feature some of my favourite pieces of the year and those which have stuck with me in some way.



Dolly Parton has been a family favourite growing up so this musical ticks all the boxes for me. 9 to 5 is a catchy, colourful celebration of girl power. With another tour planned for next year, this show is sure to delight audiences in 2020 and beyond.



Six featured in last year's Top 10 list, but having seen it a few times this year, I thought it warranted a place once again. The fantastically, feminist musical is pure joy on stage and a complete treat. Enthralling audiences around the world with its pop/musical theatre crossover sound and the heart which is retained in all its incarnations, Six's world domination is only just beginning. 



I mentioned the Broadway production of Come From Away last year, but 2019 saw the triumphant West End transfer of this show which is completely spectacular and special beyond compare. Telling the heartfelt story of the unity formed in a small village in Canada during the traumas of 9/11, the Celtic sounds and complete ensemble feel of the piece make it effective and oh so powerful.



Performed by members of the British Theatre Academy (BTA), the young cast transported audiences on a mystical journey of love and magic. Lee Proud and Harrison Clark created a production worthy of much acclaim and showcased some of the future stars of UK theatre.



Having missed the Open Air production of Jesus Christ Superstar, I was thrilled to get the chance to see it at the Barbican and it did not disappoint. Andrew Lloyd Webber and Tim Rice's score soared thanks to the ingenious staging which made the space feel as though it was outside, and Lee Curran's lighting which made the atmosphere both electric and intimate. Amazing performances all round made this a production not to be forgotten.



Not only was it a treat to see this enchanting song cycle by Dave Malloy brought to life by such talented actor-musos, but getting to experience the new space of the Boulevard Theatre was a delight in itself. The whole space feels fresh, welcoming, modern and all in all a wonderful addition to the London theatre scene. Ghost Quartet was a wacky mish-mash, but there's something about it that was truly enchanting.


The Cher Show | Neil Simon Theatre

If you'd told me at the beginning of the year that The Cher Show would be in my top shows, not just of 2019 but ever, I doubt I would've believed you. The cast were amazing but as someone unfamiliar with Cher's music and kind of bewildered by the whole idea, I didn't expect to come out beaming after one of the best night's ever at the theatre. The biopic musical tells the story of the superstar's rise to fame via three Cher's representing different times in her life. The performances are other worldly and the humour hits all the right spots. This is the embodiment of a grand musical and I can only hope it comes to the West End sometime soon!


The Jungle | St Ann's Warehouse

This is another show I missed in London but was lucky enough to catch in New York at the incredible setting of St Ann's Warehouse in Brooklyn. This is the most striking piece of theatre I have ever witnessed, and I can't even explain how spectacular the entire production was. The community feel that was created within moments of entering the theatre is like nothing I've ever experienced and every element of theatricality was so perfectly used to highlight the stories of those on stage.



The Adam Guettal musical was on my 'To See' bucket list, so it was a complete joy to experience the sumptuous score performed by such a stellar cast this year. The story about young Clara falling in love with Fabrizio on a trip to Italy is beautiful and made me want to go to and have my own romantic holiday accompanied by a beautiful classical soundtrack.



Fiver played a brief run at the Southwark Playhouse and earned itself much praise and many fans. With a fantastic score by Alex James Ellison, the musical follows the story of a £5 note and how it's value changes in the hands of various people. This was a completely unexpected treat of a show which completely enraptured me and left me feeling joyous, thanks to the wonderful mix of musical styles and fantastic array of stories involved. The superb cast of five gave everything and made it a real gem of a piece. A delightful musical, lets hope we see more of Fiver in the future.

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Friday 6 April 2018

Beautiful: The Carole King Musical (UK Tour), Bristol Hippodrome | Review


Beautiful (UK Tour) 
Bristol Hippodrome
Reviewed on Wednesday 5th April 2018 by Isobelle Desbrow
★★★

 Picture the scene, Carnegie Hall 1971. Carole King played by Bronté Barbé sitting at the piano not expecting this many people to be watching her before playing a short rendition of ‘So far Away’ before rewinding the story back 14 years to wear it all began.

 We see the geeky, nervousness of Carole as she enters the offices of Donnie Kirshner played by Adam Howden. From the get go I’m unable to fault Bronté for her ability to sing and speak in the difficult Brooklyn accent, something which as the play progresses we see change and morph into the Carol King voice we know and love today.



Once back at school Carole meets the popular Gerry Goffin played by Kane Oliver Parry. They quickly become writing partners, lovers and then parents. You couldn’t fault either of them as they both show genuine affection for one another.
Fast forward to the arrival of the loud spoken Cynthia Weil who would not take no for an answer; loud and seductive, Amy Ellen Richardson plays her brilliantly and is a stand out of the show. Once she’d met the hypochondriac Barry Mann played by Matthew Gonsalves the pair become fascinatingly brilliant to watch.
The music of the era really shines through as they include such artists as The Drifters, Shirelles, Little Eva, Janelle and The Righteous Brothers. The ensemble do a fantastic job creating all the songs and making us feel as though we're transported back in time.
The standing ovation at the end really did do the cast justice; as they had given a performance to remember. Beautiful certainly deserves to be seen!
Beautiful: The Carole King Musical runs at the Bristol Hippodrome until April 7th.
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Tuesday 8 February 2022

Evelyn Hoskins on Returning to the Diner Post Pandemic | Waitress the Musical | Interview

I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!

Waitress, based on the 2007 movie of the same title, follows the story of Jenna, a woman who longs to escape the life she's trapped in. Alongside her friends and her handsome new gynaecologist, she begins to step towards the dreams she's always harboured. Since taking the West End by storm, Waitress is now delighting audiences across the country. Evelyn Hoskins plays Jenna's lovable friend Dawn who's looking for love of her own. Evelyn spoke to us about taking the show on the road and how the pandemic changed her portrayal...


If you were telling someone who knows nothing about Waitress why they should see it, how would you sum it up?

It’s the most joyous, hilarious, heartwarming, life-affirming, beautiful show you could possibly see, especially if you’re a woman!


Is there a song in Waitress that makes you particularly emotional?

Definitely A Soft Place to Land. It’s the song before they sort of glow-up Dawn a little bit before her date and it’s just beautiful. The harmonies are stunning.


You’ve had a kind of different experience with Dawn because you played her pre and post pandemic. So, what was it like originally creating your version of Dawn and do you think she’s changed since you’ve come back to the show?

She’s definitely changed. I saw the original Broadway cast of Waitress in 2016 so I saw Kimiko Glenn play Dawn and Kimiko and I both played a role called Thea in Spring Awakening so we’re obviously similar castings anyway; but I think I was definitely influenced by Kimiko’s portrayal because that was my first impression of Dawn. 


My portrayal has changed since the pandemic, for sure. I mean, more so because I just feel older if I’m honest; and also I'm more grateful to be here. I was grateful anyway because it’s such a dream show and job of mine but now I feel super grateful.


When you were doing the show at the Adelphi, were you already booked to do the tour?

No I wasn’t. The resident director had kind of asked me if I’d be interested but at the time I was due to do six months in the West End so I was a bit like “I don’t know, maybe, I’ll see how I’m feeling” cause obviously a year is a long time. And then when the show closed in the West End, the producers were very kind and asked all of us if we’d be interested and I was like, yeah, because I didn’t feel done with her at all. I’d barely touched the surface so I’m so glad to be doing it.


How was it when you reopened, did you find it emotional?

Yep! I think I was more emotional on the first day of rehearsals when we did a full read and sing through first thing on the Monday morning. Obviously I hadn’t heard the music since the last show so that was super emotional. Also putting on the little waitress dress again!


You know, when we closed it was so uncertain and the tour got pushed back and pushed back, and we didn’t know if it would actually ever happen so it’s so good to be back!




So far, have you noticed any differences between touring the show and playing on the West End?

It’s very interesting to see the different reactions, I don’t know if I could pinpoint what they are though but Northern audiences have been PHENOMENAL, very very loud!


We’re in Bristol this week which I’m super excited about because it’s near my home town and it’ll be great to get to Woking and then we’re in Bromley so we’ll have some more London audiences. But it’s just a really great show to take around the country and make accessible to people.


Definitely, and here compared to the US, people don’t know the film as much so it’s more of a word of mouth show which must be lovely...


Yeah! Honestly I was really surprised at the reaction. We’re sold out most Saturdays and the audiences have been incredible. We also have some very loyal fans and we often see familiar faces most weeks. I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!


That’s so lovely, I’m coming to see it with my mum who’s very excited!


I think it’s a phenomenal show to see with your mum! Bring the women in your life because it’s got such girl power.


Leading on nicely, I wanted to know why you think having a female led show like Waitress tour the country is so important?

The themes of the show are so important. There’s the domestic abuse theme which really strengthens the message and importance of female friendship and female support.


I also think it’s important that we start recognising that the other relationships in our life are just as important as the romantic ones and that’s something this show does.

What’s your best piece of advice for aspiring performers?

Believe in yourself. That sounds super cliched but it’s true. My personal experience is not like a traditional one. I’m from quite a working class background. I didn’t grow up with lots of money which obviously would help you if you wanna go to drama school. But, I didn’t do drama school.


So it’s really about the hustle. Just hustle hard. If you really like an actor’s performance, find out who they’re represented by. Reach out to them and say I really like your client, I feel like I would be a good fit for you too. Same with casting directors, if you really enjoy a show and think it would be something you could do, write to them, tell them how much you like the show, just put yourself out there. And don’t feel like drama school is the be all and end all!


Thank you so much to Evelyn for taking the time to chat to me. Waitress runs at the New Victoria Theatre, Woking from 14th to 19th February before continuing its tour.


Interview by Olivia Mitchell, Editor


photo credit: Johan Persson

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Saturday 9 February 2019

The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review


The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★

Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.

This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.

Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.

For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.

Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.


As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).

Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.

Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits. 

Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece. 

Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.

Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.


Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.

Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony. 

What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.

Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore. 

Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production. 

The Bodyguard runs at the Grand Opera house until 16th February 2019

photo credit: Paul Coltas
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Friday 22 March 2019

Vision of You: Live with Rob Fowler and Sharon Sexton, Key Theatre | Review


Vision of You: Live
Key Theatre, Peterborough
Reviewed on Tuesday 19th March 2019 by Olivia Mitchell 
★★★★

Since the closing of Bat Out of Hell, fans of the show have been able to keep their love and involvement alive through Rob Fowler and Sharon Sexton's album Vision of You which charts the backstory of their characters Falco and Sloane. Accompanying the album, the pair have been on a mini tour around the country where they welcomed fans into the Falco Family and provided some absolutely outstanding vocals while they did it.

The final stop on the tour (for now) took Vision of You back to where Rob first performed, Peterborough where a home crowd joined with those from out of town to create a wonderful atmosphere and a real celebration of the music and the performers. A mixture of a concert and a musical, this version of Vision of You used the basic skeleton of the previous ones and added to it to create a complete extravaganza of a show. Once again, Erin Ong (who travelled from America to be part of the final show!) provided her lovely artwork which was projected above the characters to create an almost comic book feeling and embellish the story that was being told. 

Rob and Sharon performed most of the songs from their album, as well as some extras, with the heart, vocals and chemistry that they are so loved for and took the audience on a journey through the eyes of their characters very well. What made this show extra special, was the involvement of Raven and Strat aka the crazy talented Georgia Carling and Simon Gordon, who performed solos, duets and group numbers to perfection. Also joining the gang were the young KYT performers who gave spirited performances and brought The Lost to life. Accompanied by Steve Corley and his distinguished band, each number was a powerhouse moment and a true celebration of the superbly talented performers on stage. 


Opening with 'Falling Slowly' and closing with 'The Show Must Go On' really sums up how versatile all the performers on stage are; from the hugely upbeat numbers to the more intimate and delicate numbers, there was never a moment which fell flat or felt under emoted. Both Rob and Sharon's voices are raw and expressive but manage to maintain complete control throughout. Especially impressive were Sharon's heartfelt renditions of 'Delight' and 'The Man with the Child in his Eyes' which brought a stillness to the room that was hauntingly beautiful. Rob gave a comedic performance of 'A Miracle Would Happen' as well as his signature rock tones in the epic 'What You Own' where he was also joined by Simon Gordon. 

Simon's voice is beyond beautiful and he showcased it effortlessly with each number he was a part of. His performance of 'Bat Out of Hell' illustrated exactly why he was cast in the role of Strat and gave us a chance to hear and see him shine without the lighting and effects that were prevalent in Bat Out of Hell. If this evening was anything to go by, I'm convinced Simon could probably make a shopping list sound exquisite. Aside from Simon's performance, this semi stripped back rendition of Bat also highlighted just what a brilliant song it is.


Georgia Carling's voice complemented Simon's fantastically in their duets, 'For Crying Out Loud' and 'High Enough', as well as shining in her solo and group moments. 'Taking Chances' is a belter of a song and Georgia tackled it with ease as she gave a vocally faultless and completely first-rate performance. After gaining many fans from her performances as Raven and Valkyrie in Bat Out of Hell, there's no doubt that Georgia will continue wowing with her superb talents. 

Vision of You was a night of extremely well done storytelling and singing. Seeing how much Bat Out of Hell means to Sharon and Rob is really moving and I'm sure this isn't the last we'll hear of Falco and Sloane. The stellar performances, well done lighting, outstanding band, skillful projections and great atmosphere made this a fabulous night and a perfect farewell-for-now to Vision of You. 

Follow Sharon and Rob for updates on future performances during their #FindingTheFalcos journey

photo credit: Bat Loaf

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Friday 17 August 2018

Gangsta Granny, Harold Pinter Theatre | Review


Gangsta Granny
Harold Pinter Theatre
Reviewed on Tuesday 16th August 2018 2017 by Emma Gradwell
★★★★

Old people are boring, smell like cabbage and are prone to knitting us unfashionable jumpers for Christmas. Or so we are led to believe at the start of this story. Birmingham Stage Company have brought David Walliams’ modern classic to the stage for a two-hour romp that all ages can enjoy – and they have rightfully been nominated for Best Entertainment and Best Family Olivier Awards. 

Ben (played by Tom Cawte) not only has to live with shallow and celebrity-obsessed parents (played by Jenny Gayner and Jason Furnival), he also has to endure Friday evenings playing scrabble and eating cabbage soup with his Granny (played by Louise Bailey) – who happily acts a free babysitter, while Mum and Dad live out their dreams at a local Ballroom Dancing class. When Granny overhears Ben begging his parents to let him come home because of his boredom, this visibly upset old lady hatches a plan to lead Ben to believe she’s not as dull as he thinks she is. 


When Ben discovers a stash of jewels in Granny’s Queen’s Jubilee biscuit tin, he learns that Granny once led another life as notorious jewel thief, The Black Cat, who liked to steal “for the buzz”. What ensues is a plot to steal The Crown Jewels from the Tower of London via the sewerage network, using Ben’s expert knowledge of plumbing. 

This production is very much a family comedy: it’s a little bit rude, with lots of fart and bum jokes, but also relies on a more subtle and gentle humour at times, with some of the funniest moments involving Granny and Ben flying round the stage on her mobility scooter, complete with buggy board. Dance sequences transition scenes, as the ensemble cast move the large revolving cube boxes of the set to reveal different scenes to good effect. 


Louise Bailey as Granny performs well as the frail old lady who finds her energy through her love for her grandson – and delivers the role with a twinkle. Emma Matthews plays her characters for laughs, with Matron being a clear favourite with the audience. Aosaf Afzal is fantastic as both the ridiculous Flavio – and shop owner Raj, who also engaged the audience during the interval with his special offers. 

Unexpected bear dances, daring escapes, Gangsta raps and naked yoga all helped to engage the younger audience, whilst managing to deliver a poignant message at the heart of the story – a delightful realisation that behind the caravan club magazines, there may be exciting secrets. Excellent acting, slick scene changes and a very charming story of a boy and his Granny managed to captivate all ages, while reminding us to appreciate our older relatives while we still can. 

Wholly enjoyable and a great way to spend some time with our families this summer! 

Gangsta Granny runs at the Harold Pinter theatre until 26th August 2018
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