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Wednesday 3 August 2022
Chess the Musical in Concert, Theatre Royal Drury Lane | Review
Chess the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Tuesday 2nd August 2022 by Olivia Mitchell
★★★★
After the success earlier in the year of Bonnie and Clyde in Concert, the bar has been set rather high for what concert productions at the Theatre Royal Drury Lane can provide, and this most recent one certainly hits the mark.
Chess, last seen in London in 2018 at the Coliseum, is set in the 1970s/80s amid the Cold War. Two chess masters meet in Bangkok to fight it out for the world championship title, but also end up in political and romantic competitions.
By Tim Rice's own admission in the programme notes, the music is the heart of this show, with many finding fault with the book that is sometimes all over the place. Thankfully in this production everything is fairly sleek and issues with the book can be overlooked thanks to the sumptuous cast, choir and orchestra.
Director Nick Winston put on the show in a previous iteration in Japan and has superbly brought it to the London stage with a version that puts the focus strongly on storytelling, both through the music and the buoyant choreography by Alexzandra Sarmiento and Tara Young.
This is further helped in no small way by the outstanding LMTO Orchestra, directed expertly by Freddie Tapner. The sumptuous, melodically complex, beautifully syncopated score is showcased to the highest degree. There's a sensitivity given to the more pared back moments whilst the rousing, dramatic pieces of score are stretched to their full extent to provide real wow moments. The LMTO Chorus also bring add excellent power and oomph to the proceedings.
There were some songs which were cut from the show, namely the song Talking Chess between Anatoly and Freddie and Commie Newspapers which I think would have helped the plot be a bit clearer, especially for those seeing the show for the first time. But of course given the short turnaround and runtime for the concerts, I can certainly understand why some pieces had to be cut and shifted and what was still included was excellent. Any plot issues really fly under the radar when you have such a wonderful team on stage and offstage making everything else so enjoyable.
This onstage team is made up of some musical theatre heavyweights and there are standout performances throughout. Samantha Barks' rendition of Nobody's Side and the Anthem Reprise are definitely at the top. Joel Harper-Jackson's Pity The Child, Hadley Fraser's Anthem also bring the house down, and Frances Mayli McCann and Barks also compliment one another beautifully in the classic I Know Him So Well.
Having first seen Chess in concert version at the Royal Albert Hall in 2008 and falling in love with it at age 10, seeing this production of equal strength was an absolute treat to witness. Here's hoping we see more of this outstanding adaptation and the stellar cast who brought it to life!
photo credit: Mark Senior
Friday 5 January 2018
Bananaman The Musical, Southwark Playhouse | Review
Bananaman The Musical
Southwark Playhouse
Reviewed on Thursday 8th January 2018 by Nicola Louise
★★★
Since his first appearance in 1980 Bananaman has become somewhat of a cult classic and it’s not hard to see why. A relatively geeky young kid eats a banana and he turns into a superhero known as Bananaman, a super strong, super fast, spandex dressed muscle man with not many brain cells.
With the book, music and lyrics by Leon Parris and directed by Mark Perry, the legend of Bananaman comes alive in this comic musical. From the moment you walk into the theatre you’re transported into the world of comics: Acacia Road, Beano Town where Eric Wimp and his mother live.
The show opens with the bad guys; Dr Bloom played by Mark Pickering and General Blight played by Carl Mullaney, both of whom worked well together and it felt like they had walked straight out of a comic strip into the real world; bouncing off each other perfectly. Pickering is considerably smaller then Mullaney which just adds to their evil comedy duo.
Eric Wimp is the boy who can turn into Bananaman himself, but as his original self, he’s a small skinny boy who has trouble saying hi to the girl he likes. With a cast full of adults playing 15-year-olds you’re always worried how well it’s going to turn out, are you going to believe it? Will it start to get old real quick? Luckily this was not one of those times, Mark Newnham played a very convincing 15-year-old and a strangely convincing geek, he showed real emotion when he thought everyone hated Bananaman and it got you feeling sorry for him.
Bananaman himself was completely different to Wimp and Matthew Mckenna brought the cartoon hero to life, he was tall and handsome and worked well to bring comedy to those one-liners. Seeing this show with my 9 year old nephew really got me to see it from the shows intended audiences side and although he may not have gotten all of the jokes in the show he did say; "It’s the way he said them made them funny". Kids aren’t going to get everything, we know this, but if you can make something sound funny for them and have the adults laugh, you’ve done a good job
Now every hero needs a sidekick right? Bananaman did, although most sidekicks are not necessarily talking birds, or Crows, in this case. That’s right, Bananaman’s sidekick is a talking crow and it’s not until Eric is hit with lightning that makes him able to turn into the superhero is he able to talk to him. I love that they’ve used a puppet for this with Jodie Jacobs as the puppeteer. I thought she brought the Crow to the front of the show and she became my main focus... even if she wasn't really meant to be! This is the same when it came to Jacobs singing, a wonderful voice and she hit every note perfectly, but I feel toning it down just a little would have taken the focus off of herself and her character and allowed the audience to focus more on what was happening on stage around her.
Other main characters included Wimps love interest, Fiona Mullins, played by Emma Ralston who played the non-damsel in distress perfectly, Chief of Police: Chief O’Reilly played by TJ Lloyd, Lizzii Hills who plays Mrs Wimp & Brian Gilligan who played the Mad Magician. All of whom worked well together to make you feel like the Acacia Road was a real community of people who will always look out for each other no matter what.
I would recommend this show for children 8+ and adults alike, especially those adults who remember the cartoon, the music and lyrics of this show which fit in perfectly with the comic book feel whilst the fight scenes are a perfect ode to the old style comic books.
Bananaman runs at the Southwark Playhouse until January 20th 2018
photo credit: Pamela Raith
Friday 17 September 2021
Leicester's Curve Theatre To Stage First New UK Production of Billy Elliot
Leicester’s Curve theatre will stage the first new UK production of iconic musical Billy Elliot.
The Made at Curve production will be directed by the theatre’s Artistic Director Nikolai Foster and is set to run exclusively at Curve for six weeks only, 7 July to 14 August 2022. The musical will be choreographed by Lucy Hind (Girl From the North County, The Last Ship) with full casting to be announced in due course.
Based on Stephen Daldry’s BAFTA-winning 2000 film starring Jamie Bell and Julie Walters, Billy Elliot the Musical features music from Elton John and book and lyrics by Lee Hall. The musical first premiered at London’s Victoria Palace Theatre in 2005 and went on to win a host of international awards, including four Laurence Olivier Awards and ten Tony Awards.
Children’s casting will be managed by Jo Hawes CDG, the leading children’s casting director in the UK. Auditions for the title role and young people will begin soon and those interested in finding out more are encouraged to contact Jo Hawes by emailing joanne.hawes2013@gmail.com. All information will also be available on johawes.com.
Adult casting is led by Curve Associate Kay Magson CDG.
The musical’s set and costumes will be designed by Colin Richmond, with lighting from Curve Associate Ben Cracknell.
Speaking about this new Made at Curve production, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:
“We are beyond excited to share Lee Hall and Elton John’s astonishing musical Billy Elliot with Curve audiences, ensuring summer 2022 in Leicester is truly memorable.
“Billy Elliot is a musical filled with incredible characters, epic ideas and at its heart, the story of a young boy who has the passion and courage to dance down a different path from the one prescribed for him. We are indebted to the incredible creatives who made Billy such a hit and hugely grateful they have trusted us to create the first brand new UK production for our audiences in Leicester. Collaborating with a terrific production team and an incredible cast of the most exciting young performers, we are proud to present this mighty musical which recognises the value of culture in our society, the importance of expressing your truest self and gives a voice to the courageous working class communities who are depicted in Lee Hall’s astonishing play. All beautifully framed by Elton John’s electrifying score.”
Set amidst the increasingly bitter 1984/85 miners’ strike, Billy Elliot the Musical is a tale of determination, acceptance and daring to be different. In a close-knit community where family and tradition means everything, can Billy forge a new destiny and follow his passion?
Based on Stephen Daldry's acclaimed 2000 film, with music by Elton John and book and lyrics by Lee Hall, this electrifying musical features incredible songs such as Solidarity, The Letter, He Could Be a Star and the show-stopping Electricity.
Tickets for Billy Elliot the Musical at Curve will go on sale to Curve Friends from Thursday 30 September, Supporters from Friday 1 October, Members, Groups and Access Register Customers from Monday 4 October and on general sale from Monday 11 October, all at 12 noon. Tickets can be purchased online at www.curveonline.co.uk or by calling Curve’s Box Office on 0116 242 3595.
Friday 29 March 2019
Hair (UK Tour), New Wimbledon Theatre | Review
Hair (UK Tour)
London Palladium
Reviewed on Thursday 28th March 2019 by Olivia Mitchell
★★★½
Having first premiered in 1967, Hair doesn't have much of a story but focusses on hippies, LGBTQ+ rights, Black Live Matter, women's equality, the anti-war movement, freedom and so much more. Despite being a piece of it's era, these are issues and themes which resonate with a contemporary audience. The book loosely follows a group of hippies in New York City as they navigate life and their political views during the Vietnam War. More of a think piece and political statement, than a story, Hair successfully shows insights into real life struggles and celebrates living.
This revival which began at the Hope Mill and continued to become a semi-immersive experience at The Vaults, is now a vast production. This transfer in venue size means the show has lost some of it's authenticity and spark but retains its exciting, enthusiastic performances and energy. Natalie Green is the absolute stand out of the cast as she provides killer vocals; both belting her face off and providing glorious soprano moments. Natalie also showcases her supremely versatile acting with a number of accents and personas which are all faultless and she gives an entirely wonderful and memorable performance.
Kelly Sweeney also gives a fantastic performance in her solo moments as Crissy. After Unexpected Joy its great to see Kelly continuing on what's sure to be an outstanding career. Superb vocal moments are delivered by Alison Arnopp and Marcus Collins. As Woof Bradley Judge is well developed and entertaining to watch.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
This is an intrinsically ensemble piece, with the whole cast banding together to really create the tribe, and bring the "haggle of hippies" together. Within the ensemble, Jake Quickenden and Paul Wilkins take the lead with agility and energy. Wilkins especially, gives a performance which the audience can really invest in, as his character Claude struggles with being himself and fitting societies expectations. Quickenden gives a commanding performance but lacks the oomph to really own the stage at times, however his vocals are strong and he'll surely only get better as he relaxes into the role.
The hippie commune and various hallucinations are brought to life marvellously by Ben M Rogers' lighting which is vibrant, contrasting and superbly done. William Whelton's choreography is loose and well done, with the tribe effectively becoming one at times. The theatre is bright and hallucinatory thanks to Maeve Black's set and costumes. Streamers adorn the stage in an in-your-face manner that is dynamic and impressive.
Whilst it does drag a little, Hair is an easy watch that thrills the eyes and ears and remains relevant to this day. Outstanding performers make the most of a limited book and play to the theatre almost as if they're in an intimate space. Despite not being as revolutionary as it was fifty years ago, Hair is still an exciting piece of theatre and the rousing chorus of 'Let The Sunshine In' is enough to leave you feeling free and uplifted.
Hair runs at the New Wimbledon Theatre until March 30th before continuing its tour.
photo credit: Johan Persson
Wednesday 22 May 2019
Elegies for Angels, Punks and Raging Queens, Union Theatre | Review
Elegies for Angels, Punks and Raging Queens
Union Theatre
Reviewed on Tuesday 21st May 2019 by Shaun Dicks
★★
An elegy by definition is ‘a poem of serious reflection, typically a lament for the dead’. An elegy is there to express feelings of something or someone you have lost. So, here we follow the elegies of those who have passed due to HIV/AIDS, all those Angels, Punks and Raging Queens.
The show, with book and lyrics by Bill Russell and music by Janet Hood is fantastic. Russell’s speech is so poetic and lyrical. The colour within phrases and sentences is just magical. There is so much juicy dialogue to enjoy. And Hood’s music is just so beautiful, the amount of emotion within her score is tear jerking alone. The music, book and lyrics deliver stellar material about a very delicate subject.
However, in this production of Angels Punks and Raging Queens, the material is mismanaged. First, the cast is simply too large. With sixteen cast members, the stage was cluttered and honestly half of them didn’t make their mark and faded into the background. The show would’ve been effective with half the cast. There were some standouts like Marcus Ayton as Lamar/Miles, Calum Gulvin as Nick/Paul, Jackie Pulford as Rebecca/Joanne, Fraser Leigh Green as Ray/Joe and Rhys Taylor as Dwight/Roscoe. These five actors truly understood the lyrical essence of the material they we given and delivered it well.
Despite its potential to be great, what let this show down was Bryan Hodgson’s staging. It felt clunky and disjointed, almost like a bad drama school showcase. However, one saving grace for this show was the vocals. The harmonies were well rehearsed and well done, a credit to musical director Henry Brennan. The light design by Alex Musgrave was another positive.
What made up for all the bad within the show was the striking final image. The emotion that you feel and that I felt at the end of the show made sure that the show was better than disappointing. However, one moment doesn’t make a show. It’s a shame because this show had all the potential to be fantastic, but the material was, in my opinion, interpreted wrongly and overall missed the mark.
Elegies for Angels, Punks and Raging Queens runs at the Union Theatre until 8th June 2019
photo credit: Mark Senior
Tuesday 29 October 2019
The Girl on the Train (UK Tour), New Victoria Theatre | Review
The Girl on the Train (UK Tour)
New Victoria Theatre
Reviewed on Monday 28th October 2019 by Melanie Mitchell
★★★★
Having never read the book nor seen the film apart from the first 20 minutes, I was unsure what to expect from the stage version of Paula Hawkins' 2015 bestseller The Girl on the Train. I knew that it was a psychological thriller involving a girl, a lot of train journeys and a murder but that was all!
I was unsure how the train element of the story would be transferred on to a fairly small theatre stage, but thanks to the extremely clever set design by Anthony Banks accompanied by the atmospheric lighting from Jack Knowles and sound by Ben & Max Ringham, this was very successfully and effectively achieved.
The story focusses on Rachel Watson after the breakdown of her childless marriage. Her life begins to unravel and she sinks deeper and deeper into the bottom of a bottle. Whilst on her daily commute she starts to watch a couple on their balcony, living close to where she used to live. Convinced that they have the perfect life that she no longer has, she becomes fixated and obsessed by them. But as we all know, things aren’t always as perfect as they seem...
Samantha Womack plays the alcoholic Rachel superbly, conveying her feelings of inadequacy, confusion, loneliness and envy, interspersed with moments of laugh out loud one liners, that don’t take away from the drama at all.
All members of the production are very well cast, especially Adam Jackson Smith who portrays Rachel's caring ex and now perfect husband to Anna, played by Lowenna Melrose who also gives a strong performance.
As the story goes on it becomes increasingly apparent that people are often not living the lives that are seen and admired by outsiders or people looking in. Things are very different behind closed doors and when one of the characters disappears these facades begin to fall away, culminating in an unexpected twist, which I didn’t see coming. Altogether this is a very clever adaptation and production of the book, which takes you on a journey of human emotions and is well worth seeing.
The Girl on the Train runs at the New Victoria Theatre until 2nd November before continuing its tour.
photo credit: Manuel Harlan
Friday 18 March 2022
Full Casting Announced for 101 Dalmatians at Regent's Park
Regent’s Park Open Air Theatre have today announced full casting for their forthcoming production of 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris. Based on the book by Dodie Smith, leading the cast as the iconic villain Cruella de Vil is Olivier and Tony Award nominee Kate Fleetwood.
Dalmatians Pongo and Perdi are puppeteered by Danny Collins (Pongo Voice), Emma Lucia (Perdi Voice), Yana Penrose (Perdi Head) and Ben Thompson (Pongo Head).
Also joining the cast are: Jamil Abbasi (Ensemble), Stuart Angell (Captain Head), George Bukhari (Jasper), Sonya Cullingford (Ensemble), Jade Davies (Swing), Karen Fishwick (Danielle), Joseph Fletcher (Ensemble), Taofique Folarin (Swing), Courtney George (Ensemble), Tash Holway (Swing and Dance Captain), CJ Johnson (Ensemble), Kody Mortimer (Ensemble), Simon Oskarsson (Swing), Tom Peters (Captain Voice), Eric Stroud (Dominic), Jonny Weldon (Casper), and Grace Wylde (Madam Doué).
Director Timothy Sheader said:“We are incredibly excited to finally bring 101 Dalmatians to our stage after postponing the production twice due to the pandemic. I think audiences are going to love reconnecting with this favourite story outside in Regent’s Park; the original home of Pongo and Perdi. The brand new script and music are both packed with fun and joy and I am delighted that Kate Fleetwood’s filming schedule for The Wheel of Time allows us the opportunity to work with her on creating that all time baddie, Cruella de Vil.”
101 Dalmatians is created by: Shanaé Chisholm (Casting Assistant), Josie Daxter (Associate Director), Jill Green CDG (Casting Director), Tash Holway (Associate Choreographer), Barbara Houseman (Voice and Text & Season Associate Director), Howard Hudson (Lighting Designer), Maia Kirkman-Richards (Assistant Puppet Director), Nick Lidster for Autograph (Sound Designer), Katrina Lindsay (Costume Designer), Ingrid Mackinnon (Season Associate: Intimacy Support), Tarek Merchant (Musical Director), Verity Naughton and Nick Hockaday for Verity Naughton Casting (Children’s Casting Directors), Toby Olié (Puppetry Designer and Director), Colin Richmond (Set Designer), Timothy Sheader (Director), Liam Steel (Choreographer) and Sarah Travis (Musical Supervisor and Orchestrator).
The Open Air Theatre is working with Mousetrap Theatre Projects to create a relaxed performance of 101 Dalmatians on Sunday 14 August (2.15pm). Relaxed performances are designed to provide those with learning disabilities, those who are on the autism spectrum or have other sensory and communication needs who would benefit from a more relaxed environment, the opportunity to experience the production.
Kate Fleetwood currently plays the leading role of Liandrin Guirale in Amazon Prime’s The Wheel of Time. Her previous stage roles include: Lady Macbeth (Chichester Festival/Gielgud/ BAM/Broadway) for which she was nominated for a Tony Award, Medea (Almeida) and Goneril in King Lear (National Theatre). She also appeared in Absolute Hell and Ugly Lies the Bone (National Theatre), Bug (Found111) and Life is a Dream (Donmar Warehouse), for which she received a WhatsOnStage Award nomination for Best Supporting Actress. Kate received an Olivier Award nomination for Best Actress in a Musical for London Road (National Theatre), and she also played Tracy Lord in High Society (Old Vic).
Kate’s television credits include: Victoria, War and Peace, The People Next Door, The Widower, Brave New World and Fate: The Winx Club Saga. Her film credits include: Star Wars: The Force Awakens, The Negotiator, London Road, Philomena, Les Misérables and Harry Potter and The Deathly Hallows: Part 1.
Regent’s Park Open Air Theatre’s 90th Anniversary season also includes the musical Legally Blonde (13 May – 2 July) directed by Lucy Moss, co-writer and co-director of Six the Musical, and - in a second commission from the theatre in 2022 - Antigone (3 – 24 September) by Barber Shop Chronicles writer Inua Ellams after Sophocles, directed by Max Webster and co-directed by Jo Tyabji.
Thursday 13 December 2018
Cinderella (Panto), New Victoria Theatre | Review
Cinderella (Panto)
New Victoria Theatre
Reviewed on Wednesday 12th December 2018 by Olivia Mitchell
★★★★
In the world of Panto, I am a total newbie having only seen a couple in my life. So the way I judged Woking's festive offering was by the reactions of those around me and they seemed to love the humourous, slightly magical and well characterised show.
Alan McHughes book keeps to the classic roots of Cinderella, switching up for comedic effect but never really bringing anything new or fresh to the story. It does however, remain fluid and entertaining. With the Act 2 performance about what life would be like for the characters if they had other jobs, was highly enjoyable and a stand out moment.
A lot of the show is based around Craig Revel Horwood's character, Baroness Hardup who graces the stage in a number of bedazzled gowns, accompanied by the Strictly Come Dancing theme tune and a barrage of dry humoured jokes. Craig gives the performance we expect and does a good job as the villain we love to hate. Although I would've liked to hate him a little more.
Suitably named stepsisters, Tess and Claudia are well played well by Suzie Chard and Wendy Somerville, with mockery and flounceyness used to a T, but are underused and lack the opportunity to really come to life.
Despite some book related flaws, the cast are highly energetic and enthusiastic, doing a fantastic job of livening up the audience without becoming a complete cheese fest. As the title character, Sophie Isaacs gives a truly royal performance both vocally and characterisation wise and is matched in charm by the swoon worthy Oliver Savile who brings his Fiyero vibes to Prince Charming.
Stealing much of the show are Paul Chuckle and Phil Butler as Baron Hardup and Buttons. The pair bounce fantastically off of one another and ensure a steady banter which translates well between the two and the audience. What the script lacks in story, is made up for with the spades of fun these two bring to the New Victoria stage.
Cinderella is a festive treat for all the family that of course, uses Panto tropes but doesn't make them overbearing and instead brings a lighthearted show to life with ease, fun and energy. With dancing pumpkins, flying horses and sparkles upon sparkles, there's sure to be something for everyone in this production.
Cinderella runs at the New Victoria theatre until 6th January 2019
photo credit: Ian Olsson
Tuesday 1 October 2019
Brooklyn the Musical, Greenwich Theatre | Review
Brooklyn the Musical
Greenwich Theatre
Reviewed on Monday 30th September 2019 by Olivia Mitchell
★★★★
Brooklyn The Musical is a pretty obscure show which opened on Broadway in 2004. It's realtively unknown but features a number of fantastically catchy songs. The musical's European premiere at the Greenwich theatre showcases fantastic talent and reminds us of how magical music can be. Strong direction by Adam Haigh and consistently impressive performances by the cast bring the show to life with vitality and vocal prowess, and make it one to tick off the list.
Set in New York City, a group of street performers perform a "sidewalk fairytale" about a love story and what came of it. We follow a singer from Paris called Brooklyn who is on a quest to find her father and make good of the world she's in. The story itself is minimal and the book is pretty wacky, but the show's spectacular score breathes life into it and shares the characters motivations wonderfully.
The book, music and lyrics are by Mark Schoenfield and Barri McPherson who have adapted the show for various productions including Broadway and a US tour. As a whole, this production really is a grungy, ensemble led, song-fest which features one of the strongest and most vocally tight ensembles in London right now. The sharp harmonies and electric interactions with one another really engage the audience.
It's ideal that Hiba Elchikhe leads the cast as Brooklyn, because she absolutely has one of the best voices ever. The tone, the emotion, the power. Just. So. Good. Her demeanour is charming as she tries to find her father and the audience are instantly able to warm to her beaming personality. It's absolutely worth making a trip to Greenwich just to hear Once Upon a Time sung live by Hiba. Emily Mae gives an equally earth quaking vocal performance as the "aging" Diva, Paradice. Raven is a particular stand out moment, but Emily captures the audience in the palm of her hand throughout. Smooth and mysterious, Andrew Patrick-Walker makes the Street Singer someone to remember as he acts as a musically enchanting, overseer of the show. Sabrina Aloueche and John Addison add further depth to the show and the whole cast work exceptionally well together to evoke the feeling of being in New York and searching for a dream. If the Greenwich Theatre were powered by riffs, it would be shining bright thanks to the cast of Brooklyn and Andrew Johnson's sound design which showcases them.
Justin Williams' set design transforms the Greenwich theatre into "a ravaged street corner in Brooklyn, New York" and presents a visual treat for the audience as Brooklyn's story is told. With ladders that are slid around, fairy lights, falling snow and an ever present guitar case, the set, complemented by Jack Weir's lighting manages to invoke both the fairy tale vibes and the gritty feel of NYC.
A masterful blending of talents allows this production to shine. It's not a masterpiece of theatrical writing but it is a really fun night out and a chance to see a rarely performed show done at a very high standard. Who knows, you might find your miracle too.
photo credit: Pamela Raith
Friday 5 July 2019
The Secret Diary of Adrian Mole Aged 13 and 3/4 – The Musical, Ambassadors Theatre | Review
The Secret Diary of Adrian Mole Aged 13 and 3/4
Ambassadors Theatre
Reviewed on Wednesday 3rd July 2019 by Olivia Mitchell
★★★★
This joyous musical is based on the first book of Sue Townsend's well-loved series of the same name. Featuring music and lyrics by Pippa Cleary and book and lyrics by Jake Brunger, it's a marvellous gem of a show, that is truthful, optimistic and a whole lot of fun.
As the school holidays begin, this is the ideal family show, with humour for both adults and children, as well as universal issues that are delivered in a fresh, colourful way. The small Ambassadors theatre is a perfect fit, as it feels intimate and intricate at once. The audience are transported to the Mole's family home and whisked up in the trials of being 13 and 3/4.
Luke Sheppard has managed to capture a true warmth with this production. From start to finish there is a perfect balance between truthful characters and caricatures of real life people, and the heart never waivers. The cast do an exceptional job of encapsulating what it means to grow up. Rufus Kampa leads the show with a fantastic combination of awkwardness and charisma. Kampa instantly draws the audience in and gives a performance very truthful of a young teen. In contrast, new girl at school and love interest Pandora (Rebecca Nardin), is confident and over the top in all the best ways. Nardin provides stellar vocals, bright eyes and a very well characterised performance.
The whole cast are very impressive, with Jeremiah Davan Waysome giving a charming performance as Adrian's best friend Nigel. Amy Ellen Richardson is tender and witty as Adrian's mum, Pauline and John Hopkins is hytrical as Mr Scruton and Mr Lucas.
With Rebecca Howell's choreography which fills the stage, Tom Rodger's slickly designed set which features beds coming out of cupboards, the on the ball cast and highly catchy songs, this is a Brilliantly British show.
The Secret Diary of Adrian Mole Aged 13 and 3/4 is an expressive and animated production, full of heart and energy. The superb cast deliver humourous one liners and more emotional moments with grace and truth, and bring the vivacious score to life well. It's definitely a must-see for families this summer and is sure to delight throughout its run.
photo credit: Pamela Raith
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