Showing posts sorted by relevance for query olivia mitchell. Sort by date Show all posts
Showing posts sorted by relevance for query olivia mitchell. Sort by date Show all posts
Thursday 14 December 2017
Jack and the Beanstalk (Pantomime), New Wimbledon Theatre | Review
Jack and the Beanstalk (Panto)
New Wimbledon Theatre
Reviewed on Tuesday 12th December 2017 by Olivia Mitchell
★★★★
Now I must admit, I'm not the biggest panto fan but I thought I'd give it a go this year so popped along to Wimbledon to see Jack and the Beanstalk and I was pleasantly surprised! Festive favourite and seasoned Dame, Clive Rowe takes on the role of Dame Trot whilst comedian Al Murray is a panto newbie as the landlord, Al.
Directed by Thom Southerland, Jack and the Beanstalk focusses on the humourous rapport between Rowe and Murray rather than an actual storyline. Panto isn't Shakespeare and of course the plot isn't meant to be dramatic or emotive, but at times it did feel a little too bare and in-cohesive and was somewhat of a let down. However, the witty one liners and and magical moments saved the show.
Despite some of his jokes falling a bit flat, Murray is hilarious as the Pub Landlord and his audience interaction is fantastic. He really knows how to warm and audience up. I also appreciated how much he was able to not take himself seriously and just brush off when a joke doesn't work. Clive Rowe as Dame Trot is fantastic and again, works the audience wonderfully. The two are really a winning pair; bouncing off one another and pushing each other to corpse at every possible moment. I loved this interaction and they really made the show.
I personally wasn't a fan of the music used. The songs are forgettable and felt put in for the sake of it. The children involved however, seemed to be having the time of their lives which was lovely to watch. Liam Tamne was great as Jack but I would've liked to see more of him. Despite being the title role, he was barely in the show and his relationship with Princess Apricot came and went at lightning speed. The second half especially felt like a mad dash to rap up the story.
The special effects were magical and definitely make the show for the children and adults alike. The dramatic helicopter scene at the end of Act 1 was unexpected and exciting and the 3D scene in act 2 added another level of interest.
At the end of the show everyone was buzzing and seemed to have really enjoyed their night at the panto. Don't expect a masterpiece, but for a fun, lighthearted show full of one-liners and audience interaction, take a trip to the New Wimbledon Theatre and experience this show for yourself.
Jack and the Beanstalk runs at New Wimbledon Theatre until January 14th.
photo credit: Craig Sugden
Wednesday 4 October 2017
Flashdance (UK Tour), New Wimbledon Theatre | Review
Flashdance (UK Tour)
New Wimbledon Theatre
★★★
Based on the 1983 film (which I've never seen), Flashdance is the story of Alex Owens, a welder who dreams of being a dancer but has had no formal training. She plucks up the courage to apply to the prestigious Shipley Dance Academy and also meets a new love interest on the way who just so happens to be the boss' son.
There are a number of side plots, like the mechanics facing jobs losses, Gloria being drawn into a seedy drug filled world and her boyfriend Jimmy attempting to make it as a comedian in New York but these feel a little unnecessary. They're obviously added in to pad out the show but I felt it would have flowed better without them as they're not explored enough to add much.
But lets be honest, people don't go to Flashdance for the plot. They're there for the big money numbers and nostalgia for the classics they remember, something which the show certainly provides. The instantly recognisable 'Maniac', 'What a Feeling' and 'Gloria' have the audience excited and invested whilst most of the other songs are not particularly memorable. That's not to say that the vocal performances aren't brilliant though. Ben Adams gives a strong performance as the misguided, rich boy, Nick Hurley. His popstar vocals are not those typically heard in musical theatre but they work well in the show and his his rendition of 'Enough' was especially good.
Joanne Clifton is outstanding as Alex. Obviously she's known for her dance skills but seeing them life and with so much energy is spectacular to see on stage. Vocally she is also strong and her acting stood up well within the cast and she is a very solid lead. I was particularly impressed by Hollie-Ann Lowe who showed a number of sides to Gloria as well as some lovely vocal moments. A special mention must go to Colin Kiyani (Jimmy) who's voice is beautiful and I got major Ben Platt vibes during 'Where We Belong'.
Matt Cole's choreography is definitely the highlight of the production; tight and sleek throughout it provides some wow moments of impact. One thing I didn't like was the use of click tracks during some of the ensemble dance numbers such as 'I Love Rock and Roll'. I completely understand how demanding it is to do the energetic choreography at the same time as singing but it just felt a little obvious to me and could have been covered up more. However, the performances were still great.
This is definitely a feel good musical, whilst it does look at some darker themes, they are definitely not what you focus on. It's more of a drama with music but the energetic and sharp performances are enough to draw you in and will certainly leave you tapping your feet!
Flashdance runs at the New Wimbledon Theatre until October 7th
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.
photo credit: Bat Loaf
Friday 28 July 2023
The Choir of Man at the Arts Theatre Review: A Musical Celebration of Humanity
a true testament to the power of music and its ability to bring people together"
The Choir of Man
Arts Theatre
★★★★
I recently had the pleasure of making a return visit to see The Choir of Man at the Arts theatre, a show which celebrates humanity, pubs and music in a truly joyous way.
Although the onstage beer wasn't working at this particular performance, the setup of the Arts for this show is so well done. The audience are truly made to feel like they've entered a community hub and the pre-show interactions perfectly pave the way for the impressive show that's to follow.
The show's concept is simple, it portrays a group of men coming together in a pub setting, sharing their stories and bonding through music. The songs are a bit random and there's not much of a through line but the seamless blend of humour, heartfelt moments, and raw emotions make this a truly memorable show, perfect for a lighthearted, fun night out.
This really is a show about friendship and the cast's camaraderie is evident throughout, with little interactions throughout coming across as truly genuine. There's also a really special connection created with the audience. The interactions with spectators, make you feel like you're part of the lively gathering, further enhancing the immersive experience.
The set and lighting design (Richard Dinnen) perfectly complement the show's no frills ambiance, transporting us to the cozy pub atmosphere where the magic unfolds. It's simple yet effective, allowing the spotlight to remain on the performers and their exceptional talents. The whole show is a vocal treat, with handfuls of glorious harmonies as well as some great dance and movement moments.
The Choir of Man is a true testament to the power of music and its ability to bring people together. It not only showcases the incredible vocal abilities of the cast but also celebrates the sense of community and brotherhood, leaving the audience with a heartwarming feeling. It's not the most cohesive or polished show, and it probably won't change your life but the overall joyous experience is exactly what we all need right now.
This show is the perfect embodiment of live theatre. It's a really unique show that has rightfully carved out a space in the West End and deserves to be seen and celebrated. If you love music and want an hour and a half of feel-good-fun then this is the show for you!
Reviewed on Wednesday 26th July 2023 by Olivia Mitchell
Photo Credit: The Other Richard
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 4 May 2023
Pentatonix: The World Tour at the Eventim Apollo review: A shining celebration of musical talent
Pentatonix: The World Tour
Eventim Apollo
After having their concerts postponed in 2020, the Grammy Award winning group Pentatonix have finally made it to London with their world tour. Featuring the classics that made them popular such as Daft Punk and White Winter Hymnal, as well as soulful pieces from their most recent album, The Lucky Ones and some extra musical gems, the group proved that it was well worth the wait as they showcased their impressive range and versatility. As expected, their harmonies are spot-on and their ability to create complex sounds using only their voices continues to be astounding.
Having last seen them perform in 2016 what was immediately striking with this tour is just how amped up and emphasised the production value is; everything feels bolder and sleeker. This is in no small part thanks to the excellent lighting design by Damian Rogers which is so impeccably programmed to sync up with every beat and emotional inflection, it becomes a show all of its own. Equally the choreography perfectly complements each song and adds a real element of interest. The production team have done an incredible job of creating a concert experience that was not only musically impressive but also visually captivating.
What really makes the concert stand out is the energy and passion that Pentatonix bring to the procedings. The group have a palpable friendship and support network which shines from the stage and creates a really lovely atmosphere. Plus, they interact with the crowd, share stories and jokes, and make everyone feel like they are a part of the experience. It's clear that they genuinely love what they do and enjoy connecting with their fans.
Where before this could have been a 10/10 musical concert, now it’s a 10/10 musical spectacle. The bold elements don’t take away from the vocals, in fact they frame them perfectly and highlight just how tight and strong the vocal quintet are. It’s a matured and elevated experience and the talent and passion on stage make Pentatonix really shine. Hopefully it won't take seven years for the group to return to the UK because we need more!
★★★★
Reviewed on Wednesday 3rd May 2023 by Olivia Mitchell
photo credit: Ben Hausdorff
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 24 July 2019
The View Upstairs, Soho Theatre | Review
The View Upstairs
Soho Theatre
Reviewed on Tuesday 23rd July by Olivia Mitchell
★★★★
Whilst victories in the LGBTQ+ community are rising, and social attitudes and actions are, for the most part, much more positive, there's still much to fight for, as Max Vernon's musical highlights.
In its European premiere at the Soho Theatre, The View Upstairs cleverly creates a conversation between the past and present by visiting the UpStairs Lounge, a New Orleans gay bar which was the subject of an arson attack in 1973 which killed 32 people. The tragic story is one which has often been wiped out from history and was even minimised by news outlets at the time, so it's an honour to see it brought to life so thoughtfully.
The story follows Wes, the 2019 "influencer" and fashion designer who is buying the dilapidated bar in the modern day. His estate agent leaves, and in a somewhat mystical, drug-filled flurry of curtains, he is transported back to the bar as it was on the day of the fire. Who we are then introduced to are the various people, decked out in bell bottoms, who find solace and friendship in the safe space the UpStairs provides. Wes' eyes are gradually opened to he struggles of being gay in the 70s and he questions how he leads his life in the modern day.
Wes is a smartphone-addicted go-getter who often veers into a caricature of a Gen Y person, but is still intensely entertaining and relatable. As a whole the book features a lot of stereotypes which are not always believable enough, but there are hilarious one-liners throughout, as well as many thought-provoking moments.
What the script lacks is made up for in spades by the utterly phenomenal cast. Tyrone Huntley is effervescent in his performance and provides vocals which need to be heard; Huntley also manages to create a fantastic balance between impudence and vulnerability, which really makes the audience root for him. The chemistry between the entire cast is second to none, with Wes and Patrick (Andy Mientus) providing especially well thought out interactions. Mientus draws the eye thanks to his incredibly subtle but highly calculated movements which make him seem as though he isn't acting at all.
The uniformly thrilling cast bring vocals that will cause involuntary whoops and goosebumps in equal measure. Among a team of stars, Carly Mercedes Dyer and Cedric Neal stand out because of their powerhouse voices which ring out with sincerity as well as power. Victoria Hamilton-Barritt is magnetic as the caring, religious mother Inez; whilst Garry Lee provides vocals and sass and her drag queen son Freddy. John Partridge and Declan Bennett are well rounded and striking in their performances and Joseph Prouse and Derek Hagen give memorable, if brief performances. This is a fantastic ensemble piece which has momentum and catchy tunes, but more importantly, heart.
Fabian Aloise and Ruthie Stevens's choreography is slick and feels part of the characters own movements. Lee Newby's set is basic but evocative as is Nic Farman's lighting which expertly matches the moods of the show, although at times felt just a bit too dark.
Jonathan O'Boyle has directed a moving production which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight.
photo credit: Darren Bell
Friday 7 February 2020
Poet in da Corner, Royal Court | Review
Poet in da Corner
Royal Court
Reviewed on Thursday 6th February 2020 by Olivia Mitchell
★★★★
Modern storytelling is ever-changing but the blueprint often stays the same, with Shakespeare, Ibsen and Chekhov usually being the playwrights we are told to use as inspiration. In Poet in da Corner, Debris Stevenson challenges this and chooses to use Dizzee Rascal's debut album as the framework for her personal coming-of-age tale. Debris makes the importance of music clear from the get go: "Grime changed my life, more than my two first class degrees, it gave me permission". From here, we go on a loud, fast, energetic and spirited journey through Stevenson's life from a dyslexic teen trapped in a mormon household, to an independent, strong and self-aware woman.
This is an incredibly multi-layered show which is so much more than just a celebration of grime. Instead it's an impactful look at upbringing, freedom, self-expression and privilege. Stevenson freely studies and exerts herself, whilst, also investigating theatrical expression as a genre and form. There's breaking of the fourth wall, interesting use of props, thought-provoking lighting and exceptional movement. The energy is at peak levels throughout and the gig like atmosphere in the Royal Court is something to behold. Reminiscent at times of Arinzé Kene's Misty, this is the way theatre should be evolving to attract new audiences and tell stories in unique ways.
As well as writing the show, Stevenson's performance is exceptional; her passion for grime is instantly infectious and becomes universal almost as if her story is ours. I suppose in ways it is, as the universality of music is what makes it so special, but it's still masterful how Stevenson is able to unify a room of individuals so expertly, through her mile a mile performance.
Alongside Stevenson are Jammz (co-writer of the show), Stacy Abalogun and Kirubel Belay. The quad give amazingly agile performances both in vocal and physical terms. It's amazing to witness such fast action which flits between humour and intensity so seamlessly. If you want a celebration of grime and a true example of self-expression, this is the show for you.
The entire seventy minute show feels like a pan on the boil, continuously moving and flowing and engaging. Poet in da Corner is funny, truthful, inventive and really worth seeing.
Poet in da Corner runs at the Royal Court until 22 February and then tours the UK
Wednesday 10 August 2022
Kinky Boots the Musical in Concert, Theatre Royal Drury Lane | Review
Kinky Boots the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Monday 8th August 2022 by Olivia Mitchell
★★★★
After the success of last week's Chess in Concert, the Theatre Royal Drury Lane have once again opened their doors, this time for concert versions of the acclaimed Kinky Boots, starring an all-star cast. When deciding on musicals to transform into concert editions, Kinky Boots may not be the most obvious choice but the pop score lends itself wonderfully to the setting and really strips everything back to highlight the heartwarming and empowering messages which the show gives out in spades. Plus, the LMTO orchestra, conducted by Freddie Tapner help to showcase all the best parts of Cyndi Lauper's musical score.
Returning to the concert scene after his star turn as Freddie in Chess is Joel Harper-Jackson who once again shows off his vocal chops and wonderfully dynamic acting. As Charlie Price, the son who inherits his father's failing shoe factory, Joel is utterly endearing. He embodies the role and you can physically see his transformation from an unsure man to a strong, sure of himself leader.
As his co-star, Cedric Neal is vocal perfection as Lola/Simon. His portrayal of Lola feels deeply thought through, with some extremely poignant moments; hopefully we'll get another chance to see him shine in the role in the future.
In one of the most wonderfully witty stage performances, Courtney Bowman is outstanding as Lauren. The comedic role is given extra oomph and feels completely fresh under Courtney's command. Other standouts include Kayleigh McKnight and Nikki Bentley who give stellar vocal moments. This is a really solid cast who have done a great job of putting on such a well rounded production in such a short time.
Whilst billed as a concert, there is some staging and choreography throughout and under Omar F. Okai's direction there's a great balance between subtlety and grand moments which really elevate the concert. Ben Cracknell's lighting is a star in its own right, providing a visual treat which is all things bold and absolutely brilliantly backs up the onstage action.
This is a fantastic showcase of the great cast as well as the heartwarming story that works surprisingly well in concert form. I can only imagine how great this ensemble would be in a fully staged production with all the glitz and glam the show deserves.
Monday 24 July 2017
I Loved Lucy, Arts Theatre | Review
I Loved Lucy
Reviewed on Monday July 24th 2017 by Olivia Mitchell
★★★
Just transferred from the Jermyn Street theatre to the Arts Theatre, I Loved Lucy is an autobiographical play, adapted from Lee Tannen's memoirs about his relationship with cultural icon, Lucille Ball.
A massive fan of the comedy star, Tannen uses obscure family ties to meet and form a friendship with Lucy. They bond with stories and fantasies over their games of backgammon as Tannen becomes a close confidant and sees a side of 'Auntie Mame' that very few got to see.
As someone who wasn't alive during any of Ball's life and who until writing this review, had never seen an episode of I Love Lucy, I don't suppose I'm the target audience for this play. There were a number of anecdotes and names which meant nothing to me purely because of my age and I felt I was an outsider looking in on the jokes. However, for most of the times I didn't laugh, something else came along which had me in hysterics proving you don't need to be a Lucy fan to enjoy this show. Tannen's script is witty and uses repetition extremely well to generate laughs. Alongside the laughs there are also more heartfelt moments, especially in act two when Lucy realises she has peaked and can never achieve the same levels of fame and love again.
Tannen as the narrator is humorous and he doesn't shy away from showing his dark side as well as Lucy's but I found it strange at times how closely he paints the relationship. Tannen is shown as being one of Lucy's only confidants and the only person in her life. With her children and partners barely mentioned I feel that Tannen is an unreliable source and although it may have been true that Lucy had very few other relationships, it would be interesting to see why the others are so absent.
Sandra Dickinson captures Lucy's mannerisms and iconic laugh perfectly. She gives a truly wonderful performance and remains committed to the role throughout. Her comedic timing, although sometimes ever so slightly off is good and she delivers Lucy's slicing asides and witty quips with ease.
As the celebrity obsessed, excitable, Tannen, Matthew Scott is great and he gives a beautifully emotive performance. He not only plays his main role but a number of smaller roles such as the hotel receptionist and chauffeur where he shows off his versatility well. Dickinson and Scott's chemistry is great and although the stalkerish fan becoming best friends with the star is kind of strange, it somehow works and comes across in a natural way.
Anthony Biggs' direction makes good use of the black box Arts Theatre and he is unafraid of stillness for dramatic effect. Gregor Donnelly's simplistic set design adds just enough drama whilst keeping the flow of the piece.
I Loved Lucy is a joy to watch- great fun with an air of drama, glitz and glam.
I Loved Lucy runs at The Arts Theatre until September 2nd 2017
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
Tuesday 30 January 2018
Collective Rage, Southwark Playhouse | Review
Collective Rage
Southwark Playhouse
Reviewed on Monday 29th January 2018 by Olivia Mitchell
★★★★
In it's UK premiere by Antic Face, Collective Rage at the Southwark Playhouse is a surprising and alluring show which sees five New York women named Betty, join forces to discover themselves and put on a play within a play.
Whilst Jen Silverman's play is first and foremost about sexuality and finding your voice, it also looks at New York life through a series of dinner parties, "thea-tah" and relationships. These aspects all come together to create one exciting and unique piece of work.
The cast are equally outstanding and do perfect justice to the brilliant script. As Betty One, the rich upper East Side housewife who is constantly annoyed, Sara Stewart is comedic and likeable from beginning to end. Genesis Lynea as the gender fluid boxing coach, Betty Five who captures Betty One's attention is smooth and sleek every moment she's on stage. Her interactions with every cast member are natural and well thought out.
Lucy McCormick is outstanding as Betty Two, showing a well developed character arc as she goes from the quiet, lonely girl, to a more empowered but equally struggling woman by the end. Her breakdown was particularly haunting.
Taking on the role of the brassy, red clothed Latina, Betty Three, Beatriz Romily is perfect. Having discovered the joys of the "thea-tah" on a date with a rich married woman, she is desperate to put on a show and have everyone know her, however she discovers that this may not be the answer to all her problems. Johnnie Fiori is endearing but strong as the truck loving Betty Four who struggles with being in love with her best friend.
Anna Reid's simple set works perfectly for this play as the blackbox space becomes the world of the Betties. Hollie Buhagiar's sound effects work equally well, providing us with a little insight into what's to come in the upcoming scene.
The show is extremely funny and almost caricature-like at times but there are moments of pure poinancy which really bring it back down to earth. Everything about Collective Rage is unapologetic and the whole thing is gloriously feminist and queer. For a laugh a minute show that also makes you think, Collective Rage is the one for you.
photo credit: Jack Sain
Tuesday 4 April 2017
Goldstone Live, Hippodrome Casino | Review
Goldstone Live
★★★★★
Goldstone Live brings a group of stunning ladies with glorious voices together in their global entertainment company which provides sparkling entertainment for a number of various private events. This was Goldstone's first ever public event and it did not disappoint.
With it's 54 Below vibes, the Hippodrome Casino was the perfect venue for this retro, glitzy evening. The audience were seated at tables with food and drink flowing which combined with the golden goody bags adorning the place and the warm lighting created an intimate atmosphere.
The stage is small but the whole thing was used to it's full extent with dances and sequins covering every tiny inch. The buzzing atmosphere of anticipation was prevalent from when the audience entered the venue and it certainly went up and up with every high energy performance!
The Goldstone trio Aimie Atkinson, Helen Kurup and Vicky Hoyles opened the show with a fabulous rendition of 'One Night Only' from the current West End hit, Dreamgirls and things only went up from there. The theme of the night was definitely glamour, with a level of glitz I can only dream of! The night was made up of three sets of varying styles and genres but each one was lively and full of energy. The girls put their own Goldstone spin on on every songs; performing pieces from artists such as The Supremes, Beyonce and Nicki Minaj. Their repertoire had something for everyone and I found myself dancing and singing along all night and just enjoying a truly wonderful evening of entertainment.
Along with the 'official' Goldstone girls, the night included some special guests who all fit in perfectly with soaring voices, stunning outfits and glorious personalities. Jodie Steele was a particular standout of the night but it was the overall high caliber of performance which made the night so enjoyable. There were no weak links and everyone gave it their all to create an outstanding evening of entertainment.
I can't review this concert without mentioning the little In The Heights reunion at the end where Gabriela Garcia, Stephanie Rojas, Aimie Atkinson, Genesis Lynea and Sarah Naudi performed a sizzling rendition of 'Lady Marmalade' which really brought the house down and exuded glee!
The show closed in proper Goldstone style with golden dresses as far as the eye could see and an outstanding performance of 'Proud Mary' which I was tired just watching! Overall this was a perfect Sunday evening full of talent, glamour and endearing personalities and I hope one of many more public events put on by these crazily adept ladies! Congratulations to everyone involved for a magnificent performance and true embodiment of girl power!
For more information about Goldstone Live visit: http://www.goldstonelive.com
Thursday 1 September 2016
Little Shop of Horrors (UK Tour), New Wimbledon Theatre | Review
New Wimbledon Theatre
Reviewed on Tuesday 23rd August 2016 by Olivia Mitchell
★★★★
Little Shop of Horrors is one of those cult musicals that everyone has heard of but not necessarily seen. I'd seen the film years ago and knew some of the songs but all I remembered was that its about a plant and this was my first time seeing the musical by Howard Ashman and Alan Menken onstage.
This is certainly a weird musical. We follow Seymour the shop assistant of Mushnik's flower shop who finds fame when he discovers an unusual, unknown plant with a mind (and appetite) of its own which he uses to win over his co-worker Audrey.
For me the standout performance was given by our Seymour, Sam Lupton who has just finished a three year run playing Boq in Wicked. He has a wonderful voice and perfectly embodies the quirky, geeky Seymour. I also adored the Greek chorus-esque divas Sasha Latoya, Cassie Clare and Vanessa Fisher. Stephanie Clift was heartwarming as Audrey, with an especially beautiful rendition of 'Somewhere That's Green', which although being somewhat contrived with the special effects was a very nice moment of the show.
Overall the cast were superb with wonderfully honest performances and although this story is very eccentric and the moral very twisted, its a brilliant show which is well worth checking out for a fun and enjoyable night out.
Little Shop of Horrors will be touring the UK until Saturday November 26th.
Further information and tickets can be found at www.littleshopuktour.com
Thursday 21 December 2017
Hamilton, Victoria Palace Theatre | Review
Hamilton
Victoria Palace Theatre
Reviewed on Thursday 21st December 2017 by Olivia Mitchell
★★★★★
It's worth the hype.
Like many other musical theatre nerds, I jumped on the Hamilton bandwagon just over two years ago and haven't stepped off since. Swept up in the unique style of the show and the inclusivity of it, I fell in love and couldn't wait until I would finally see Lin Manuel Miranda's musical about the rise and fall of the USA's first secretary of the treasury, Alexander Hamilton.
During the past few months, while the show was being primped and preened for its arrival at the newly renovated Victoria Palace theatre, it has been receiving more press and excitement than Prince Harry's engagement! Even as a huge fan and supporter of the show, I was getting to the point where I thought there was no way it'd be worth it. Then I saw it...
Die-hard Hamilton fans are probably expecting everything to sound identical to Leslie Odom Jr.'s Burr, Lin Manuel Miranda's Hamilton or Philippa Soo's Eliza and we can't help but compare to what we're used to from the OBC recording but thanks to the power and brilliance of the London cast, all these comparisons fade away. The entire company pump in soul, heart and skill to the glorious narrative created by Miranda, musical supervisor Alex Lacamoire and director, Thomas Kail.
Giles Terera is charismatic and sharp as Aaron Burr, bouncing brilliantly off of the suave, likeable Jamael Westman as the titular, Alexander Hamilton. The two are perfect as the historical frenemies as Burr begins to resent Hamilton for rising in the ranks of office. Giles has some of the most iconic moments of the show with some truly show-stopping vocal sections, especially in the epic 'Wait For It' and jazzy, 'The Room Where It Happens'. Jamael tackles the huge role with skill and ease, showing his brash side in big rap numbers, as well as his more emotional, Shakespearean side towards the end in his final monologue and the heart-wrenching 'It's Quiet Uptown'.
Whilst these two talented men lead the cast, there is not a weak link anywhere. Powerhouse Rachel John is sassy and strong as the heartbroken Angelica; Rachelle Ann Go manages to be innocent but powerful at the same time in her performance of Eliza who falls for, is betrayed by and eventually forgives the man she loves. Christine Allado as "and Peggy" is particularly humourous as she bounds on stage with a childlike quality in the opening and is contrastingly seductive as Maria Reynolds in act 2 when she belts out 'Say No To This' with ease and drama.
West End newbie, Tarinn Callender is suave as Hercules Mulligan and full of dry humour as James Madison. Jason Pennycooke is frantic, hilarious and all round brilliant as Lafayette/Thomas Jefferson. His fast paced, faultless rap is perfectly balanced with his acting and smooth movement around the stage and he's certainly a stand out. Obioma Ugoala wows with his vocals as he belts 'One Last Time' and as John Laurens/Phillip Hamilton, Cleve September is strong whilst maintaining his childlike quality. Michael Jibson as King George steals every scene he's in. When I say he's hilarious, I mean laugh out loud, unforgettable moments hilarious. Every movement is perfectly thought out and he milks each line with precision.
The ensemble are sharp and outstanding, with In The Heights alumni, Courtney-Mae Briggs capturing my attention throughout. The precise choreography is one of the ultimate parts of the show, it's sharp as sharp can be and mirrors the action to perfection. Like the music, each aspect of on stage drama is reflected by style. Hip-hop, operetta, lullaby's and more embelish the spirit of the moment.
I could continue to rave about this show but I fear that could turn into a full dissertation so here's where I'll end. Hamilton is truly groundbreaking, it challenges the status-quo, brings a freshness to the West End and breaks conformity by casting people of colour and challenging racial tensions. The show embodies representation in every way and is a spectacle to behold.
Hamilton lives up to the hype and is unforgettable. It's cool, unique and diverse as it subverts the typical language of storytelling. Find a way to get a ticket and see this show!
photo credit: Matthew Murphy
I could continue to rave about this show but I fear that could turn into a full dissertation so here's where I'll end. Hamilton is truly groundbreaking, it challenges the status-quo, brings a freshness to the West End and breaks conformity by casting people of colour and challenging racial tensions. The show embodies representation in every way and is a spectacle to behold.
Hamilton lives up to the hype and is unforgettable. It's cool, unique and diverse as it subverts the typical language of storytelling. Find a way to get a ticket and see this show!
photo credit: Matthew Murphy
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