Showing posts sorted by relevance for query opera. Sort by date Show all posts
Showing posts sorted by relevance for query opera. Sort by date Show all posts
Friday, 24 February 2017
Aida (UK Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed: Wednesday 22nd February 2017 by Melanie Mitchell
★★★
Being a relatively inexperienced Opera goer, I wondered how an opera this grand and majestic could be brought to life on the relatively small stage of the New Victoria theatre. My concerns were soon banished. Ellen Kent’s touring production of Aida comes to life with the spectacle, majesty and grandeur the opera was intended for.
The Triumphal March with a cascade of golden confetti and fire is particularly spectacular. One of the main highlights is the appearance of Houdini the Black stallion as the war horse of Radames which was a magical moment to see.
The cast were truly magnificent as was the Orchestra of the National Opera and Ballet Theatre of Moldova, conducted by Vasyl Vasylenko, both playing and singing the extremely difficult score with ease and agility.
All the male performers were strong and powerful, however the Spanish tenor, Giorgi Meladze playing the part of Radames is undoubtedly one of the most beautiful, and powerful tenors I have heard. His voice soared effortlessly and the intense emotion of the piece could be heard in every note.
The female leads both gave accomplished and spirited performances. The mezzo-soprano Zarui Vardanean has a beautiful voice and gave a real air of jealousy and malice to the role of Amneris Princess of Egypt.
French Soprano, Olga Perrier as Aida was absolutely amazing, she captivated the audience from the first note and kept them there. Her haunting performance was for me the highlight of the show, full of emotion, passion and vulnerability.
Aida is touring the UK and Ireland until May 10th 2017.
Review written by Melanie Mitchell
Friday, 5 August 2022
Sierra Boggess to Appear Live in Concert in Christmas at Cadogan Hall
Fourth Wall Live is delighted to announce that Olivier Award nominated Broadway and West End star Sierra Boggess will appear live in concert in ‘Christmas At The Cadogan Hall’ on Sunday 11 December 2022 at 2.30pm and 6.30pm. Tickets are on sale now www.fw-live.com/sierra
Sierra said today, “I’m thrilled to be returning to London to make music together at Cadogan Hall! The concert will feature songs that I love to perform, as well as some holiday music to celebrate the season!”
Sierra Boggess has been seen on Broadway in the Tony nominated musical School Of Rock, It Shoulda Been You directed by David Hyde Pierce, the Broadway production of The Phantom of the Opera, the revival of Master Class and The Little Mermaid, for which she received Drama Desk and Drama League nominations and a Broadway.com Audience Choice Award.
In the West End, Sierra’s theatre credits include Les Misérables, the 25th Anniversary concerts of The Phantom of the Opera at the Royal Albert Hall and her Olivier Award nominated performance as Christine Daae in Love Never Dies.
Other New York theatre credits include the recent off-Broadway production of Barry Manilow’s Harmony, Manhattan Concert Productions’ The Secret Garden at Lincoln Center; the one-night-only concert of Guys & Dolls at Carnegie Hall opposite Nathan Lane, Patrick Wilson and Megan Mullally; the final Off-Broadway cast of Love, Loss, and What I Wore; and Music in the Air for City Center’s Encores! series. She also starred as Christine Daae in the Las Vegas production of The Phantom of the Opera. Across the United States she has been seen in Into The Woods, A Little Night Music, Ever After, Age of Innocence, Princesses, and the national tour of Les Misérables. Her Film and Television credits include Vulture Club with Susan Sarandon and the web series What’s Your Emergency, directed by Michael Urie.
Sierra’s recordings include School Of Rock, It Shoulda Been You, the 25th-anniversary concert of The Phantom of the Opera, the symphonic recording of Love Never Dies, The Little Mermaid, and Andrew Lippa’s A Little Princess. Concert appearances include the BBC Proms at Royal Albert Hall, Lincoln Center’s American Songbook series The Lyrics of David Zippel, The New York Pops at Carnegie Hall, and Broadway by the Year at Town Hall. Sierra has toured all over the world across Australia, Japan, Paris, and London with her concert show, which has been preserved live and released on CD, Awakening: Live at 54 Below. She recently released an album of duets with Julian Ovenden made during the pandemic entitled Together At A Distance. www.sierraboggess.com
Fourth Wall Live is an entertainment company that produces events, concerts and on-stage shows. In January 2022 FWL presented Bonnie and Clyde The Musical In Concert for two nights to a sold-out audience at Theatre Royal Drury Lane, starring Broadway favourite Jeremy Jordan. The concert broke Drury Lane box office records selling out a two-night run in less than six minutes. The concert was live captured for cinematic/streaming distribution, with its release to be announced in due course.
In 2022 Fourth Wall Live is delighted to be presenting Audra McDonald at the London Palladium, and Jeremy Jordan at Theatre Royal Drury Lane. FWL regularly presents concerts featuring stars of the West End and Broadway including Keala Settle, Jeremy Jordan, Matthew Morrison and Hannah Waddingham among others.
Fourth Wall Live was also a producer of Bonnie & Clyde the Musical which ran at The Arts Theatre in the West End for 13 weeks during 2022.
Monday, 26 February 2018
Madama Butterfly, New Theatre Oxford | Review
Madama Butterfly (UK Tour)
New Theatre Oxford
Reviewed on Friday 23rd February 2018 by Donna Meredith
★★★★★
Being new to Opera, I arrived at the New Theatre Oxford keen to experience Ellen Kent’s production of Puccini’s Madama Butterfly.
The story of young Japanese girl, Cio-Cio-San, who sacrifices her Japanese roots and traditions when she marries Lieutenant Pinkerton of the American Navy immediately captivated me.
As the opera starts, the matchmaker Goro is showing Pinkerton round the home he will share with Butterfly.
The marriage ceremony is beautifully portrayed amidst much excitement as the bride is prepared for her nuptials. The vibrant colours and costume design are mesmerising.
The arrival of Cio-Cio-San’s Uncle Bonze marks a change in mood as he clearly displays his intense displeasure with her choice of husband and her contradiction of ancient customs.
Despite her uncle’s anger Cio-Cio-San enters in to the marriage idealistically, for lifelong love. The flighty Pinkerton however sees the marriage as a short-lived affair. He inevitably leaves the country promising to return in one year. Three years later Cio-Cio-San is still patiently waiting, believing that one day he will return and they will be reunited. Cio-Cio-San’s servant Suzuki is her loyal companion during Pinkerton’s long absence
In Act 2 Consul Sharpless arrives announcing the expected arrival of an American ship, Cio-Cio-San is filled with joy at the prospect of the imminent return of her beloved husband. She proudly introduces Consul Sharpless to her and Pinkerton’s son: Sorrow. Consul Sharpless does not have the heart to destroy Butterfly’s joy, by sharing the news that Pinkerton has remarried whilst in America.
In anticipation of her husbands return Cio-Cio-San joyfully begins decorating her home with flowers. Whilst Suzuki and the child sleep Cio-Cio-San waits eagerly for Pinkerton's return. As the hours pass Cio-Cio-San gives in to exhaustion and joins her servant and child to sleep.
Sharpless and Pinkerton arrive at Cio-Cio-San’s home accompanied by Pinkerton’s new American wife. Cio-Cio-San is overjoyed when she wakes to hear her husband’s voice. Her joy at the sight of her beloved Pinkerton is clear to see. It is left to the ever-faithful Suzuki to explain to Cio-Cio-San the true intentions of Pinkerton’s visit. The realisation the he has not returned for her, but to take her son from her, and raise him with his new wife in America is met first with disbelief and then acceptance.
The overwhelming sorrow that Cio-Cio-San experiences at the loss of her son leads the heart-breaking climax of this sorrowful tale as she takes her own life.
I found the whole performance beautiful,mesmerising and ultimately painfully sad. The stage setting is simple and in fact the same for both acts. Clever lighting by Valeriu Cucarschi subtly uses shadow on the paper walls to give great visual impact. The Korean soprano Maria HeeJung Kim as Cio-Cio San gives an impressive performance, ably supported by Giorgio Meladze as Pinkerton and Zara Vardanean as Suzuki.
A mention must also go to Vasyl Vasylenko’s superb conducting of Puccini’s music.
It was a pleasure to have the opportunity to speak with Ellen Kent after the performance and congratulate her on bringing together a very talented cast and succeeding in making opera accessible to the masses. I arrived as a first time opera goer and left as a firm fan – next stop Tosca!
Thursday, 16 September 2021
Bat Out of Hell (Tour), Manchester Opera House | Review
Bat Out of Hell (UK Tour)
Manchester Opera House
Reviewed on Saturday 11th September by Hope Priddle
★★★★★
Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend. A stunning realisation of Jim Steinman’s life’s work and Meat Loaf’s iconic trilogy, the rock-opera is set in the dystopian city of Obsidian, a wasteland governed by the despotic Falco in the wake of a chemical war. Falco embarks upon a campaign to rebuild his metropole, which has since been overrun by a gang of feral, mutated youths – The Lost - frozen forever at the age of eighteen. As their leader Strat falls for the tyrant’s daughter Raven, an epic drama unfolds.
Bat Out Of Hell has undergone numerous changes across its various iterations; this new touring production is no exception, having been understandably shortened and scaled back. The book, which was already somewhat nonsensical, has suffered because of this. Amendments to the script, which were clearly made to clarify and accelerate the storyline, are overly literal, with clunky dialogue often betraying the visceral atavism of Steinman’s poetry. However, it’s foolish to think that anyone coming to see Bat Out Of Hell is after a refined and sophisticated narrative. Bat Out Of Hell is bursting with knowing irony and sarcasm – it has its tongue firmly situated in its cheek throughout. It’s a magical fever dream that invites you to suspend your disbelief.
Incoherency is irrelevant when you have a cast as stellar as this one - a cast who perform with such raw passion and hunger, you absolutely cannot take your eyes off them. As the black-hearted leader of The Lost and ultimate manic pixie dream boy, Glenn Adamson is mesmerising as Strat. His powerful performance of the titular song blew the roof of the Manchester Opera House. Adamson shares sizzling chemistry with Martha Kirby, our atypical teenage ingénue Raven, who perfectly captures the character’s fearless spirit and delivers flawless vocals. Rob Fowler and Sharon Sexton triumph as Raven’s parents, Falco and Sloane. While the couple are outrageously comic and camp, their failing marriage inspires genuine pathos as they reflect upon What Part of My Body Hurts the Most. Sultry and savvy, Joelle Moses embodies the role of Zahara; James Chisholm is charming as tough yet huge-hearted Jagwire, and Killian Thomas Lefevre plays a wholly endearing Tink, the youngest member of The Lost. Whilst supporting characters Valkyrie (Kellie Gnauck) and Ledoux (Danny Whelan) demonstrate stunning vocal prowess, the loss of an all-male rendition of Objects In The Rear View Mirror during the second-act, is felt massively. In previous productions, the number provided an emotional antidote to examples of sexually-charged masculinity and it was always refreshing to see raging machismo tempered by platonic male love.
The ensemble are electric, executing Xena Gusthart’s dynamic choreography with real attitude. They are complimented by a spectacular use of multi-media effects, including live video. Action is televised, Big-Brother style, across the auditorium, with an on-stage camera woman magnifying the drama. Given that the cast have free-reign over Jon Bausor’s multi-levelled post apocalyptic playground, this technique proves highly effective in capturing every little detail. The show is a huge assault on the senses, in the best way possible; expect a cacophony of colour, light, sound (and fire)!
If you’re after an evening like no other, exploding with hedonistic pleasure and unadulterated euphoria, head out on your Harley and get yourself a ticket…before they’re too hot to handle.
Bat Out of Hell is currently touring the UK and Ireland
photo credit: Chris Davis Studio
Wednesday, 27 March 2019
Romeo and Juliet, Royal Opera House | Review
Romeo and Juliet
Royal Opera House
Reviewed on Tuesday 26th March 2019 by Olivia Mitchell
★★★★
Romeo and Juliet is arguably Shakespeare's most well known play and a regular feature in the Royal Opera House programming, having been performed by The Royal Ballet more than 400 times since its Covent Garden premiere in 1965. This season beautifully revives Kenneth MacMillan's dramatic monument in a smooth and moving way, with a number of Company debuts making it feel fresh even after all these years.
In the title roles, Matthew Ball and Lauren Cuthbertson are a match made in heaven as they bounce off of one another, in their sweetly romantic choreography which showcases young love (and obsession) especially well. The tension as they build to their first kiss is palpable. Romeo lifts his Juliet onto pointe as they kiss and creates a very calm and heartwarming moment before the fast paced drama of the next two acts. Ball and Cuthbertson are masters of their craft and give performances which completely justify their successes.
Act One drags a little but the pageantry from the offset is marvellous. The sword fights are choreographed memorably and sharply and stand out against Nicholas Georgiadis' set as they fill the vast stage. The contrast between the intimate pas de duex and large scale ensemble numbers does well to bring variety and allows moments of extreme action as opposed to storytelling alone. A particular stand out is certainly Marcelino Sambe who leads the mandolin dance perfectly and creates a buzz as the audience are drawn in by his fantastic technique and performance skills. Itziar Mendizabal also shines as she brings brief moments of humour and light to the three harlots who appear throughout.
The melodrama is prevalent, with Mercutio's death (Valentino Zucchetti) and Lady Capulet's break down providing emotionally impactful moments. Mime is used perfectly by the pair as well as by Cuthbertson who acts beautifully throughout.
Brief moments where dancers fell out of time are noticeable but do little to detract from the story and flow. Whilst MacMillan's choreography does everything it should, there are times when it feels too much is being done in too little time, and there isn't a second to really appreciate the intricacies of the basics. The musicality of movements feels undervalued in comparison with storytelling.
MacMillan's telling really puts Juliet at the heart of the story which brings a fragility and power that makes it so special. A wonderfully danced and highly luxurious production, Romeo and Juliet is sure to delight audiences.
Romeo and Juliet runs at the Royal Opera House until 11th June 2019 and will also be screened at cinemas on the 11th.
photo credit: Helen Maybanks
Saturday, 24 March 2018
Don Giovanni (Welsh National Opera Tour), Mayflower Theatre | Review
Don Giovanni (Welsh National Opera Tour)
Mayflower Theatre
Reviewed on Friday 22nd March 2018 by Lucy Jardine
★★★★
This performance of Don Giovanni was part of a short Welsh National Opera (WNO) season at the handsome, art deco Mayflower Theatre in Southampton. WNO are touring England and Wales until mid-April performing Don Giovanni, Tosca and La Forza del Destino and based on this performance I would recommend seeing any of the three productions if you can.
Don Giovanni is one of Mozart’s best known operas, first performed in Prague in 1787. The events take place in 18th century Seville and this production is true to the original setting, with elaborate costumes to match. The production is sung in Italian, but surtitled in English on a discreet display high above the stage, so you can easily follow the words and see where the story is heading.
Our hero – or anti-hero – is the amoral libertine Don Giovanni (played by Gavan Ring), whose only purpose in life is to seduce as many women as he can, using whatever mixture of money, deception & physical violence is necessary to complete the task.
Somewhat reluctantly aided and abetted by his servant, Leporello (David Stout), Giovanni attempts to seduce the newly-married peasant girl Zerlina (Katie Bray), while avoiding her husband Masetto (Gareth Bynmor John) and trying to elude his former lover, Donna Elvira (Elizabeth Watts), who cannot make up her mind whether the man who betrayed her deserves forgiving or murdering.
Meanwhile, Donna Anna (Emily Birsan), attended by her steadfast lover Don Ottavio (Benjamin Hullett), is bent on avenging the killing of her father, the Commendatore (Miklos Sebestyen), at the hands of a masked assailant who's eventually revealed to have been the Don himself.
As you might expect from the full title of the opera, “Il dissoluto punito, ossia il Don Giovanni” or “The Rake Punished, or, Don Giovanni”, things do not end well for our main character when he finally has to face something that he can’t bribe, beat up or outwit.
Overall this was an enjoyable performance with a strong cast, but Emily Birsan as Donna Anna and Katie Bray as Zerlina stood out for the combination of great singing and good acting they brought to their roles. David Stout as Leporello also outshone his master on a number of occasions.
photo credit: Richard Hubert Smith
Friday, 3 August 2018
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
Saturday, 6 July 2024
Andrea Bocelli Hyde Park Concert: Rain Can't Dampen Stunning Performances
Andrea Bocelli
BST Hyde Park
Andrea Bocelli's performance at Hyde Park was a night of unforgettable music, incredible talent, and, unfortunately, a lot of rain. But let's dive into the highlights that made the evening truly special, despite the less-than-ideal weather.
First off, the support acts were fantastic! His son, Matteo Bocelli, opened with some of his own compositions, including a gorgeous piece he wrote for the Netflix show From Scratch. Matteo wooed the crowd with his suave performance and stunning vocals, setting the tone for the evening. Another highlight included some moments with Grammy award-winning singer Joaquina who's voice is absolutely glorious. Katherine Jenkins followed with a delightful set, including an impromptu rendition of 'Singing in the Rain', complete with a brolly! She later swapped her Manolos for Hunter wellies, embracing the weather with style. Her sparkly outfit matched her personality and shone brilliantly against the grey skies. A highlight of her performance was her duet with John Owen-Jones on Barcelona- truly a magical moment.
Now, let's talk about the weather. There's a reason the festival is called BST- British summers are notoriously unpredictable, and yesterday was no exception. The rain did put a bit of a dampener on the evening, both literally and figuratively. The performances were impeccable, but it was hard to fully enjoy while getting drenched. That said, the shared experience of braving the downpour added a unique camaraderie among the audience. Andrea himself called us heroes for sticking it out and rewarded us with a performance that was worth every soggy moment.
Act One began with a bang as Andrea performed 'La Donna è Mobile', supported by the Royal Philharmonic Orchestra. The first half of the concert featured a selection of opera pieces, with standout guests like soprano Nadine Sierra, mezzo Isabel Leonard, baritone Luca Micheletti, soprano Henna Munn, flautist Andrea Griminelli, violinist Rusanda Panfili, and the Crouch End Festival Chorus. Each piece was delivered with emotion, humour, and a touch of flirtation—perfect for both opera aficionados and newcomers. However, it would have been helpful to have subtitles like at Opera House performances, allowing everyone to engage more deeply with the lyrics, or perhaps just more introductions to the pieces giving a general theme.
Act Two shifted the mood with a mix of more recent songs and Andrea's beloved classics. Highlights included a stunning rendition of 'The Prayer' with Loren Allred and a powerful performance of 'Nessun Dorma' to close the night. The set list was further enriched by appearances from German film composer Hans Zimmer, legendary British singer-songwriter Seal, and Italian gospel and blues artist Zucchero. A heartwarming moment was Andrea's duet with his daughter Virginia on Hallelujah, showcasing the immense talent within the Bocelli family.
So, while the rain did affect the enjoyment a bit, the stellar performances and the communal spirit of the audience made it a memorable evening, especially as the largest outdoor classical concert in Europe in this century. Andrea Bocelli, with his incredible voice, delivered a concert that resonated deeply, despite the weather.
★★★★
Reviewed on Friday 5th July 2024 by Olivia
Photo Credit: Dave Hogan
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 5 November 2024
Mike Leigh’s Acclaimed The Pirates of Penzance Returns to English National Opera This Winter
Set sail for an evening of swashbuckling humour, iconic songs, and sharp satire as the English National Opera (ENO) revives Mike Leigh’s The Pirates of Penzance at the London Coliseum, running from December 2nd, 2024, to February 21st, 2025. First directed by Leigh in 2015 to great acclaim, this production brings Gilbert & Sullivan’s beloved comic opera back to the stage for a second revival, guided by Revival Director Sarah Tipple and featuring the ENO Orchestra under the baton of Natalie Murray Beale, a conductor making her highly anticipated ENO debut.
With 15 scheduled performances, this production tells the charmingly absurd story of Frederic, a young pirate apprentice torn between his duty to his pirate crew and his love for Mabel, the daughter of Major-General Stanley. Audiences can look forward to iconic numbers like 'I am the Very Model of a Modern Major-General' and 'I am a Pirate King'. delivered by an exceptional cast of G&S veterans and ENO regulars.
Richard Suart reprises his celebrated role as Major-General Stanley, joined by John Savournin as The Pirate King, bringing his G&S expertise from recent ENO productions Iolanthe and H.M.S. Pinafore. Tenor William Morgan makes his debut as Frederic, and Classic FM “30 Under 30 Rising Star” Isabelle Peters will play Mabel, following her appearance in ENO’s Jenufa in 2024. Rounding out the principal cast are James Creswell as Sergeant of Police, Bethan Langford as Edith, and Gaynor Keeble as Ruth.
Mike Leigh’s production, known for its vibrant direction and humour, is brought to life with design by Alison Chitty, lighting by Ian Jackson-French, and choreography by Francesca Jaynes. A relaxed performance will take place on Thursday, January 30, at 13:00, and a signed performance on Saturday, February 8, at 14:30.
Ticket Information:
Tickets begin at £10, with free options available for those under 21, and discounted prices for 21-35-year-olds. A booking fee of £3.75 applies for online and phone bookings. The production is a co-production with Les Théâtres de la Ville de Luxembourg and the Saarländische Staatstheater Saarbrücken.
Performance Dates:
Evening Performances: December 2, 4, 6, January 24, 25, 30, February 4, 6, 19 at 19:00
Matinee Performances: December 7, January 30 (13:00); January 25, February 8, 21 (14:30)
Thursday, 24 August 2017
Jane Eyre (Tour), Grand Opera House | Review
Jane Eyre (Tour)
Grand Opera House, Belfast
Reviewed by Damien Murray on Tuesday 22 August 2017
★★★★★
The National Theatre and Bristol Old Vic’s joint production of Jane Eyre is astonishingly good … and it is far from being what one would expect!
It may be based on Charlotte Brontë’s classic novel, but this work – devised by the original company – is modern in its approach, in its styling and in its staging and manages to retain Jane Eyre’s core characterisation of being a free spirit and a strong-willed individual who strives for equality and for the right to be herself.
I am not a Brontë fan, yet I was blown away by this riveting production and gladly sat through over three hours of it without any loss of interest. Everything about this visually-stunning production is praise worthy, from its innovative direction and inventive staging to its exceptional and intense ensemble playing (complete with strong elements of physical theatre), and from its faultless lighting and sound plots to its magnificent movement, which ranged from the delicate and the balletic to the furious and the frenzied throughout.
The trio of on-stage actor/musicians brought a lot to the table, with music that varied from appropriately ‘English’ style folk to gospel to what could best be described as atmospheric soundscapes, when required. Musically, I loved Melanie Marshall’s apt interpretation and arrangement of the Gnarls Barkley (CeeLo Green) hit, 'Crazy' – so unexpected, yet totally fitting.
Although performances were all faultless, I must congratulate Paul Mundell in particular for bringing the dog, Pilot, to life so well and with so much humour.
Years ago, the Belfast Festival at Queen’s used to bring some spectacular pieces of world theatre to Belfast and these were ‘special’… This production is of such a high calibre that it seems a shame that it is just another touring production, for it, too, is very ‘special’ and provides a fantastic night of theatre – Don’t miss it!
Jane Eyre continues at Belfast’s Grand Opera House until Sat 26 Aug, 2017
Tuesday, 29 October 2024
13 Going on 30 - The Musical Premieres in Manchester in 2025!
Get ready to be swept back into the whimsical world of 13 Going on 30 as it transforms from beloved rom-com to musical in a world premiere at Manchester Opera House. This limited season debut kicks off on September 21st, 2025, and promises a nostalgic, magical experience for fans and newcomers alike. Based on the 2004 hit starring Jennifer Garner and Mark Ruffalo, 13 Going on 30- The Musical is written by the original film’s writers, Josh Goldsmith and Cathy Yuspa, and directed by award-winning Andy Fickman (Heathers, She’s The Man). Goldsmith and Yuspa have crafted a fresh adaptation for the stage, working alongside songwriters Michael Weiner and Alan Zachary (First Date, High School Musical: The Musical: The Series) to give Jenna Rink’s story a new dimension.
The story follows 13-year-old Jenna, a quirky, awkward middle schooler who feels trapped in the struggles of high school social life. When she wishes to skip ahead to adulthood, Jenna magically wakes up “thirty, flirty, and thriving” with the glamorous job of editor at a high-end fashion magazine. But adulthood proves to be more complex than she imagined, and as Jenna uncovers the life she’s built, she goes on a journey of self-discovery, realizing what- and who- she left behind. With its signature mix of comedy, romance, and heart, 13 Going on 30 explores timeless themes of friendship, identity, and staying true to yourself, making it perfect for a new generation to experience on stage.
Goldsmith and Yuspa, who also wrote the musical’s book, are thrilled to revisit the story, marking the 20th anniversary of the original film. They shared their excitement, saying:
When we wrote the movie 13 Going on 30, we never dreamt that on the film’s 20th anniversary, we’d get the chance to see a whole new generation fall in love with Razzles and feel thirty, flirty, and thriving. It’s been a joy to work with ROYO, Revolution Studios, songwriters Alan Zachary & Michael Weiner, and director Andy Fickman to bring this story to life as a stage musical. We were thrilled by the audience’s response to our workshop last year, and now we can’t wait to officially open in Manchester at the legendary Opera House- the launchpad of so many iconic musicals. So bring your family, your friends, maybe a date, or just come alone- don’t be shy, we’re all nice. Hope you have as much fun seeing the show as we had making it!”
Tickets go on sale at exactly 1:30 PM on November 13th, so set your reminder to grab yours early for this must-see production. With the Manchester Opera House’s legacy as the launchpad of iconic musicals, anticipation is high for this adaptation to make its mark. The full casting has yet to be announced, but with a powerhouse team behind it and plenty of musical talent, 13 Going on 30- The Musical promises to captivate fans of all ages with fresh songs, heartwarming themes, and the classic charm of Jenna Rink’s journey. So bring your friends, family, or just yourself to join in on the fun, laughter, and a little bit of magic at 13 Going on 30- The Musical- an exciting new chapter for a modern classic.
Thursday, 28 November 2019
Rigoletto, New Victoria Theatre (Glyndebourne Tour 2019) | Review
Rigoletto
New Victoria Theatre
Reviewed on Wednesday 27th November 2019 by Olivia Mitchell
★★★★
Surprisingly this is the first time Rigoletto has been part of Glyndebourne's rep but Christiane Lutz's radical rewrite definitely proves a welcome addition. Verdi's dramatic revenge tragedy based on Victor Hugo's play is full of emotion and provides great opportunities for stand out performances.
Rigoletto, the hunchbacked jester, seeks revenge on his employer, the Duke of Mantua for generally being a bit of a jerk, but mainly for kidnapping and seducing his daughter, whom he has protected and kept hidden for most of her life. There are disguises, storms and in the end it's Rigoletto who loses the most.
In Lutz's production, the plot has been transferred from 16th-century Mantua to 1930s Hollywood, where a hunchback-less Rigoletto has become Charlie Chaplin and his vicious employer the Duke, is a movie director. In this version the opening scene features courtier Monterone's daughter committing suicide seemingly due to the way the Duke (encouraged by Rigoletto) took advantage of her and then tossed her aside. She leaves behind a baby daughter Gilda whom Rigoletto adopts, but not before both he and the Duke are cursed by the distraught courtier. What follows in a 17 year gap and an incestuous relationship (neither the Duke or Gilda ever find out they are in fact father and daughter), envisaged by neither Hugo or Verdi.
Overall the changes are mostly effective but the plots feels much more complicated than necessary and it's hard to follow the various relationships, with the end of act one leaving many audience members scratching their heads. The whole added dynamic of Gilda and the Duke proves less compelling and more confusing. That's not to say this production doesn't work and the modernised setting is very effective, but some of the changes feel too dramatic to have not been resolved by the end of the opera.
However, the singers are top notch and this is an opera worth visiting purely for the drama and intensity of the score. At this performance, Nikoloz Lagvilava was unwell so the role of Rigoletto was sung by Michael Druiett and walked on stage by Jofre Carabén van der Meer. Duiett gave an outstanding vocal performance which resonated beautifully and conveyed every emotion exceptionally. Having the role acted separately was actually extremely effective, with Jofre almost taking on the role of a silent movie star against the film set background from Christian Tabakoff. This added a new element to the opera and in a way, let Gilda shine throughout.
As Gilda, Vuvu Mpofu achieves great success in her vulnerable performance and her top register soars elegantly. Matteo Lippi's resilient Duke is surprisingly charismatic despite his flawed personality and is entertaining throughout.
Despite being somewhat hard to follow, this is a strong production with great theatrical elements, that are entertaining and superbly performed.
Friday, 5 November 2021
Mrs Doubtfire Musical to Receive UK Premiere
Producers Kevin McCollum and Jamie Wilson are thrilled to today announce the UK premiere of Mrs. Doubtfire, the new comedy musical based on the iconic movie.
Mrs. Doubtfire will begin performances at the Manchester Opera House on Friday 2 September 2022, with a strictly limited season through until Saturday 1 October.
Tickets for the Manchester season of Mrs. Doubtfire go on priority sale on Monday 8 November and on general sale on Thursday 11 November at www.mrsdoubtfiremusical.co.uk
Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.
Kevin McCollum and Jamie Wilson said: “We are thrilled to announce that Mrs Doubtfire will make its UK premiere next year. Manchester is one of the great cities of theatre, and we can’t wait to bring Mrs Doubtfire to the Opera House. We hope audiences will take this hilarious and touching show to their hearts, and promise a great evening for everyone!”
Sarah Bleasdale, General Manager, Palace and Opera House Theatres, said:
“We’re incredibly excited to have another production launching in the UK from Manchester, and this time – direct from Broadway. We continue to proudly showcase the very best in new musical theatre under our Manchester gets it first banner and know that our audiences have a real treat on the way with the iconic Mrs Doubtfire. A big moment for our theatres and the city, and a production we cannot wait to open our doors to”.
Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick, (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4-time Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).
Mrs. Doubtfire is performing at the Stephen Sondheim Theatre on Broadway, having started at with a spectacular run at Seattle’s 5th Avenue Theatre in 2019. Extended by popular demand, the Seattle engagement shattered the record for the bestselling new musical in the history of The 5th Avenue Theatre, selling over $4.7M worth of tickets and playing to more than 75,000 people in just 42 performances.
Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.
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