Showing posts sorted by date for query opera. Sort by relevance Show all posts
Showing posts sorted by date for query opera. Sort by relevance Show all posts
Thursday 27 June 2019
Bare: A Pop Opera, The Vaults | Review
Bare: A Pop Opera
The Vaults
Reviewed on Wednesday 26th June 2019 by Olivia Mitchell
★★★
Bare is a pop-rock chronicle of ill-fated gay love at a Roman Catholic boarding school. It focusses on issues including bullying, depression, homophobia and stigmatisation. The score is often touching and intricate and the young cast mostly do a fantastic job of performing it earnestly.
Having premiered off-Broadway and receiving various productions around the world, the show has gained a considerable cult following so this London production has been highly anticipated. Showing at Waterloo's Vaults, the theatrical experience is somewhat immersive as the action comes at you from all angles. Whilst most of the time this is effective, at moments the novelty of peering through heads to see what's going on does wear off, and the large, long stage feels underused.
Personally the pacing of this show is what lets it down. Act one is all about the set up and then everything major happens in act two. For this reason there are times, especially in the first half, where you feel uninvested. However, there are moments which stand out, namely Georgie Lovatt who is making her professional debut in the show, before she graduates. Her touching and humourous portrayal of Nadia is marvellous to see and she provides outstanding vocals to match.
Lizzie Emery gives a well rounded performance as Ivy and beautifully highlights the internal struggles many people face growing up. Her well nuanced performance is furthered by her fantastic solo, All Grown Up in act 2 which is a goosebump-inducing vocal powerhouse moment. Tom Hier is wonderfully motivated as Matt and gives a magnetic performance whenever he is on stage.
As the lead couple, Daniel Mack Shand (Peter) and Darragh Crowley (Jason) have a simmering relationship. Whilst facing the struggles of being oppressed for their sexuality and struggling to come out to those around them, it's clear they are trying to use their love to keep them grounded. Whilst there are moments of clear affection between them, most of the time they feel a little disconnected. The audience never really see a pure moment of love between them all because there's always something going on with them. Whilst of course this is partly the point, it does mean we root for the pair less. However, Darragh Crowley's performance is excellent both vocally and acting wise.
Andrew Ellis' lighting is effective, mostly so in the second act. The angelic murals on the wall are lit up at crucial times and the contrasts between cool and warm are well done.
Overall this is a musical of two halves. The performances are strong and the music itself is extremely clever and mostly engaging, but at the same time there are moments that drag. For fans of Bare this is a must to tick off your list, but I suspect it will be a bit of a marmite show.
photo credit: Tom Grace
Wednesday 26 June 2019
West End Live 2019 I A Photo Round Up
There's no denying that West End Live is one of the most stagey and fun weekends in a theatre fans diary. The finest of the West End musicals come together to perform live and for free in Trafalgar Square as hoards of fans belt back their favourite songs.
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
This years performances included Wicked, On Your Feet, Jesus Christ Superstar, Six, Les Miserables, Phantom of the Opera and so many more. As the sun shone down, beaming smiles filled Trafalgar Square and allowed the audience to see and hear classic musicals, as well as getting a sneak peek at some up and coming shows including Brooklyn and Falsettos. There's really something wonderful about seeing so many theatre fans in one place, united purely through their love of all things stagey. In its fifteenth year, West End Live proves to be a bigger and better hit.
Rewrite This Story were there to snap some of the best moments from the photo pit. See a selection below and relive the best weekend:
We can't wait for next years West End Live! Let us know your favourite moments from the weekend in the comments.
photo credit: Olivia Mitchell
Thursday 20 June 2019
The Light in the Piazza, Royal Festival Hall | Review
The Light in the Piazza
Royal Festival Hall, Southbank Centre
Reviewed on Wednesday 19th June 2019 by Olivia Mitchell
★★★★★
The Light in the Piazza is a contemporary musical which invokes all the feelings of the golden age and is a sumptuous treat for the eyes and ears. The marvellously swooping score by Adam Guettel whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
As Clara, Dove Cameron is a marvel. A perfect combination of charm, innocence, an unruly heart and a headstrong mind, she lights up the stage every second she's on it (which is most of the show). Equally, the more intensely dramatic moments of the musical are performed with a candor and aggression which strikes and moves the audience. Cameron is a true star with vocals to match her captivating performance.
Rob Houchen has a way of surprising audiences with each role he takes on. This time it's the Italian leading man, Fabrizio, who is swoon-worthy, humourous and charismatic. As always Rob's acting performance is strong, with the comedic moments especially landing well; but it's Houchen's vocal performance which solidifies him as the dream casting choice for this role. The swooping vocals seem to pour out of thin air as Rob captures every moment with ease and control. Alongside Cameron, the pair create a chemistry which fizzles around the Festival Hall and creates a fuzzy feeling from start to end.
Taking the role of the protective mother, Renée Fleming soars. Her deep operatic voice fills the festival hall but still manages to capture the intimate vulnerability she feels throughout. Mention must go to Mick Potter who has designed the sound of this show excellently. With the mix of operatic and musical theatre performers, there is always a risk of one overpowering the other, especially with opera performers usually being unmiced but this is not the case at all and the two styles meld and compliment each other fantastically.
Celinde Schoenmaker oozes sass as she struts across the stage in a smooth two piece and provides some of the musicals conflict during her marvellously performed The Joy You Feel. Liam Tamne is light relief as her husband Guiseppe Naccarelli. Alex Jennings also gives a memorably suave performance as patriarch Signor Naccarelli.
Brigette Reiffenstuel's 'frocks' are completely divine and indulgent, with floating fabrics and tailored Italian suits covering the stage. Backed by Robert Jones' simplistic but intuitive set, Dove Cameron seems almost doll like as she twirls around Italy in her magnificent pastel coloured clothing.
Sure, the story is lacking, but this is a show about love and you can't help but feel overcome by warmth as you watch it all play out. There are many a predictable moment, but thanks to Daniel Evans' direction, they're all carried out so well that they feel fresh and unexpected, regardless.
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
Wednesday 5 June 2019
The Firebird / A Month in the Country / Symphony in C, Royal Opera House | Review
The Firebird / A Month in the Country / Symphony in C
Royal Opera House
Reviewed onTuesday 4th June 2019 by Olivia Mitchell
★★★★
The Royal Ballet are wrapping their summer season up with a trio of delightful works by three of the greatest choreographers. Together they form a night entertainment that is full of surprise, and more importantly variety. The versatility of ballet is showcased, as are the spectacular dancers who fizzle with precision and energy at once.
The proceedings open with The Firebird which is strange but feisty. Combining Russian folklore with Stravinsky's score and classical ballet, the result is a crackling piece of theatre which is exciting and superbly easy on the eyes. The Firebird herself, Yasmine Naghdi really does flame across the stage as she vanquishes the sorcerer and creates moments of magic. Naghdi is nail bitingly sharp in every step and her technical precision screams out. Alongside her musicality, gentleness and stage presence, her interpretation is powerful and inviting.
Christina Arestis is beautiful and graceful as the Tsarevna; and alongside Edward Watson's persistent Tsarevich the pair make a lasting statement. Gary Avis is suitably gnarled as Kostcheï and brings both humour and menace to the theatrical character.
The Royal Ballet staple, A Month in the Country is the stand out of the trio, proving what a masterful choreographer Frederick Ashton was. Marianela Nuñez is divinely light as precise as Natalia who truly is The Nutcracker's Clara, all grown up. Her delightful performance and flirtations throughout the piece are marvellous to watch and the grace she moves with is truly mesmerising.
Matthew Ball is handsome and powerful as Beliaev the tutor who has the ladies of the house fawning after his. The pax de deux's Ball dances with both Francesca Hayward and Romany Pajdak are impeccably strong and emotive.
Chopin's sumptuous melodies also add to the enthralling nature of this piece and one can't help but find themselves wrapped up in the sweetness and warmth of it all.
The final treat of the series is Balanchine's Symphony in C which rattles along to close the programme on a high. Anthony Dowell's simplistic backdrop perfectly highlights the magic of ballet, with the dazzling white tutus creating a striking and magnificent contrast to the blue screen behind them. Each dance, both solo and in the corps de ballet gave stellar performances. Special mention must go to Fumi Kaneko who stepped in at the last minute to give an enchanting performance.
Together, these works create a triple bill that is a swoon worthy, explosion of exuberant dance.
photo credit: Tristram Kenton
Tuesday 28 May 2019
Tosca, Royal Opera House | Review
Tosca
Royal Opera House
Reviewed on Monday 27th May 2019 by Olivia Mitchell
★★★★★
The Act One finale of Puccini's swooping opera has got to be up there on the list of the best theatrical moments ever. The curtain comes down on Scarpia singing his menacing lament and we enter the first interval feeling utterly wrapped up in this glorious production; a feeling which continues until the very end.
Kristine Opolais strongly performs Tosca, with all the shrieks needed and a wonderfully characterised lovers tiff in act one where she is a flirty and and playful diva. At times her vocals feel a little light purely due to the power of Vittorio Grigòlo's booming Caravadossi but overall the vocals are as soaring and emotive as you desire. Opolais balances the diva and naive sides well both characterisation and vocal performance.
Grigolo gets the passion and vulnerability of Caravadossi to feel natural and all-encompassing at once. The tenor gloriously performs Puccini's music finding explosive moments at the top of his range, as well as drawing us in with his highly controlled legato and dynamics; E lucevan le stelle is a particular, chill-inducing highlight.
Ironically it is a delight to see and hear Bryn Terfel as he brings the cruel, lascivious character of Scarpia to life. Despite being one of the most evil opera villains, one can't help but want him on stage more as his performance is so strong. The role requires not only serious vocal chops, but serious acting ones as well, Terfel provides both to create a perfect performance.
Paul Brown's set seems to get more beautiful with each act. Beginning in the Church, there are hints of magic and mystery, as well as small details of the trails being faced in the outside world. Scarpia's apartment is big, dark and overwhelming. Bookshelves devoid of books and an intimidating statue of a man crushing an opponent are signs of the way this cruel man runs his life. The final act is the barest of them all, featuring sharp angles in muted tones, the emotion is really the focus. Mark Henderson's lighting helps bring to life the love and hated which seeps through this production.
Alexander Joel's conducting brings out every ounce of tenderness and cruelty from the divine score as the Royal Opera House Orchestra soar through every moment. Jonathan Kent's production of Tosca is a must-see and is a perfect introduction to the drama and beauty of opera.
photo credit: Catherine Ashmore
Friday 17 May 2019
Summer Street, Waterloo East | Review
Summer Street
Waterloo East
Reviewed on Thursday 16th May 2019 by Shaun Dicks
★★★★
Everything is a little brighter on Summer Street, or in this case Waterloo East Theatre. Summer Street takes us back to the hayday of the 1990’s to 00’s Australian soap opera or ‘Soapys’ where Jason Donovan and Kylie Minogue were making their marks on television and British pantomimes always starred a Soapy star.
In Summer Street the Aussie Soap Opera Musical we follow one of the biggest Soapy shows, Summer Street. After a few years of the show being cancelled, the stars of the show are brought back together for a one off spectacular, with a live broadcast at the end.
Summer Street as a show is hilarious. It is pure spoof comedy in its material and the cast does well to carry that over. However, at some points it feels that the cast are almost trying too hard to bring the comedy and some spots aren’t allowed to breathe. But nine times out of ten, the comedy works.
The cast is four persons strong, with Simon Snashall as Bruce/Mick/Dr Marl and Myke Cotton as Paul/Brock/Butch putting in good performances. They landed jokes and hit their harmonies well. But the women stole this show. Julie Clare as Steph/Mrs Mingle/Marlene was an absolute powerhouse and Sarah-Louise Young as Angie/Bobbi/Sheila was complete comedy gold. These two women had fully fleshed out characters, all three diverse from each other. Their comedic timing was brilliant, especially in song with Marlene’s boppy Lucky Plucky Me and Bobbi’s Chains Around My Heart. And overall the shows harmonies are good, this is a testament to Musical Director Sarah Morrison.
The man whose fingerprints you can see all over the show is Andrew Norris. His script and lyrics with all the gags and obvious spoof is very funny. The music is kitschy, catchy, very much of the 90’s/00’s era and you can hear all the different influences in his score. The direction generally is good. Like I’ve previously said, there are moments when the show need to breath and maybe go for the less obvious comedic choice. The choreography by Lauren Chinery is stylised and of the era but the set design by Amy Mitchell is limited.
Summer Street is fun, silly, spoofy and full of gags. It’s exactly what all of us need at the moment. It takes us back to an era from the not so distant past. The show makes you feel good, smile and gut-bustingly laugh. So, hop on down to Summer Street for a ripper. Bonzer mate!
Summer Street runs at the Waterloo East theatre until 2nd June 2019
photo credit: Simon Snashall
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
Tuesday 19 February 2019
Five Reasons to see Fame on Tour
Last night I visited the New Wimbledon Theatre to see the current UK tour of cult classic, Fame! Having already seen the show and reviewing it here, I thought I'd switch it up a bit by bringing you my five reasons to see the, feel-good, high energy show.
Developed by David De Silva and telling the story of a group of aspiring performers, this production, which is celebrating the show's 30th anniversary is all you could wish for in Fame.
So, Here She Goes with five reasons to see it...
The Emotions: Happy, sad, energetic, heartbreaking. Whatever sort of emotions you crave to feel, this show will have you feeling them. It's a un-sugarcoated look at being a performer and all that entails, and whilst it faces some ugly truths, it also reminds us of the importance of doing what you love and doing it with your whole heart.
New York: I'm an absolute sucker for anything set in New York. Be it a rom-com, an opera, a book or a musical, there's just something inspiring about watching people succeed in such a harsh but opportunity filled city. The cast do a wonderful job of showing the pure grit and determination it takes to be victorious, and Morgan Large's set brings aspects of the city to life with ingenuity and style.
The History: The original Fame film debuted in 1980 to much acclaim and since then has amassed a big following over it's various incarnations. This history that people have with the show means there's something in this tour for everyone to enjoy and reminisce about, whilst people new to the story and show can also relate and enjoy it. It's not the leg-warmer filled film you might remember, but it has all the heart and drive.
The Cast: A musical wouldn't work without a cast, and this cast is superbly strong. As opposed to having a singular lead, a number of people helm the show and do so with triple threat greatness. Mica Paris' vocal performance is second to none and completely stuns the audience into ovation. Keith Jack and Molly McGuire are suitably dramatic as Nick and Serena as they navigate acting and romance, whilst Jorgie Porter gives a strong performance as Iris. Stephanie Rojas is outstanding as she not only gives a vocally flawless performance but also completely embodies Carmen on her journey from sassy, fiery Latina, to a battered girl, and creates a stunning and moving character arc. This is a largely ensemble led piece and the entire team come together to create a realistic performing arts school, complete with actor musicians and wonderful dancers.
The Music: If you're even the tiniest bit stagey, you'll know the title song, 'Fame' and it will no doubt invoke visions of raised arms and leg-warmers. Well the high octane, upbeat music does not stop there. The show is filled with fun musical numbers that feature various musical styles and influences, with Latin vibes in 'There She Goes' and gospel sounds in 'Mabel's Prayer' that all come together to create a catchy score that'll have you tapping your toes and dancing your way out of the theatre. Mica Paris' 'These Are My Children' is certainly one of the most vocally assured performances out there, whilst Stephanie Rojas gives everything she has in her heartbreaking but exceptional performance of 'In LA'.
For a fun evening that still tackles serious issues, Fame is the show to see. It's a melodramatic, no gimmick show that'll leave you dancing on the sidewalk and no doubt belting a number of two into your hairbrush when you get home!
For a fun evening that still tackles serious issues, Fame is the show to see. It's a melodramatic, no gimmick show that'll leave you dancing on the sidewalk and no doubt belting a number of two into your hairbrush when you get home!
Fame runs at the New Wimbledon Theatre until 23rd February before continuing it's tour
Post by Editor, Olivia Mitchell
photo credit: Tristram Kenton
Friday 15 February 2019
The Cunning Little Vixen/The Two Pigeons, Royal Opera House | Review
The Cunning Little Vixen/The Two Pigeons
Royal Opera House
Reviewed on Thursday 14th February 2019 by Olivia Mitchell
★★★★
In a charming night of theatre, we see artist-in-residence Liam Scalett's forty minute ballet, The Cunning Little Vixen, for The Royal Ballet School; paired with Frederick Ashton's stylish piece, The Two Pigeons. The two works create a programme that evokes warmth and feels ever so magical.
Scarlett's musicality is evident in The Cunning Little Vixen as he allows Leoš Janáček's score (arranged by Peter Breiner) to guide the piece. Scarlett has also made clever use of projection (designed by Finn Ross and Ash J Woodward) in the form of a children's cartoon which embellishes the story and adds a humourous layer, but doesn't detract from the dancers. Instead it works in conjunction with them. As chickens and feathers fly on screen, they also fly on stage and create a frenetic energy amongst the cast.
The cast of younger and older dancers join together to give a wonderfully gleeful and heartwarming show. The story is nothing groundbreaking but is a vibrant and a perfect introduction to ballet.
Madison Bailey as Sharp-Ears The Vixen is delightful and mischievous and alongside Liam Boswell as Goldspur The Fox, the pair create some fabulously playful and enjoyable moments. The entire cast of animals are brought to life not just by their animated and spirited performances but by the bright costumes which bring childhood joy to life on stage as well as providing humour and movement on their own. From bumblebees to ladybirds and a frog, each animal is uniquely and clearly characterised and looks wonderful under Les Bone's lighting. Scarlett really has done a wonderful job on this piece.
In The Two Pigeons, the musicality and purity of Ashton's choreography, leads to the focus being solely on the dance and technique. Whilst Jacques Dupont's fantastic costumes bring life and vibrance to the stage, the core of this production is on the ballet itself. The intensely emotional choreographic style is especially moving in the final moments of the piece and the reunion pas de deux we have all been waiting for, is pulled off with delicacy and sincerity and is certainly worth the wait.
Yuhui Choe as The Young Girl is pretty much perfect in her debut as she performs with desire and a hint of petulance. Alexander Campbell is suitably 'artistic' in his frustrations between the ballerina and the gypsy. Itziar Mendizabal is seductive and calculating and she fights and flirts in equal measure through her strong and impressive dance.
Featuring moments which feel almost impressionistic as well as purely classical, The Two Pigeons is an entertaining and heartwarming piece. Act one tells most of the story so act two does drag a little as nothing happens to move the plot along but the energy and height with which the dancers perform, helps to keep the audience invested and enthralled.
This is a perfect programme for a whimsical but beautifully performed evening out and is a wonderful opportunity for current students to experience the professional world.
photo credit: Tristram Kenton
Saturday 9 February 2019
The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review
The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★
Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.
This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.
Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.
For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.
Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.
As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).
Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.
Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits.
Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece.
Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.
Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.
Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.
Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony.
What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.
Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore.
Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production.
The Bodyguard runs at the Grand Opera house until 16th February 2019
photo credit: Paul Coltas
Sunday 9 December 2018
Jack and the Beanstalk, Grand Opera House, Belfast | Review
Jack And The Beanstalk
Qdos Entertainment
Grand Opera House, Belfast
Reviewed on Tuesday 4th December 2018 by Damien Murray
★★★★
Jack’s back!… and so is pantomime in all its traditional glory in this truly spectacular show that remains as magical as Jack’s famous beans … for, it really is the BeansTALK OF THE TOWN!
The key to the success of any Panto is not only having all of the required elements, but achieving the right balance of its ingredients -staging, spectacle, performance, humour, music, choreography, magic, special effects, sound and lighting etc.,- to make it equally appealing and entertaining to all of its cross-generational audience… and this production has it all with balance finely tuned in all departments.
However, the most challenging thing about this super slick production was how to give this annual treat a new direction in terms of returning to more traditional values without diminishing the hi-tech appeal and special effects that modern audiences have come to expect and appreciate.
So, while the humour is more traditionally corny and the re-introduction of both a speciality act and some visual magic adds the degree of old time ‘variety’ lacking in so many current pantomimes, the visual impact of the show-stealing effects embraces more than ‘smoke and mirrors’ to keep the theatrical tricks as hi-tech as possible to impress even the most critical of today’s demanding audience.
The simple trick of having the ever-present twinkling of lights incorporated into the star curtain on the surrounding set proscenium is most effective in ensuring that the magical feel of panto is always there.
While the stunningly beautiful sets, lighting and costumes all play a big part in the overall success of this great team effort, the story, which is re-imagined and relocated to Belfast in true panto style with lots of popular local references and jibes, throws up great characters for all, especially the show’s four main principals.
Now in her 29th year as the pantomime dame at this prestigious venue, May McFettridge (aka John Linehan) remains as popular as ever (in the role of Jack’s Mummy, Dame May Trot) as she effortlessly targets fellow cast members and audience alike with her quick-fire put-downs and, with the addition this year of a video camera, is in her element as she embarrasses her audience victims even more by projecting them onto an on-stage screen during her relentless banter.
Although this idea brings audience participation to a new level, I must admit that the one type of participation I miss this year is May’s excellent encounters with very young children as she ‘interviews’ them on stage with hilarious, if unpredictable, results.
As usual, her partner in crime is local actor and pantomime regular, Paddy Jenkins (as her long-suffering husband, Farmer Paddy Trot), who has become an expert at comedy timing and delivery over the years.
Also big in the comedy stakes is former cruise comic, Rikki Jay (as their son and brother of the more ‘clued in’ Jack), who -with his simplistic one-liners and likeable character- proves a big hit with the children in the audience.
However, following his outstanding performance in last year’s panto, the quick return of the multi award-winning, David Bedella (as the Giant’s villainous and evil henchman, Fleshcreep) is a masterstroke for the venue as there are few actors as good at being bad as Bedella when it comes to being the ultimate ‘baddie’… without being too scary for the little ones.
This quartet is ably supported throughout by Joanna O’Hare’s Mother Nature, Georgia Lennon’s Princess Apricot, Michael Pickering’s Jack, an adult ensemble and talented young performers from the McMaster Stage School, while an added attraction is the speciality roller-skating act -Italian duo, Armando Ferriandino and Giovanna Manuela Mar- who bring skill and daring to the show as The Belfast Roller Rollers.
Under Mark Dougherty’s musical direction, the small 5-piece orchestra work hard on the varied score to offer many musical highlights, including Justin Timberlake’s ever-popular Can’t Stop The Feeling, Talk To The Animals from Dr. Dolittle, an almost obligatory offering from The Greatest Showman, Michael Jackson’s Bad and Frank Sinatra’s My Way.
With a tight hold on both direction and choreography, Andrew Wright ensures a memorable panto experience for all and while other highlights include the choreographed cow and other farmyard animals (with most realistic costuming), the novelty scene when the squashed Simon sings and dances, the tongue twister tales and the slapstick principal line routine, the show stealers are the appearance of the mighty Giant and that of May’s transportation to the top of the beanstalk, which, as the Act 1 finale, even puts Miss Saigon to shame in terms of theatrical special effects.
Yes, traditional panto is back in Belfast with a bang (and I don’t just mean the pyrotechnics) and I am so glad that, on her first ever visit to a panto, one of my grandchildren could experience a gigantic spectacular of such quality as this really is Northern Ireland’s biggest and best panto.
Jack and the Beanstalk runs at the Grand Opera House until Sun 13th January, 2019
Monday 3 December 2018
Carmen, Royal Opera House | Review
Carmen
Royal Opera House
Reviewed on Friday 30th November 2018 by Olivia Mitchell
★★★
Twisting Carmen on it's head, the Royal Opera House's revival of Barrie Kosky's production brings modernity, a narrator, simplicity and vibrance together to create a fresh and mostly effective production.
Taking the place of the original dialogue/recitative is new text performed by pre-recorded narrator, Claude De Demo who sounds sultry and gives vibes of Carmen herself. Whilst this narration does bring a flow and more typically theatrical feeling to the show, overall Carmen does feel somewhat un-cohesive as it tries to be a bit too clever for it's own good.
Katrin Lea Tag's set comprises of a vast stair case which covers the stage and prompts us to use our imaginations to see the tobacco factory and other settings. The simplicity effectively highlights the performances and provides a great backdrop for more dramatic and colourful moments of action; although at times it seems in the way of the flow of the show. There are times where the performers are legging it up the deep steps, that it feels there would be much less struggle and more payoff if they were not the main entrance, exit and focal point throughout the entire production.
Performance wise, this is an incredibly strong production. Stepping in last minute as Carmen, Gaëlle Arquez is astounding. From the various sleek costume changes from a pink matador, to a gorilla, to a suit and various dresses; to the elegant way she crosses the stage and of course her powerful but vulnerable vocals, Arquez demands to be seen in the title role. Brian Jagde brings an equally commanding passion to Don José but at times lacks characterisation that would bring a more menacing and psychologically commanding aspect to the character. With his booming bass and charismatic performance Alexander Vinogradov as Escamillo makes it clear why Carmen would choose him over Don José.
Otto Pichler's choreography emphasises the Cabaret theme which runs throughout the show, with six dancers who work hard to showcase various dance styles. There are moments when the choreography really works, creating a frantic, popping energy.
A melting-pot of movie, musical and pop culture references, this production of Carmen does a good job of refreshing and modernising the opera but feels at times that in attempting to be too accessible that it instead becomes unaccessible.
Carmen runs until 22nd December at the Royal Opera House
photo credit: ©ROH. Bill Cooper
Monday 26 November 2018
Glyndebourne's Cendrillon (UK Tour), New Victoria Theatre | Review
Cendrillon (UK Tour)
New Victoria Theatre
Reviewed on Friday 23rd November 2018 by Olivia Mitchell
★★★
Fiona Shaw takes the lead in directing Glyndebourne's first production of Massenet's ravishing fairytale, and turns it somewhat on it's head. The line from the opera "don't be ordinary, nor too original" feels very fitting for this production which has moments of magic but doesn't leave you utterly wowed.
From the get go, the show is a little frantic, with lots of action but no clear centre for us to focus on. Whilst this does make the later scenes of peace and tranquility more affecting, it sometimes feels unnecessary and indulgent. However, the act one scene of the Stepmother and Stepsisters preparing for the ball, is perfectly overindulgent, just like the characters. Social media obsessed, snapping selfies throughout the whole process and getting padded up to the nines a la the Kardashians, Agnes Zwierko, Eduarda Melo and Kezia Bienek are humourous, vocally excellent and suitably annoying.
Also well performed is the relationship between Cendrillion and her country-loving, spineless father played by William Dazeley. The pair are tender with one another and Dazeley provides some comic relief as he tries to stand up to his wife. Alix Le Saux and Eléonore Pancrazi are convincingly youthful as Cendrillon and the Prince as they perform with heart and passion.
The real star of the show is soprano Caroline Wettergreen as the Fairy Godmother. Dressed in an Elsa-esque coat, with braided hair and sparkles adorning her face; Wettergreen casts spells before reclining in her chair with a cigarette and is perfectly nonchalant but magical. Her coloratura is outstanding and the oak tree dance in act three really shows off her voice, as well as Sarah Fahie's choreography which is perfectly timed with every trill and ornament.
Jon Bausor's set brings not only magic to the stage but makes it feel expansive. The use of mirrors throughout, transports us to a huge ballroom and makes the stage seem double the size it truly is. Small details such as the butterflies symbolically appearing across the stage, alongside Anna Watson's clever use of projections do bring an element of magic as well as keeping the stage uncluttered with unnecessary props.
The ultimate magic of Cendrillon is truly Massenet's gloriously sumptuous score but this production does a good job of making the classic fairytale more psychological as well as retaining the mystical feel we desire, especially at this festive time.
photo credit: Richard Hubert Smith
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