Showing posts sorted by relevance for query plays. Sort by date Show all posts
Showing posts sorted by relevance for query plays. Sort by date Show all posts
Sunday 8 March 2020
Christopher Tendai on Taking Off The Mask | Identity, Turbine Theatre | Interview
Christoper Tendai is an established performer, having starred in many West End musicals, UK tours, television specials and various commercial projects. His most recent and perhaps most daunting endeavour is launching his own dance company: CTC. The company are soon showcasing a new show at the Turbine Theatre, which looks at what makes us individual through the mediums of dance, spoken word, art and more...
Tell us a little about CTC Dance Company and how it came about...
CTC Dance Company is an upcoming company renowned for its versatility and uniqueness through movement.
The company has been running for 2 years now and started from a short film I created called Imperfections (which can be found on my YouTube channel). Creating CTC was probably one of the best decisions I’ve ever made. It’s my pride and joy and I hope that one day it will be recognised like the McOnie and Mathew Bourne Companies.
You're broaching a whole host of important topics in just 60 minutes, what's included?
Yes we are and I think these subjects are so relevant to create a discussion in the time we live in. We speak about Mental Health, LGBTQ, Feminism and Social Media Through Society. Within the show we see our main character; Caitlin, go on a journey of self discovery and to explore and embrace her own unique identity.
Our identities are formed from what people think of us, the laws we follow that have been placed by society and the biggest one of all: social media.
We always have to be the perfect version of ourselves. But what is perfect? Shouldn’t our own self be enough? Through Identity, we want to inspire people to embrace who they really are. There’s only 1 you in this world.
Mental health awareness is a big part of this show. Dance and creativity is a great outlet to centre yourself and improve your mental health so what would you tell people wanting to get into dance?
I would tell any aspiring dancer/performer that anything is possible. If you put your mind to it, you can achieve your dreams. I started dancing when I was 18yrs old and I made sure I lived and breathed it so I could be as good as the dancers that had been dancing since they were 3.
Since graduating I have danced in various musicals from the West End (Hamilton, In The Heights, Matilda, Jesus Christ Superstar) to UK Tours (Hairspray), Commercial work (Strictly Come Dancing, Fleur East, Rita Ora, Hugh Jackman) to Television (Episodes, The Golden Circle). And now I am choreographing and producing my own production by my company which has transferred Off Westend from Edinburgh Fringe 2019.
So I would say: Stay Focussed. Stay inspired. Work Hard. It all pays off!
Social media can be both a blessing and a curse, how are you incorporating it into Identity?
We touch on social media within the show and I feel it couldn’t be more relevant right now, especially with the recent awful tragedy of Caroline Flack.
Social media is great in ways of course, but somehow it has become a platform to cause harm to people’s mental health. We showcase a section of our show about the way that we are perceived on social media. The show always goes back to a Polaroid picture which has many different meanings. We want to begin an open and positive conversation about it.
What would you like people to feel as they leave Identity?
We want people to leave feeling inspired to be their own version of themselves. We want to show people that no matter what you’ve been through, you are still here today and can change your future path to whatever you want it to be. We want to start the conversation of mental health and remind people that they are important within this world.
Why should people come and see Identity?
People should come and see the show because it’s something completely different which hasn’t been done before. We are not just dance but dance theatre, incorporating different elements to the show such as; Spoken Word, Live Music and Physical Theatre. Come and support and start the conversation on Mental Health Awareness!
Identity plays at the Turbine Theatre from 10th-14th March. £12.50 discount tickets are available by using the code: CTCDANCE1
Interview by Editor, Olivia Mitchell
Thursday 8 October 2020
Rachel John on Bringing Back Live Theatre | Songs For a New World | Interview
After the success of the online streamed version of Jason Robert Brown's Songs For a New World, Lambert Jackson have brought the musical back as one of the first live, in person performances in the West End. Theatrical powerhouse Rachel John will be starring in the show and is extremely excited to get back to performing...
You’re going to be starring in Songs For A New World, can you tell us a bit about how it all came about and your journey with the show so far?
I was approached by Lambert Jackson with the exciting idea of being a part of a virtual production of the show. It was unlike anything I had done before, so I was excited to see the way that this format would translate through the screen and into people’s homes. After the show was streamed, we received the exciting news that we would be performing at the Palladium. I felt so blessed.
2020 has been crazy to put it mildly, has all the theatrical innovation in a time when the arts can’t run normally made you love what you do even more?
The innovation that has occurred during lockdown has been very inspiring and has shown me the strength and creativity of our theatre industry. I have had a renewed sense of my love of story-telling and have been reminded how we refused to stop sharing our gifts.
What’s one thing you’ve taken away from lockdown?
There are many things that I have taken away from lockdown, but if I had to pick one it would be valuing family time. I have had more time to speak to my family abroad and here and it has been a blessing.
Going back to live performances must be super exciting, what are you most looking forward to?
I am looking forward to working with a company again and I am really looking forward to hearing and seeing the live audiences. I miss the tangible feeling of the audience. The electricity.
When theatres are fully running in the (hopefully) near future, what show would you like to see first?
I cannot pick what I would like to see first! I am just eager to get back to support my fellow performers and soak up the atmosphere.
What can audiences expect from Songs For a New World?
Audiences can expect to come on a journey with us through this incredible song cycle. Jason Robert Brown’s lyrics and melodies will touch their hearts.
How do you want people to feel after experiencing Songs For a New World?
I would like people to experience the joy of being back together, even if there is distance. I would like them to feel hopeful and optimistic.
Songs for a New World plays at the London Palladium 11th October 2020
Wednesday 16 March 2022
Everybody's Talking About Jamie (Tour), New Victoria Theatre Theatre | Review
Everybody's Talking About Jamie (Tour)
New Victoria Theatre
Reviewed on Tuesday 15th March 2022
★★★★
Everybody's Talking About Jamie is fast becoming a staple piece of theatre in the UK and indeed across the world. Having had various iterations in many countries including Japan and Italy, as well as the hit film which was released last year; the musical retains its Britishness, strong heart and morals and continues to be an inspiring and entertaining experience.
Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New faces a number of hurdles and people who try to dull his sparkle. So, he works to overcome these and to show the close-minded people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to keep its spot in theatre lover's hearts for a long time.
As the title character, Layton Williams is a treat to watch. He brings Jamie to life truthfully and so glamourously. From the opening of 'And You Don't Even Know It', Layton completely owns the character and shows us the light and shade enveloped in it. At times his vocals get lost but he makes up for this with his incredible wit and larger than life personality that soars on stage.
Playing Jamie's kind and strong mum is Amy Ellen Richardson who's vocal performance is outstanding. 'He's My Boy' is an absolute highlight of the show and her vulnerable performance is incredibly moving. Her chemistry with Layton is great and she also works incredibly well with her best friend Ray (played brilliantly at this performance by Lisa-Marie Holmes).
Another lovely friendship is that of Jamie and Pritti. The pair are both misunderstood and confined in their own ways and it's so sweet to see them discuss this and to support each other without any toxicity. Sharan Phull is endearing and moving as Pritti, especially in her solo moments and fantastic monologue at the end of the show.
Shane Richie as Hugo/Loco Chanelle is fantastically entertaining, giving a really strong vocal performance and also showcasing fabulous comedic timing. Other stand out performances come from George Samson as Dean Paxton and Gary Lee in various roles including Laika Virgin at this performance.
Everybody's Talking About Jamie is a musical which inspires us all to own what makes us 'different' and is a really heartwarming portrayal of family, friendship and acceptance. It's contemporary and over the top and so much fun. Let's talk about Jamie a bit longer! Go see the show on tour!
Everybody's Talking About Jamie plays at the New Victoria Theatre until 19th March 2022 and then continues its tour
Wednesday 14 March 2018
The Sound of Music, Palace Theatre | Review
The Sound of Music (UK Tour)
Palace Theatre
Reviewed on Tuesday 13th March 2018 by Becca Cromwell
★★★
The Bill Kenwright production of The Sound of Music has embarked on another UK tour, but this time with Lucy O’Byrne and Neil McDermott at the helm. Based on the 1959 Rogers and Hammerstein musical of the same name, the film became one of the highest grossing films of all time.
The well-loved story shows Maria Rainer, a young Postulant at the Nonnberg Abbey who is sent to be the Governess for the Von Trapp Family after not fitting in at the Abbey. It is there that she meets Captain Georg von Trapp and his seven children Liesl, Friedrich, Luisa, Kurt, Brigitta, Marta and Gretel. During her time as Governess, the Anschluss begins where the Germans invade Austria, and the second act of the show depicts the struggles and changing moods during this time.
Lucy O’Byrne is known for becoming runner up on ITV’s The Voice in 2015 and landed the role of Maria in the previous UK tour of this production. Since then, O’Byrne has gone on to play Fantine in Les Miserables in the West End, and has now thrown herself back into the iconic role of Maria von Trapp for the 2017/2018 UK Tour. Originally played by Julie Andrews in the 1965 film, she has big boots to fill. The vocals were impressive and her portrayal of Maria was fantastic. It was well acted and believable.
Neil McDermott plays the Naval Captain Georg von Trapp, who after the death of his wife lost touch with his children. McDermott is known for playing Ryan Malloy in BBC’s Eastenders, amongst many other theatre roles. With a strong voice, McDermott gave a fantastic performance.
A stand out however, was Megan Llewellyn as the Mother Abbess. Her voice was absolutely astounding. Even though she does not make too many appearances in the show as the Reverend Mother, you certainly knew about it when she did.
The child cast were superb, providing incredible vocals for their ages. They were true professionals from the beginning through to the end and I hope to see them go far in their careers. The rest of the company all gave very good performances, leading to a fantastic performance of the show.
I was pleasantly surprised with the production, and it deserved a bigger audience than the one it got. I would recommend seeing this when it comes to a theatre near you in the future, as it is a highly enjoyable family show.
The Sound of Music UK Tour unfortunately comes to an end this week; however I hope to see it tour the UK again in the next few years.
Thursday 21 April 2022
The Cher Show (Tour), Leicester Curve | Review
The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★
After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.
This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.
The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.
As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.
It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.
Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.
Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.
The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.
photo credit: Pamela Raith
Monday 14 August 2017
In Conversation With... Kirsty MacLaren | Our Ladies of Perpetual Succour | Interview
I'm back with another Our Ladies of Perpetual Succour post (see my recent interview with Karen here)! Today I bring you a chat about all things Our Ladies with the lovely Kirsty MacLaren who plays Manda!
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
Well, for me, doing Our Ladies has been the highlight. I’ve covered so many career goals on this job, from working with National Theatre of Scotland, performing at the National Theatre, touring internationally and now working in the West End. Plus originating a role is a pretty special experience. It’s been the job that has kept on giving, to be honest.
Before I started Our Ladies, and during the breaks we’ve had, I’ve been lucky to do some really diverse work where I’ve learned so much. I’ve worked at Pitlochry Festival Theatre for a year, played Lulu in a series of radio dramas and performed with companies like the Royal Lyceum in Edinburgh. These experiences give you the chance to really learn what it is to be an actor.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
I always has lots of energy as a child and was sent to dance lessons to tire me out. I come from a musical family so was always exposed to different types of music, although I didn't really know anyone who had acted professionally. I loved doing amateur dramatics and going to acting classes when I was little, but I had always wanted to be a lawyer until I sort of fell into doing the arts. I went to a Knightswood Secondary, which has a performing arts school attached, and knew then that I had to go down that path.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
I think that we were all so excited with this piece we had made that we weren’t really thinking about how much of a hit it might be. We certainly couldn't have imagined the success that we have had over the 2 years of doing it. The team that are on it are amazing and we were having such a good time creating this piece of theatre that was totally different to anything anyone had done before. But the reception that we got on our first night at the Traverse is something I’ll never forget.
I saw the show at both The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work and rehearse change for different venues?
The show relies so much on story telling so whether you are in a small 100 seat venue or an 800 seat venue, that principle stays the same. What changes is how much you have to project in each venue, but as long as you think about telling the story to the person at the very back or top of the theatre, you can’t go wrong.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
I’m trained in different vocal styles, but rarely do you have to mash them together in one show. It’s tiring on the voice, but once you build up the stamina, it becomes much easier.
How do you keep your voice healthy? Do you have any vocal rituals?
We always do a big group warm up together before the show which gets you ready. It’s really important to rest when you can. I’ve also got a vocal steamer helps stop your voice drying out.
Besides yourself, who would you like to see play your role?
I’m a big fan of Morven Christie. She’s seen the show and tweets about it a lot. I think she’d fit right in with us girls.
Can you sum up Our Ladies in five words?
Bold; life-affirming; hilarious; heartbreaking; female
Have you had any funny onstage or offstage mishaps in the show?
Often! We are always laughing at each other on stage. I remember going on with my mic on the outside of my clothes. The other girls didn't tell me until quite a bit through the show. I didn't know what they were laughing at until I eventually realised, and by that point, it was too late.
Is there a musical or play you’ve seen recently that you loved?
I’ve been able to see quite a lot of theatre this summer while I’ve been in London. I loved The Glass Menagerie and Half a Sixpence - both very different, but both brilliant.
Whats a fun fact people might not know about you?
I work as a fitness instructor in my spare time. Its a great job when I’m not acting as its flexible, plus I can fit classes in during the day when I’m working in a show.
What’s your best piece of advice for an aspiring performer?
Every opportunity is a good opportunity. Whether you're at youth theatre, am-dram, drama school or a professional show, you can learn from every experience. Listen to any advice you can get and never be scared to ask for help.
A huge thank you to Kirsty for doing this interview!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Thursday 23 January 2020
Sex/Crime, Soho Theatre | Review
Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.
Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.
It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.
SEX/CRIME runs at the SOHO Theatre until 1st February 2020
photo credit: Matt Spike
Saturday 9 November 2019
Reputation, The Other Palace | Review
Reputation
The Other Palace
Reviewed on Friday 8th November 2019 by Olivia Mitchell
★★
It's the 1930s and the males in Hollywood are King. The world is glamourous, 'talking pictures' are all the rage and a good story can get you far. Alick and Suzanne Glass' musical is narrated by Freddy Larceny, a huge Hollywood producer who steals a young up-and-coming writer's work and has to fight for the reputation he's so carefully sculpted.
At this time, women are expected to be domestic creatures who stay in their lane and are there to support men with all they require; however, our heroine Michelle Grant confronts this and aims to write a novel and be her own boss. Maddy Banks plays Michelle with a burning energy and a sweet level of self-confidence. Her voice is strong, well-controlled and perfectly fitting for the musical style of the show, but the lack of variation in the score means we don't hear the full extent of Banks' vocals.
Alick Glass' music is entertaining at times and is certainly evocative of the 30s, New York and Paris, but overall the musical feels overstuffed with underdeveloped pieces. Abrupt stops and repetitive melodies often hinder the flow of the show and instead of adding anything to the story, just reiterate something already mentioned. The best musical moments happen when the girls join together in ensemble harmony but these are equally overused and begin to lack oomph quickly.
Tamsyn Salter's choreography is delightful and again very fitting for the time period. Salter has worked wonderfully with the limited space of The Other Palace Studio and will surely look even better when the show develops to bigger venues.
As the sleazy but kind of likeable crook, Jeremy Secomb is superb as Freddy Larceny. He is confident, slick and highly accomplished in his performance, giving a super strong vocal performance and is seeming well rounded despite actual character development. The lawyer who takes on Larceny, Archie Bright is played well by Ed Wade who is charmingly awkward and gives a stand out performance in act two when his vocals really shine.
Overall this is a production which certainly has potential but definitely needs to be edited and streamlined. It's great to see a show which focusses on a female narrative and rewriting history but it's hard to sympathise fully with our leading lady when many of her decisions remain motivated by a man. The love story is sweet but overshadows the female empowerment aspect which had the potential to be crucial and really make this show stand out. The cast do a great job and there are glimmers of magic but there absolutely needs to be more.
photo credit: photo donato
Saturday 24 November 2018
A Stagey Guide to Singing... Mané Galoyan | La Traviata | Interview
Mané Galoyan is currently helming the UK tour of Glyndebourne's La Traviata where she plays the heartbreaking character of Violetta. Watching the opera, one thing was evident: Mané's voice and technique are second to none, so I jumped at the chance to get some inside information and tips all about singing from the lady herself...
Can you tell me a little about your vocal journey and training?
I started voice and piano lessons at the age of 9 and I’ve always been lucky because I had the best teachers. I hold my Bachelor’s and Master’s degrees from Yerevan State Komitas Conservatory, after which I was a studio artist at Houston Grand Opera for its 2015/16, 2016/17 and 2017/18 seasons.
Violetta is a vocally demanding role, how do you maintain your voice and vocal health?
For me, the only thing that is very important is a good night’s sleep. Since our instrument is our body itself, we just need to treat our body with respect and care, but nothing is better then a good night’s sleep and healthy food. Other than that, I live my life as I normally would (without any extremes, of course! ha ha)
Violetta is also an extremely emotional role, how do you distance yourself from the emotion so your voice remains strong and you're not overly affected by it personally?
The truth is, you can’t fully distance yourself from Violetta. It is an extremely relatable role and I remember when I first started working on the score I was sobbing reading through the text. But it is important to understand that you are not the character – you are just the one who gives voice to the character and keeps it alive. It is indeed a fine balance to keep the emotions and the technique on the same level, but that is the challenge and of course the rehearsals are there to help you to find it!
What is your pre-show warm up like?
I usually do at least 5-10 minutes of yoga to stretch my body and warm it up first. It’s much easier to warm up your voice after your body is warmed up and your breath is going. And then some humming, a couple of scales, check in with the score and ready to go!
Who is your dream duet partner?
A partner who is always present dramatically and who I can make beautiful music with! And right now I am very lucky to have Luis Gomes as my partner in La Traviata. He is the best!
If you could describe performing in 5 words, what would they be?
Sharing, living, exciting, transforming, loving.
What's your top piece of advice for aspiring singers?
Always be open to accept feedback from the professionals around you, but never forget to listen to your own intuition…
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
Interview by Editor, Olivia Mitchell
Interview by Editor, Olivia Mitchell
Friday 12 November 2021
The Choir of Man, Arts Theatre | Review
The Choir of Man
Arts Theatre
Reviewed on Thursday 11th November 2021 by Olivia Mitchell
★★★★
Nine men, a pub, singing, dancing and amazing energy levels, The Choir of Man is an absolute treat of a show that's ready to entertain audiences this year at the Arts Theatre. Following three sell-out seasons at the Sydney Opera House and various US and European tours, a West End debut seems like the natural next step and how lucky we are that it's found a home in London where it can spread musical joy every evening.
Set in your average pub (The Jungle), the show follows nine individuals as they discuss aspects of their lives and share their stories with one another in a sort of beer filled utopia. The show features a number of reimagined classic songs such as Sia's Chandelier, The Impossible Dream from Man of La Mancha, Somebody to Love and many more. Every single number is performed expertly by the performers and you're constantly waiting for the next song to start and wrap you up in its harmony filled embrace.
What's so wonderful about this show is the simplicity of it. The basic set includes a bar, some tables and the band set up on a higher level. The costumes are everyday clothes and aside from some glasses and the occasional other item, there are no props. This is a show which really relies on its cast to carry it and they do so with an ease and grace that only comes with innate musicality. It's wonderful to experience such powerful harmonies without any gimmicks overshadowing them. One aspect which must be mentioned though, is Richard Dinnen's lighting design which works perfectly with the songs and helps evoke the various moods throughout.
The only flaw with The Choir of Man is that there isn't really any story or through line to the songs. Whilst it's great that each moment is a snapshot into one of the men's lives, it would be nice if there was a little more plot to tie everything up and round it out. However, credit must go to Ben Norris who plays The Poet and also wrote the monologues which open and close the show and are dotted throughout. These moments are funny, moving and so well performed. Ben is really a masterful storyteller and is completely enthralling.
In fact, the whole cast and band are first-rate. They work smoothly both individually and as a team and really make you feel like you're on a night out with a group of friends.
The energy of this show is really like nothing else on in the West End. Each moment was a sucker punch of emotion or musical brilliance and the whole audience seemed to be buzzing throughout. If you want feel-good, The Choir of Man is the show for you! The cast seems to so genuinely enjoy performing and it really shows and helps make the experience so uplifting and welcoming. This show is a perfect reminder of the importance of community, a message which couldn't be more prevalent now, and it's well worth a visit (and probably a repeat visit) for a night of carefree fun.
Photo credit: Helen Maybanks
Friday 16 February 2018
Cilla (UK Tour), New Theatre Oxford | Review
Cilla: The Musical (UK Tour)
New Theatre Oxford
Reviewed on Tuesday February 13th 2018 by Donna Meredith
★★★★★
Having recently watching the TV miniseries, starring Sheridan Smith, that charted Cilla Black's epic rise to fame, beginning with her early job as a typist and continuing through key moments, including her friendship with The Beatles, I was intrigued to see how this rags to riches story would translate to the stage.
Arriving for the opening night at the New Theatre, Oxford I could not help but notice that most of the audience were of an age to have been fans of Cilla at the height of her musical career. My experience of this inimitable redhead was as a warm and natural TV presenter in the 80’s and 90’s of shows such as Blind Date and Surprise Surprise.
I need not have worried about being unfamiliar with Cilla’s music as from the opening number I was hooked on what I can only describe as a real soundtrack to the sixties. Music from The Beatles, The Mamas and the Papas and Gerry and the Pacemakers took us back to a time when music was changing the consciousness of young people. I found myself completely immersed in this spectacular showcase.
Kara Lily Hayworth delivered a truly standout performance, particularly with her rendition of Anyone Who Had A Heart, which closed Act One in spectacular style, almost moving me almost to tears. Kara was discovered at an open audition where she queued for four hours to be seen and I for one am glad she did!
The show is built not just around the songs but also the personal life of Cilla, portraying her fiercely ambitious streak and her relationship with the man who inevitably married her and managed her career, Bobby Willis - played superbly by Carl Au. We get an insight into an enduring love story between Cilla and her Bobby which truly warms the heart.
The religious divide of the time between protestant and Catholic faiths is dealt with sensitively whilst not shying away from the prejudices that were clearly apparent not least in Bobby’s estrangement from his father due to his inability to accept his relationship with Cilla.
Bobby’s struggle to come to terms with his own musical ambitions and his decision to eventually put his own aspirations on hold to support Cilla’s career are perhaps the truest insight into this story of ultimate true love.
Another notable performance is that of Andrew Lancel who plays the complex character of Brian Epstein. He sensitively portrays the underlying sadness of the character who whilst achieving unparalleled success battled demons that eventually consumed him.
A mention must also go to the stage sets and lighting which perfectly evoke the club scenes of the time, the recording studios and the Merseyside backdrop of this timeless tale.
This story of the girl next door who did good, against the backdrop of music that truly stands the test of time, will warm your heart, make you smile, and ultimately leave you sad that we have lost a real “one off” in Cilla. Just two years since her passing I was left feeling that she would be proud of this epic celebration of her life.
Ta-ra Chuck !
photo credit: Matt Martin
photo credit: Matt Martin
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