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
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
Wednesday 15 November 2023
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Thursday 16 March 2017
La Cage Aux Folles (UK Tour), New Wimbledon Theatre | Review
La Cage Aux Folles
★★★★
We're starting to see glimpses of summer but if you need something else to warm and brighten your life then the UK Tour of La Cage Aux Folles is the show for you! The production is high-kicking, glitzy, high energy and feather filled.
The Tony Award winning musical tells the story of Albin and Georges, a couple living idyllically in France. Albin moonlights as the drag star Zaza in the glamourous club: La Cage Aux Folles, which is owned by Georges. Their peaceful existence is put to halt when Georges' son (played by Dougie Carter) announces that he is engaged to Anne, the daughter of a politician: Dindon (Paul F Monaghan), who is against all things homosexual and wants to close down Georges' "den of debauchery"!
This is a story of love, family and individuality. The family struggle to stay as a strong unit whilst trying to change themselves to impress Anne's parents, therefore allowing their son to be happily married.
John Partridge, veteran of the stage, plays the larger than life Albin. Having recently seen John in Chicago, I was extremely impressed at his versatility on stage and ability to transform into someone else completely. The role is demanding both physically and emotionally, with moments of laugh out loud humour, to quiet moments of pin drop silent emotion. John perfectly nails the character, with the the right amount of sincerity and vulnerability to balance the over the top flamboyance.
Partnered with Adrian Zmed as Georges, the pair have a believable and touching relationship which works very well in the theatrical setting. West End legend, Marti Webb also gives a lovely performance as Jacqueline.
Overall the show is full of life, laughs and lunacy. There is enough energy to power London and enough sparkle to give the Chrysler building some serious competition! Every performance is energetic and the production is really a gem! For a fun, carefree night out, be sure to make a visit to La Cage Aux Folles!
La Cage Aux Folles runs at the New Wimbledon theatre until March 18th 2017 before continuing it's tour.
La Cage Aux Folles runs at the New Wimbledon theatre until March 18th 2017 before continuing it's tour.
Monday 16 May 2016
In Conversation With... Lily Frazer | In The Heights | Interview
Back in October, I took a little trip to the Kings Cross theatre after my lecture to watch In The Heights. I didn't really know what to expect because I'd only heard a few of the songs but I was utterly blown away and have been in love with the show ever since! Check out my review here.
I recently reached out to Lily Frazer who plays Nina in the show and she has been kind enough to do an interview with me about all things In The Heights...
For those that don't know, can you explain a little about the storyline of In The Heights and how your character Nina fits into it.
 |
| Lily Frazer as Nina and Cleve September as Sonny |
In The Heights shows a few days in the life of the people who live in Washington Heights. There's a lot of poverty and financial struggle. Rent is rising due to gentrification and everyone seems to be trying to 'make it out' and make their mark on the world. The Rosarios for example own a taxi company which is failing financially. Nina Rosario the daughter has become the hope of the neighbourhood after leaving the barrio to go to Stanford university on a scholarship. However because she's been trying so hard to juggle her school work and working to pay for the rest of her tuition she has been failing her exams and after losing her scholarship has decided to take leave of absence. She obviously feels a huge amount of guilt and anxiety on the way home and feels as if she has let the whole community and most importantly her parents down. She's come home to tell her parents the news and to also to try and get back to her roots and that's where her story begins really.
I know you saw the show on Broadway, in what ways is the West End production similar and different to it?
I didn't actually see the show on Broadway. (AN. I was having a moment writing that question, I thought I'd heard Lily say she'd seen the show on Broadway!) I was studying at Arts Ed in London when it was on Broadway but I remember everyone in college was still just as excited about it. The soundtrack and libretto in the library were always checked out by someone. So naturally years later when it came to London I was thrilled.
As for the West End production the staging is in traverse rather than a traditional proscenium arch so the setting is more intimate I think and with the cast dancing in the aisles as well it allows the audience to feel submerged in the setting. Our theatre is unique! The Kings Cross theatre makes the whole experience quite magical. The audience enter along actual railway tracks and through the 'subway' onto our stage.
You played Eponine in Les Mis who is quite a contrast to Nina to say the least! Do you prefer portraying the family orientated, upbeat dance atmosphere of In The Heights or the highly dramatic, deep emotional atmosphere of Les Mis?
I wouldn't say I prefer either. I like a challenge and both roles are equally as challenging for different reasons. I feel that both roles are equally as vocally and emotionally demanding.
Throughout In The Heights there is the overarching theme of home and the importance of it. What three things remind you of home?
I get home sick after a holiday abroad. I'll be sat on my plane and we'll be landing and I'll get a first glimpse of the green fields through the clouds and I'll suddenly get really excited to feel the cold weather on my face. Hilarious because I hate being cold so this feeling doesn't last long!
I grew up in the West Midlands so I get really excited when I hear someone with a Midlands accent! Especially if they're a fellow actor! Feel like I've found a team mate!
The Eagles greatest hits was played on almost every car journey my family ever went on when I was a kid. So I can't hear The Eagles without thinking of my family!
Congratulations on the Oliviers, 3 awards is incredible for the show and you looked stunning! How has it been for you seeing the positivity of critics and audiences alike? Did you know you were doing something special when rehearsals started?
 |
| Lily at the 2016 Olivier Awards |
Last year when we opened the theatre wasn't very well known so at the start of our contract a lot of us were worried people wouldn't come. Also with the show being described as a rap musical we were worried about our target audience because of course that's not all In The Heights is. Also if it wasn't for the sell out production at the Southwark Playhouse we might not be here. It's been great to watch the audiences get bigger and to hear more and more people talk about how much they love the show. Turning up to a little gig at the Theatre Café a few weeks ago and not being able to get in the door because it was so packed with fans wanting to show support was so touching! I am extremely proud to be apart of that.
If you switched roles with anyone in the cast, who would you choose and why? (I think we'd all love to see Nina rap!)
 |
| Lily Frazer as Nina and Joe Aaron Reid as Benny |
Daniela looks like so much fun!
Also I think I'd love to play Benny. I think he gets the best of both worlds. He gets to rap and dance but also gets to sing some beautiful love songs with Nina. Jammy!
As someone who studied and went straight into a West End show, what advice would you give for anyone currently at university hoping to get into the performing arts industry?
I did a degree course at Arts Educational Schools in Chiswick. So I'm not sure if you would call it a university.
Before I got accepted into ArtsEd when I was studying for my A levels a lot of teachers told me to go to university and study drama or Theatre Studies which after doing my own research wasn't the right for the kind of actor I wanted to be. I'm very proud of my degree but I'd say that my training at ArtsEd and the connections the school gave me were key to my success in the industry. Not only is the training impeccable but I would never have had an audition for Les Miserables if I wasn't given the opportunity to audition in front of casting directors when they were invited to audition us in my final year. You need to really do your research on exactly what you're going to get out of your training and more importantly what YOU want to achieve at the end. Eg. Do they provide a showcase or a show at the end of your third year? Do they invite agents and casting directors? Do they specialise in one area of musical theatre or all three? I was lucky in that Arts Ed pride themselves on preparing you so well for everything! If theres something I wish I'd done more of though whilst I was training would be to take class out of school hours to broaden my training. Take class outside of school hours. Get a head start. Always be one step ahead of your classmates and take everything that your teachers tell you with a pinch of salt. Criticism is good for you but don't let it destroy you! Make up your own mind. Take inspiration from other performers but directly comparing yourself to others is poisonous! Don't do it! I had to learn that the hard way. I could talk about this all day but I'll stop now!
Finally, for someone deciding whether to see In The Heights, what 5 words do you think best sum it up?
Olivier
Award
Winning
Breakthrough
Musical
;)
I want to say a huge thank you to Lily for taking the time to answer these questions. The show is unbelievably brilliant and Lily is wonderful as Nina. Please, if you can get to the Kings Cross theatre, go and see In The Heights!
Also, keep and eye out on RewriteThisStory for some more In The Heights themed posts which are coming up! My original review of the show is here!
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Friday 25 November 2022
Elf The Musical, Dominion Theatre | Review
Elf The Musical
Dominion Theatre
Reviewed on Thursday 24th November 2022 by Olivia Mitchell
★★★★
If you're looking for some festive magic this year, look no further than the Dominion Theatre for their gloriously Christmassy, sparkly production of Elf The Musical. Based on the cult classic film, it tells the story of Buddy the Elf who finds out he's really a human, so makes the journey from the North Pole to New York City to meet his biological father and experience the world. This musical adaptation has all the most iconic parts of the film plus a heap of theatrical magic that makes it the perfect festive treat.
This version of the show does a superb job of being laugh out loud funny and completely joyous without overstepping into pantomime territory; it's entertaining for all the family but not in a way that has you cringing at the jokes. Of course it's saccharine and over the top but isn't that what Christmas is all about?! At the heart of the story and its success is Simon Lipkin as Buddy, who takes on the role with complete joy and authenticity. Having previously given a starring performance in Nativity The Musical, Lipkin clearly has the Christmas magic which makes him such a dream to watch. From shredding paper to create snow to joyfully rollerskating, Buddy is an exuberant and endearing character who you can't help but love.
Alongside the humour, Lipkin also plays Buddy with a lovely vulnerability which comes across at various points, especially during his encounters with Jovie (played brilliantly by Georgina Castle) when he is completely overwhelmed by her "miraculous" self. His naivety comes across in an authentic and touching way, that doesn't stray into slapstick and gives a real depth to the plot.
The rest of the cast are incredibly strong throughout. Rebecca Lock is treat as Buddy's step-mum who's heart is slowly opened to Christmas; her duet in Act Two with Buddy's brother (Logan Clark) is absolutely outstanding. Tom Chambers is good as the businessman, absent father whilst Kim Ismay has some really witty moments as his secretary and the pair are great together. Another stand out performance comes from Dermot Canavan who is hilariously entertaining as the Macy's Manager. The ensemble give a really punchy performance, especially when performing Liam Steel's choreography. There's great variety in the show from jaded Santa's giving an impassioned, Newsies-esque display to a full company tap number which is marvellous.
Philip WM. McKinley's direction brings abundant joy to the stage as well as a healthy dose of magic. Tim Goodchild's set is suitably whimsical and there are some certified wow moments through a recreation of the Rockefeller Centre ice rink and some real life snow.
As a whole Elf The Musical is a perfectly packaged Christmas show, which has commercial elements to appeal to the masses as well as some theatrical gems for regular theatre goers. It's a wonderfully enjoyable show that's well worth a visit. Take a trip to the Dominion Theatre, have your elf a very Merry Christmas and feel the festive spirit from your head to your mistletoes!
photo credit: Mark Senior
Wednesday 5 February 2020
Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review
The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell
★★★★
Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.
With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.
What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.
Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
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