Showing posts sorted by date for query plays. Sort by relevance Show all posts
Showing posts sorted by date for query plays. Sort by relevance Show all posts
Wednesday 30 October 2019
9 to 5 The Musical (UK Tour), Wales Millennium Centre | Review
9 to 5 (UK Tour)
Wales Millennium Centre
Reviewed on Tuesday 29th October 2019 by Elisha Harris
★★★★★
9 to 5 The Musical is a sensational representation of what women had to endure when it was believed to be a ‘man's world’. Something which still plagues the modern day but is fortunately diminishing.
There’s nothing like escaping from your 9 to 5 reality to witness a world-class musical, and this production is most definitely that! This show is so unpredictable from start to finish. and everything is perfection.
Amber Davies is impeccable, her comedic timing and powerhouse voice make for a perfect Judy. Amber presents the the purest transition from a reserved, meek housewife to a fearless, self assured business woman who will not take no for an answer.
The other two leading ladies, Caroline Sheen, who's temporarily moved from the West End production to the UK tour, and Georgina Castle blow the roof off the Millennium Centre. Between Caroline’s quick wit and gorgeous voice, and Georgina’s mesmerising vocal range, they compliment each other perfectly. I could listen to them sing all day long!
The standout performance of the evening is Sean Needham who plays the ballsy, know it all boss, Franklin Hart Jr. He portrays the dishonest, antagonistic boss excellently. Sean really brings the role to life, he is witty, insanely entertaining and his facial expressions are priceless. For a character you’re meant to hate, it's hard not to belly laugh at every line he says- a real comical genius!
Overall this production is not one to miss, the ensemble are brilliant, the sound design is excellent, you can hear every voice individually when needed yet the harmonies were perfect. If you want to spend 2 hours in side-splitting, ball crunching laughter, 9 to 5 is the show for you!
9 to 5 The Musical plays at the Wales Millennium Centre until 2nd November before continuing its tour
Tuesday 29 October 2019
The Girl on the Train (UK Tour), New Victoria Theatre | Review
The Girl on the Train (UK Tour)
New Victoria Theatre
Reviewed on Monday 28th October 2019 by Melanie Mitchell
★★★★
Having never read the book nor seen the film apart from the first 20 minutes, I was unsure what to expect from the stage version of Paula Hawkins' 2015 bestseller The Girl on the Train. I knew that it was a psychological thriller involving a girl, a lot of train journeys and a murder but that was all!
I was unsure how the train element of the story would be transferred on to a fairly small theatre stage, but thanks to the extremely clever set design by Anthony Banks accompanied by the atmospheric lighting from Jack Knowles and sound by Ben & Max Ringham, this was very successfully and effectively achieved.
The story focusses on Rachel Watson after the breakdown of her childless marriage. Her life begins to unravel and she sinks deeper and deeper into the bottom of a bottle. Whilst on her daily commute she starts to watch a couple on their balcony, living close to where she used to live. Convinced that they have the perfect life that she no longer has, she becomes fixated and obsessed by them. But as we all know, things aren’t always as perfect as they seem...
Samantha Womack plays the alcoholic Rachel superbly, conveying her feelings of inadequacy, confusion, loneliness and envy, interspersed with moments of laugh out loud one liners, that don’t take away from the drama at all.
All members of the production are very well cast, especially Adam Jackson Smith who portrays Rachel's caring ex and now perfect husband to Anna, played by Lowenna Melrose who also gives a strong performance.
As the story goes on it becomes increasingly apparent that people are often not living the lives that are seen and admired by outsiders or people looking in. Things are very different behind closed doors and when one of the characters disappears these facades begin to fall away, culminating in an unexpected twist, which I didn’t see coming. Altogether this is a very clever adaptation and production of the book, which takes you on a journey of human emotions and is well worth seeing.
The Girl on the Train runs at the New Victoria Theatre until 2nd November before continuing its tour.
photo credit: Manuel Harlan
Wednesday 16 October 2019
9 to 5 the Musical (UK Tour), New Victoria Theatre | Review
9 to 5 the Musical (UK Tour)
New Victoria Theatre
Reviewed on Friday 20th October 2017 by Glenys Balchin
★★★★
9 to 5 is a very enjoyable show, with strong performances by the cast, a great set, fabulous costumes and toe tapping songs to sing-a-long to. The three leading ladies give excellent performances with each having their own individual strength. It certainly feels like a West End performance rather than a touring show at a regional theatre. The storyline is executed well and takes the audience to the final conclusion that it is a man’s world.
9 to 5 is a very enjoyable show, with strong performances by the cast, a great set, fabulous costumes and toe tapping songs to sing-a-long to. The three leading ladies give excellent performances with each having their own individual strength. It certainly feels like a West End performance rather than a touring show at a regional theatre. The storyline is executed well and takes the audience to the final conclusion that it is a man’s world.
The three leading ladies work exceedingly well together, as a band of sisters and leave us with the hope that they are that strong and united off the stage as well. Violet is played by Laura Tyrer, who is the whole package with a charismatic personality and triple threat abilities that wow; she shines within the cast.
Judy played by Amber Davies for me is the real surprise of the night, having last seen her on Love Island. I hadn’t envisaged that she is such a great singer but Get Out and Stay Out is a real highlight as she belts it out so powerfully. Georgina Castle as Doralee gives a very good performance with only the occasional blip in her deep south American accent. It is a hard act to follow when the legend that is Dolly Parton, announces at the beginning of the show that Doralee “is her”! This could colour your opinion of her performance but Georgina held her own and made the role hers.
Accolade, also must go to Lucinda Lawrence who is Roz Keith and gives a strong performance as the pent up frosty, delusional, hopelessly in love secret admirer of Franklin Hart Jnr. Her comedic timing, balletic dance movement and strong singing voice make her a very watchable character.
Sean Needham’s, performance as the male chauvinist Franklin Hart Jnr is perfect, he portrays the male ego eccentricities and bigoted views of women, in a comic manner. But these are issues that have truthfully been faced by many of the women in the audience. Both Lawrence and Needham have a real chemical interaction with each other and work well as a comedy act.
The rest of the cast give a great performance, supporting the main characters and story line with energy and enthusiasm to deliver an excellent show. I have to mention one person that stands out for me in the ensemble is Ross Lee Fowkes who plays Bob; his acting singing and dancing showed great intensity, I was quite transfixed.
Finally, as already mentioned the stage lighting, the scenery and costumes are all perfect for the 80s story line. Having been a girl of the shoulder pads and big hair era, it is all well delivered. It is sad that the political message, that both Jane Fonda and Patricia Resnick so, cleverly put across in a comedic approach on film and stage is still an on-going fight forty-one years on from the film release. I expect that it will be our children’s, children who will finally benefit from equality.
Patricia Resnick has said, “that it won’t be until 2059 that American women will achieve pay equity”. That will be 80 years on since the film was released. I believe that most women could step forward and give an account of male chauvinism and sexual predators in the work place. The show delivers this message in a funny and comic style with great songs but really it is quite sad and profound that we are still talking equality in the 21st-century. There should be a sequel, a comic-tragedy featuring recent events and the “me too” campaign that shows we still have a long way to go.
I would recommend taking your daughters along to see the show and explaining to them why it was produced and what the political message is behind it, and for them to be firmly told that they are equal to the males in their life. All that said and done, I just wanted to say it was a great show, very watchable and I really enjoyed it and would recommend to others.
9 to 5 the Musical runs at the New Victoria Theatre until 19th October before continuing its tour
Tuesday 8 October 2019
Priscilla Queen of the Desert (UK Tour), New Wimbledon Theatre | Review
Priscilla Queen of the Desert (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th October 2019 by Olivia Mitchell
★★★
You'd be hard pressed to find a touring production this year which features more glitter, sequins and colour than Priscilla Queen of the Desert, which is an explosion of all things camp and a treat of a night out.
Based on the 1994 movie of the same name, Priscilla tells the entertaining story of a trio of drag queens who venture across the Australian outback in a temperamental bus to put on the show of a lifetime. Along the way they meet a variety of people, some accepting, some not, and realise the importance of friendship and staying true to themselves. Despite appearing superficial, the story tackles some important issues including diversity and acceptance.
Miles Western plays Bernadette, the older drag queen who has seen the world change around her and often spends time reminiscing on her glamourous past. Whilst, Joe McFadden and Nick Hayes star as Tick/Mitzi and Adam/Felicia, the younger queens who are still discovering themselves and following in the footsteps of those who came before them. Behind all the lashes and costumes, the trio have a genuine chemistry on stage and give strong performances throughout. Miles is especially engaging and give a very well rounded and entertaining performance.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
It's the Diva's who give the stand out performances of the show. Aiesha Pease, Claudia Kariuki and Rosie Glossop are absolute powerhouses who sing, sing, sing. Their voices are second to none ad they'd only be better if they had more stage time to wow us with their sass and sanging.
Charles Cusick-Smith and Phil R Daniels' set design is pretty basic, but the show is cleverly scaled for tour. The van Pricilla is a multi-piece design which works well as it's transformed various times. It's the glitzy costumes which are really the visual treats in this show as they create a rainbow coloured, feather filled spectacle on stage. Over the top beyond belief but wonderfully well executed, they are of the highest standard.
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
photo credit: Darren Bell
This is a dance heavy production which features non-stop motion, with Tom Jackson Greaves's choreography providing high energy action from start to finish. The ensemble do an excellent job of maintaining this and continually provide visual treats which fill scenes and make scene changes full of interest.
With a jukebox score of some incredibly catchy songs, you can't help but bop along to this mile a minute show. From It's Raining Men to I Will Survive and I Can't Stand the Rain, there's something everyone will know and you'll be tapping your stilettos along to the disco beat. The songs provide the momentum for the show as opposed to the storyline. Whilst there are moments of light and shade, the prejudice the group experiences often feels rushed and the darkness and intensity is lost.
Whilst this production could definitely do with a touch more heart and emotional oomph, it's certainly an enjoyable tour and a thrilling example of highly camp, highly glam show with an important message about tolerance.
Priscilla Queen of the Desert runs at the New Wimbledon Theatre until 12th October before continuing its tour
photo credit: Darren Bell
Friday 4 October 2019
Noises Off, Garrick Theatre | Review
Noises Off
Garrick Theatre
Reviewed on Thursday 3rd October 2019 by Olivia Mitchell
★★★★
If you're looking for a few hours of complete laugh out loud escapism, Noises Off is one hundred percent the show for you. It is a play about putting on a fated production; from a dramatic technical dress rehearsal to a dramatic performance mid run and a final disastrous show near the end of the run, it's clear that this show is destined for doom.
What's fantastic about this play, is that the real joke is rooted in the processes of theatre and those that perform it. Entrances, exits, line memorisation and personal issues are just some of the things that go into the mixture to create this crumbling production. Long before The Play That Goes Wrong, Michael Frayn had the idea for this farcical show after watching a performance of his own play The Two of Us from backstage at the Garrick Theatre. It's a production of controlled chaos which is entertaining from the front of house and backstage.
Max Jones' set is a wonderfully realistic and beautifully executed living room and upper landing that is exquisitely turned round for act two. The play begins as tiring director Lloyd (Lloyd Owen) is trying to push his company of actors through a final rehearsal for Nothing On. Making appearances in the stalls, boxes and circle as he tears his hair out, the audience are immediately immersed in the hilarity and action set to ensue. Whilst heightened, the panic and tension hits close to home for anyone who's been part of putting on a show.
The cast are exceptional in their performances as they stand out individually but also thrive as an ensemble. Each with razor sharp comedic timing, their organised chaos is perfectly carried out. Slamming doors, lost contact lenses and dropping trousers, there's something ever entertaining about slapstick comedy when it's carried out so well.
Within the uniformly stellar cast, there are three performances which stand out just a tad. Meera Syal plays Dotty, the poised but forgetful performer who is playing Mrs Clackett, an absent-minded housekeeper who can't seem to keep her sardines. Sarah Hadland is Belinda, the overly nice, girl next door who plays the flirty Flavia Brent. Daniel Rigby as Garry is is excellent and he transforms from doting to hating and gives a tiring but completely enthralling physical performance.
A blissfully laughable production, with a heart of gold reminder about professionalism in the arts, this is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
Tuesday 3 September 2019
The Feeling, The Other Palace | Review
The Feeling
The Other Palace
Reviewed on Monday 2nd September 2019
With an influx of Broadway transfers and film/book to movie adaptations dominating the London theatre scene, it's always wonderful to see new British theatre developing. The Feeling by Kyra Jessica Willis is a good example of this, as it brings social troubles to light in a headstrong way that feels authentically British.
The Feeling follows a tight knit group of friends who congregate in their local cafe to chat, moan and laugh. Various issues begin to plague the group as they struggle through life's ups and downs and we see how easy it is to fall apart. The small cast features cafe owner Mel (Halie Darling) who is a little unsure of herself as she begins a relationship with geeky and incredibly caring Jamie (George C Francis). Kyra Jessica Willis plays the snide Jessie who has an innuendo to offer at every moment; with PJ Tomlinson playing her ex and moral supporter Kasey. Chloe Hazel brings the psychologically controlling Edie to life and Chris Barton is Holt, the new man in Jessie's life. Completing the cast are Pippa Lea as Lexie and Sean Erwood as Archie who have a good chemistry with one another and provide some touching moments.
Director George C Francis does a good job of utilising the small stage of The Other Palace but at times there seems to be either too much or too little going on in terms of action. The cast are clearly developing their characters as they exchange knowing glances which extend beyond the text, but these sometimes detract from crucial moments on stage. This is especially evident when conversations continue as the cast exit the stage and space. Whilst, at times this brings an effective realism to the characters, at others it takes away from the main action and would perhaps be more efficient if mimed.
The text lends itself to being a straight play but this show takes on a jukebox format, with several pop songs dotted throughout to further the drama and emotions. Often these work but the show could work equally well as a sleek play, perhaps with musical interludes to fill scene changes as opposed to full songs. Despite this, the song choices are catchy and there are a number of strong performances, especially from Pippa Lea and Chloe Hazel. From Kelly Clarkson to Kate Nash, there's a variety of music that does provide entertainment and varies the tone throughout. The lighting changes from the spoken scenes to the sung scenes are somewhat abrupt in their contrast but do a good job of differentiating the emotions from being internal to external.
As Willis' first foray into theatrical writing, this is a production which shows promise and a positive willingness to create new work which sheds light on intense subjects. For the most part the dialogue is realistic, the characters are well defined and the subject matter is delicately handled. There are several tweaks which can made in terms of rounding out the story and bringing further truth to the text, and the show definitely needs to be streamlined to make it a real competitor in the theatre scene, but as a work in progress The Feeling definitely has potential. Monsteers Artistry continues to rattle forward with innovative ways to break down barriers in the theatre industry and provide opportunities for a range of people, something which can only be applauded.
The Feeling plays at The Other Palace on 7th September at 3pm and 8pm
Thursday 15 August 2019
Once on This Island, Southwark Playhouse | Review
Once On This Island
Stockwell Playhouse
Reviewed on Wednesday 14th August 2019 by Olivia Mitchell
★★★★
The British Theatre Academy's production of the Caribbean-inspired Little Mermaid adaptation, Once On This Island is an enchanting show with dynamic, heart-wrenching performances, energy in spades and a glorious uptempo score. Through beautiful harmonies and high-intensity choreography, the young cast bring sunlight to rainy London and infuse a gust of tropical warmth into the magical story and score by Lynn Ahrens and Stephen Flaherty.
Once On This Island tells the legend of Ti Moune, a young orphaned peasant girl raised by Tonton and Euralie, who falls in love with a boy from a wealthy family on the other side of the island, Daniel. Guided by four Gods, Ti Moune rescues Daniel from a life threatening car crash and nurtures him back to health. However, though they may be divided by only a few miles, they are worlds apart and after promises made to the Gods, Ti Moune must see whether love can conquer all, including death.
At the heart of it, Once On This Island is a much needed delivery of the message of the need for inclusion for people from all walks of life. In a world doused in prejudice, where literal walls are being built and we are continually bombarded with stories of segregation, it's crucial that we speak loudly and take a stand to highlight the necessity for equality. The diverse BTA cast do an outstanding job of this and deliver the heart-warming but emotionally raw tale with grace and cohesiveness you would expect to see from older, full-time West End performers.
The BTA team have done an outstanding job of bringing the Tony Award Winning show to life in the pretty intimate space of the Southwark Playhouse. An ever versatile venue, it's fantastic to see it transformed to house a traverse stage where the performers integrate themselves into the audience, and interact as though they are locals wandering the streets. Lee Proud and Harrison Clark's dynamic choreography fills the space and works with the Calypso sounds and rhythms to create an upbeat party feel, as well as highlighting the more deeply emotive parts of the story. Thanks to the ensemble, there isn't a moment that feels under-energised and it's both enthralling and authentic to watch.
In the role of Ti Moune, eighteen year old Chrissie Bhima is otherworldly. Maintaining a poise and depth of someone much older, whilst imbuing the character with an innocence that draws the audience to her; she is a certain star in our midst. Bhima's killer vocals earn rapturous applause after her first solo and set the tone for the nuanced but electric performance she continues to give throughout.
Aviva Tulley as Erzulie is clearly born to perform and she brings the ethereal Goddess of Love to life with a vocal and physical warmth that calms the room. On the other hand, Jonathan Chen is the embodiment of energy as he brings Asaka to life. As the other gods, Kyle Birch (Agwe) and Martin Cush (Papa Ge) embody their elements well.
Sam Tutty is charismatic and sincere as Daniel, who shows genuine heartbreak as the pair struggle through their relationship, whilst, Marie-Anna Caufour oozes affection alongside divine vocals as Ti Moune's adopted mother Euralie. Special notice must go to Elliot Gooch who plays Armand among a variety of ensemble characters and stands out throughout thanks to his energy, facial expressions and witty interactions with both the cast and the audience. At the core, this is really a piece about community so it's a winning factor that the ensemble are so strong. The tight knit group work incredibly hard throughout and are consistently strong. Mention goes to Ella Biddlecombe and Grace Venus who draw the eye throughout.
Despite a few technical issues at the start with sound, the cast's energised portrayal of this provoking, mystical piece keeps the audience in the palms of their hands, and Simon Wells' simplistic but detailed set transports us to an island where magic really happens. The sweet story directed with a winning touch by Lee Proud, alongside vast vocal talent and and an authenticity that courses through, is a must see show this summer.
photo credit: Eliza Wilmot
Monday 29 July 2019
Games for Lovers, The Vaults | Review
Games for Lovers
The Vaults
Reviewed on Friday 26th July 2019 by Olivia Mitchell
★★★★
Making its world premiere at The Vaults underneath Waterloo station, Games For Lovers examines the fast-paced, complicated, often embarrassing and downright tough topic of love and how it fits into a modern world.
The play, written by Ryan Craig follows four individuals looking for love, a connection or just someone to spend the night with. The incredibly talented actors are energetic and dynamic throughout, with many memorable moments, however, at times the dialogue does feel a little claggy. The interludes of playful, almost game-like scenes are entertaining but seem somewhat like games that would be played in the rehearsal room. That's not to say they aren't enjoyable to watch, but they have minimal effect on the storyline and therefore feel detrimental to the pacing of the play.
The small cast are really outstanding though. Calum Callaghan is believable and relatable as Logan as he struggles with his emotions and the pressures to have a relationship. Tessie Orange-Turner is completely in charge of the stage in the entirety of her scenes. A masterful actor, her subtle mannerisms, facial expressions and gestures convey a boat load of subtext behind each line of dialogue. She has fantastic chemistry with the other three; the role-play scene with Callaghan is particularly entertaining.
Evanna Lynch is beautifully warm as Martha, consistently bringing an aura of sincerity whilst also providing spades of humour. Billy Postlethwaite is utterly fantastic as the charismatic, often non-pc but always humourous Darren, who is imbued with both energy and vulnerability.
Simon Scullion's vibrant and playful set with Ben and Max Ringham's sound and Matt Haskins' lighting, all add to the dynamic of the show and make it feel like a mix of game show and Netflix rom-com. Overall it feels very of the moment and perfectly fitting for millennials today.
Whilst there is definitely some room to make all four characters fully rounded and cohesive, this is a fantastic debut for Games for Lovers. The cast are clearly tight knit and thanks to Anthony Banks' strong direction, everyone provides a comfortable, enjoyable and fun performance.
Games for Lovers isn't going to leave you questioning your life choices but it will leave you beaming from an utterly hilarious and fantastically enjoyable two hours.
Games For Lovers plays at The Vaults until August 25th
photo credit: Geraint Lewis
Monday 27 May 2019
Henry V, Barn Theatre | Review
Henry V
Barn Theatre
Reviewed on Friday 24th May 2019 by Olivia Mitchell
★★★★
Shakespeare's plays are a regular feature in the theatrical circuit but the Barn Theatre have switched it up by modernising and refreshing Henry V to make it appealing to a younger audience, as well as Shakespeare enthusiasts. Whilst the play has been brought to a more modern time, it maintains the classic Shakespeare feel.
The design by Benjamin Collins utilises technology through video projection which creates a visceral experience as it bombards up with varying imagery that flashes before our eyes. Familiar images pop up as the King's death is played on a news channel and ambassadors meet in a staged fashion. The new king Harry is also shown living it up with his people as he drinks and sways among strobes and techno music.
Aaron Sidwell brings a charisma alongside a darkness to the title role as he charms those around him, whilst fighting for what he believes is right. He wises up through his journey as a leader and realises the importance of amity as he extends an olive branch to Katherine after the slaughter of her people.
The eight strong cast do a fantastic job of keeping their energy extremely high throughout. Their swift moments and precise transitions are incredibly well carried out as they bring varying character to life through action which even spreads to the audience at times. This production cleverly balances high intensity and noise, with moments of calm and serenity. Mention must go to Lauren Samuels who is endearing and humours as her various characters and speaks French like she's a native.
The Barn Theatre's Henry V is an inventive and entertaining treat. A strong, well directed cast bring a classic to life with a verve and energy that should be seen and appreciated.
Henry V runs at the Barn Theatre until 22nd June 2019
photo credit: Eve Dunlop
Friday 24 May 2019
Amélie (UK Tour), New Wimbledon Theatre | Review
Amélie
New Wimbledon Theatre
Reviewed on Thursday 23rd May 2019 by Olivia Mitchell
★★★★
The cult French film Amélie has been on a long journey to get to the UK and it's finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully.
Audrey Brisson plays Amélie the girl who grew up unloved but came to have a heart of gold as she sweetens the lives of others among the Paris streets. A host of characters surround her as bar staff, neighbours, customers and strangers. They also double as bohemian musicians, an element which really brings the show to life and adds to the floaty feeling of it all.
Elliot Griggs' sepia toned lighting drenches the stage fantastically to create an intimate feeling. Madeleine Girling's set featuring a metro station, a photo booth and two worn pianos, doesn't change but rearranges to create the various atmospheres of the show. Amélie's bedroom is a lampshade lift up and perfectly sums up the sweet life she leads. When Amélie spot Nino (Danny Mac) at the train station, he soon becomes a focal point of romantic attention and the set almost seems to move around him at times. The combination of set, costumes, puppets and lighting all work together in a seamless fashion to bring the surreal imaginative aspects of the show to life.
Daniel Messé's music is fluent and catchy as we are transported around Paris, with Times Are Hard For Dreamers and Stay, providing the most memorable moments. Craig Lucas' book is somewhat wacky with gnomes and figs that come to life, but the fantastical element of it all is very enticing. Whilst there is a good flow to most of the show, it does feel just a tad too long, some splicing here and there would add shine to the gem it is.
Audrey Brisson's beguiling interpretation of the lead character is truly what makes this show special. Her sublime voice and outstanding characterisation make her an ideal lead who enchants from start to finish. Danny Mac is suitably enigmatic and provides some swooping vocal moments. The ensemble throughout are masterful at what they do and this team production really does warm the heart.
This effective musical uses nuance, silence and soaring sound in equal measure as it tells a heart warming tale. For a sweet, whimsical night out, Amélie is certainly one to catch. Follow the blue arrows and check it out for yourself.
photo credit: Pamela Raith
Wednesday 15 May 2019
American Idiot (UK Tour), New Wimbledon Theatre | Review
American Idiot (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 14th May 2019 by Olivia Mitchell
★★★★
Taking Wimbledon by storm, American Idiot is a maelstrom of epic performances, high intensity choreography, a killer score and fantastic acting. Taking the music of Greenday and combining it with a story about three men facing darkness and pain on their journeys to finding something they can believe in; it is a very well constructed show which packs all the right punches.
Sara Perks' design is simplistic but does complete justice to the theme and aesthetic of the show. Screens are cleverly used to show various emotions and flashbacks and to emphasise certain scenes. These also allow original American Idiot cast member Lucas Rush to be cleverly worked into the show as the Rock 'n' Roll Boyfriend, these little details make the show stand out and no doubt are a factor in keeping loyal fans returning time after time.
Tim Deiling's lighting is suitably in your face, but equally precise and emotive in the higher intensity moments of the show. Chris Whybrow also achieves good balance between creating blast-your-ears-off numbers and more acoustic sounding pieces. For a show which on the surface may seem a bit of a mish-mash, it's very well conceived and carried out.
The American Idiot cast are uniformly strong as they perform Racky Plews' choreography with bite and aggression, and give note-perfect vocal performances. Tom Milner is darkly captivating as Johnny who leads the show with spades of commitment. Milner's breakdown moment is act two is utterly superb. The audience can physically feel each others tension as Milner has mastered controlling a crowd with every breath. His well-acted and well-sung performance is impeccable.
Sam Lavery is a vocal powerhouse who brings a sexiness and sadness to the show. He vocals are smooth and captivating. Luke Friend give a manic and electric performance with killer vocals and a performance which crackles and fizzles throughout; and Samuel Pope plays the troubled Will with sincerity and subtlety. As Tunny, Joshua Dowen gives a striking performance with a great character arc.
Another stand out is Glenn Adamson who captures our attention whenever he's on stage and who provides particularly strong vocals in his solo moments. Alexandra Robinson, Shekinah McFarlane and Siobhan O'Driscoll are especially memorable throughout.
Musical highlights include 21 Guns, Wake Me Up When September Ends, St Jimmy and Good Riddance (Time Of Your Life), but the whole score is performed superbly well.
Whether you've grown up with Greenday, or like me just know a few of the most popular songs, you'll certainly enjoy this raucous show. The storyline itself is pretty thin but thanks to the outstanding vocal performances and incredibly emotive and shocking scenes, American Idiot provides a fun, feisty night out.
American Idiot runs at the New Wimbledon Theatre until 18th March 2019 before continuing its tour
photo credit: Mark Dawson Photography
Friday 10 May 2019
Matilda (UK Tour), Bristol Hippodrome | Review
Matilda (UK Tour)
Bristol Hippodrome
Reviewed on Thursday 9th May 2019 by Roni Hughes
★★★★
Whether you yourself were obsessed with books as a child, or if you were just more of a movie person, I can guarantee that you will know something of Matilda Wormwood.
Originally a children’s book written by Roald Dahl and released in 1988, Matilda was later adapted into a blockbuster film starring Mara Wilson and Danny DeVito, becoming a firm favourite of young and old alike. Now the well known tale is back in a musical stage adaption by Dennis Kelly, with music and lyrics from Tim Minchin. Although currently on its first UK tour, the show has been a resident in London’s West End since 2011, and having had the pleasure of seeing it there multiple times, I was intrigued to see how seamlessly such a fast paced and well staged show would transfer to a smaller stage. For many parents unable to travel to London, this is their opportunity to take children to the show for the first time, and it’s impossible not to get swept up in the excitement upon arriving at the theatre.
Right from the off, it’s clear that the transfer has taken nothing away from the production value. Even on a smaller stage, the intricacies of the sets to include many books and building block letters are still mind blowing. There is so much to look at, yet none of it distracts from the main action. A special shout out must go to the cleverly written and performed School Song, in which the older children of Trunchem Hall teach the new starters their ABC’s through the menacing school gates. Hats off to Matt Towell and Ben Davies for continuing to make this as dynamic and tricky as it should be.
Outside of the staging, there are a few standout members of the cast without whom the show would fall flat. Our Matilda for the night, Olivia Juno Cleverley, has the little girl’s feisty nature down to a T. She has to ability to have us laughing along with her karate chopping one minute, and the next be tugging on our heart strings in softer moments where we’re confronted with just how awfully the adults in her life treat Matilda. At her young age, this is no mean feat, and I’m sure there are bright things to come for her. Special mention also to Charlie Garton who played cake loving Bruce Bogtrotter. His fabulous dance moves in Revolting Children have the audience rolling in the aisles, and he has energy and stage presence in spades.
This is not forgetting the adult cast members, who do well in being the literal embodiment of their characters. Carly Thoms’ Miss Honey is perfectly meek and mild, and her rendition of My House is suitably gut-wrenching. It’s a refreshing change to have one adult in Matilda’s story for whom you root just as much as title character, and Thoms allows us to sympathise completely with this teacher with a heart of gold.
We also cannot overlook Elliot Harper, who plays the formidable Agatha Trunchbull. Harper succeeds brilliantly in providing us with the laughs throughout the entire show, right down to one final cry of ‘Maggots!’ during the last reprise. He is the fourth Trunchbull I’ve been able to watch, and he certainly does not disappoint.
One thing I must mention that took away slightly from the overall production was the sound mixing. I’m unsure on whether it was simply down to the mics or the theatre layout, but the music seemed to overpower the actors, and particularly in chorus songs, the clarity needed to hear all the lyrics was missing. The show in general was not quite as polished as you would expect for a show that’s been on tour for 14 months already, which was most obvious in some of the dance sequences. However, despite this the show was still more than enjoyable, and this may just be down to adjusting to the recent move to the Hippodrome.
This show is wonderful for children from ages 4-104 and would certainly make for a fantastic family night out. There are plenty of age appropriate gags for all generations, and there’s a great balance of poignant moments mixed with fun and hilarity. I would definitely recommend being a little bit ‘naughty’ and treating yourself to a ticket!
Matilda runs at the Bristol Hippodrome until 8th June before continuing its tour.
photo credit: Manuel Harlan
Tuesday 7 May 2019
Man of La Mancha, London Coliseum | Review
Man of la Mancha
London Coliseum
Reviewed on Friday 20th October 2017 by Olivia Mitchell
★★
Man of La Mancha is considered a 'rare' revival and from this production it's pretty clear why. The story is highly dated and it's evidently a very hard piece to stage. Whilst the cast do as much as they can with what they've been given, the production feels un-engaging and insufficiently developed.
The structure of 'a show within a show' does little other than make the piece feel static. No context is given for the prison setting and the transition from the damp cell to the dreamlike play is jarring at times. The switches feel bulky and instead of moving on what little story there is, add an unnecessary layer which isn't resolved in any way.
The thin plot follows author Cervantes (Kelsey Grammer) who has been thrown into the prison. In an attempt to save his manuscript of Don Quixote and his worldly possessions, he acts out the novel and allows the other captives to take part. Grammer is good in his roles most of the time but feels unsteady, especially during the fight scenes, and doesn't bring the show's hit song 'The Impossible Dream' to life with much bravado. In general the cast are strong but there are moments of weakness, mostly due to the book itself.
Nicholas Lyndhurst plays both the sinister Governor and boozy innkeeper and is highly entertaining. The story may be strange but Lyndhurst amuses and brings his unsophisticated characters to life.
Soprano Danielle de Niese plays Aldonza, the local prostitute who Quixote sees as his princess and damsel in distress, Dulcinea. De Niese is vocally strong and brings an entertaining feistiness to the stage, but her incredibly dated role which features a brutal rape scene, again feels discordant. There seems to be a lack of balance between comedy and drama, with whimsical moments suddenly being taken over by shocking social commentaries, that do little to resonate with a modern audience.
There are brief sparkles of greatness in this production: David Seadon-Young stands out among the ensemble, Peter Polycarpou is engaging and whimsical and the gypsy dance is well choreographed. However overall Man of La Mancha feels like a show which cannot be made relevant for a contemporary audience. The bizzare characters are too far removed from anything the audience can sympathise with which makes the whole production feel empty.
If Fotini Dimou's beautifully detailed costumes and David White's superbly virtuosic orchestra are enough for you to fork out the the ticket money then by all means go to this show, but don't expect much more.
For more information and tickets, visit https://www.londonboxoffice.co.uk
photo credit: Manuel Harlan
Wednesday 17 April 2019
Rock of Ages (UK Tour), Bristol Hippodrome | Review
Rock of Ages (UK Tour)
Bristol Hippodrome
Reviewed on Tuesday 16th April 2019 by Isobelle Desbrow
★★★
Rock of Ages is a jukebox music which lacks any storyline but makes up for it through the use of humour and performance. Featuring such songs such as ‘We Built this City’, ‘I Wanna Know What Love Is’ and ‘Don’t Stop Believing’, the music is really stand out. Without these well know songs, and the musicianship of the actors the show wouldn’t have been worth watching.
Jodie Steele leads the cast wonderfully as Sherrie, her voice perfectly in sync with the rock genre. Steele's command of the stage is fantastic, with highlights being when she ran over Lonny’s foot with a toy tractor and her vocals in song like ‘Don’t Stop Believing’ and ‘High Enough’ along side Drew played by Luke Walsh. Both performers provide outstanding vocals which you can't fail to be impressed by. However, they are unfortunately plagued by a one dimensional love story.
Lucas Rush plays the charismatic Lonny, who also also narrates the show. His shenanigans with the audience often breaking the forth wall, really keep the audience involved. His enthusiasm and characterisation, are well needed in this dry at times show. Overall his acting and singing utterly brings the house down in tears of laughter and he also keeps the pace of the show going.
Regina played by Rhiannon Chesterman is a hilarious and spectacular singer, who often left me jaw dropped while singing such numbers like ‘We're Not Gonna Take It’ and ‘Hit Me With Your Best Shot’. Dennis is played by the rocking Kevin Kennedy who’s rockstar voice matches the music well. Zoe Birkett plays the sultry Justice who owns the Venus Gentlemen’s club, and is a mother like character for Sherrie during the second half. Her soulful singing is a well cast addition to the show.
While this musical lacks a notable storyline, the interaction with the audience and jokes make it worthwhile and the performances all round are fantastic.
Rock of Ages runs at the Bristol Hippodrome until 20th April before continuing its tour.
photo credit: Richard Davenport
Wednesday 3 April 2019
Abigail's Party (UK Tour), Orchard Theatre | Review
Abigail's Party (UK Tour)
Orchard Theatre
Reviewed on Monday 1st April 2019 by Holly Bridges
★★★★★
I am a huge fan of Mike Leigh’s classic play Abigail’s Party, therefore it is difficult to imagine any current touring production doing it justice. However, upon entering the Orchard Theatre auditorium, and being transported back to the Seventies via an impressive set, complete with brown décor and cheese plants, any apprehensions regarding Sarah Esdaile’s version quickly subside.
As our hostess with the ‘mostess’, Beverly Moss sashays into the room to the sounds of Donna Summer, complete with long, printed maxi dress and a drink in hand, it is clear she is out to impress. This role was famously played by the inimitable Alison Steadman in the original, and whilst these are gold heels which are impossible to fill, Jodie Prenger is excellent as Beverly.
We watch as Beverly’s stressed husband, Laurence (played by Daniel Casey) deals with yet another business matter on the telephone whilst she looks on irritably; just one of many fractious moments which go on to scatter the evening. It’s as her guests arrive that Prenger really comes into her own, with Beverly flitting between the sofa, cocktail cabinet and nibbles, all the while her shoulders arched and ready to schmooze.
Vicky Binns plays Angela, the slightly naïve and very eager to please nurse, who is new to the area and neighbour of Beverly and Laurence. She is joined by reluctant husband Tony, who sits sullenly in a chair as ‘Ange’ chatters on. Binns nails the role, with the audience darting between feelings of slight annoyance at her inane conversation, to those of pity as Tony belittles her.
Thrown into the mix of this farcical soiree is the fifth character, Sue. A middle-aged, intelligent divorcee, and now single mother, we are led to believe that Sue has been invited over by Beverly in order to ‘save’ her from her fifteen-year-old daughter’s (Abigail) party in a neighbouring property. Rose Keegan plays the part of Sue extremely well, all soft tones and worrying nods, this is a woman who is clearly out of her depth in this environment.
There is no doubt that Beverly is awful, yet she is also completely enthralling as we see her try to flirt up a storm with ‘Tone’ and attempt to haul herself up the class ladder as she makes constant comparisons between herself and her guests, whilst also force feeding them cheese and pineapple!
It is the fraught and somewhat uncomfortable moments between each of the warring couples which occasionally give the play a slightly unhappier tinge, as the sometimes-awkward laughter from the audience suggests. Beverly’s withering put-downs of Laurence, however, cannot help but draw genuine chuckles. Casey’s performance as her long-suffering partner is excellent, but let’s face it, who could ever win when up against the force of nature that is Beverly?
Abigail's Party does not disappoint, and whilst nothing could ever match up to such a classic piece of work as the original, this production is full of laughs, perfect details and moments that will leave you squirming in your seat (in a good way!) Little top-up, anyone?
Club Tropicana (UK Tour), New Victoria Theatre | Review
Club Tropicana
New Victoria Theatre
Reviewed on Monday 1st April 2019 by Glenys Balchin
★★★
Apprehension was in the air when I entered Woking New Victoria theatre, I knew that I would know the songs but I was not sure it would take me back to those fun fuelled Disco electric days of the 80’s... well it did sort of!
I'm not quite sure why the musical is called Club Tropicana, as apart from the name and a mention of “free cocktails”, there was not a sniff of the fabulous George and Andrew songs of the incredible WHAM. However, I am a lady of a certain age and remember those days whilst a millennium baby would not, so, does that matter?
The musical has been said to parallel hit TV show Love Island, which it does not! In the 80’s it was all about the music and dancing, not about drinking, talking about relationships and texting, (which would have proved difficult with a mobile brick!)
The story line is simplistic. Girl jilts her beaux on their wedding day, and they each go on a friend holiday to Spain to get over what has happened. They all stay at “The Club Tropicana Hotel”. Hotel Proprietors are waiting for an hotel inspection in order to a win hotelier prize but are sabotaged by a rival hotel owner. During the course of the story line, Boy and Girl participate in a Blind Date competition where they choose each other and realise they may have made a mistake...
The cast do an admirable job of taking me almost back to the electric 80s but it is not quite the 80’s as I remember, but again does that really matter?
I think that the script dictated the songs that were chosen, that’s why there is no Wham, Duran Duran, New Order, Tears for Fear, Human league, Whitney Houston, Madonna etc... because their songs did not tie into the story line. However, the musical depicts so many other things from the 80’s, the costumes for one: Ra Ra skirts, leggings, shorts, dungarees, “statement tee shirts” are a plenty on stage! The hair is big and huge mobile phones make a few appearances.
Club Tropicana is a feel-good night of entertainment, delivered by a vibrant, fun, high-energy cast who sing and dance as if their lives depend on it. I was not keen on some of the jokes which are not particularly PC nor the insulting references which border on sexist and homophobic, but I suppose that sums up the 80’s in a way.
Once Joe McElderry comes onto the stage the show comes along and takes the cast and audience into a flurry of singalong & dance routines– if only I could have got on stage for 'Oops Upside your Head'. Joe has to be applauded for an energetic exuberant performance and for not waning once. He really leads the show and uplifts the rest of the cast.
The same can be said, for the formidable and extremely talented Kate Robbins playing Consuela, who magically plays the part. Her comic timing and characterisation are hilarious and her great voice brings a real belly laugh and applause from the audience. Emily Tierney must be complimented for delivering a strong comic performance with a great voice, as the double-crossing hotelier Christine. The voices of Cellen Chugg Jones and Karina Hind the young couple, singing to 'I Could Be So Good For You' are a highlight. There must be mention of Tara Verloop, Rebecca Mendoza and Kane Verrall who all performwonderfully; with Kane working especially well with McElderry as his love interest.
Club Tropicana will bring a big smile to your face, give you the feel-good-factor and make you feel young once again. Its not an award worthy musical but is certainly good fun and like a summer pantomime for adults.
photo credit: Darren Bell
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