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
Wednesday 21 March 2018
Cilla (UK Tour), New Victoria Theatre | Review
Cilla (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 21st March 2018 by Melanie Mitchell
★★★★
Cilla The Musical, intertwines the story of the rise from teenage typist to number one singing star, with the evolving love story between her and her future husband Bobby Willis.
In the 1950’s Liverpool was becoming increasingly well known, worldwide, for its unique style of music known as the Mersey beat. It was in the clubs around Merseyside that the young Cilla White worked as a coat check girl, often performing on stage along side the likes of Gerry and the Pacemakers and most notably the Beatles. When Brian Epstein discovers the 20-year-old Cilla at the Blue Angel Jazz Club, her meteoric rise to fame begins.
The set design is superb, cleverly changing from the tiny flat in which Cilla lives with her family to the Clubs and streets of Liverpool. You really get the feeling for the area at the time and that you are part of the audience in the now legendary Cavern club.
The lighting changes throughout, reflecting the mood of each scene, especially in the second half when Cilla is an international star with her own UK TV show. My only criticism was that from where I was sitting at times it was quite blindingly bright.
Kara Lily Hayworth is simply superb as the young Cilla. She absolutely brings the character to life, showing not only Cilla’s humour and confidence but also her naivety of the industry at the time. Her Liverpudlian accent is excellent and if you closed your eyes you would of thought Cilla was in the room. Kara’s singing voice is absolutely faultless, perhaps a bit sweeter and dare I say more professional than our Cilla’s was. However, this is probably down to her classical training background.
Carl Au, plays Bobby Willis, Cilla’s long-time boyfriend who goes on to become her manager and Husband. Carl is totally believable in the part and has an extremely good singing voice.
The part of Brian Epstein is played by Andrew Lancel, an extremely talented performer who you may know from Coronation Street and The Bill. You may not know that he also has an excellent singing voice as well. He plays the tortured Epstein brilliantly, giving a sadness and poignancy to the role that I hadn’t expected.
The whole company give a sparkling, lively and energetic performance, especially when playing the various groups such as The Beatles and Gerry and the Pacemakers. However, the standout group performance for me was the casts portrayal of the Momma’s and the Poppa’s rendition of California Dreaming.
Cilla The Musical is showing at the New Victoria Theatre until 24th March 2018. Get a ticket if you still can, not only will you see some fabulous performances and hear some wonderful singing, you are guaranteed to have a most enjoyable evening and a Lorra Lorra fun!
photo credit: Matt Martin
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
Thursday 8 September 2016
Vanities, Trafalgar Studios | Review
Vanities: The Musical
Trafalgar Studios
Reviewed on Wednesday 7th August 2016 by Olivia Mitchell
★★★★
Vanities is a musical adaptation of Jack Heifner's play with a script by Heifner himself and lyrics/music by David Kirshenbaum. Its London premiere at Trafalgar Studios is certainly a triumphant one, with radiant performances from all three ladies and extremely catchy and refreshing music. Set in the 70s one would assume the themes of the musical could be dated but in fact the plight for happiness, friendship and success are just as prevalent now.
Thursday 5 March 2020
The Last Five Years, Southwark Playhouse | Review
The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell
★★★★
Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.
This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story.
Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.
As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey.
Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.
With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.
The Last Five Years plays at the Southwark Playhouse until 28th March
photo credit: Pamela Raith
Thursday 28 September 2017
Jane Eyre, National Theatre | Review
Jane Eyre
Lyttleton Theatre, National Theatre
★★★★
The National Theatre are outstanding at championing new, innovative work and thinking outside the box to bring audiences spectacular shows, something which they have once again succeeded at with this Sally Cookson's production of Jane Eyre. In Bristol, the tale was split into two parts but artistic director Rufus Norris has wisely squeezed the action into one performance.
I'm sure I'm not alone in having gruelling flashbacks to A-level English literature when I hear Brontë's novel mentioned, and what's lovely about this adaptation, thanks to the minimal sets, is that it allows the audience to create the world of Jane Eyre with their imagination as they would do when reading the book. The set is extremely modernistic in it's simplistic design with no grand structures to show the various momentous locations in Jane's life but instead using wooden platforms, metal structures and ladders as a framework for the action. The use of lighting is particularly impressive with white cloth backdrop that surrounds the stage being changed to different colours to show the various moods. The shocking red room is especially effective.
What struck me about this production is not only how modern it is in terms of aesthetics but how contemporary the character of Jane herself is. She's feisty with strong morals and a real feminist side. Although having seen her as ahead of her time when I read the novel, I'd never realised how truly relatable she is until watching this production. Her quest for freedom whilst not compromising her passions is joyous to watch.
The strong use of physical theatre added an intensity to the piece, as well as flow, especially in the running transitions during Jane's travels. The varying motion from smooth lyrical to frenzied, perfectly mirrored the changes in Jane's physical and metal health throughout. Another particularly interesting aspect was members of the ensemble speaking Jane's thought's aloud. This was humourous at times but also a very clever way of developing the character more without her having to tell the audience anything directly.
The trio of onstage musicians added a whole other layer with a number of musical styles accompanying crucial moments and transitions. Melanie Marshall was absolutely fantastic both physically and vocally; singing atmospheric pieces to fit with other characters or her own, Bertha. Her voice is strong and angelic whilst having a menacing and painful side. Her rendition of Crazy was notably unexpected but brilliant and perfectly woven into the story.
The entire ensemble are faultless but I must give a special mention firstly, to Paul Mundell who is hilarious as Pilot, adding some welcome humour. And secondly to Hannah Bristow who perfectly and distinctly plays Adele, Helen, Grace Poole and others.
This is a somewhat lengthy (3 hours and 15 minutes) play, but a striking production of a classic. The start is slightly slow but as we get into the action the momentum speeds up and we really get to see is the power of one of the first literary modern women.
Tuesday 27 June 2017
A Judgement in Stone, New Victoria Theatre | Review
A Judgement in Stone
A Judgement in Stone is a classic thriller adapted from the novel by celebrated crime write, Ruth Rendell. The play is set in the 1970s and focuses on the barriers and social structures of the English class system. The social obsessions and tensions this system brings are bought starkly to life.
The play highlights the differences and positions between the middle/upper classes and the much less educated lower working class when the meek, mild mannered Eunice Parchman (played by Sophie Ward) becomes housekeeper for the Coverdales at their country house. Sophie is excellent as Miss Parchman, it took me a while to know is was her as she is so unrecognisable. She portrayed the character perfectly, suitably subservient, fragile, insecure, down trodden and ever so slightly simple treating her employers like royalty but with a hidden depth and secrecy to the character.
Mark Wynter and Rosie Thompson play the Coverdales extremely well; complete snobs, pretentious, exuberant social climbers who see themselves in the upper echelons of society but with his position as a factory owner could easily be described as upper working class- god forbid!
Jennifer Sims as Melinda Coverdale is the perfect spoilt brat, a daddy's girl without a worry in the world. Her step-brother, Giles, played by Joshua Price is a typical foppish, alternative rich boy. The detectives played by Andrew Lancel and Ben Nealon both give believable performances. I was pleasantly surprised by Anthony Costa (formally a member of boyband, Blue) who plays Rodger Meadows and I have to say: the boy can act!
Deborah Grant as the maniacal Joan Smith is perfect for this part, very watchable with the right amount of of madness and humour. Shirley Anne Field plays the Coverdales cleaning lady Eva Baalham, who's timing and overall performance are excellent however, I felt that the part was extremely small and somewhat insignificant for such a great actress.
The whole play centres around one set, the Coverdales dining/sitting room with various doors leading off of it. However, due to the clever production, staging and lighting, the backdrop does not become boring.
All in all, A Judgement in Stone provides a great evening full of atmospheric suspension and tension.
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
Friday 27 April 2018
In Conversation With... Lizzie Winkler | Quiz | Interview
Quiz is one of the hottest plays on in the West End right now. Transferred from Chichester Festival Theatre, it is an immersive experience which examines the conviction of 'the coughing Major', Charles Ingram, following his appearance on Who Wants to be a Milionaire? Lizzie Winkler plays a variety of roles in the show and sat down to talk about that experience as well as who'd she's share a million pounds with...
Hi! You've had a varied career so far. What have some of your highlights been?
This!
Can you tell me a little about Quiz and your role in it?
I play the most characters, ranging from real people Claudia Rosencrantz (Head of light entertainment for ITV), Ruth Settle (Head of Marketing for the show) Alyn Morris (cough doctor) to characters whose names I've been allowed to make up, police officer (PC Jill Salmon) attractive assistants (Denise Body and Kirsty Sparkle) Pregnant Juror (Alison De Winter) Court Stenographer (Linda Bland) I really enjoy creating characters' back stories and histories even if they don't have lines.
What do you think people will be saying as they leave the theatre after experiencing Quiz?
"What did you vote?". "Do you think they are innocent?" and hopefully "that was amazing "
Can you sum up the play in five words?
Entertaining, interactive, thought-provoking, political, human.
What has your favourite immersive/interactive theatrical experience been?
All the Punchdrunk shows.
If you won Who Wants to Be a Millionaire? who would you share your money with?
Whoever asked the nicest.
If you had a magic wand, which show would you do next?
I write television comedy, with Emma Jerrold I would get one of our shows commissioned and be in it.
Finally, what's your number one piece of advice for aspiring performers?
Be yourself and work hard!
Thank you so much Lizzie for taking the time to do this interview. Quiz runs at the Noel Coward Theatre until 16th June.
Interview by Editor, Olivia Mitchell
Wednesday 30 March 2022
Singin' in the Rain (Tour), New Victoria Theatre | Review
Singing in the Rain
New Victoria Theatre
Reviewed on Tuesday 29th March 2022
★★★★
It's been 10 years since Jonathan Church's stage version of Singin' in the Rain was brought to life at the Chichester Festival theatre, showering the front rows during the title number and delighting audiences with its sheer spectacle. The show is a fast-footed feast which is full of charm and keeps its wow factor after all these years.
This UK tour which opened with a run at Sadler's Wells closely mirrors the original film in which Gene Kelly created some iconic moments, including his joyful tap dancing through puddles. This scene and many others are performed brilliantly by Adam Cooper as the lead Don Lockwood. A former Royal Ballet dancer, Adam has been with the show since the start and is enthralling in the role of the silent movie star making the transition to 'talkies'.
His famous counterpart, Lina Lamont (played hilariously by Faye Tozer) doesn't make the move quite so seamlessly, with her poor singing voice and harsh, shrill speaking voice not quite delighting audiences. So, at the suggestion of Cosmo Brown, Don's real life love interest Kathy Selden is drafted in to dub the voice and vocals.
Alastair Crosswell plays the highly energetic Cosmo Brown in the most engaging and entertaining way. His incredibly hard working performance provides great slapstick moments alongside stellar dancing. As Kathy Selden, Charlotte Gooch is a sleek, stunning, star. Her magnetic aura is a delight to watch and she never falters for even a second.
What's so impressive about this touring production is the sheer scale of it. It's amazing how such a detailed and technical show can go on such a quick turnaround tour- major props to all the backstage team! Simon Higlett's set is brimming with art deco features and feels like it goes on far beyond the stage of the New Victoria Theatre; and the costumes are utter treats.
This is a complete spectacle of a show that feels sleek and refreshed. Comedic moments including the re-creations of stilted silent films contrast beautifully with Andrew Wright's larger than life choreography which floats and fills the stage with the elegance you dream of. This is a decadent production that really stands the test of time and provides a treat for all the senses.
Singing in the Rain plays at the New Victoria Theatre until 2nd April and then continues its tour
Friday 21 February 2020
Laura Baldwin on The Importance of Female Led Musicals | Beautiful: The Carole King Musical | Interview
A jukebox musical with a book by Douglas McGrath, Beautiful: The Carole King Musical tells the story of the life and career of Carole King, using the songs she wrote as well as others by people she knew or were influential in her life.
Taking on the role of one of these, is Laura Baldwin who plays Cynthia Weil, King's best friend and writing rival. Having previously starred in Waitress, Laura is no stranger to female led stories, she sat down to tell us why these stories are so important and what people can expect from this musical...
Give us the lowdown on Beautiful, what can we expect?
Well you can expect a story of what went on behind the music surrounding the life of Carole King, told by an AMAZING cast. You’ll hear incredibly nostalgic songs and hopefully you’ll leave feeling elated, inspired and a little bit warm inside.
Whats your favourite song from Beautiful and why?
God that is SO hard! The Locomotion is definitely up there but it has to be Walking in The Rain. It’s just such a stunning song and it feels so lovely to sing.
You’re playing Cynthia Weil, what do you draw from in your own life and what research do you do to play a real person?
So Cynthia Weil is the first character I’ve played that I don’t feel anything alike. I couldn’t find any similarities for a while so that was a new challenge for me. It did however feel really refreshing to become someone completely different and, play parts of her that don’t come naturally to me. Now we’re well into the run I do see myself in her, like I love making people laugh, so does she! We’re both very ambitious and love our work. It was great to finally identify with her in some way.
I researched lots about Cynthia! I watched so many interviews and we talked extensively with Ed Goggin our director, all about the characters lives and motives throughout the show. I wanted to make sure I do her justice!! Hopefully I’m doing enough!
You previously starred in Waitress, another musical about female empowerment, what do you think makes these musicals so important and special?
Because we need women to be seen as the hero’s that they are and have always been! Waitress was a human story and Beautiful is a real life story, both with an underdog message. The characters find strength from within and that is always incredibly special to watch. Sara Bareilles is a power house as is Carole King. Their stories and music should be heard simply because of the talent behind them. I am honoured to be a small part of their work and portray the characters that are so dear to them, and inspiring to women and to everyone.
If a musical was going to be made about your life, who would you like to play you?
Oh Amy Adam’s or Kristen Wig just because I love them!!
What’s your best piece of advice for aspiring performers?
Keep the gorgeous people around you who lift you up! ALWAYS treat yourself after an audition. You will constantly struggle to balance everything and things will get hard but that’s okay. There will be highs and lows but the lows make it worth it. Stay humble, find ways to reconnect with yourself, book the holiday and know that your career doesn’t define you. I also feel like being yourself is HUGE and the moment I started accepting my weird crazy self, everything started to fall into place :) stay strong! x
Beautiful: The Carole King Musical plays at the New Victoria Theatre until 22nd February before continuing its tour
Interview by Editor, Olivia Mitchell
photo credit: Helen Maybanks
Wednesday 17 October 2018
Company, Gielgud Theatre | Review
Company
Gielgud Theatre
Reviewed on Tuesday 16th October 2018 by Olivia Mitchell
★★★★
Marriage is the order of the day with Marianne Elliot and Chris Harper's gender-switched version of Company. Bobbi (formerly Bobby) has reached aged 35 and is surrounded by an endless barrage of questions about why she's single and when she's gong to become 'whole' and partner up.
Bunny Christie's set design is artwork of its own in the way it reflects the isolation one can feel in life, especially when living in a city which can make you feel small. The set is make up of cool neon framed cubes which interconnect to make up the various parts of Bobbi's life. The set also works well as its own character to contrast Bobbi. The cold stage is perfectly balanced by Bobbi's vibrant red dress so she always stands out amongst the others.
The show avoids a formal linear structure and instead jumps from tableau to tableau, which are linked by a reoccurring surprise birthday party. The spitfire force that leads the show is Rosalie Craig who is humourous, enticing and charming in the lead role, Bobbi. On stage for pretty much the entire show, Rosalie performs with the stamina and vocal agility of a true star and will no doubt receive much acclaim for her portrayal.
Our leading lady's married friends are an amusing group who have been given a modern makeover and been switched up to be more fitting for a contemporary audience. As the loving but smothering Paul and neurotic Jamie, Alex Gaummond and Jonathan Bailey are outstanding. Bailey's performance of Not Getting Married is a stellar tutorial in how to perform a patter song and he's a complete revelation in the role. The scene is entirely heightened and wholly hilarious. As the couple who are always playing a game of push and pull Sarah and Harry, Mel Giedroyc and Gavin Spokes are witty and very well performed. Susan (Daisy Maywood) and Peter (Ashley Campbell) are questioning whether marriage was the right choice for them whilst Jenny (Jennifer Saayeng) and David (Richard Henders) are settling and changing to keep one another happy. Our final couple are Joanne and Larry who mirror Bobbi a huge amount. As Larry Ben Lewis is sweet and giving, whilst his partner Joanne, played by musical theatre veteran Patti LuPone warns Bobbi of the downfalls of falling into what society expects of you and how life can be empty if you simply become a wife and a lady who lunch. As expected, she is a scene stealer who brings earth shattering vocals.
Bobbi's three boyfriends are played uniquely and faultlessly to highlight some of Bobbi's issues and struggles, whilst bringing a realness to the show that is easily relatable. Matthew Seadon-Young plays Theo, who has a past with Bobbi but their snaps with each other quickly bring to light why they didn't work out. Richard Fleeshman plays the dim but kind flight attendant, Andy very well; and George Blagden is the most hisptery-hipster ever in his portrayal of PJ. All three men deliver some stellar vocals and well rounded characters despite not having a huge amount of solo stage time each. The moment they join forces in You Could Drive a Person Crazy, with sleek choreography and super sharp Barber Shop harmonies, is one of the stand out moments of the production.
Company is a show for a 2018 audience. Well directed with boat loads of humour and an equal amount of subtlety, its opens up the question of whether marriage is for everyone and prompts us to examine our own choices. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.
photo credit: Brinkhoff/Mögenburg
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
Tuesday 28 November 2023
Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out
Pretty Woman (Tour)
New Victoria Theatre
A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off!
Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…
The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for.
Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together.
Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly. The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence.
With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.
The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire!
Overall, the lightheartedness of the story and the fantastic talent onstage makes for a perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking!
★★★★★
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
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?
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