Showing posts sorted by relevance for query theatre. Sort by date Show all posts
Showing posts sorted by relevance for query theatre. Sort by date Show all posts

Wednesday 3 October 2018

Mean Girls, August Wilson Theatre | Review


Mean Girls
August Wilson Theatre
Reviewed on Wednesday 19th September by Olivia Mitchell
★★★★★

It lives up to the hype. It truly lives up to the hype.

Mean Girls follows Cady Heron, who moves from the wilds of Africa to the wilds of suburban America, where instead of facing lions, malnutrition and loneliness, she faces boy drama, social issues and the struggle to stay true to herself. Shortly after joining North Shore High School, Cady is shown the various cliques that inhibit the halls. When the most popular girls at school, The Plastics, invite her to join their group, her real friends see it as a perfect way for her to go undercover and infiltrate the cool kids who rule the school.

The musical is based on the 2004 movie of the same name, written by Tina Fey who adapted her own work from screen to stage. The music is by composer of various television songs and Tina's husband, Jeff Richmond, lyrics are by Nell Benjamin who also wrote for other hit screen to stage musical, Legally Blonde. This is a super high energy musical which is perfect for all audience types (although perhaps a little mature younger children).

There are mixtures of sounds and styles which makes this musical feel very fresh in the current theatre climate. There's pop, contemporary musical theatre, soft-rock, classic musical theatre and so much more which brings the show right up to date and keeps the audience on their toes. Each character has it's own musical feel which fits perfectly; Regina for example has slow, drawn out music which keeps us all in her web of power, whilst Gretchen has to sing everything quickly so as not to be cut off by Regina and Cady's songs are all very Disney-esque and flouncy. The songs of Mean Girls are sure to become regulars in rep folders, karaoke essentials and just earworms in general. 


Ashley Park as Gretchen Wieners is so solid and provides a masterclass in committing to your character and putting the work in to make you believe every moment. She is hilarious and vocally stunning as Gretchen but the way she embodies the character is truly what makes the performance special. Kate Rockwell is dippy to perfection as the iconic Karen Smith and she really shines during Sexy which has the audience howling. Jennifer Simard is hilarious and versatile as Mrs Heron/Ms Norbury/Mrs George. Her voice is outstanding and she again brings the memorable moments of the film to life but puts her own spin on them. 

At this performance, Cady Heron was played by understudy, Becca Petersen who is wonderful in the role both vocally and acting wise. Compared to the film, I felt much more sympathy for Cady and due to her kindness and innocence, found her a much more likeable character. Her being drawn to the allure of popularity feels natural although we still see the awful way she abandons her true friends.

Barrett Wilbert Weed as Janis is outstanding. From the first moment of Cautionary Tale she is completely natural in the role and it feels as though the real Janis has been plucked out of Illinois and placed on the August Wilson stage. Her best friend, partner is crime, Damien is played superbly by Grey Henson who is comedy on feet and it feels as though it was written in the stars that he would play the role.


The stand out of the show has to be Taylor Louderman who is everything and more as the head Plastic, Regina George. Her voice soars so effortlessly that it's like she's being auto-tuned in front of our eyes. Again, the way Taylor embodies Regina is mesmerising to watch and she is so spot on with every aspect of her performance. Someone Gets Hurt and World Burn are two of the best theatrical moments I've ever experienced.

Technically this show is sensational. The sets by Scott Pask are super simplistic but work well in a jenga-like way to transport us to the few locations of the show; with the screens not only bringing the show into the digital age, but providing constant stimulation for the audience. Modernity is also brought through Gregg Barnes' costumes which are intimately thought out. The Plastics of course, are dressed like they're constantly at an afternoon tea but the rest of the cast look like real, current students. So often with shows set in High Schools, the costumes are unrealistic or even outdated; the playbill states the the show takes place in "The Present" so it will be interesting to see whether the costumes change over time to fit with trends or whether the show becomes synonymous with 2018. Small details such as  the theatre 'geeks' wearing actual show merch and Janis letting her hair grow out (perhaps symbolising her desire to avoid conformity), make the show feel truthful and grounded.


Tina Fey's book brings all our favourite moments from the Mean Girls film to life but the addition of new witty one liners and more character development means nothing feels recycled. Mean Girls is fresh and funny as well as having a strong moral heart which highlights bullying and acceptance. If you want a grool night out, get yourself along to the August Wilson theatre... and for us in the UK, lets start a stagey prayer circle for a West End transfer!

photo credit: Joan Marcus
Read post

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?

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
Read post

Monday 24 July 2017

I Loved Lucy, Arts Theatre | Review


I Loved Lucy
Reviewed on Monday July 24th 2017 by Olivia Mitchell
★★★

 Just transferred from the Jermyn Street theatre to the Arts Theatre, I Loved Lucy is an autobiographical play, adapted from Lee Tannen's memoirs about his relationship with cultural icon, Lucille Ball.

 A massive fan of the comedy star, Tannen uses obscure family ties to meet and form a friendship with Lucy. They bond with stories and fantasies over their games of backgammon as Tannen becomes a close confidant and sees a side of 'Auntie Mame' that very few got to see.

 As someone who wasn't alive during any of Ball's life and who until writing this review, had never seen an episode of I Love Lucy, I don't suppose I'm the target audience for this play. There were a number of anecdotes and names which meant nothing to me purely because of my age and I felt I was an outsider looking in on the jokes. However, for most of the times I didn't laugh, something else came along which had me in hysterics proving you don't need to be a Lucy fan to enjoy this show. Tannen's script is witty and uses repetition extremely well to generate laughs.  Alongside the laughs there are also more heartfelt moments, especially in act two when Lucy realises she has peaked and can never achieve the same levels of fame and love again.

 Tannen as the narrator is humorous and he doesn't shy away from showing his dark side as well as Lucy's but I found it strange at times how closely he paints the relationship. Tannen is shown as being one of Lucy's only confidants and the only person in her life. With her children and partners barely mentioned I feel that Tannen is an unreliable source and although it may have been true that Lucy had very few other relationships, it would be interesting to see why the others are so absent.

 Sandra Dickinson captures Lucy's mannerisms and iconic laugh perfectly. She gives a truly wonderful performance and remains committed to the role throughout. Her comedic timing, although sometimes ever so slightly off is good and she delivers Lucy's slicing asides and witty quips with ease.

 As the celebrity obsessed, excitable, Tannen, Matthew Scott is great and he gives a beautifully emotive performance. He not only plays his main role but a number of smaller roles such as the hotel receptionist and chauffeur where he shows off his versatility well. Dickinson and Scott's chemistry is great and although the stalkerish fan becoming best friends with the star is kind of strange, it somehow works and comes across in a natural way.

 Anthony Biggs' direction makes good use of the black box Arts Theatre and he is unafraid of stillness for dramatic effect. Gregor Donnelly's simplistic set design adds just enough drama whilst keeping the flow of the piece.

 I Loved Lucy is a joy to watch- great fun with an air of drama, glitz and glam.


I Loved Lucy runs at The Arts Theatre until September 2nd 2017
Read post

Monday 12 October 2020

The Show Must Go On, The Lost Alhambra | Review


The Show Must Go On (Chicago)
The Lost Alhambra 
Reviewed on Friday 9th October 2020 by Olivia Mitchell 
★★★★★

With the fate of theatre hanging precariously right now, in a happy medium and potential loophole, cabaret style nights out appear to be one of the few ways live theatre can still go ahead. One venue which is making this happen (and happen in style) is The Lost Alhambra in Leicester Square. The Show Must Go On is an immersive, cabaret dining experience which packs a punch. The night is complete with a 3 hour show, a 2 course meal, welcome cocktail and bottomless prosecco, you couldn't really ask for more!


Drag performer Poppycock hosts the night alongside some of musical theatre's best stars as they take us through a show via the score and some of the text. At this performance we got the treat of Chicago, which fits wonderfully into the dimly lit space of The Lost Alhambra; upcoming performances include Hairspray, Mamma Mia, Rocky Horror and Priscilla Queen of the Desert.


In theory, this is like any other cabaret but it feels so much stagier than anything I've experienced before. As you walk in you are greeted background music from some of the most popular and current shows, the staff all seem to love theatre and the whole thing feels like an immersive show, full to the brim with theatricality.




The venue itself is an instagrammer's dream, with pink decor, vintage feeling bathrooms and a Photo Booth to document the night (it's £4 and you get an email with the photos and gif as well as your print out keepsake).  The luxurious space is perfect to let your troubles slide away, and the unlimited prosecco which starts flowing from the moment of entry doesn't hurt either! Mention must also go to the staff who are excellent at not only being attentive but also create a wonderful atmosphere from the get go. You really feel part of something special and this only helps to get the room buzzing for the upcoming night of performance.


At this performance, Poppycock was the hostess with the mostest, welcoming us with a rousing rendition of Don't Rain on my Parade, before heading full throttle into the night, taking on various roles and perfecting the balance between ringleader, comedian and vocal dynamo. Laura Tyrer reprises her West End role as Velma Kelly, with Haley Flaherty as her partner in crime, Roxie Hart and Oliver Tompsett as the quick talking lawyer, Billy Flynn. Poppycock takes on basically every other role from Amos Hart to Mary Sunshine.


Each of the performers show off their impeccable talent and really transport us to the world of Chicago. An audience full of prosecco can definitely be noisy but the cast do an exceptional job of keeping everyone engaged and giving a truly top notch performance. Particularly impressive is the three-person Cell Block Tango and the energetic, high-kick filled I Can't Do It Alone.




The tickets start at £50 for everything and 1 hour of prosecco, with the top price being £65 for 2 hours of prosecco. It sounds a little pricey but for the amount and quality of the evening it's well worth it; plus the 10pm curfew means you can have an excellent night out and still be in bed at a reasonable time! I would certainly love a trip back, would weekly be too excessive?


The Chicago theme was excellent and the future performances are sure to be just as good. If you're looking for a way to get your theatre fix, look no further than The Show Must Go On. Not only is this a spectacularly wonderful night out but it's also a beacon of hope for the future of theatre. Get yourselves down to Leicester Square and live your best stagey life.

Read post

Wednesday 16 March 2022

Everybody's Talking About Jamie (Tour), New Victoria Theatre Theatre | Review


Everybody's Talking About Jamie (Tour)
New Victoria Theatre
Reviewed on Tuesday 15th March 2022
★★★★

Everybody's Talking About Jamie is fast becoming a staple piece of theatre in the UK and indeed across the world. Having had various iterations in many countries including Japan and Italy, as well as the hit film which was released last year; the musical retains its Britishness, strong heart and morals and continues to be an inspiring and entertaining experience.

Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New faces a number of hurdles and people who try to dull his sparkle. So, he works to overcome these and to show the close-minded people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to keep its spot in theatre lover's hearts for a long time.

As the title character, Layton Williams is a treat to watch. He brings Jamie to life truthfully and so glamourously. From the opening of 'And You Don't Even Know It', Layton completely owns the character and shows us the light and shade enveloped in it. At times his vocals get lost but he makes up for this with his incredible wit and larger than life personality that soars on stage.

Playing Jamie's kind and strong mum is Amy Ellen Richardson who's vocal performance is outstanding. 'He's My Boy' is an absolute highlight of the show and her vulnerable performance is incredibly moving. Her chemistry with Layton is great and she also works incredibly well with her best friend Ray (played brilliantly at this performance by Lisa-Marie Holmes).

Another lovely friendship is that of Jamie and Pritti. The pair are both misunderstood and confined in their own ways and it's so sweet to see them discuss this and to support each other without any toxicity. Sharan Phull is endearing and moving as Pritti, especially in her solo moments and fantastic monologue at the end of the show.

Shane Richie as Hugo/Loco Chanelle is fantastically entertaining, giving a really strong vocal performance and also showcasing fabulous comedic timing. Other stand out performances come from George Samson as Dean Paxton and Gary Lee in various roles including Laika Virgin at this performance.

Everybody's Talking About Jamie is a musical which inspires us all to own what makes us 'different' and is a really heartwarming portrayal of family, friendship and acceptance. It's contemporary and over the top and so much fun. Let's talk about Jamie a bit longer! Go see the show on tour!

Everybody's Talking About Jamie plays at the New Victoria Theatre until 19th March 2022 and then continues its tour
Read post

Thursday 2 August 2018

War Horse (UK Tour), New Victoria Theatre | Review


War Horse (UK Tour)
New Victoria Theatre 
Reviewed on Wednesday 1st August 2018 by Olivia Mitchell 
★★★★★

Since its premiere at the National Theatre in 2007, War Horse has been enthralling audiences around the world and after seeing it, it's clear why. The play follows the deeply moving story of the relationship between a young boy, Albert Narracott, played brilliantly by Thomas Dennis, and his adored horse, Joey.

Whilst this story begins as an unflinching quest for a boy to find his horse after it has been taken as part of the World War One front, it quickly becomes a story of how horses were sacrificed on mass at the battle lines. For the men of the army, the horses lives symbolise their own and its especially affecting to see how the men measure their lives by their horses.

The reality of war is brought to life with dramatic simplicity, with sound effects and bright lights hitting us with an intensity that transports us to the battlefield. This production is alarmingly powerful and honest.


Also brought to life are the friendships of life and war. Particularly moving is a scene where the two opposing sides make peace as the unite to free Joey from barbed wire in the midst of war. The friendship between Emilie (Joëlle Brabban) and Friedrich Müller (Peter Becker) is equally touching, especially as we see the way the war really effects Müller and takes it's toll on his mental health.

The stars of the show however, have to be the impeccable puppet and Handspring Puppet Company who bring them to life. The puppets become real and it's hard to believe there are puppeteers controlling them, even when they are in full view on stage. The breathing, galloping and entire personalities come to life and we are immersed in this stunning production.

Everything about War Horse screams National Theatre and this tour does a stellar job of making us feel as though we are in the Olivier Theatre. Although vastly complex, the whole show comes off looking and feeling simplistic and effortless. Whilst moving and poignant, this production all in all is beautiful. Providing a reminder of the sacrifices those before us have made and highlighting the futility of war, this is a must see for people of all ages.

War Horse runs at the New Victoria Theatre until August 18th before continuing its tour.

photo credit: Brinkhoff and Mögenburg
Read post

Friday 9 December 2022

Newsies, Troubadour Theatre | Review


Newsies 
Troubadour Theatre
Reviewed on Thursday 8th December 2022 by Olivia Mitchell 
★★★★

As temperatures soar below zero, the heat is definitely up at the Troubadour theatre in Wembley as their long awaited production of Newsies sizzles and soars.


The musical with a book by Harvey Fierstein has become somewhat of a cult classic in the musical theatre world, with many fans around the globe despite the show only previously being performed in America and Canada. The 2017 Broadway pro-shot brought the show within touching distance but now London finally get to see it in the flesh, and the good news is, it was completely worth the wait. 


Telling the story of the New York Newboys and Girls who went on strike over unfair work conditions, it’s an unlikely plot for a musical but it mostly works so well. More than anything this is a show with dance at its core and it’s quite astounding to see so many talented dancers on stage, even more so when you hear their divine vocals which accompany the moves. Matt Cole’s choreography is fierce, sharp and so so strong. The energy and precision is truly mesmerising to see and is so appreciated by the audience who give several standing ovations throughout.


It's the plot of this show which lets it down somewhat. The pretty formulaic story doesn't exactly thrill and whilst it does touch on important issues, there's a lack of depth so you don't fully connect with the characters and their plight. Due to this there are moments where the pacing feels a bit slow, however this is quickly fixed every time a big dance number is performed. 


What is great is that despite some stilted moments in the story, the show as a whole is continuously moving. Morgan Large's semi-immersive set allows for action to be taking place at all times, whether through actors walking along sides or quite literally soaring into the audience. The grey-toned backdrop somehow feels gloriously colourful as various shades leap across the stage. The multi-level design allows for varying sight lines and there's something to discover in every nook and cranny. Mark Henderson's lighting design works in complete harmony with all of this and really brings some wow moments to life; it's a very well oiled machine.


The incredibly strong cast who make up this show (and must have a physio bill to rival any other) are the beating heart of it all. The varying characters of the Newsies all get small moments to shine and their interactions are very touching to watch. Leading the pack Michael Ahomka-Lindsay is charming as Jack Kelly, at moments too cool for school, and others afraid of his circumstance, his performance is really moving. Alongside him Bronté Barbé is sparky and witty as Katherine Plumber; her performance of Watch What Happens is a real stand out (although it could be a touch faster) and her portrayal of the role allows you to really engage and connect with her. Ryan Kopel as new newsboy Davey is delightful too. 


This has got to be one of the strongest casts in theatre right now and the astounding performances really need to be seen to be believed. Newsies is a hugely welcome addition to the London theatre scene and it's sure to delight anyone who sees it!


photo credit: Johan Persson

Read post

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

Read post

Saturday 2 November 2019

Ghost Quartet, Boulevard Theatre | Review


Ghost Quartet
Boulevard Theatre 
Reviewed on Friday 1st November 2019 by Olivia Mitchell 
★★★★

The opening of a new theatre in central London is cause for celebration, especially when it's as wonderfully sophisticated and welcoming as the Boulevard. SODA architects have created a millennial dream with a pink-walled restaurant with delicious looking food and cocktails and a completely chilled atmosphere. Whilst, Charcoalblue have made a theatre space which is versatile, extremely comfortable and just great. The programme of late night concerts, cabarets and podcasts is an exciting one indeed and this space is sure to become a hub for new theatrical experiences. The Sketch of the theatre world, the Boulevard is certainly worth a visit!

As the inaugural show, Dave Malloy's Ghost Quartet paves the way to stray from convention. The show is pretty much a song-cycle of interlinked ghost stories, sung track by track by an amazing group of performers. The four musicians play a whole range of instruments and introduce each track as they perform it. There's also a regular breaking of the fourth wall and the audience feel part of the story throughout. The line between real life person and character becomes blurred as the performers are addressed by both their actual names and show names. They also comment on the strangeness of the story throughout in a very meta manner which works exceptionally in the space. 

We are introduced to a number of characters and stories which are eerie as opposed to scary and really don't make a tonne of sense, but that totally doesn't matter. The amazing performances and variety of musical styles make this a piece which wraps you round it's finger without having, or needing a proper plot. The circular seating adds to the feeling of being gathered round a campfire listening to stories the whole experience feels communal in a magical way.

The piece feels marvellously balanced between being off the cuff and rough around the edges but also highly sophisticated. Bill Buckhurst's direction has allowed the performers to be themselves as they interact with the audience but still maintain an aura of otherworldliness. Simon Kenny's set of piled suitcases, books and various household items allow for visual interest and frame the performers wonderfully. Emma Chapman's lighting is refined and effective. 

The cast are an exceptionally talented bunch with some of the most stunning vocal tones gracing London stages right now. Carly Bawden, Maimuna Memon, Zubin Varla and Niccolò Curradi give completely enchanting performances and share a graceful rapport with each other  and the audience. The way the performers exit the stage is completely magical and leaves you feeling warm and content, perhaps not how you'd expect to feel after a show with Ghost in the title. The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes. 

Ghost Quartet runs at the Boulevard Theatre until January 4th 2019

photo credit: Marc Brenner
Read post

Tuesday 1 November 2022

Cory English to Play 'Doctor Emmett Brown' in Back To The Future the Musical for 6 Weeks Only


Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that celebrated theatre actor, Cory English, will join the cast of Back To The Future The Musical at the Adelphi Theatre, playing the role of ‘Doctor Emmett Brown’ from 23 November 2022 until 3 January 2023. Tony Award winner, Roger Bart, who is currently playing the role, will return to the show on 5 January 2023. His final performance in London will be 20 March 2023 after which he will lead the cast of the Broadway production, which begins performances at Winter Garden Theatre (1634 Broadway) on 30 June 2023 with an official opening on 3 August 2023.

The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical had its opening night in London on Monday 13 September 2021. Last week the musical broke box office records at the Adelphi Theatre for the highest gross sales in one week.

Cory English played Max Bialystock in the West End and UK Touring productions of The Producers, directed by Susan Stroman. His other credits include Sleepless at Troubadour Theatre Wembley Park, She Loves Me at the Menier Chocolate Factory, Igor in Young Frankenstein on Broadway and in the West End and Benny Southstreet in Michael Grandage’s West End production of Guys & Dolls.

Back To The Future The Musical currently stars Tony Award-winning Roger Bart and Ben Joyce as ‘Dr Emmett Brown’ and ‘Marty McFly’ respectively, with Amber Davies as ‘Lorraine Baines’, Oliver Nicholas as ‘George McFly’, Jordan Benjamin as ‘Goldie Wilson’, Harry Jobson as ‘Biff Tannen’, Sophie Naglik as ‘Jennifer Parker’, Gary Trainor as ‘Strickland’, Will Haswell as alternate ‘Marty McFly’ and ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly’. Also in the cast are Amy Barker, Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Cameron McAllister, Alessia McDermott, Bryan Mottram, Laura Mullowney, Anna Murray, Jon Reynolds, Melissa Rose, Georgia Tapp, Justin Thomas, Charley Warburton and Tavio Wright.

The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available on all formats, including vinyl, and has had over 3 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.

Back To The Future The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by half a million people and the musical has broken box office records at the Adelphi Theatre.

Based on the Universal Pictures/Amblin Entertainment film, Back To The Future The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.

Back To The Future The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

Back To The Future The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
Read post

Monday 4 February 2019

MT Fest UK, The Other Palace | Press Launch


Brainchild of Paul Taylor-Mills, MT Fest, opens at The Other Palace in one week's time and is set to provide a host of new and exciting theatrical events. Last week saw the launch of the festival in The Other Palace Studio and featured special performances from Luke Bayer, Evelyn Hoskins and Sooz Kempner. 

When introducing the festival, Paul explained how he's always wanted to put an event like this on because of the large amount of work he gets sent that doesn't get the chance to be showcased. He told us how many pieces don't lack quality, but can't be developed because there is a "lack of resource and audience appetite"; and how this festival is his way of showcasing hidden gems in musical theatre and allowing composers, writers etc... to be seen by not only a paying audience, but industry professionals who can help them develop their work in the future.

He also reminded us that no one knows what makes a successful musical (and if they say they do, they're lying.) So this whole showcase of musicals is an exploration and adventure to see what works in front of an audience and what doesn't.


The two week event is structured so there's something to see at all times of day, including:

  • The Taster Menu: the main event for showcasing new musicals. Eight semi-staged shows lasting 45 minutes each. Information about the shows and tickets can be found here
  • BEAM Brunches: Shining a light on some of the most talented up and coming musical theatre songwriters. Full listings can be found here
  • Tea for Two: Frank and inspirational afternoon chats with some of the most celebrated people in musical theatre. Including chats about choreographing a musical, the do's and don'ts for auditions and how theatre criticism is changing. Full listings can be found here
  • Night Caps: Informal late night concerts with some of the top musical theatre performers. Paul told us he's also asked the performers to add in a song or two which hints at their next career move which is exciting. To see the performers and book tickets, click here
Evelyn Hoskins described the festival as a "pick n mix of new work" and it certainly seems like there's going to be something for everyone to discover so why not immerse yourself in theatre and attend this event!

MT Fest UK runs from 11th-23rd February 2019. Tickets are available online or from the box office at The Other Palace.

Read post

Saturday 6 August 2022

South Pacific, Sadler's Wells | Review


South Pacific
Sadlers Wells
Reviewed on Friday 5th August 2022
★★★

First performed at Chichester Festival Theatre in 2021, Rodgers and Hammerstein's soaring South Pacific is back for a 2022 summer season at Sadler's Wells Theatre.

It has been over seventy years since the release of the original production which covers a number of issues such as class, race and gender, and this revival is visually and vocally beautiful but doesn't quite hit the right note for a contemporary audience.

Rodgers and Hammerstein's score is a delight to hear, with so many of musical theatre's most popular tunes popping up, including I'm Gonna Wash That Man Right Outta My Hair and the stunning Some Enchanted Evening. The full orchestra alongside the outstanding cast, namely: Julian Ovenden as Emile De Becque, Gina Beck as Ensign Nellie Forbush, and Rob Houchen as Lt. Joseph Cable, do a stellar job of bringing the score to life and showcasing the sounds of the Golden Age of musical theatre.

It's the plot which features some troubling moments that don't quite sit right for a 21st century audience. Whilst this production does handle aspects well, for example by making a real moment of You've Got To Be Carefully Taught (which was a progressive song for its time) the overarching elements of racism are extremely strong, as is the Westernised view placed on everything. Of course, this is a piece of its time and should be viewed as such and there are aspects which are very much still relevant for today's audiences but the strong negative undertones did detract from what is otherwise a thrillingly giddy romance.

However, aside from plot, this is a visually as well as vocally stunning show. Peter McKintosh's set perfectly transports us to the various spaces of the island and the mystical Bali Ha'i. The cavernous space of Sadler's Wells Theatre is used to the shows advantage and has some real wow moments, especially during act two.

Whilst there are flaws with South Pacific there's no denying that it's a lush show with a number of glorious aspects. For fans of classic musical theatre this should definitely be on the list, as well as those who want to indulge in the fantastically sweeping voices of the top notch cast. 


Tickets for South Pacific can be purchased via https://www.londonboxoffice.co.uk/
Read post
Subscribe to: Posts (Atom)

Latest photos from RewriteThisStoryBlog

© Rewrite This Story. Design by Kate.