Tuesday 14 March 2017

Shirley Valentine (UK Tour), New Victoria Theatre | Review


Shirley Valentine
New Victoria Theatre
Reviewed on Monday 13th March 2017 by Glenys Balchin
★★★★★

I am old enough to have seen the Oscar nominated Shirley Valentine film nearly thirty years ago but never the play. Therefore I was not sure whether or not I would enjoy the one woman show without the famous Costas played by Tom Conti in the film. But I was not disappointed. Jodie Prenger shone as brightly as Pauline Collins had thirty years ago as Shirley Valentine.  


For the duration of two hours Jodie Prenger marched and swaggered to dominate the stage and all the time cleverly engaging and drawing in her the audience.  You totally forgot she was on her own as she brought the other characters to life on stage. I would certainly recommend this show to my friends but with the caveat that they are women of a certain age.


The play itself is about a bored and disillusioned Liverpudlian housewife who is trying to find her identity and get back her “unused life”. Her adventures starts when her best friend invites her to go to Greece on holiday with her. She takes up the offer of a trip as she feels dissatisfied, neglected and ignored by her husband and family, now that her children have flown the nest. She goes to Greece for a two week holiday but decides to stay and as she feels no one would miss her at home.  


Don’t be mistaken into thinking this is a Greek tragedy, it is a heartfelt emotional comedy with Jodie Prenger performing with impeccable comedic timing to make you laugh and cry at the same time. Willy Russell is amazing in understanding the psyche and intellect of women. This comedy may have been written three decades ago, 1986 to be exact, but is still just as relevant today, which in a way is a sad thing for me to have say, as you would have thought that we would have moved on. On saying that the age of the leading lady probably would now be older and there certainly are more opportunities for women these days to follow, as long as they have the right encouragement at home.


As for depicting the era I thought the kitchen set was a throwback of my Mum’s kitchen in the eighties when I was growing up so, for me it was a real nostalgic trip down memory lane. I thought it was a good decision to keep to the original decade of when the play was written rather than updating to the current day. The special effect when Jodie Prenger cooks eggs and chips during the play added an authentic touch plus Jodie really knew how to work the kitchen so fully believable. 
My only criticism on not depicting the 80’s accurately would be Jodie’s hair which was more the fifties style rather than over permed shaggy haircut or that of the late Lady Diana’s hair style. The music could have been more eighties and when she was in Greece a little bit more Zorba but that may have distracted from the performance.


There is no doubt that Prenger owns the stage and mesmerises her audience with her larger than life personality which carries this revival of Shirley Valentine from the opening to the curtain call. To give an amazing performance like Jodie delivered must be attributed to the way she has been directed by the legendary Glen Walford, who has skilfully nurtured Jodie’s talent to enable her to deliver a fast-paced performance which does not falter nor lose energy from the fast paced monologue.
My first thought of seeing Shirley Valentine is that it would feel out-dated, not funny and never equal the performance of Pauline Collins, so I was very happy to say that I have been proven totally wrong.  The Willy Russell script has clearly stood the test of time, and Jodie Prenger was absolutely sensational in the part.  It was a great night at the theatre it made me laugh but at the same time I came home thinking about my own “Unused Life”. 
If you are a woman of a certain age then this show is a must for you, it will make you laugh, give you great pleasure and happiness a real nostalgic trip back to the eighties. 
Shirley Valentine runs at the New Victoria theatre until March 18th 2017 before continuing on its UK Tour

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Honeymoon in Vegas (LMTO), London Palladium | Review


Honeymoon in Vegas
London Palladium
Reviewed on Sunday 12th March 2017 by Olivia Mitchell
★★★★★

Founded in June 2015, the London Musical Theatre Orchestra (LMTO) prides itself on giving beautiful music a place to be heard and showcasing lesser known talent and works. On March 12th 2016 the orchestra accompanied a stellar cast who performed Jason Robert Brown's short lived 2015 Broadway musical, Honeymoon in Vegas. 

Samantha Barks and Arthur Darvill led the cast as the engaged Betsy and Jack who are on their way to finally getting married. They've been a couple for five years but Jack is afraid to commit to marriage as he believes he's under a curse from his dead mother. Her dying wish was for him never to marry and he's taking any measure he can to ensure this is kept, despite this, he suggests an elopement to Vegas. Once again he gets cold feet and makes his way to a poker game organised by Tommy Korman. Unbeknownst to him, Korman wants Betsy (a dead ringer for his late wife) for himself and is ready to offer Jack an ultimatum.

The story is bizarre but that's what makes it exciting. The absurdity allows all kinds of craziness to take place on stage and makes the production truly hilarious and impressive. The LMTO's musical director, Freddie Tapner introduced the performance, stating that the music and score would be telling the story and that it was up to the audience to imagine dances, costumes, set changes and a herd of parachuting Elvis'! This worked wonderfully and it was surprising how little was lost by this being a concert rather than a full blown glitz and glam production.  

BWW Review: HONEYMOON IN VEGAS, London Palladium
Each member of the cast, chorus and orchestra worked harmoniously together to pull of an effortless performance. Simon Lipkin is a brilliant performer and he stole the show each time he appeared on stage, leaving us all laughing and feeling thoroughly entertained. Maisey Bawden was hilarious as the Hawaiian Mahi and had the audience in the palm or her hand as she caused everyone to laugh out loud.

Samantha Barks and Arthur Darvill's chemistry was evident throughout and they seemed to really enjoy performing together, bringing the loved-up couple to life charmingly. Barks' voice seems to get better and better and after her success in The Last Five Years it was an absolute joy to see her perform another of Jason's scores which suit her voice so perfectly.  She gave a truly stellar performance. Darvill's voice was a surprise to me, it's effortlessly smooth and fits the easy swing feel of Honeymoon in Vegas to a tee, he gave a brilliant heartfelt and comedic performance.

If the outstanding performances weren't enough, this production was made even better by the fact that it was conducted by Jason Robert Brown himself as the LMTO's first ever guest conductor. Brown is funny, witty and animated and brought a wonderful sense of style to the whole performance. He even stepped down from his podium and played the ukulele at one point which was a real treat.  

The various standing ovations were a sign of how well done this production was and how much the audience loved this rarely performed piece. I don't think anyone would be complaining if it made a return to the West End stage and I hope we can keep Brown and his brilliant writing on this side of the pond!
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Saturday 11 March 2017

The Diary of a Teenage Girl, Southwark Playhouse | Review




The Diary of a Teenage Girl
Southwark Playhouse
Reviewed on Wednesday 8th March 2017 by Olivia Mitchell
★★★★★

Adapted for film in 2015 and based on the 2002 graphic novel by Phoebe Gloeckner, The Diary of a Teenage Girl tells the story of Minnie, a teenager in San Francisco in the 1970s and her scandalous affair with her mothers boyfriend Monroe. There's drugs, sex, drama and a whole lot of growing up. This a fresh, shocking and overall moving piece of theatre done wonderfully in the intimate space of the Southwark Theatre.

Rona Morison's fantastic performance is central to the whole production and she executes each moment with ease and brilliance that is both innocent and experienced at the same time. Morison's performance is detailed and nuanced at times and just full out in your face crazy at others but each moment and movement seems well thought out and gets the story across smoothly and inventively.

The rest of the small cast give equally as wonderful performances, working together to create a disquieting parade of unsatisfactory adults. Rebecca Trehearn's portrayal of Minnie's lost, Bohemian mother is erratic but thoughtful and her time on stage brings a freshness to the production. Jamie Wilkes as Monroe comes across as more self-loathing and alone than a sexual predator and throughout the blame for Minnie's harsh coming of age is not really placed on him. Instead the focus is on the coming of age itself. 

Cleverly mixed into the performance are projections of Gloeckner's original illustrations which are charming and witty. The story telling is powerful with the actors putting their all into each moment  and being helped along with lighting and staging. 

James Nicholson's sound is done super effectively, with uncomfortable noises accompany the harsher moments of the story and portraying the torment the characters feel.

At 90 minutes straight through, this is an extraordinary look into the dramatic development of a young woman. The audience are taken on a whirlwind ride from start to finish, full of stand out performances, humour, sadness and quirkiness. All in all its a brilliant production, extremely crude at points but absolutely wonderful and crazily enjoyable.

The Diary of a Teenage Girl is at the Southwark Playhouse until March 25th

Photo credit: Darren Bell
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Wednesday 8 March 2017

In Conversation With... Billy Cullum | Rent | Interview


Billy Cullum, has already had an impressive and extensive career starring in shows such as Spring Awakening and Jesus Christ Superstar. He's currently taking on the role of Mark Cohen, the introverted film maker in the 20th Anniversary tour of Rent and wowing audiences across the country with his incredible performance. I saw Rent for the fifth time last night and was as moved as I was the first time. It's truly a brilliant production. 

 Not only is Billy a wonderful performer but also a wonderful person and he was nice enough to answer these questions about all things Rent, performing and life in general!


For those that don't know, can you explain a little about your career and highlights so far?
I trained at the Arts Educational School of Musical Theatre and graduated in 2010. My first job was a small scale musical of Alice in Wonderland that toured all around Italy. It was hard work but getting paid to travel all around such a beautiful city made all the early mornings and get-ins worthwhile. I then went on to play Jesus in Godspell at the Union Theatre followed by one of my dream roles as Moritz in the UK Tour of Spring Awakening. I then performed in Hair, Merrily We Roll Along before my West End debut in the RSC’s Matilda at the Cambridge Theatre. Roald Dahl was becoming a running theme as I then joined the cast of Charlie and the Chocolate Factory at the Theatre Royal Drury Lane. Being an Oompa Loompa was the hardest thing I’ve ever had to do! After this I joined the cast of Jesus Christ Superstar at Regent’s Park Open Air Theatre. It was an incredible piece to be a part of. I understudied and played the role of Jesus. Now I am lucky enough to be in one of my favourite musicals and playing one of my dream roles as Mark Cohen in Rent. 



Was being a performer what you always yearned for or did you have another career path in mind when you were younger?
Performing is the only thing I’ve ever really focused on from the age of 3. It wasn’t until I was about 16 though that I thought it could become a career. I’m a songwriter and a recording artist which is something I love to do as well. I’m just about to release the first single ‘Lost in You’ from my debut album which is released 03.03.17.


Rent is one of the most iconic musicals ever, do you feel a lot of pressure taking on such an important role?
When I got offered the job I was ecstatic. I was so excited. Then it hit me that this musical has such a strong following. It means so much to people. It really has a place in people’s hearts so the pressure slowly started to dawn on me. I then had to go into the rehearsal room on the first day and let all that pressure go and focus on my portrayal of Mark. I like to think I’ve made him my own and I have enjoyed exploring him. He’s very complex and intricate which I don’t think many people realise. 


The cast must be so close with this production, have there been any standout funny moments on or offstage between you all?
There have been MANY funny moments. My favourite though has to be when Layton Williams who plays Angel got his coat stuck in his wig as he was about to go full throttle into 'Today For You'. Somehow, he managed to sort out the issue whilst incorporating it into the song with humour and sass "My Wig! Help me out with my Wig!" It was pure genius! 


Has the show changed at all going from tour to the St James and then back on tour?
It naturally changes to fill different spaces. The St James was such an intimate setting which I loved. It was very intense. Performing in bigger venues such as Edinburgh Festival Theatre lets other moments thrive more. The show always has the same heart but it definitely feels adapts beautifully to each venue.


How are you enjoying touring life? What do you miss most being away from home?
I’m really enjoying it. I love seeing different places I wouldn't necessarily chose to go to. The thing I miss most about being away is my loved ones and my dogs. 


Can you sum up the show in 5 words?
Live and Love without fear.


If you could go back to any era, when would it be and why?
I’d wanna go back to the caveman era. I wanna know how I would survive!


If you had a magic wand, which show would you do next?
Oooh. I think it would have to be Next to Normal. 


What's the best piece of advice you're ever received and what advice would you give to aspiring performers?
"Just Be You" is the best advice I’ve ever had. It really works. That’s the advice I’d give to any aspiring performers. Don’t try and fit a mould because someone told you to or because that’s how you get work. I like to think I’ve been employed because of my talent and character and I’ve done that by simply being me. To add to this I would also say never give up. Focus on your own path, it’s so dangerous to compare yourself to others. If you really want it don’t give up. Your time will come.


Thank you so much Billy for doing this interview; go see him in Rent and make sure you purchase all his new music!

 Rent is playing at the New Victoria theatre, Woking until March 11th. Visit http://www.atgtickets.com/shows/rent-the-musical/new-victoria-theatre/  for tickets



 Interview by Olivia Mitchell, Editor
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Monday 6 March 2017

Hamlet, Almeida Theatre | Review


Hamlet
Almeida Theatre
Reviewed on Saturday 4th March 2017 by Olivia Mitchell
★★★★★

Shamefully, most of my Shakespeare knowledge has come from school English lessons so I'm not the most educated on the Bard but I jumped at the chance to see this highly anticipated production of the great tragedy Hamlet. At almost four hours long you might think you'll lag towards the end but this production is so well done that you'll be gripped and wide awake throughout!

Andrew Scott of Sherlock fame takes on the mammoth feat of playing the iconic, Hamlet. You  need skill, stamina and sincerity to carry this very long play and Scott has all of these in spades. He holds the play up and commands every moment, showing a thousand different emotions and really taking the audience on a crazy, dramatic journey. Each word he speaks is filled with emotion. From quiet whispered moments to loud shouts and screams, he manages to involve the audience and create a real sense of intimacy. His performance is absolutely outstanding.

Peter Wight is brilliant as Polonius; nosy and sneaky but still likeable. Jessica Brown-Findlay as Ophelia transforms from joyful innocence to grief-stricken craziness wonderfully and gives a truly moving performance in her final scenes. Juliet Stevenson's Queen and relationship with Angus Wright's Claudius are very convincing and just shocking enough. They work very well together, showing a lot of character development throughout and using the text in new and exciting ways.

Hildegard Bechtler's set is simple but crazily effective. It seems to become more opaque as the play moves on, with the clever use of curtains and screens becoming ingrained in and crucial to the performance throughout. Along with Tom Gibbons' sparse and overwhelming score a sense of drama and being trapped/followed is ever present.

Robert Icke has created a truly brilliant production. From explosive moments to moments of silence, the audience are kept gripped and the four hours goes by in a tick. The performance is humorous and shocking at the same time whilst embodying the eerie intensity that Shakespeare is so well known for. Every crevice of the play has been fully thought through and the character work from rehearsals is clear in every moment on stage.

This is an impeccable production from a stupendously talented and well rounded cast. The show has been brought into the modern world perfectly and effectively. There's light and shade, humour and sadness, love and hate and so much more. Truly brilliant!

Hamlet runs at the Almeida Theatre until April 15th. The production is currently sold out but it's well worth queuing for a return ticket!


Photo by: Manuel Harlan
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Sunday 5 March 2017

Swifties,Theatre N16 | Review


Swifties
Theatre N16
Reviewed on Wednesday 1st March 2017 by Esther Matthews
★★★

Swifties…To start, I didn’t hate it. Overall I could see what the script writer and director were trying to do however somewhere in the mix something went slightly wrong. 

Swifties, based on the French play The Maids written by Jean Genet, follows the lives of two girls who claim to be Taylor Swifts “Biggest Fans” and how their attempt to murder the superstar doesn’t quite go the way they wanted. Isabella Niloufar and Tanya Cubric were brilliant as the plays main characters. Their portrayal of two slightly mad teens was humorous but terrifying at the same time. They are ones to watch out for in the wider theatre circle. 

Theatre N16 is situated above a pub in Balham, it was the perfect setting for a play like this. The theatre itself was very small with only a handful of chairs to sit on making your experience very inclusive and intimate. The set was very minimal with simple lighting which pulled you into the scene. As an audience member sometimes big sets and props can capture your attention but the actors managed to keep you captivated throughout. 

I had a problem with the script. There didn’t seem to be any structure to it. The girls did a good job at improvising but overall the script lacked good dialogue and felt slow. The Maids is rarely done in large venues or professional theatre but I think it is a very relevant story with many important themes. In the current social climate this is the kind of work that needs to be noticed. It highlights the trouble that we as a nation have with race, gender and social media/celebrities. 

For such a small stage the director did a good job. Luke Davies has had rave reviews from his previous production and if this play transferred to a larger venue I can understand what his vision would be. 


I would recommend seeing Swifties, there are good and bad points to make about this production. It certainly leaves you with questions.  

Swifts runs at Theatre N16 until March 11th
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Thursday 2 March 2017

Ugly Lies The Bone, National Theatre | Review


Ugly Lies The Bone
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 1st March 2017 by Olivia Mitchell
★★★

Unless you've ever been on a tour of Afghanistan as a soldier, I would assume it's pretty impossible to ever know what it must be like. To experience pain, death and sadness so up close must be truly horrific and coming back to a family and community who have changed and moved on without experiencing that? I can't imagine.

Ugly Lies The Bone, a new play by American playwright Lindsey Ferrentino, aims to shed light on this as well as exploring virtual reality therapy which trials show, has been successful in reducing pain levels in those who have suffered serious injuries.

The play tells the story of Jess played by Kate Fleetwood, who has come home after three tours of Afghanistan to her Florida town in the heart of Nasa county. Awfully disfigured and struggling to deal with the constant pain, she must learn to adjust to her life which is not as she remembers it.

In a bid to move on with her life she agrees to take part in an experimental virtual reality therapy programme which aims to reduce her pain levels. She is taken into a virtual world of snow capped mountains and delicate, falling feathers where she begins to experience life without pain again.

Over the course of 90 minutes we watch the story of Jess and those around her adapting and recovering both mentally and physically.

Kate performs the cynical, frustrated character very well, showing the struggles very truthfully through a stunning performance. Ralf Little is also wonderful as the bumbling Stevie who is facing an internal struggle of his own.

For me, I found the play fell a little flat. Because we didn't get to see Jess before her injuries it was hard to see any character development and therefore hard to see how the virtual reality therapy worked. Overall there was just not enough character development and I felt that there was not enough solid dialogue or storyline to make the audience empathise with them.

The set and stunning design are brilliant and really do immerse the audience in the virtual world but I would have loved a stronger storyline to back it up. The whole cast give extremely solid performances but no real plot means there isn't a final resolution and overall there is a flatness.

Ugly Lies The Bone is on at the National Theatre until June 6th.

Photo: Mark Douet
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Tuesday 28 February 2017

Ghost (UK Tour), New Victoria Theatre | Review


Ghost (UK Tour)
New Victoria Theatre
Reviewed on Monday 27th February 2017 by Valerie Field
★★★★

Despite all the drama and speculation that has been surrounding this show, I thoroughly enjoyed it and found it very moving and well acted. I have never seen the film but know of the story and have heard all about the iconic scene at the potters wheel so I was a bit surprised that more wasn't made of that scene on stage. The fact that this is my only major criticism shows how much I enjoyed the show.

The scenery was great and scene changes were smooth and convincing with each set feeling exactly like the place it was portraying and the characters fit into it perfectly. The special effects were brilliant and really added to the show, although sometimes they did feel a little unnecessary, altogether they added a very nice layer to the performance.

The acting, dancing and songs were great and very entertaining, memorable and enjoyable. Carolyn Maitland was wonderful as Molly and has fabulous chemistry with Andy Moss as Sam. Both their voices are strong and they are convincing as the characters.

Jacqui Dubois as Oda Mae was a definite stand out and was fantastic on stage, stealing the show at points and really showing off her star power. Garry Lee Netley as the Subway Ghost deserves a special mention as he was a great presence on stage and suited the character wonderfully.




My only other criticism is that I did feel sometimes the orchestra was a bit too loud when the solos were being sung as it seem to drown the singer's voices slightly. This was probably just an issue that night. 


Apart from that the show was great and I enjoyed it immensely and will definitely recommend it. The cast are strong and well rounded. The sets, costumes and effects fit the show precisely and overall it was a great night out seeing a much loved musical. All in all I think the whole show came together really well and was a very entertaining evening.

Ghost runs at the New Victoria theatre until March 4th and then continues on it's UK tour.

Photo credit: Matt Martin
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Saturday 25 February 2017

Lizzie, Greenwich Theatre | Review


Lizzie
Greenwich Theatre
Reviewed on Friday 24th February 2017 by Olivia Mitchell
★★★

I've been finding it very hard to write this review because I honestly don't know what I thought of Lizzie. There were parts I loved and parts I didn't but overall I was kind of confused. 

I suppose that could be seen as a good thing though. The show seems to get more disjointed as Lizzie's own mind gets more confused and crazy so it seems natural that after a well told story I, as an audience member, should leave feeling affected by the characters. So maybe confusion is a good thing?

Funny story, when I first saw this advertised quite a few months ago, I thought it was my wildest dreams coming true with Lizzie, meaning Lizzie McGuire... I was very wrong! The aforementioned Lizzie is in fact Elizabeth Andrew Borden who allegedly killed her father and stepmother with an axe in 1892. Whilst it's not the obvious choice of storyline, it works well with the rock music and insane lighting. 

The show has recently finished a run in Denmark and has now made the transition to the Greenwich Theatre in London where it feels more like an arena concert than a stage show. There are minimal props so we are really able to focus on the story and impeccable voices of the four leads. The show opens with an eerie music-box tune which sets the dark, suspense filled show up perfectly. The powerhouse vocals are out of this world, with the ladies belting higher and higher with perfect technique throughout. The lyrics by Steven Cheslik-Demeyer and Tim Maner are cleverly tweaked and shaped depending on what's happening in the scene or in Lizzie's mind.

The cast are sublime with each woman holding her own and commanding the space. Bjorg Gamst as Lizzie Borden is impeccable, switching from innocence and sweetness to sheer and utter madness. Her eyes portray a thousand emotions and every movement she makes shows her transition to the manic killer who is truly revealed in act 2. Her sister, played by musical theatre royalty, Eden Espinosa, really comes into her own in act 2 and shows off her superb voice wonderfully. I previously saw Jodie Jacobs in 27: The Musical and was blown away by her killer voice. As Bridget Sullivan she gets to show off that voice again but also provides humour in this otherwise dark drama, often indirectly telling Lizzie to kill her parents in witty ways. Although it is unclear what her motivation for this is, she does it very well. Alice Russell, Lizzie's friend is played greatly by Bleu Woodward who again has a stunning voice and works very well with the other ladies. Her performance is tasteful and delicate and often provides a nice contrast to the loud, rage filled numbers in the show.

The lighting fit well with the erratic feeling but I felt at points it was too much with the lights and smoke covering up a lack of plot and coherence. My opinion is that with some developments and tweaks this could be a wonderful production. The cast are there, the songs are there and the basic ideas are there but it need to be refined to make it really flow. Again, the roughness does fit with with the story but to me it felt more like a piece of performance art than a show to come and just sit in your seat watching. If it's going to be performed like this then it would be good to somehow incorporate more audience interaction, like at a rock concert.

However, Lizzie is a fun show and it's wonderful to see a performance led solely by women. With a few tweaks this could be something incredible. I would still go and see it if you can because I guarantee it'll be like nothing you've ever seen before, and the vocals will blow you away!

 Lizzie runs at the Greenwich theatre until March 12th 2017

 photo credit: Soren Malmose
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Friday 24 February 2017

The Girls, Phoenix Theatre | Review



The Girls
Phoenix Theatre
Reviewed on Wednesday 22nd February 2017 by Olivia Mitchell
★★★★

I'm going to start off by saying that this musical has flaws but they can be easily overlooked to enjoy this beautifully sweet and touching musical.

The story of The Girls was previously on the West End as a play but this new revival with music by Gary Barlow and Tim Firth, has brought new life to it and really given it star treatment. The score is sweet and full of storytelling, although some parts are a little over the top and very "la la la, I'm going to sing a very literal song about my life now" they all work together to produce a lovely piece of theatre. You are sure to leave feeling inspired, joyous and full of laughter.

This show sums up Britishness. There are fetes, tea drinking, fish and chips and of course the typified version of green Yorkshire. The set is cleverly designed by Robert Jones with a mountain of kitchen cupboards creating the vast hills of England's countryside.

Personally I found the first half of the show dragged just a little as I was waiting for the calendar plan to appear which doesn't in fact happen until act two but the initial setting up of the storyline and many relationships is gracefully and tastefully done. Act two is full of laughs and moves at a much quicker pace with us finally seeing the iconic calendar shoot which is done hilariously!

This story is friendship is truly beautiful and is something that is universally relatable. The cast are all equally talented and their performances are refreshing and genuine throughout. The relationship between Annie (Joanna Riding) and Chris (Claire Moore) is especially touching and makes you value and appreciate your friends even more. The whole cast have wonderful chemistry with one another and really seem to enjoy their time performing.

The whole production is filled with light and positivity as well as showing the trials and hardships of life. In a time when it can often seem like women are always bringing each other down, it's lovely to see a show which restores your faith in friendship and sees such a strong group of women holding each other up and working together to create something beautiful. This is a lovely, reflective, heart-warming production which reminds us that there's always light even when we feel as though we're surrounded by darkness.

 The Girls is currently playing at the Phoenix Theatre until July 15th 2017

 Photo credit: Matt Crockett
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