Saturday 22 April 2017
In Conversation With... Damian Buhagiar | Thoroughly Modern Millie | Interview
Damian Buhagiar recently finished starring in In The Heights, is currently part of the UK tour of Thoroughly Modern Millie playing Ching Ho and will soon be starring in Mamma Mia in the West End. Damian was lovely enough to do this interview for Rewrite This Story and I can't wait to see him in the show!
For those who don't know, can you explain a little about your career and highlights so far?
I have always been attracted towards theatre and musicals from a young age of 3. Being a Maltese student at Stagecoach was a great introduction to this form of career. When you are young, you don't actually realise that this could be a future job so it all starts as a hobby and a recreation from other school work, or activities.
As I grew older I started taking it even more seriously by taking private singing lessons, dance classes and acting classes. When I hit the age of 15, the time i had my GCSEs back home in Malta, my singing teacher adviced me to audition for Tring Park School For the Performing Arts, a brilliant boarding school. So I did and after a couple of weeks I was accepted to persue my musical theatre training further as well as do my A levels for 2 years. Without the love, help and support from my parents this would have never happened especially being away from home. After those 2 years I was than chosen to attend the BA Hons musical theatre course for another 3 years which was such a incredible excperience. You learn new things everyday, you learn so much about yourself and the training and the teachers have been fantastic.
Once my third year was coming to an end we started having people from the business coming to see our shows and showcases, people such as directors, choreographers, producers, agents and more. To me that was one of the highlights as I got to introduce myself to the business and express what I love most, my passion for theatre which leads me to my second highlight which was being a massive part of Lin Manuel's hit musical 'In the Heights' playing the role of Sonny at the Southwark Playhouse. The reason I say this was one of the highlights in my life is because it has enabled me to show my passion in my own style of dance and defined me and so it couldn'thave been a better show to enter the musical theatre business with.
I then moved on to an 18 month UK Tour of Jersey Boys playing the role of Joe Pesci and 2nd cover Frankie Valli which was another highlight in my career as I got to explore England a bit more, see different cultures and make new friends outside of London as well as the insanely stunning theatre built around the country. I have than moved on to playing on stage swing in Bugsy Malone at the Lyric Theatre, working with the choreographer Drew McOnie and which then led me to reprising my role as Sonny in In the Heights, this time at the Kings Cross Theatre in London for 4 months. Of course the biggest highlight from this was the fact I got the chance to meet the legendary Lin Manuel Miranda in person. I am now currently on the UK Tour of Thoroughly Modern Millie playing a completely different character to what I normally play called 'Ching Ho', a Chinese role which I am glad to say I am loving.
Was being a performer what you always wanted or did you have a different career path in mind when you were younger?
As mentioned earlier, I have always taken musical theatre, singing, dancing and acting as a hobby up until the age of fourteen. I was mainly aiming to invest time in my studies to eventually become a Mechanic Engineer (seeing I am pretty into mechanics and cars) or an architect.
You recently finished playing Sonny in In The Heights, did you know from the Southwark that you were a part of something special? How was it returning to the show?
In The Heights, has been one of the biggest adventures that has happened in my life. Playing the role of Sonny, literally has been my unexpected dream role straight after grauduating from college. It felt like it was just meant to happen and came at the right time. What made even more special was the company. Seeing how we all become one unit and one family creates something magical. Creates a spark that is unexplainable. As the Southward was a small intimate venue this proved how much of a unit we really were as we all shared our passion with the audiences which gave such a great response.
Returning to the show after a year and a half this time at the Kings Cross Theatre, created that spark again in a different way. It was interesting to see that my heart was always there, my spirit enlightened and I was just 'Living' and recreating Sonny again, sharing the live with different members of the cast..(some of them from the Southwark).
How was the transition from the Southwark to Kings Cross theatre? What changed in the show?
I think moving to a different style of venue definitley created a change in space and motion however the one thing that made it feel like there was no difference at al was the spirit and the community we as a cast and a team all had. As the Southwark Playhouse had much of a smaller theatre, there was a lot of intimacy and more of an interraction with auditiences which makes it even more appreciative being that close. Kings Cross had a wider stage being on Traverse stage, so that as a team made us work harder to use eachother to get the story accross morr and put our chatacters on a higher level that in the southwark for audiences to have the same feeling.
The idea of heritage is very important in Heights, being from Malta, did you face any of the same struggles as Nina and Usnavi?
In The Heights couldn't possibly be a successfull show/production if there isnt any heart and love and care between not just the cast but even the company. Same with everything, if you are working in a lovely safe environment where you feel you can trust and open up your heart to your collegues without being scared, that same feeling will definitely show on stage. Especially for someone like myself being away from home away from my loved family, having a second family in a show like that has made me feel like home and it has always been a job travelling to work to express this love shared with the other talented cast members. Luckily I have never been in Usnavi's or Nina's position however I can relate to how difficult it really is to follow your dreams and what really genuinly makes you happy. Luckily I had ultimate support from my loved family where both my parents have enabled me to follow the dream career I have always wanted. A big sacrifice on their part that without them I woudn't be here doing what I love most...theatre/performing and hopefully being an inspiration to others.
You're currently starring in Thoroughly Modern Millie, can you explain the storyline a little and how your character fits into it?
The story is about this new naive girl in town called Millie, coming to new york for the first time when she sets her sights on marrying her whealthy boss. Problem arises when she checks into a hotel owned by the leader of a white slavery ring in China. Where my character "Ching Ho" along with his brother "Bun Foo", helping to kidnap pretty and suspecting orphan girls and shipping them to the Orient. Ching Ho however takes a shine to one of the 4 girls "Miss Dorothy'' and rescues her from Mrs. Meers, who at the end the truth is revealed and Mrs. Meers is captured.
What's the biggest challenge about taking on this role?
The biggest challenge in taking the role of 'Ching Ho', the Chinese part, is because of the obvious....its a Chinese role and I am Maltese. Performing this role everyday has enabled me to discover more aspects of him that allow me to invest and play around with on stage. I have been blessed to have my fellow cast memeber Andy who is actually from Hong Kong himself so has tought me the language patiently. It has been an interesting process however I always love a chalenge and at least I could say I have tested that language and might want to investtime it too in future. I've also learnt a lot about Chinese history and what makes the characters: Ching Ho and Bun Foo work as slaves in the show... their background stories.
How are you enjoying touring life? What do you miss most about being away from home?
I have always loved touring. I just love getting away from london and get to see different cultures in different places in the UK or abroad, make new friends in the digs I stay in as well as enjoy my own company and driving. Being away also makes you apreciate lot of things and miss a lot of things. Having a lot of free time on my hands make you think about your life in depth such as my parents and my lifestyle back home and the time I share with them.
What are your hobbies and passions outside of performing?
Drawing has always been a massive part of my life that enables me to forget the real world and just zone out completely and focus on one things...cars. The passion I always had ever since I was 5 years old.
Can you name a few of your dream roles?
Playing Sonny in the musical In The Heights has already been one of my dream roles. I would say playing Phantom in Phantom of the Opera and Clyde in Bonnie and Clyde would definitely be two of my dream roles in musical theatre however I like variety and a challenge so I love exoloring as opportunities come my way, what a dream role would be.
If you could go back to any era, when would it be and why?
If I had to go back to an era I would go back to 1950s. I love that all men were mostly gentleman with manner, respectful towards their women and also live a fashionable suit. Life back that would have been very classy.
What's the best piece of advice you've ever received and what advice would you give to aspiring performers?
Best advice I have ever recieved have been to just be yourself. If it makes you happy do it. Always follow your gut. If you ever come in doubt just ask yourself 'but why not?'. If you have a dream, fight for it however long it takes to achieve it.
A huge thank you to Damian for doing this interview. Make sure you book tickets to see Thoroughly Modern Millie on its UK tour!
Interview by Olivia Mitchell, Editor
A huge thank you to Damian for doing this interview. Make sure you book tickets to see Thoroughly Modern Millie on its UK tour!
Interview by Olivia Mitchell, Editor
Wednesday 19 April 2017
Half a Sixpence, Noel Coward Theatre: Behind The Scenes
Half a Sixpence got the number 9 spot in my Top 10 Shows of 2016 and a glowing 4 star review back when I saw it on press night so I was extremely excited when I was invited to a special bloggers event to see it again.
The event was held at the Noel Coward Theatre for a number of bloggers, vloggers and stagey people. I saw some familiar faces as well as meeting some new people and it was a really lovely opportunity to spread the theatre love. We started off by having a talk from the charming, witty, supremely talented and just generally lovely Charlie Stemp who told us all about his audition process for the role of Arthur Kipps, the transfer from Chichester to London, his journey learning to play his banjo Babs and all about his new rockery!
After that we were taken up onto the stage where we were taught a section of the "Flash Bang Wallop" dance by dance captain, Jaye Juliette Elster. The section we learnt was only ten seconds long but we all had an absolute laugh prancing around pretending we were in the show. I for one will be using the choreography as my party trick from now on!
Once our little boogie was over, we went for another Q&A/chat with some more of the cast: Charlie Stemp, Emma Williams, Bethany Huckle, Sam O'Rourke and Jaye Juliette Elster. They are all such lovely warm people and it's evident from hearing them speak, how much they love the show and being a part of it. Particularly funny were the anecdotes of onstage mishaps such as when the revolves broke in Chichester and when the bike got stuck on stage in the finale and the cast had to cleverly force it off whilst still smiling and waving as if nothing was wrong! The cast are so warm and genuine and it was just lovely seeing them laughing and loving what they do and it certainly shows on stage with spades of enjoyment and energy flying around from start to finish.We then left the cast to warm up for the show and made our way to the bar for some pre-show drinks and Instagram selfies (here's my stagey insta!) The show was wonderfully joyous and uplifting and even better than I remembered it. My views are pretty the same as before so I won't bore you with another review where I repeat but you can see my original one here. To sum up the show I would say that it's full of life, heart and love and provides a perfect treat to leave you feeling content and warm inside.
When the show was finished and we were all on a stagey high, we were given a backstage tour which was wonderful and a very exciting opportunity to see the props and sets close up. I filmed some clips of the stage and dressing room which will all be in my vlog which will be posted on: https://www.youtube.com/rewritethisstory It was incredibly interesting to see everything close up and see how much work goes in backstage to create such a flawless performance for the audiences night after night.
We all parted ways feeling like we could jump for joy and sing all the way home!
If you haven't seen Half a Sixpence already I really implore you to hop down to the Noel Coward Theatre and see it in all its glory! It's currently booking until 2 September 2017 with tickets available at www.halfasixpence.co.uk
Monday 17 April 2017
The Musical Marathon, The Other Palace | Review
The Musical Marathon
The Other Palace
Reviewed on Sunday April 16th 2017 by Grace English
★★★★
Paul Taylor-Mills and Caroline Flack carried us through a maelstrom of powerhouse performers singing songs of their choosing, most of which are in some way anthems of ambition and resilience. Nathan Amzi opened the show with a heartfelt rendition of 'Titanium', and from there, not a single performer gave anything less than their absolute best, each one truly holding the audience completely in the moment. A special mention has to go to Kim Criswell's 'Look to the Rainbow/Over the Rainbow', as well as Emma Kingston's 'Listen' and Marisha Wallace's heart-wrenching 'Stay With Me' as the standout performances of the night, even amongst a group with no weak links whatsoever. In addition, Aimie Atkinson, Genesis Lynea and Stephanie Rojas closing Act One with an energised rendition of 'Lady Marmalade' was a true testament to girl power and their boundless talents as individuals.
Between the performances, Paul Taylor-Mills and Caroline Flack kept us entertained with jokes and anecdotes from their time working with the performers, and even hosted a form of 'karaoke bingo' that resulted in a hilarious improvisation of 'Don't Stop Believing' in the style of Meatloaf and Britney Spears. This allowed the night to easily overcome an issue facing any concert-esque shows; that of failing to engage the audience and thus loosing their attention about an hour in. In overcoming this, we get a sometimes hilarious, sometimes emotional, and constantly enjoyable night showcasing some of the best talent on the West End.
In spite of the fun, it should be remembered that this night was held in the interest of raising money for a serious and important cause which you can learn more about here: https://orchid-cancer.org.uk/
Photo credit: Claire Bilyard
Saturday 8 April 2017
The Winter's Tale, Barbican | Review
The Winter's Tale
Barbican
Reviewed on Thursday April 4th 2017 by Esther Matthews
Reviewed on Thursday April 4th 2017 by Esther Matthews
★★★★
As an avid Shakespeare lover I am always a little tentative to see a new production of the classic tale but I was pleasantly surprised by Cheek by Jowl theatre companies take on The Winter’s Tale. It was simple, funny and emotional.
With very minimal set it was a little worrying to step into the theatre and find two very simple pieces on stage but that fear vanished as soon as I realised someone was sitting on the stage, back to the audience and perfectly still. There was a sense of excitement from the audience as they came in to discover this figure. As she left the stage the lights when out and the play began. The lighting and sound engineering blew me away, with a simple set you needed something to set it apart and these two things combined were it. Your mind wasn’t allowed a second to rest, there was always something new to capture your attention.
I particularly enjoyed the musical aspect of the piece. Paddy Cunneen did a brilliant job of adding in just the right amount of music to set the tone of the piece. There were live instruments being played throughout and even songs written for the play.
I particularly enjoyed the musical aspect of the piece. Paddy Cunneen did a brilliant job of adding in just the right amount of music to set the tone of the piece. There were live instruments being played throughout and even songs written for the play.
I don’t think I can pick a cast member that didn’t keep up physically and emotionally. The energy on the stage was electric from the off. Orlando James marvelled in the lead role, his energy alone could have sustained the whole piece.
My only slight worry is that the company knew the piece a little too well. There were some moments where the choreographed movement was a little too perfect, it took away from the delusion in the king’s mind. There needed to be a sense of discovery which didn’t quite happen in some scenes.
My only slight worry is that the company knew the piece a little too well. There were some moments where the choreographed movement was a little too perfect, it took away from the delusion in the king’s mind. There needed to be a sense of discovery which didn’t quite happen in some scenes.
I highly recommend seeing The Winters Tale. Director Declan Donnellan brings a modern and fascinating twist to one of Shakespeare’s latest plays and does it beautifully. So much heart is put into the production, you will be overflowing when you leave the theatre.
The Winter's Tale runs at the Barbican until April 22nd
Photo Credit: Johan Persson
Thursday 6 April 2017
42nd Street, Theatre Royal, Drury Lane | Review
42nd Street
★★★★★
It seems that 2017 is the year of old Hollywood musicals coming back into fashion. The West End is getting a smattering of big budget, glitzy, over the top glamorous productions and I'm certainly not complaining about it!
42nd Street is a timeless, Classic, toe-tapping 'backstage-musical' which is sure to be a hit. Telling the story of struggling performers trying to get their big Broadway break we see their trials and tribulations and meet the young chorus girl Peggy Sawyer as she is thrown into the manic theatre world with the chance of getting her big break.
The choreography (by Randy Skinner) is key in this show so if you're not big on dance heavy performances then it's not for you. Personally though, there's not much that's more exhilarating than a beaming stage full of crystals, colours and thunderous feet pulling off steps with ease and grace.
The show runs seamlessly with smooth costume changes, especially when a seemingly unorganised array of dresses suddenly arrange themselves into a sensational rainbow. Douglas W. Schmidt's set design is ambitious, exciting and magical and certainly creates a spectacle. The silhouette work is slick and spectacular and the moment when the mirror rises to show impeccable synchronised company work, there were audible gasps of awe from the audience. Every moment of this show is a complete extravaganza of brilliance and it's full of moments which will leave you open-mouthed.
The stars of the show are wonderfully cast, with Clare Halse portaying Peggy Sawyer's energy and vigour extremely well. Sheena Easton's vocals as the fading star Dorothy Brock are impeccable and Tom Lister as Julian Marsh is strong but charming and hits each note with dexterity.
Of course, this show would be nowhere as brilliant without its unblemished ensemble work. There are beaming smiles all round, faultless feet and enough energy to power the underground! The stage is filled with colour and life and each moment just works. The show is certainly one of the biggest and flashiest I've seen recently but everything fits and nothing feels too over the top. Everything has a place, nothing is there just for the flashiness, it all works to give the show drama whilst still remaining cohesive- utterly faultless.
42nd Street earned the royal seal of approval from the Duchess of Cambridge herself and I'm sure it will continue to be loved and praised by everyone who steps into the huge Theatre Royal. The stage is large, the cast is large and the whole thing is bigger and brighter than you can imagine. If you want to step back to the decades of glitz and glamour, be blown away by talent, have your ears tapped off and escape the real world for a few hours then 42nd Street is the show for you! Go see it and be prepared to tap all your way home!
Watch my 42nd Street vlog: https://youtu.be/-7FksKHBGoc
Tuesday 4 April 2017
Wonderland (UK Tour), New Victoria Theatre | Review
Wonderland (UK Tour)
New Victoria Theatre
Reviewed on Monday 3rd April 2017 by Olivia Mitchell
Reviewed on Monday 3rd April 2017 by Olivia Mitchell
★★★
I finished performing in Will Todd's opera Alice's Adventures in Wonderland on Friday and have already taken another trip down the rabbit hole to see the UK Tour of Wonderland- I see an Alice theme becoming part of my life!
Frank Wildhorn, composer of one of my favourite musicals Bonnie and Clyde has reworked the Classic tale of Alice into a contemporary story about finding your place in the world. The story follows single mother Alice (Kerry Ellis) who lives in a bleak city with her ridiculously mature daughter Ellie (Naomi Morris). Stuck in a rut after her manipulative ex-husband kicked all her confidence out of her, she seeks a life away from the real world. When a bunny which promises to take her out of her mundane life hops in front of her, it seems like the logical option to follow him down the hole... or lift! Joined by their neighbour Jack (Stephen Webb) they end up in the magical and mysterious Wonderland.
The story is about self-belief and self-discovery and touches on some relevant issues. With Alice saying that "girls need to know that they should value themselves" and the rabbit expressing that "nothing can exist 'til you dream it first", it's sweet and heart warming.
Wonderland itself is bizarre, whimsical, quirky and truly bonkers. With all the well known characters such as the Queen and Hatter popping up throughout. Alice discovers that if she steps through the Looking Glass, she'll come out as a different version of herself. She toys with the idea of stepping through but is skeptical to return to the strong woman she was before.
Kerry Ellis is a star as Alice. Her vocals are faultless as she effortlessly belts out each number. Her stage presence is strong and it's joyful to watch her transformation throughout the show. Alongside Naomi Morris as her strong spirited daughter (who has a striking resemblance in voice and looks to Lilla Crawford) the pair create a lovely duo and a believable chemistry onstage.
For me the standout by far is Natalie McQueen. Her voice is off the charts and her scatty, feisty and extremely mad portrayal of the Hatter completely steals the show. She is compelling throughout and her facial expressions are enough to cure all types of illness!
Wendi Peters embraces the role of the evil Queen of Hearts well, mastering the comedic timing impeccably and showing off her superb singing voice. It's a shame how little time she is on stage as it would be lovely to see her for more than a fleeting moment at a time. Nevertheless, her portrayal is wonderful.
The score is brilliant with wit, pace and just the right amount of craziness but the script is a little weak. At times it feels forced and cringey , with the dialogue not adding much to the show other than filling time. Personally I feel that the overall downfall is that there is not a clear target audience. There are times where it seems better for young adults and adults but others where it's almost pantomime like and seems aimed at very young children. There is a lot of potential but I think there needs to be a little work done to make the show fully solid and fluid.
The music is engaging and enjoyable. The spectacular performers and witty moments make it a really enjoyable show to watch and a fun family night out.
Wonderland is on at the New Victoria Theatre until Saturday April 8th
Goldstone Live, Hippodrome Casino | Review
Goldstone Live
★★★★★
Goldstone Live brings a group of stunning ladies with glorious voices together in their global entertainment company which provides sparkling entertainment for a number of various private events. This was Goldstone's first ever public event and it did not disappoint.
With it's 54 Below vibes, the Hippodrome Casino was the perfect venue for this retro, glitzy evening. The audience were seated at tables with food and drink flowing which combined with the golden goody bags adorning the place and the warm lighting created an intimate atmosphere.
The stage is small but the whole thing was used to it's full extent with dances and sequins covering every tiny inch. The buzzing atmosphere of anticipation was prevalent from when the audience entered the venue and it certainly went up and up with every high energy performance!
The Goldstone trio Aimie Atkinson, Helen Kurup and Vicky Hoyles opened the show with a fabulous rendition of 'One Night Only' from the current West End hit, Dreamgirls and things only went up from there. The theme of the night was definitely glamour, with a level of glitz I can only dream of! The night was made up of three sets of varying styles and genres but each one was lively and full of energy. The girls put their own Goldstone spin on on every songs; performing pieces from artists such as The Supremes, Beyonce and Nicki Minaj. Their repertoire had something for everyone and I found myself dancing and singing along all night and just enjoying a truly wonderful evening of entertainment.
Along with the 'official' Goldstone girls, the night included some special guests who all fit in perfectly with soaring voices, stunning outfits and glorious personalities. Jodie Steele was a particular standout of the night but it was the overall high caliber of performance which made the night so enjoyable. There were no weak links and everyone gave it their all to create an outstanding evening of entertainment.
I can't review this concert without mentioning the little In The Heights reunion at the end where Gabriela Garcia, Stephanie Rojas, Aimie Atkinson, Genesis Lynea and Sarah Naudi performed a sizzling rendition of 'Lady Marmalade' which really brought the house down and exuded glee!
The show closed in proper Goldstone style with golden dresses as far as the eye could see and an outstanding performance of 'Proud Mary' which I was tired just watching! Overall this was a perfect Sunday evening full of talent, glamour and endearing personalities and I hope one of many more public events put on by these crazily adept ladies! Congratulations to everyone involved for a magnificent performance and true embodiment of girl power!
For more information about Goldstone Live visit: http://www.goldstonelive.com
Tuesday 28 March 2017
An American in Paris, Dominion Theatre | Review
An American in Paris
★★★★
If you've been reading this website for a while then you may remember my 'Get Excited' post last summer about An American in Paris from when I went to its press launch. From that day on I was extremely excited about the show so when I got the chance to review it I jumped! The show is visually and technically stunning and did not disappoint.
An American in Paris tells the story of three men who fall in love with the shop assistant/ballerina Lise who is living with her own dark secret. Whilst the plot and dialogue is extremely minimal, the storytelling is done beautifully through incredible dance and Gershwin's music embodies the romantic, classic, musical theatre nostalgia which has been missing on West End stages for so long.
When a show looks and sounds so stunning, it is easy to overlook to plot failings and just appreciate the show for the spectacle it is. In dull plot moments, the music and dance takes over with wordless ease and fluency that takes the audience into the idealistic, Parisian world.
Bob Crowley's charming artwork adorns the backdrop throughout, bringing the post-war Paris to life with a number of glimmering, shadowy sketches. The colouring of the whole production is beautiful and it's easy to feel immersed in every location throughout the show. There are show-stopping moments as well as more intimate moments, but it all feels equally well thought out and truly s'wonderful.
Jane Asher is great as Henri's mother but her accent does need a little work at times. Despite this her performance is solid and she shows the varying emotions of the character well. Christopher Wheeldon's sharp production starts off quietly with a swastika banner dramatically being unfurled to show a multicoloured flag on stage. Every moment of choreography is stunning and the whole production works cohesively together to create a visually striking show.
Leanne Cope is absolutely exceptional as Lise, completely owning every moment on stage and performing breathtaking dance scenes with ease and elegance. Lise and Jerry have some truly beautiful scenes together with Robert Fairchild the perfect partner to Leanne. His movement is strong and striking whilst being warm and welcoming at the same time. Zoë Rainey is equally wonderful as the sweet Milo Davenport.
Both other men, Haydn Oakley and David Seadon-Young are brilliant in their roles and help to helm the dazzling cast. Each moment is exhilarating and radiant and the space of the large Dominion Theatre is used well. I personally think the show would work better in a more intimate theatre but there's no doubt that this production is something special. It's certainly an extravaganza which needs to be seen and is sure to leave its audience feeling warm and content. An American in Paris is a really lovely, lovely production.
Tuesday 21 March 2017
Sister Act (UK Tour), New Victoria Theatre | Review
Sister Act
★★★★
Based on the 1992 hit film starring Whoopi Goldberg, Sister Act tells the tale of nightclub singer Deloris who witnesses her violent partner commit a murder. Forced to be a witness and then forced into hiding, she ends up staying a convent which is under threat of being closed down for not attracting enough people to it's Sunday services. The production is full of glitzy outfits and laugh out loud moments and despite falling slightly flat at times, it is full of great performances and leaves the audience feeling good.
Craig Revel-Horwood's choreography is exciting and full of funny moments. Namely a slow motion scene which worked wonderfully and was warmly received by the audience, as was the majority of the show. Craig's production captures the spirit of family and friendship wonderfully and ensures the audience has a fun night out but it's hard to miss the weakness of the plot. The story is just a little too silly and basic to be fully effective but for a lively girls night out that can be overlooked and enjoyed for the laugh that it is.
Overall there is a high standard of performance with Alexandra Burke's leading lady Doloris holding her own throughout. She is sassy, likeable, over the top and delivers her comic lines wonderfully. Personally I struggled to understand what she said a lot of the time due to under-annunciated consonants but her singing and comic performance was fabulous and she fits into the role perfectly.
Each of the nuns have their own personalities which shine through from beginning to end and each of the individual stand out moments really add to the production. It's wonderful to see such a strong cast with an ensemble that are tight and seem to genuinely be enjoying themselves.
Sister Act is full of solid performances, buckets full of laughs, fabulousness and a whole lot of joy. Even though the story is silly and simplistic, it works wonderfully as an exciting night out and I'm sure it will continue to thrill audiences around the country.
Sister Act continues to play at the New Victoria Theatre until March 25th before continuing on it's tour.
Photo by: Tristram Kenton
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