Friday 8 September 2017
Follies, National Theatre | Review
Follies
Olivier Theatre, National Theatre
★★★★
It's been 30 years since a fully staged production of Follies has been seen on a London stage so there's been a huge buzz surrounding the current production at the National Theatre, which boasts a stellar cast. The production is largely sold out but don't fret if you didn't manage to snap up tickets as it is set to be broadcast to cinemas through NT Live on November 16th.
Mr Weismann's iconic theatre is closing so to commemorate he invites all his old Follies to dance and reminisce about their time in the company. Being back in the places of their youth, many characters start being pulled back to the past and we watch as the past and present become intwined. Childhood best friends with a past, Sally and Phyllis and their husbands Buddy and Ben reopen a chapter of their lives which they all thought closed. Both couples are experiencing problems in their marriages and despite time having passed, they can't help but relive old feelings.
Follies was originally written as a straight-through piece with no interval; whilst some productions have included intervals, the National Theatre's doesn't. Speaking to others about the show it seemed that people were wary of having to sit for that long without a break and whilst it is the same as watching a film, I suppose there's more freedom and less embarrassment to have a loo break during a film. This needn't be a worry at all though as the show flows wonderfully and really builds up momentum throughout, meaning that stepping out doesn't cross your mind as the show flies by.
The entire cast are absolutely stellar, keeping up the energy from the get go to the end. I particularly enjoy Di Botcher's rendition of 'Broadway Baby' which is completely hilarious and gorgeously sung and Tracie Bennett's 'I'm Still Here' which is gritty and powerful. Her nuanced performance is one of the best I've ever seen on stage. The younger selves of the two main ladies, played by Zizi Strallen and Alex Young are extremely well performed. The mirroring of the young and old girls is spectacular and extremely moving. Alex's transition from the giddy girl into the obsessed girl is striking.
This obsession continues with the adult Sally, played by the ever brilliant, Imelda Staunton. Sally has not really changed throughout the years and comes onto the stage just as giddy as a child when we first see her. Her fragility begins to show little by little, coming to a head in her stunning rendition of the classic, 'Losing My Mind'. Sally's partner in crime, Phyllis is played by the equally brilliant, Janie Dee who is strong and sassy from start to end.
Dominic Cooke's direction creates a flow of movement and an ease throughout which is joyful to watch. Bill Dreamer's choreography works hand in hand with is and showcases the best of the Follies era. Along with the National's revolve, the choreography swims along and is faultless. A particular stand-out moment is the tap number 'Who's That Woman?'... I'm a sucker for tap and this was pulled off perfectly as the older Follies girls join their younger selves to create a thing of beauty.
Vicki Mortimer's set design cleverly shows hints of the former glory of the grand Weismann theatre as it crumbles in current day. The costumes are stunning not only with the gorgeous glitz and glam of the Follies but with how well they show off the character of each individual lady in the current day.
Overall this is an absolutely wonderful production which has everything you could wish for in a musical. There's glitz, glam, grit and emotion, which along with a perfect cast create an absolutely wonderful production of Sondheim's classic musical.
Follies runs at the National Theatre until January 3rd.
Thursday 7 September 2017
Wait Until Dark (UK Tour), Richmond Theatre | Review
Wait Until Dark (UK Tour)
New Victoria Theatre
Reviewed on Wednesday September 6th 2017 by Lucy Jardine
★★
Wait Until Dark, a 1966 thriller by Knott is a play about, well, a rather implausible and confusing plot where criminals try to recover, by kindness then by force, a object that the photographer husband has been persuaded to bring back from Amsterdam. We are never quite sure why he agreed to do this - was he a deliberate drugs runner (although drugs are never mentioned), or simply a gullible stranger? He never quite convinces as to what he does, in his love for Suzy, or indeed why he is away at key moments in the play. So that's the plot.
The set however, convinces more, and makes a nod to the 1960s original, the furniture and decor all instantly place us firmly in that era. The characters vary in their portrayals: there's nothing subtle about the bumbling crooks, the husband's fondness for his wife never seems quite genuine. The real tour de force is Karina Jones who herself was registered blind at the age of 13. Not having known this before the play, I had been utterly convinced by the way she felt her way around the stage, negotiating obstacles (a great many obstacles!) as she did so.
Overall however, by the end of the play you are left feeling that you have just watched a rather dated, over-theatrical production by a rather ho-hum am dram company. See it if you want a chuckle, but otherwise don't bother.
Tuesday 5 September 2017
Dirty Dancing (UK Tour), New Victoria Theatre | Review
Dirty Dancing (UK Tour)
New Victoria Theatre
Reviewed on Tuesday September 4th 2017 by Olivia Mitchell
★★★
The best way to start this review is probably to say that I've only seen the Dirty Dancing film once. Whilst that's probably a movie crime I think it's pretty good because I don't have much to compare the show with.
Based on the 1987 movie, there is a large and eager fan base ready to lap up a live-action, energetic romance between the lower class dance instructor, Johnny Castle and daddies girl teen, Frances 'Baby' Houseman. There have been a number of reincarnations of the show which always garner solid box office sales but sadly I feel this is purely because of the cult popularity as opposed to the quality of production.
There's nothing I can precisely pinpoint that's bad about this production but I just feel that it doesn't transfer particularly well to stage. The performances are extremely good and Gillian Bruce's choreography is wonderful but the sudden changes and bitty moments which work well on screen just don't transfer on stage.
Katie Eccles is suitably sweet but feisty as Baby and seeing her transition and personal growth on stage was lovely. Lewis Griffiths is sexy and brooding as Johnny; his chemistry with Katie is great and they work together wonderfully to make the story flow.
I would describe this production as more of a play with music than a musical which was a bit of a let down to me. Sophia MacKay and Michael Kent lead the very few pieces that are actually sung with ease and style. It feels that there are too many little things added in that are not fully explored, making the show a little confusing and disjointed. Carlie Milner plays the character of Peggy brilliantly and her dancing is sublime however, her whole storyline feels a little rushed and we don't have time to fully connect with her.
The set changes are smooth and effortless with clever effects such as the water scene and I loved the lighting, especially when the morning light is supposed to be coming through the blinds.
The final scene is by far the stand out with the iconic lift being pulled off perfectly. Whilst it isn't my ideal production, I love seeing the audience reactions and it really is lovely seeing huge fans of the film smile and swoon each time an iconic moment happens or line is spoken. I personally wouldn't race back to the show but for a fun, light-hearted and sexy night out it's certainly a lot of fun and if I could kick my leg that high I would love to spend my nights dancing away!
Dirty Dancing runs at the New Victoria theatre until 9th September before continuing on its tour.
Tenderly: The Rosemary Clooney Musical, New Wimbledon Studio | Review
Tenderly: The Rosemary Clooney Musical
New Wimbledon Studio
Reviewed on Monday September 3rd 2017 by Olivia Mitchell
★★★★
The New Wimbledon Studio is currently playing host to the UK premiere of Tenderly: The Rosemary Clooney Musical; a two-person musical written by Janet Yates Vogt and Mark Friedman. The production, gloriously directed by Tania Azevedo, gives insight to the hardships and trials that singer/actress Rosemary Clooney faced in her extensive career, and the lengths she went to in order to hide her struggles from the world.
Ms. Clooney's life was non-stop from her youth and although to the public she seemed to have it all- the money, fame and famous friends- in reality she was heading down a dark road of intense pain and loneliness which led her to become addicted to pills. This addiction led to a breakdown during a performance at Harold's Club in Reno, Nevada which prompted her to be admitted into hospital to see a psychiatrist. It's at this point that the musical picks up, with Rosemary telling her life story to her therapist during her treatment. This is done in the form of flashbacks with the doctor transforming to play a number of other characters in Rosemary's life.
We are given the opportunity to get to know Rosemary herself, as well as her wonderful music. Each song is placed seamlessly into the story and although it is a jukebox musical, it doesn't feel like it's been written purely because the music is popular. Instead each song really adds something to the story and helps it flow. The music is performed emotively by the onstage band under the direction of Simon Holt.
The cast is made up of just two people, Katie Ray as Rosemary and Fed Zanni as the doctor (and others). Both pull off the roles with sincerity, humour and elegance. Katie Ray embodies Rosemary perfectly with a fierce and emotional performance that's truly outstanding. Her facial expressions and movement throughout are delightful as are her wonderful vocals. Ray's voice is powerful and filled with with emotion. Whilst she is wonderful at all times, the breakdown in act two is especially mesmerising and heart-wrenching.
Fed Zanni transforms into a number of characters including Rosemary's mother, sister and uncle, as well as Frank Sinatra and Bing Crosby. He transitions very smoothly and gives a believable performance. At times he is hilarious and at others extremely serious but manages to flow and differentiate the various people well. His voice is also wonderful and perfect for the delightful music of Rosemary Clooney.
The lighting is crucial to this production as it symbolises when we are in the present therapy room or part of a flashback. Ali Hunter has done a wonderful job of making this clear whilst being quite subtle at the same time. Particularly effective was when the house lights slowly come up during Ms. Clooney's breakdown.
Whilst I wouldn't say that, Tenderly: The Rosemary Clooney Musical is a groundbreaking piece of theatre, it does do exactly what you want a show to do: tells a wonderful story with beautiful music. The performances are outstanding and whilst I did feel the show dragged marginally at times, the pace was kept up by the stellar performances. Tenderly is definitely worth making the trip to see and certainly provides a fun, roller coaster night out.
Tenderly runs at the New Wimbledon Studio until September 25th
Sunday 3 September 2017
In Conversation With... Stacey McClean and Stevi Ritchie | Sword and the Dope | Interview
Sword and the Dope is a musical retelling of the story of King Arthur, written by a dyslexic who can not read or write music but wrote the show as a bet/joke with a friend. It has now gone out for over 150 shows at three different venues prior to this run. Sword and the Dope stars Stacey McClean and Stevi Ritchie who sat down with Rewrite This Story to talk all about the show.
Can you both give a brief overview of your career and what your highlights have been?
Stacey: I was once a member of pop band S Club Juniors. Highlights from my time in the band were probably performing a Wembley and for the Queen at Buckingham Palace. Also getting down to the final 24 and performing for Kylie in Dubai when I went to the judges houses for X Factor.
Stevi: I started performing at the age of 15 at my high school in Grease the musical and played Kenickie. I've always loved performing but got many knock backs. But 2014 I entered the X Factor and since then life has changed.
You’re both musicians, how has the transition to concert performances to musical theatre been?
Stacey: In ways it is very different. Put me on stage with a mic and a band and I can do it with my eyes closed, but theatre is a little more challenging for me. It's a lot more intense, there is a lot of preparation involved and a lot more a stake.
Stevi: For me it's been amazing and I've always loved musical theatre I trained at LSMT. Playing a prince in this show is great and taking me out of my comfort zone but I love it.
Can you explain what The Sword and the Dope is about?
Stacey: Sword and the Dope is a comedy musical with a politics edge. Think Monty Python, Black Adder and politics in a way you have never seen!
Stevi: A sideways telling of King Arthur with a modern day political twist. One review said British humour at it's best with great musical numbers, for me that sums it up well.
What drew you to the production? Are your characters anything like you?
Stacey: I play Sir Lancelot, a Knight who is a huge fan of the Green Party, so nothing like me really as I'm not into politics in the slightest. My character reminds me of Hermione from Harry Potter, slightly irritating, bit of a know it all who no one wants to listen to. The script was what sold it for me initially, I laughed my head off when I first read it.
Stevi: I loved the script and especially the songs they are amazing. The character is similar to me it's cheesy and he loves singing.
The Sword and the Dope is a retelling of the story of King Arthur, if you could retell any story which would you choose?
Stacey: Amy Winehouse, now that would be a fantastic role!
Stevi: I would retell the story of maybe Bruce Lee or Elvis Presley or Freddy Mercury.
Can you sum up the show in five words?
Stacey: Funny, ridiculous, offensive, rude and camp!
Stevi: Witty, camp,cheesy,Funny,eccentric.
Is there a play or musical you’ve seen recently that you loved?
Stacey: I have been to see Our Ladies of Perpetual Succour at the Duke twice now I loved it so much.
Do you have any dream roles?
Stacey: Dream role would probably be Sophie in Mamma Mia, the lead vocal in Thriller and anything Disney!
Stevi: Yes, Thenadier in Les Mis or Kenickie in Grease.
Whats a fun fact people might not know about you?
Stacey: I was one belt away from a Black Belt in Taekwondo when I was 7 but I gave it up because I wanted to sing!
Stevi: Think everyone knows everything about me due to the press and being in the public eye.
What’s your best piece of advice for an aspiring performer?
Stacey: You have to have a thick skin in the industry otherwise you won't survive. The amount of times you get knocked back is not necessarily a reflection of how good you are, and that's something you have to be prepared for. I'm a firm believer that you get out what you put in.
Stevi: Just keep going and be you.
Thank you Stacey and Stevi for this interview. The Sword and The Dope is on at Waterloo East Theatre from Tuesday 5th September until Sunday 1st October.
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Interview by Olivia Mitchell, Editor
*this is a sponsored post*
Thursday 31 August 2017
Late Company, Trafalgar Studios | Review
Late Company
Trafalgar Studios
Reviewed on Thursday August 24th 2017 by Lucy Jardine
★★★★
Late Company has transferred recently from Finborough Theatre to the tiny Trafalgar studios, where you sit, as if sharing the dining room, with the members of the cast. Debra and Michael, a couple whose gay son Joel committed suicide after having been taunted online, have gathered, a year after his death, with Tamara, Michael and their son Curtis, to try and find some kind of 'closure', some kind of reparation. Curtis was responsible for some of the bullying. A place at the dining table has been laid for Joel.
The play benefits from this close actor-audience involvement - you are drawn into the play as it unfolds, and leave feeling utterly involved, transformed in some way by what you have witnessed. We learn how Debra was unaware of videos that Joel had posted online, and how Curtis, moody Curtis, didn't think about what he was doing. We learn about Joel's depression - the sympathy that Debra displays, and the somewhat bullish opinions expressed by Michael that people should toughen up - that children are too protected.
Tannahill's script sparkles with authenticity. How many times have these conversations played out up and down the country? As Tannahill himself questions, and has us do, how much are we as parents responsible for what our children do and see online? How much space should we give our children? The actors succeed in bringing these questions to life in a very real, believable way - even if, occasionally, the Canadian accents lapse a little. If you want an uplifting night out at the theatre, don't go and see this play. But if you want to be challenged, go and see it tonight.
Late Company runs at Trafalgar Studios until September 16th
Tuesday 29 August 2017
In Conversation With... Louis Dempsey | The Weir | Interview
Louis Dempsey has an extensive list of credits to his name including film, television and theatre. He will soon be starring in the English Touring Theatre's production of Conor McPherson's, The Weir which opens on September 8th at the Mercury Theatre, Colchester.
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I trained with Cygnet Training Theatre in Exeter. I've appeared in numerous stage productions including the original West End production of Stones in his Pockets, Romans in Britain at The Crucible, Sheffield, Taming of the Shrew at The Globe, Juno and the Paycock at Bristol Old Vic, Some Voices at The Young Vic, Brothers of the Brush at Liverpool Everyman. I've also appeared in another Conor McPherson play, The Seafarer, at The Lyric Theatre, Belfast.
On screen I've appeared in films such as Troy, Cloud Atlas, Shooters, Revolver, Grabbers, Six Bullets, Omagh, The Last Drop. I've also popped up on tv screens in Holby City, Waterloo Road, Sea of Souls and, of course, The Bill.
Highlight of my career so far? Hmm. Probably Troy because it was an amazing experience to be part of a huge Hollywood blockbuster movie with all that entails.
Have you always aspired to be a performer or did you have a different career path in mind when you were younger?
I never had any ambitions to become an actor. Where I grew up in Dublin your ambitions rarely went further than getting a job and a drink! I loved films as a child but I always assumed that actors came from Planet Actor. The idea that I might one day be up there on screen myself seemed utterly ridiculous.
What drew you to the role of Finbar in The Weir?
I don't know if one could say I was drawn to the role. My agent called, asked if I was interested in taking a meeting for a touring production of The Weir. I knew something of the play and having done The Seafarer (also by Conor McPherson) I was curious. When I read Finbar I kind of got where he was coming from but only in a very rough way.
When people come to see this production of The Weir they can expect to hear the best story they will hear all year! No doubt at all.
Can you sum up the show in five words?
Hmm. Funny. Poignant. Scary. Moving. Uplifting.
How is the 20th anniversary production of The Weir bringing something new to the modern classic?
Well I have never seen a production of The Weir so I cannot compare but I will say that The Weir is such a complete story, with so many layers and revelations about life, love, sadness, joy, heartbreak and happiness that I don't think it is even accurate to describe it as a modern classic. The Weir is simply a classic, regardless of when it was written or set.
What’s a fun fact people may not know about you?
Prince Charles once asked me to have a drink with him. I did. It was fun.
If you could go back to any era, when would you go to and why?
Well, I'm not a big fan of the past. I suspect that if I did travel back in time to a bygone era, people there would say "What the hell are you doing here??!! There's no email and toilets haven't been invented. Are you crazy???”
What’s your best piece of advice for an aspiring performer?
You have two eyes, two ears and a mouth. Use them in that order.
Thank you so much Louis for taking the time to do this interview. The Weir starts touring on September 8th and continues through to November 25th
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Thursday 24 August 2017
Jane Eyre (Tour), Grand Opera House | Review
Jane Eyre (Tour)
Grand Opera House, Belfast
Reviewed by Damien Murray on Tuesday 22 August 2017
★★★★★
The National Theatre and Bristol Old Vic’s joint production of Jane Eyre is astonishingly good … and it is far from being what one would expect!
It may be based on Charlotte Brontë’s classic novel, but this work – devised by the original company – is modern in its approach, in its styling and in its staging and manages to retain Jane Eyre’s core characterisation of being a free spirit and a strong-willed individual who strives for equality and for the right to be herself.
I am not a Brontë fan, yet I was blown away by this riveting production and gladly sat through over three hours of it without any loss of interest. Everything about this visually-stunning production is praise worthy, from its innovative direction and inventive staging to its exceptional and intense ensemble playing (complete with strong elements of physical theatre), and from its faultless lighting and sound plots to its magnificent movement, which ranged from the delicate and the balletic to the furious and the frenzied throughout.
The trio of on-stage actor/musicians brought a lot to the table, with music that varied from appropriately ‘English’ style folk to gospel to what could best be described as atmospheric soundscapes, when required. Musically, I loved Melanie Marshall’s apt interpretation and arrangement of the Gnarls Barkley (CeeLo Green) hit, 'Crazy' – so unexpected, yet totally fitting.
Although performances were all faultless, I must congratulate Paul Mundell in particular for bringing the dog, Pilot, to life so well and with so much humour.
Years ago, the Belfast Festival at Queen’s used to bring some spectacular pieces of world theatre to Belfast and these were ‘special’… This production is of such a high calibre that it seems a shame that it is just another touring production, for it, too, is very ‘special’ and provides a fantastic night of theatre – Don’t miss it!
Jane Eyre continues at Belfast’s Grand Opera House until Sat 26 Aug, 2017
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