Wednesday 4 October 2017
Sunset Boulevard (UK Tour), Edinburgh Playhouse | Review
Sunset Boulevard (UK Tour)
Edinburgh Playhouse
★★★★
Sunset Boulevard is a thrilling ride through the film industry of mid-century America, filled with the song, dance and cultural ephemera of the era. It’s an intoxicating spectacle that is both entrancing and, in parts, exhausting.
The production takes place in Hollywood on the cusp of the 1940s and 1950s. The show’s intermission pointedly falls at a New Year’s party in 1949 in a manner symbolic of the story’s main theme of the passing of one era to the next.
The time period and location is a particularly rich seam for the set design which, especially in the opening moments, is a flurry of transitions. The audience is taken from the gates of Paramount studio to production lots, writer’s rooms and soundstages in the space of a matter of minutes. Furthermore, artifacts of film production are woven intelligently into the set throughout. One driving scene in particular employed footage of busy Los Angeles streets projected behind the protagonist’s vehicle while shadowed cameramen revolved around him in a way that recalls the early special effects of the time. It could easily have been confusing, the fact that it wasn’t is testament to the care with which each aspect of the set had been considered.
As one might expect given the story, the music throughout the show was constantly evocative of the period and brilliantly performed by the band. One aspect to note is that your enjoyment of the show may in part depend on how you feel about Andrew Lloyd Webber, who supplies the music in the production and isn’t always for everyone.
Danny Mac as protagonist Joe Gillis was well cast and particularly excelled at both the breezy 50s dialog exchanged with members of the supporting cast and his rendition of the title song ‘Sunset Boulevard’. Predictably a cheer went up around the hall as the actor, who appeared on Strictly Come Dancing, danced a tango. His interaction with romantic interest Molly Lynch as Betty Schaefer was a touch lacking, but this relationship is not really the centrepiece of the story and as such both the songs and dialog were a little perfunctory. Special mention should be given to both the singing and acting of Adam Pearce as Max Von Meyerling, who deflty straddled the line between chilling and endearing and very nearly stole the show. However Ria Jones as the needy and demented Norma Desmond was superb throughout, delivering a deeply poignant performance.
Flashdance (UK Tour), New Wimbledon Theatre | Review
Flashdance (UK Tour)
New Wimbledon Theatre
★★★
Based on the 1983 film (which I've never seen), Flashdance is the story of Alex Owens, a welder who dreams of being a dancer but has had no formal training. She plucks up the courage to apply to the prestigious Shipley Dance Academy and also meets a new love interest on the way who just so happens to be the boss' son.
There are a number of side plots, like the mechanics facing jobs losses, Gloria being drawn into a seedy drug filled world and her boyfriend Jimmy attempting to make it as a comedian in New York but these feel a little unnecessary. They're obviously added in to pad out the show but I felt it would have flowed better without them as they're not explored enough to add much.
But lets be honest, people don't go to Flashdance for the plot. They're there for the big money numbers and nostalgia for the classics they remember, something which the show certainly provides. The instantly recognisable 'Maniac', 'What a Feeling' and 'Gloria' have the audience excited and invested whilst most of the other songs are not particularly memorable. That's not to say that the vocal performances aren't brilliant though. Ben Adams gives a strong performance as the misguided, rich boy, Nick Hurley. His popstar vocals are not those typically heard in musical theatre but they work well in the show and his his rendition of 'Enough' was especially good.
Joanne Clifton is outstanding as Alex. Obviously she's known for her dance skills but seeing them life and with so much energy is spectacular to see on stage. Vocally she is also strong and her acting stood up well within the cast and she is a very solid lead. I was particularly impressed by Hollie-Ann Lowe who showed a number of sides to Gloria as well as some lovely vocal moments. A special mention must go to Colin Kiyani (Jimmy) who's voice is beautiful and I got major Ben Platt vibes during 'Where We Belong'.
Matt Cole's choreography is definitely the highlight of the production; tight and sleek throughout it provides some wow moments of impact. One thing I didn't like was the use of click tracks during some of the ensemble dance numbers such as 'I Love Rock and Roll'. I completely understand how demanding it is to do the energetic choreography at the same time as singing but it just felt a little obvious to me and could have been covered up more. However, the performances were still great.
This is definitely a feel good musical, whilst it does look at some darker themes, they are definitely not what you focus on. It's more of a drama with music but the energetic and sharp performances are enough to draw you in and will certainly leave you tapping your feet!
Flashdance runs at the New Wimbledon Theatre until October 7th
In Conversation With... Natasha Langridge | In Memory of Leaves | Interview
Following on from Memoirs of a Tree, Natasha Langridge returns with, In Memory of Leaves. This monologue describes Natasha’s experience living in a block of flats on the Portobello Road council estate, which is being torn down by developers, and how all of her surroundings and green spaces are rapidly changing. The monologue also explores her work in Calais with the Occupy movement and the sadness people feel when they have to say goodbye to "home".
Did you grow up writing or was there something or someone which inspired you to write?
I’ve always written but I never showed anyone until after I’d started acting. I loved interpreting other writers work but I found that I had something to say too so I took my courage and showed my own work to other writer friends who, luckily, encouraged me to get it out there.
As well as writing, you perform and direct. How do you juggle each string to your bow and how do you smoothly transition from one to another?
I’ve got a very nice hat for each job and I look forward to wearing each one. I’m not sure I do anything smoothly except drinking wine.
Have you got any other quirky, hidden passions you’d like to pursue?
I went on a sailing trip recently. On an old Thames Sailing Barge .The main mast was 70ft high. I watched the mate climb the rigging. I helped unfurl the sail. I learnt how to tie a bowline knot. I helped steer the ship. I watched the moon rise up over the sea. I quite fancy being a pirate.
What’s your writing setup like? Do you have a certain playlist or drink you always have with you?
My vape. I move around to different places in my flat with my laptop. Or I sit on the floor with huge amounts of scrunched up paper strewn around me. Writing is terrifying. Like walking a tightrope.
In Memory of Leaves is extremely personal, did you feel a sense of pressure putting such an important story out into the world?
I felt a sense of compulsion. I’d just seen a beautiful park beneath my window massacred and felt I had to write about it and then shout about it. I am bearing witness to the ‘regeneration’ of my estate and of London and I have to tell its story-or my part in that story.
What’s the number one message you want people to take away from the show?
Live. From your heart. Speak out against injustice. We are living in a world run by psychopaths. We are living in a society based on a psychopathic model. Do whatever you can to protect love, all life and community.
Finally, what’s your number one piece of advice for anyone hoping to get into the performing industry, be it writing, performing, directing or anything else?
Do it. Don’t wait for anyone else. Or for the phone to ring. Get some good training and make your own work.
Thank you Natasha for taking the time to do this interview. In Memory of Leaves is being performed on a wide beam barge across three London locations. More information can be found at: https://goo.gl/QEXSrf
Interview by Olivia Mitchell, Editor
Thank you Natasha for taking the time to do this interview. In Memory of Leaves is being performed on a wide beam barge across three London locations. More information can be found at: https://goo.gl/QEXSrf
Interview by Olivia Mitchell, Editor
Tuesday 3 October 2017
Dreamboats and Petticoats (UK Tour), Theatre Royal | Review
Dreamboats and Petticoats (UK Tour)
Theatre Royal, Brighton
Reviewed on Monday October 2nd 2017 by Melodie Hornett
★★★★
Dreamboats and Petticoats at Brighton’s Theatre Royal was a joyful explosion of fun from the start. No long overtures, just a brief setting of the backstory before immediately coming to life with upbeat music from the whole cast. The set was vibrant and made excellent use of the space available on-stage whilst overcoming the lack of wing space seamlessly. The bumper cars used in several scenes worked brilliantly, operating smoothly, really indicative of the era and setting, and looked like the cast were really enjoying themselves. Carole Todd’s effective choreography worked very well, demonstrating skill whilst maintaining the authenticity of the setting.
Alistair Higgins and Elizabeth Carter were well matched in all areas as Bobby and Laura, vocally they blended well, they played an idyllic and convincing couple who looked great together. A particularly beautiful moment was their rendition of ‘Let It Be Me’. Alastair Hill could have done a little more with his representation of Norman, perhaps a little more arrogance was required to define him however he demonstrated a powerful voice that was well suited to the repertoire. Laura Darton’s Sue was superbly portrayed, with her strong vocals demonstrating a rich and powerful tone whilst her obvious dance ability and vibrant sex-appeal made her incredibly satisfying to behold. Vocally she shone out in ‘Shakin’ All Over’ and ‘Sweet Nothin’s’. Her sidekick Donna played by Gracie Johnson was a pleasing character with some delightful moments adding to the action of the leads. Again, she was well matched with on-stage partner Ray, played by David Luke, who presented some entertaining comic action with a solid voice which carried well over the band. Jimmy Johnston played a very likeable Phil, an ageing voice that still has some fantastic money notes, particularly in 'Shop Around’.
There was something truly exciting about the actor-musicians interchanging between their roles in the live, on-stage band and characters within the story. It was seamlessly done and great to see such an array of talent - these were a team of performers strong in a number of stage disciplines. Consistently solid performances from all cast. Chloe Edwards-Wood competently took the spotlight a number of times with her energetic saxophone playing. She and Lauren Chinery made a charismatic sax duo, but credit to all band members.
The main criticism of the show for me was audio balance; the instrumentalists sounded fantastic throughout, however at times some of the vocalists were lost in the audio mix due to having thinner-toned voices. Whilst being enjoyable to listen to in the more intimate moments, Higgins, Carter and Johnson were frequently difficult to make out when the band was in full swing. I felt that there could have been more vocal diversity amongst the cast, rather than what felt like a collection of similar sounding voices.
This was a show that the audience clearly enjoyed from the start, with patrons singing along and tapping their feet to familiar tunes. It had a real feel-good factor and a pleasing plot conclusion. The energy from the cast in the finale sequence was at a peak and they interacted well with their audience at this point, getting everyone on their feet. A really great night out for all.
Legally Blonde (UK Tour), Bristol Hippodrome | Review
Legally Blonde (UK Tour)
Bristol Hippodrome
Reviewed on Monday 2nd October 2017 by Elisha Harris
★★★★★
Legally Blonde is an absolute must see! I've had the Original London Cast Recording on repeat ever since it was released and have always been obsessed with the soundtrack. The songs are upbeat, funny and so catchy and although I can't hold a tune; I often find myself belting 'oh my god' like it was written for me on regular occasions. That being said, I don't know what kept me from seeing this beautiful show for so long, but I can assure you it won't be long until I'm back!
I must admit I struggled to imagine Lucie Jones as Elle before the performance but the second she appeared on stage she took my breath away, her vocals are completely out of this world I was in complete awe. I hadn't seen her in anything since her X factor days so I didn't know what to expect but she was incredible. The other standout for me has to be Rita Simons as Paulette. She had me in tears of laughter from start to finish, and has such a versatile voice; it gave my shivers! In the future, I'll make a conscious effort to see her in any other shows she does.
The cutest cast members have to be Bruiser & Rufus. Rufus didn't do exactly as he was told this evening as he wandered on stage before his cue and long story short, the crowd was in hysterics, and Lucie took 3 attempts to finish her line as she was laughing so hard. The audience roared with cheer when she completed it, it was hilarious! Despite that little mishap, both adorable dogs stole hearts every time they took to the stage.
The whole company gelled together so well, I feel so privileged to have witnessed such an incredible performance.
Legally Blonde is playing at Bristol Hippodrome until October 7th, don't miss out; I promise you won't regret it!
The Toxic Avenger, Arts Theatre | Review
The Toxic Avenger
Arts Theatre
★★★★
When seeing this show, you should take it like it takes itself: not too seriously. Based on the 1984 cult movie, The Toxic Avenger received its New York premiere in 2009 before enjoying a short run at London's Southwark Playhouse in 2016. Most recently it played at the Edinburgh Fringe and has now opened a limited run at the Arts Theatre.
Set in New Jersey, where pollution has over taken the city, we meet Melvin the dweeby teenager (in love with the town's blind librarian) who is thrown into a vat of toxic waste, becomes the Toxic Avenger and vows to take justice into his own hands. The plot is bonkers but easy to follow and the production celebrates this wackiness with a clever and genuinely funny script. The fourth wall is broken and it becomes a game of spot the musical theatre reference; from Hamilton to Mary Poppins to Phantom- they're all in there somewhere!
The humour is unashamedly crude and whilst this is refreshing to see on stage, it sometimes becomes a bit too much. With the same jokes repeated several times and therefore loosing any impact. The "blind girl almost walking off the stage" was especially repetitive.
Whilst not all of the music is particularly memorable, the cast perform it with exuberance and stellar vocals throughout. Mark Anderson is wonderfully awkward but gentle as Melvin and 'Toxie'; his voice is beautiful and he overacted just enough to avoid the whole thing becoming too silly. Natalie Hope's vocals are outstanding, both as Toxie's mother and the woman who's to blame for the pollution: the mayor! She is humourous, sexy and an all round, brilliant entertainer. Emma Salvo as Sarah is funny and crude but still sweet; her Oprah obsession is hilarious and her vocals are fantastic. The rest of the towns people are impressively brought to life by Ché Francis and Oscar Conlon-Morrey. From the town bullies to the hairdressers with "indistinguishable accents", they do a stellar job.
Takis have done a great job of using the space of the small Arts Theatre well, with a clever set design that means the stage never feels cramped. It's simplistic but effective as are the costumes which also have many musical theatre references within them. It's a very cleverly done show in terms of intricate details.
This is a non-pc show thats fun, lighthearted and silly. If you're easily offended then it's not for you but for a blast of fun and some sublime vocal performances then pop along to the Arts Theatre.
The Toxic Avenger runs until December 3rd at The Arts Theatre.
Sunday 1 October 2017
The Woman in Black, Fortune Theatre | Review
The Woman in Black
Fortune Theatre
★★★★
To celebrate National Ghost Hunting day -which is today if you're reading on upload day- Raw PR invited a selection of bloggers to attend a ghostly evening of spooky fun at The Woman in Black. The Fortune Theatre is tiny but steeped in history and provides the perfect intimate feel for an evening of ghost stories.
We were treated to a pre-show supernatural tour of the theatre where paranormal expert Dr. B. Vilder told us about various presences seen or felt in different areas of the theatre. Being in the actual location was certainly spooky and I'd recommend being extra careful when booking your tickets, to avoid seat F17 of the Royal Circle on November 7th unless you want to be joined by a guest.....! Needless to say, we were all pretty nervous by the time the show started and as someone who literally jumps at EVERYTHING, I was extremely scared when I sat in my seat.
For those who haven't been brave enough to read of see this haunting tale, the story follows Arthur Kipps who wishes to lay his haunted story to rest by retelling his experience of visiting Eel Marsh House and his numerous run-ins with The Woman in Black.
The show begins innocently enough with jokes being told and a little time being spent on setting up the 'performance'. It does gets off to a bit of a slow start but once we get to Eel Marsh House that all changes as we are thrown into an intense and gripping world of mystery.
Adapted for the stage by Stephen Mallatratt and with set designs by Michael Holt, a lot of the story is left up to the audiences imagination, especially when picturing the location and surroundings of the house. The script is so descriptive that this is easy to do and depending on how much you've built the show up in your mind, allows it to be even more scary. I found myself thinking I'd seen things out of the corner of my eye so was on the edge of my seat even more throughout.
Terence Wilton and James Byng as Arthur Kipps and "the actor" are a wonderful duo, managing to keep the audience engaged from start to finish and making their actions natural as opposed to over the top and unbelievably dramatic.
If you are the kind of person that enjoys being scared witless (or even if you're terrified like me), it's worth making the trip to see this show. For edge of your seat, suspense filled, jump scare drama this is definitely the show for you and it's clear why it's lasted so long on the West End.
Watch my vlog of the event here
Watch my vlog of the event here
Thursday 28 September 2017
Jane Eyre, National Theatre | Review
Jane Eyre
Lyttleton Theatre, National Theatre
★★★★
The National Theatre are outstanding at championing new, innovative work and thinking outside the box to bring audiences spectacular shows, something which they have once again succeeded at with this Sally Cookson's production of Jane Eyre. In Bristol, the tale was split into two parts but artistic director Rufus Norris has wisely squeezed the action into one performance.
I'm sure I'm not alone in having gruelling flashbacks to A-level English literature when I hear Brontë's novel mentioned, and what's lovely about this adaptation, thanks to the minimal sets, is that it allows the audience to create the world of Jane Eyre with their imagination as they would do when reading the book. The set is extremely modernistic in it's simplistic design with no grand structures to show the various momentous locations in Jane's life but instead using wooden platforms, metal structures and ladders as a framework for the action. The use of lighting is particularly impressive with white cloth backdrop that surrounds the stage being changed to different colours to show the various moods. The shocking red room is especially effective.
What struck me about this production is not only how modern it is in terms of aesthetics but how contemporary the character of Jane herself is. She's feisty with strong morals and a real feminist side. Although having seen her as ahead of her time when I read the novel, I'd never realised how truly relatable she is until watching this production. Her quest for freedom whilst not compromising her passions is joyous to watch.
The strong use of physical theatre added an intensity to the piece, as well as flow, especially in the running transitions during Jane's travels. The varying motion from smooth lyrical to frenzied, perfectly mirrored the changes in Jane's physical and metal health throughout. Another particularly interesting aspect was members of the ensemble speaking Jane's thought's aloud. This was humourous at times but also a very clever way of developing the character more without her having to tell the audience anything directly.
The trio of onstage musicians added a whole other layer with a number of musical styles accompanying crucial moments and transitions. Melanie Marshall was absolutely fantastic both physically and vocally; singing atmospheric pieces to fit with other characters or her own, Bertha. Her voice is strong and angelic whilst having a menacing and painful side. Her rendition of Crazy was notably unexpected but brilliant and perfectly woven into the story.
The entire ensemble are faultless but I must give a special mention firstly, to Paul Mundell who is hilarious as Pilot, adding some welcome humour. And secondly to Hannah Bristow who perfectly and distinctly plays Adele, Helen, Grace Poole and others.
This is a somewhat lengthy (3 hours and 15 minutes) play, but a striking production of a classic. The start is slightly slow but as we get into the action the momentum speeds up and we really get to see is the power of one of the first literary modern women.
Beautiful: The Carole King Musical, Lyric Theatre | Review
Beautiful: The Carole King Musical
Lyric Theatre, Sydney
Reviewed on Wednesday 20th September 2017 by Amy and Vic
★★★★★
The night started with two twenty something girls who had no clue who Carole King was (don't judge us!) and ended up with two brand new super fans, striding out of the theatre arm in arm, belting 'You've Got a Friend' and wistfully longing we could transport back to 1960s Brooklyn.
Beautiful: The Carole King Musical is a Grammy winning musical which debuted in Sydney, Australia this week with a local cast after first dazzling Broadway in 2014. The show is a musical biography based on the early life of Carole King, whose music has been referred to as “the soundtrack of a generation” – admittedly not our generation but boy do we wish it was!
Pyrmont's Lyric Theatre in Sydney was buzzing with Carole King devotees young and old, excited to take a trip down memory lane in joyous celebration of one of the world's greatest songwriters. It made the evening all the more sentimental, imagining our parents hippy clapping away, bellbottoms swinging to ‘Locomotion'.
From the opening scene and throughout, Esther Hannaford's Carole was an incredibly loveable and endearing character who engaged the audience with her humility, kindness and gentle humour. Despite her immense success and undeniable creative genius, Carole's personal life was tumultuous and peppered with periods of romance and heartache. The tapestry of classic pop and rock and roll music was powerfully nostalgic, and there was a sense of magic in watching the song writing process and hearing the contrast between the writers demos and popular pop reinventions (including, The Shirelles, The Drifters, The Righteous Brothers and Neil Sedaka).
Beautiful predominantly focusses on the relationship between Carole and her first husband, Gerry Goffin, famed lyricist and long-time collaborator. Josh Piterman provided a compelling portrayal of Gerry’s raw strife and passion and there was a genuine chemistry between our leading couple. The relationship between Carole and Gerry and their friendly rivals, fellow singer/songwriter duo Cynthia Weil and Barry Mann provided some belly laugh moments and showcased some of their own classic hits including “You’ve Lost That l Lovin’ Feeling” and “We Gotta Get Out Of This Place”.
The entire production was beautifully staged and the cast were uniformly superb. Beautiful was a magical, moving, musical feat and the perfect night to delight across the generations. We couldn’t have told you who Carole King was before this show, turns out we’ve been a fan of her work for years - Oh! Carol, we love you.
The musical will run until December 23rd 2017
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