Wednesday 15 November 2017
Cabaret (UK Tour), Edinburgh Playhouse | Review
Cabaret (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★
With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.
What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.
Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.
Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.
This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.
The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.
The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!
Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.
Photo credit: Pamela Raith
Monday 13 November 2017
Saint George and the Dragon, National Theatre | Review
Saint George and the Dragon
Olivier Theatre, National Theatre
Reviewed on Friday 10th November 2017 by Olivia Mitchell
★★★
The National Theatre's current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as "a folk tale for an uneasy nation" this production time travels from the medieval times all the way to the current day and questions whether England is losing it's traditional values and whether change is always positive.
Rory Mullarkey's play has faults and drags a little but its interesting and humourous throughout and works extremely well in the space of the Olivier theatre.
As George himself, John Heffernan is Shakespearean, larger than life, witty and charming- perfect for the role. A particularly funny moment is when he disguises himself as 'Ian' in the 2017 world, raising the question of how much we're willing to change to fit in. The character is interesting because as those around him change, he stays the same and becomes somewhat innocent in nature. This transition from the bold hero, to almost childlike is an interesting watch and the idea that distant 'heros' aren't always what the world needs is especially relevant now when it's being revealed that many Hollywood idol's are not the people we should be looking up to at all.
Julian Bleach is the perfect contrast as the sinister but witty Dragon; his portrayal is fantastically strong and gave me major child-catcher vibes in the second act. As the feisty, voice of reason heroine, Elsa, Amaka Okafor is brilliantly cast.
This show wouldn't be what it is without Rae Smith's outstanding set design which transitions along with the characters seamlessly and adds a simple but strong dimension to the play. From the green fields of medieval England to the factory filled London during the industrial revolution, each set is instantly recognisable. Whilst extremely fitting for the time period, the sets also have a humourous aspect such as the way smoke puffs out of the factories. Accompanied by the great, atmospheric lighting by Bruno Poet we are transported through the history of England.
Overall I don't think this play will be to everyone's taste and it could certainly be trimmed down for a smoother flow but it's definitely interesting and I enjoy how it raises some important and relevant questions whilst still remaining humourous. Its genuinely funny and entertaining and Rory Mullarkey has done a great job of reinventing a traditional tale.
Wednesday 8 November 2017
Cilla (UK Tour), New Wimbledon Theatre | Review
Cilla (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 7th November 2017 by Olivia Mitchell
★★★★★
I have to admit, unlike many, I didn't grow up with Cilla Black. I knew a few of her hit songs but until an hour before seeing the show, had never seen an episode of Blind Dates so despite having heard good things, I was a little dubious as to whether this would be the show for me. I'm pleased to report that my doubts were uncalled for, as the show is spectacular.
This new production chronicles the Merseyside National Treasure's rise to fame accompanied by the hits of not only Cilla herself, but the other bands of the time. This is a unique take on the jukebox formula which instantly won over the audience of older people reliving the hits they grew up with and the younger generations alike.
Whilst many jukebox musicals are an excuse to perform hit songs with little storytelling, Cilla has Jeff Pope's stellar book to accompany it. This allows us to become invested in the show and performances rather than just waiting for the next song. With moments of drama, light and shade, there's really something for everyone and the show provides a well rounded theatrical experience with a depth not often seen in jukebox musicals.
As the lead, Kara Lily Hayworth becomes the Liverpool lady and heart of the show in a faultless performance from start to finish. Expertly embodying Cilla's iconic speaking voice as well as her vocally tough songs, Kara becomes Cilla and has the audience wrapped around her finger from start to finish. Her performance of the demanding role is certainly a memorable one and I can't commend her more highly for her stunning portrayal.
The Beatles and their manager Brian Epstein (Andrew Lancel) feature majorly in the show and give wonderful and iconic performances. The costumes, voices and mannerisms of each person are done to a T and you almost forget you're watching a tribute to these artists and not them live in the flesh!
As Cilla's devoted companion, Carl Au gives a charming performance throughout. His vocal performances are worth the wait when in act two he sings a delightful rendition of 'A Taste of Honey' overall he is endearing and a joy to watch.
The supporting cast are wonderful, especially Cilla's parents who deliver some hilarious one-liners throughout. Mention must also be made of the set design by Gary McCann which is striking and seamless in moving us from the Merseyside Club to Abbey Road to the London Palladium just to name a few.
Cilla Black was a woman of the people's hearts and a National Treasure who will always be remembered for her stunning voice, wit and charm. This musical does the perfect job of remembering her and chronicling her life in a glitzy and exciting but truthful way. Whether you're a massive Cilla fan or not, this show will certainly provide fantastic viewing!
Cilla runs at the New Wimbledon Theatre until November 11th before continuing its tour.
Monday 6 November 2017
Opera: Passion, Power and Politics, Victoria and Albert Museum | Review
Opera: Passion, Power and Politics (Exhibition)
Victoria and Albert Museum
Reviewed on Sunday 5th November 2017 by Olivia Mitchell
★★★★★
Opera: Passion, Power and Politics is a vast and exhilarating exhibition which explores the complex and beautiful history of opera as well as its power to affect us all. In collaboration with the Royal Opera House, the exhibition examines seven operas both in the context of the composer's lives and the cities and countries they were originally performed in (the only exception is the 1861 Paris production of Wagner's Tannhäuser.) The final room takes us into the modern day with a selection of operas premiered in the last seventy or so years.
The exhibition is extravagant and immersive; visitors are supplied with headsets which play pieces to accompany the route which evoke both intellectual and visceral feelings. Whilst I thoroughly enjoyed the entire exhibition and the accompanying music, I find it somewhat odd that the actual musical element is made optional, although there are so many factors which go into making an opera great, the music is certainly the most crucial.
Wandering around the exhibition space it's amazing to see how opera changed so much whilst keeping its original roots. The displays become more and more lavish, with stunning costumes and other objects becoming grander as we get further in. The political climate and opera have always been thoroughly linked and it is particularly striking to see the sudden return to minimalism during the Soviet Modernism movement when Shostakovich's Lady Macbeth of Mtsensk was suppressed in 1936 and to be taken literally to the battlefield when the music is replaced with the sound of distant gunfire as we move to study Verdi's Nabucco.
This is overall a remarkable exhibition, which like the Opera itself, really needs to be seen and heard to truly be appreciated. The amount of information displayed is overwhelming but exciting throughout and both Opera lovers and Opera newbies are sure to learn something interesting. Visually experiencing the humanity and social relevance of the seven pieces is moving and compelling and I highly recommend you go and experience it yourself.
Opera: Passion, Power and Politics is on display at the Victoria and Albert museum until February 25th 2018.
The exhibition is extravagant and immersive; visitors are supplied with headsets which play pieces to accompany the route which evoke both intellectual and visceral feelings. Whilst I thoroughly enjoyed the entire exhibition and the accompanying music, I find it somewhat odd that the actual musical element is made optional, although there are so many factors which go into making an opera great, the music is certainly the most crucial.
Wandering around the exhibition space it's amazing to see how opera changed so much whilst keeping its original roots. The displays become more and more lavish, with stunning costumes and other objects becoming grander as we get further in. The political climate and opera have always been thoroughly linked and it is particularly striking to see the sudden return to minimalism during the Soviet Modernism movement when Shostakovich's Lady Macbeth of Mtsensk was suppressed in 1936 and to be taken literally to the battlefield when the music is replaced with the sound of distant gunfire as we move to study Verdi's Nabucco.
This is overall a remarkable exhibition, which like the Opera itself, really needs to be seen and heard to truly be appreciated. The amount of information displayed is overwhelming but exciting throughout and both Opera lovers and Opera newbies are sure to learn something interesting. Visually experiencing the humanity and social relevance of the seven pieces is moving and compelling and I highly recommend you go and experience it yourself.
Opera: Passion, Power and Politics is on display at the Victoria and Albert museum until February 25th 2018.
Friday 3 November 2017
Macbeth, Bussey Building | Review
Macbeth
Bussey Building
Reviewed on Thursday 2nd November 2017 by Alessandra Cenni
★★★
Nothing screams ‘welcome to this production of Macbeth’ better than a lovely full-body skeleton comfortably sitting centre stage.
The charming gentleman was the first character I met last night at the CFL Art Cafe in the Bussey Building - a suggestive performing space, large enough to allow an interesting setting, but that nonetheless will give you the chills when the lights go out.
The premise of this post-apocalyptic retelling of the famous tragedy was clearly stated in the programme: civilisation had met its fall, and humanity is trying its best to survive through violence, living on the scraps of the previous world. The setting and costumes give justice to this new world, and I found myself wondering how military clothes and bullet belts could feel even more appropriate than traditional costumes. Because they really did. This new desperate-fallen-revolutionaries look just clicked with the characters better than I expected.
I found the visuals and sounds of the second act particularly beautiful - especially if you have a thing for dark and stormy nights, blood-thirsty characters, and violent actions, like I do. That was the part where the raw savagery of the plot found its perfect expression in this broken, hopeless imitation of humanity.
And yet, this backstory also becomes a downside to the production. It raised lots of expectations on the way this story was going to intertwine with the original and what it could add to it, but these were never fulfilled. The backstory was more of a background than a story, maybe also due to a pretty static stage. Since I love the idea, I would definitely love to see how this would play out in a larger production.
The cast gave a fierce, energetic performance that had its strongest moments during the second act. At points I was amazed at how I felt as though I was in the middle of a epic war with only six actors actually fighting on stage.
The witches chose to go for a seriously creepy effect (borderline disturbing, I would say). Their movements had something feral, that belongs to wild beasts rather than humans. The main pair - Macbeth and his Lady - were just made for the part. Henry Proffit’s Macbeth starts off with a cheeky smile, almost playful, but his later torment seems genuine. Sadie Pepperrell (also one of the witches) plays a Lady Macbeth who looks extraordinarily young, charming, and ambitious. Her mental breakdown in Act 2 was particularly strong and convincing.
My loyalty, however, goes to Macduff (Jared Fortune) and his family. Lady Macduff (Danielle Bond - again, one of the witches as well) fights like a tiger against four men, and so does her son, before being slaughtered. Macduff’s despair was so authentic I took his family's death as a personal offence, and I was really invested in their revenge.
A special mention goes to the kids - Quentin Debone as Macduff’s son, and Adam Nkomo as Fleance at this performance - who really made an impression on me and, from the high-pitched noises I heard, on the rest of the audience as well.
This Macbeth could be a starting point for something truly great; it is also a good way to get to know this venue, and definitely worth a trip to South London even if you're not local.
Macbeth plays until the 18th of November at the Bussey Building, Peckham
photo credit: Scott Rylander
Monday 30 October 2017
In Conversation With... Charlotte Cooper | The Night Pirates | Interview
Charlotte Cooper has had an extensive career and is currently starring in the swashbuckling family production, The Night Pirates. Charlotte sat down with Rewrite This Story to tell us about her career and why this production is perfect to take your little ones too!
For anyone that doesn’t know, can you explain a little about your career and highlights so far?
I have worked extensively in children's theatre. I have been lucky enough to tour all over the world including Singapore, Malaysia and America as well as all over the UK and a stint in the West End.
Have you always aspired to be a performer of did you have a different career path in mind when you were younger?
I discovered performing when I was 10 and knew instantly that I wanted to do it as my career. Prior to that I had wanted to be a farmer! I am still a big tractor fan and listen to The Archers daily.
What drew you to The Night Pirates?
The Night Pirates is a great book and gender equality in the form of female pirates is what the world needs! The team behind it are brilliant, Miranda and Barrie work beautifully together and Rose Theatre Kingston produce such excellent stuff. As soon as I heard it was being done I was itching to be seen for it. I am really pleased and proud to be a part of it
Did you have a favourite bedtime story growing up?
I was a big fan of Each Peach Pear Plum and the Jane Hissey Old Bear stories. I still have a soft spot for those.
What would your pirate name be?
What WOULD it be?! I am already blessed with one! ChARRRlotte or Captain Cooper. Captain ChARRRlotte Cooper to give me my full name.
Can you sum up the show in five words?
Swashbuckling action-packed piratey fun!
How do you adapt to performing in front of groups of mainly children compared to mainly adults?
An audience of mainly children is not a forgiving one! With shows for younger audiences, you know immediately by their reaction if something has or hasn't worked. They become restless if not fully entertained and need to be given plenty of opportunities to interact. It is a high energy medium and you have to be thinking constantly.
Younger audiences notice everything, it’s impossible to trick them or divert them, if something funny happens on stage they will have noticed and you can't gloss over the moment in the way you could with an adult audience. (I was once in a show where another character and I collided and he fell over. It was incredibly funny as he fell to the floor and into a spotlight centre stage, the whole audience saw it so I had to acknowledge it had happened which gave them permission to laugh and helped to explain my obvious guffaws!)
What’s a fun fact people may not know about you?
I have a keen interest in dinosaurs and am currently studying a paleobiology course. I find it fascinating!
What’s your best piece of advice for an aspiring performer?
Find your niche. The acting industry is vast and there are many different genres and mediums, the thing you may be best suited to you might not know about yet. Be open and receptive to trying new stuff and find what you enjoy.
A huge thank you to Charlotte for taking the time to do this interview. The Night Pirates is touring until November 19th, more information can be found here.
Interview by Olivia Mitchell, Editor
A huge thank you to Charlotte for taking the time to do this interview. The Night Pirates is touring until November 19th, more information can be found here.
Interview by Olivia Mitchell, Editor
Thursday 26 October 2017
Son of a Preacher Man (UK Tour), New Theatre Oxford | Review
Son of a Preacher Man (UK Tour)
New Theatre Oxford
Reviewed on Tuesday 24th October 2017 by Michelle and Aaron Pont
★★★★
The present meets the past in Son of a Preacher Man, where 3 lonely hearts go in search of an old record store in Soho, which, during the 1960’s, the legendary Preacher Man was famed for giving out his words of wisdom, a cure to everyone’s ills. Our lonely-hearts are also in search of Love
Upon finding the old record store, and the son of the Preacher Man, they are heartbroken to see that it is now a rundown, sad café, with none of the spark or life they were expecting. The son of the Preacher Man (Simon) is still living above the café, and with pressure from the lonely-hearts trio, tries to channel his late father’s spirit to help them find true love.
I found myself whisked back to the 1960’s, with the wonderful music of Dusty Springfield performed so well in this cleverly crafted show.
The Cappuccino Sisters are a delight, a trio of waitresses suitably attired in ‘over-the-top’ 60’s gear, tulle skirts, short-suits and flamboyant headdress, they conjured up images of roller-skating waitresses from 60’s milk bars, especially Cassiopeia Berkeley-Agyepong. They strut their stuff about the stage, playing a range of musical instruments, singing and dancing to the ambiance of the show and taking us back in time.
This is a very impressive addition to the show; rather than having the musicians in the pit, they are a part of the show. Showing off their musical and performance skills throughout.
On the night I was there, understudy Jess Baker took the role of Kat to a high point with an outstanding performance. All credit to Jess with her fabulous accent and beautiful, powerful voice. Michael Howe as Paul was also mesmerising, with his great dance moves and wonderful voice, not to mention his prowess on the guitar. Both were, for me, the standout performers.
Look out for the wonderful rendition of ‘I Don’t Know What To Do With Myself’ sung and danced with chairs. Yes, chairs. The harmony and movement in this song was wonderful.
Also, standout performances were Lewis Kidd’s rendition of ‘You don’t have to say you Love me’ and Ellie-Jane Goddard and Michael Howe’s rendition of ‘Spooky’, with Michael on guitar. How dare they all be so talented!
The whole show ‘Unleased the Monster of Love’. Great singing, choreography, stage setting, lighting and topping it all off with wonderful songs made so famous by Dusty, who was almost an Oxford local (lived in High Wycombe), so it is a fitting tribute to her. There were only one or two forgivable missed moments in the script, but that was nothing compared to the fabulous performances. How could you not want to see a show with Dusty’s fabulous hits as inspiration?!
Go and see it! It’s brilliant!
Son of a Preacher Man runs at the New Theatre Oxford until October 28th before continuing its tour.
Wednesday 25 October 2017
Beautiful: The Carole King Musical (UK Tour), Grand Opera House, Belfast | Review
Beautiful: The Carole King Musical (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 24th October 2017 by Damien Murray
★★★★
The major appeal of this extremely popular biographical musical is that its subject, Carole King, really is a cross-generational artist, performer, singer, songwriter … and her eventful – but not always successful or happy - life provided a human story that connects to many of its audience every bit as much as her commercial and popular songs.
As a jukebox musical, this show can’t fail to impress with a score composed of classic hit after classic hit from all periods of King’s phenomenal career as both a writer/co-writer and, eventually, as a performer.
While the bulk of the hits are from her younger days, this show is a particular crowd-pleaser for anyone born in the late 40s and early 60s, but – so commercial are the songs – it also manages to successfully cross the generations to engage even with the youth of today who may be hearing them for the first time.
However, there is a bit more depth to this musical than just the songs, as King’s story is that of a young and ambitious teenage girl, who never set out to be a singer and who was as surprised as everyone else by her own success.
According to music impresario, Donnie Kirshner – perfectly played by Adam Howden as a no-nonsense boss who knew the business and who demanded results– the key to her success as a writer was that she was a teen who wrote songs for teens and she was a girl who wrote songs for girls… and it was teen girls who were buying most records at that time.
Like a typical Brooklyn teen with no fear, King – played so well by understudy, Leigh Lothian, in the absence of Bronté Barbé (due to a family bereavement) – jumped head first into the competitive music game as a staff writer for Kirshner’s songwriting business, 1650 Broadway, where she met her perfect husband and co-writer, Gerry Goffin, plus life-long friends and fellow song-writing team, Cynthia Weil and Barry Mann, with each providing friendly rivalry measured in ‘hit’ scoring over one another. This, of course, was a great excuse to also feature many of this duo’s hit successes, too, including You’ve Lost That Loving Feeling, Walking In The Rain and We’ve Gotta Get Out Of This Place.
In the lead role, Leigh Lothian, captured all of King’s emotions, moods, weaknesses and strengths, from being an ambitious and fearless teen, to coping with a teenage pregnancy, an unfaithful husband, her husband’s nervous breakdown and the eventual breakdown of her marriage, displaying strength, patience, forgiveness and loss of confidence before re-inventing herself as one of the world’s most successful female singers.
Kane Oliver Parry, as Gerry Goffin, didn’t quite convince me that he was so troubled by his domestic and work pressures that they drove him into the arms of other women, but he displayed the kind of charm that the character must have had to keep King by his side for so long after his first affair and to be able to initiate so many affairs in the first place. I loved the chemistry between Amy Ellen Richardson’s pushy, confident and patient Cynthia Weil and Matthew Gonsalves’ Barry Mann; the impatient and always ailing hypochondriac.
This was a well-dressed production with authentic fashions of the day stretching right down to the girls sporting ‘Alice Bands’ on their heads, while the well-used, dual-level set helped to keep the pace fast with slick and quick scene changes.
The performance of the actual songs throws up some interesting observations – firstly, some are just parts of songs, and, due to the nature of the story about songwriters (as opposed to performers), some are raw or early rough examples of the finished and more polished hits that we have grown up to love.
So, although you will enjoy the story, don't expect to hear the songs as you would know them from the records as they are often performed ‘in context’ and do not always sound like the hits – I feel if you are pre-warned about this, then you won't be disappointed!
However, one small criticism/observation about this show was the overly exaggerated choreographic moves that could best be described as ‘dodgy dancing’ by ‘the Drifters’ These were greeted with laughter leaving me confused as to whether this was a comical send-up of the ‘dancing’ of the male vocal groups of the era or simply questionable choreography that didn’t get the desired result.
It was genius to stage a bio musical of this chart-topping music legend who penned material for the likes of Aretha Franklin, The Monkees, The Drifters and The Shirelles as this totally hit-filled show features many of those songs, including Take Good Care Of My Baby, You’ve Got A Friend, So Far Away, It Might As Well Rain Until September, Up On The Roof and The Locomotion with ‘character’ performances by The Drifters, The Shirelles, Little Eva, The Righteous Brothers and even a Neil Sedaka cameo appearance.
It is true, Carole King wrote songs that girls, and women, can relate to and the final two in this show – (You Make Me Feel Like) A Natural Woman and Beautiful – proved to be popular and inspirational anthems for the mostly female audience.
Beautiful: The Carole King Musical runs at the Grand Opera House until October 28th before continuing its tour.
Million Dollar Quartet (UK Tour), Edinburgh Playhouse | Review
Million Dollar Quartet (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 24th October 2017 by Liv Ancell
★★★
Memorialising the famous jam session of 1956, where fate brought together legends Elvis Presley, Johnny Cash, Carl Perkins and newcomer Jerry Lee Lewis, Million Dollar Quartet is an energetic show which rattles through instantly recognisable hits from the golden age of rock n’roll at a lightning-fast rate.
Martin Kemp plays the ‘ringmaster’ of the show, Southern music mogul Sam Phillips. The man who brought them all together under his grass-roots label Sun Records, he also provides commentary as to the back stories of the four stars, frequently breaking the fourth wall and treating the audience like an old friend.
This is a fast-paced show with little time for dialogue; the first half is a mere 40 minutes of back-to-back tunes, with little time for talking. During this time, the characters share a little camaraderie, but the focus is on the hits. The spectacular array of voices as well as world class musicians in the tiny recording studio set turns the theatre show into a veritable live rock concert.
The leg-shaking, foot-tapping firecracker, Jerry Lee Lewis, is portrayed with limitless vitality by Martin Kaye - a role he has been playing since 2013, but astonishingly, not a single iota of his energetic and charismatic presence has waned in this time. He really stole the show and was an audience favourite - his cheeky and youthful, unpolished and unfiltered personality was both refreshing and infectious.
The other actors had clearly studied the iconic voices of their roles in great depth, with Robbie Durham (Cash), Matthew Wycliffe (Perkins) and Rhys Whitfield (Presley) all achieving near-perfect matches of their famous characters, even mimicking their stage presence and movements. Katie Ray played a supporting role of Dyanne, but when she did take to the microphone, the versatility and depth of her voice shone through. My only criticism of Katie Ray would be that her accent strayed from American to English at times, which was a little confusing.
The pace slows in the second half, as the session slowly winds down and reality sets in. It becomes clear that the session that we have witnessed was a remarkable and fleeting moment in history, where these four stars came together under one roof, united by the music they loved.
The ending was extremely ambiguous; for the last half an hour, it wasn’t clear quite when the show was going to end. The story ended, and the characters bowed. This was immediately followed by an impromptu seeming concert, allowing each of the 4 a solo to really showcase their talents, which whipped the audience into a frenzy. During this time, the lighting effects were amped up with extra rigging lowered, as we were no longer witnessing a performance in the confines of the recording studio.
In terms of staging and lighting throughout, it was relatively low key, with no transitions in staging. The singular static setting meant that a small recording studio was recreated on stage, which was a small place for such a big sound. This reinforced however how small-town Phillips’ recording studio really was though, making this encounter all the more unbelievable.
Overall, the talents in this show were incredible - particularly Martin Kaye’s performance in which playing complex scores on the piano while jumping around animatedly somehow seemed effortless. More dialogue and more of a back story would have perhaps given the show a little more depth and narrative however, but if you simply want to see a performance which showcases these artists or this style of music, Million Dollar Quartet is guaranteed to rock your socks off!
Monday 23 October 2017
In Conversation With... Peter Becker | Interview
Peter Becker is currently starring in the UK Tour of War Horse and is the first German person to play Friedrich in the show. He sat down with me to discuss the show and his role...
Can you tell us a little bit about the rehearsal process for War Horse?
Can you tell us a little bit about the rehearsal process for War Horse?
On the first day of rehearsals I was seriously overwhelmed by the sheer scale of things. We were rehearsing in a massive industry complex at Morden Wharf in London and I could not quite get my head around the enormity of the undertaking. There are so many people involved in creating the show! The actual stage floor was already installed, we were immediately provided with all the necessary props and costumes. It felt like stepping into a whole new universe. I was invited to improvise with both horses in order to find out how to interact with them. Since the puppeteers knew everything about the anatomy and the natural behaviour of horses it all felt very natural. Like the audience I totally forgot they weren’t real horses I was dealing with in the matter of minutes. As the horses will solely react on the tone of our voices and the way we move I started speaking German to them. It was very interesting to learn that it didn't matter what language I used, they still understood my intentions and reacted accordingly. The attention to detail and the love that has been invested by the National Theatre is immense.
During rehearsals we had a visit from the Imperial War Museum, providing us with in-depth information. We visited the King's Troops, who answered all questions about the military handling of horses. We had military training, shooting lessons, went to several exhibitions and prepared presentations on the First World War from English, German and French perspective.
What’s the most challenging part about bringing this story to life?
What’s the most challenging part about bringing this story to life?
In Germany actors are mostly hired to play repertoire shows as a permanent cast member with one particular theatre where as over here it is common to play one show with a company every night. I first had to adapt to the different system. In addition, it is very challenging to interact with the horse puppets. On one hand it is very easy to believe they are real as they are so brilliantly manipulated, on the other hand you have to be technically very precise in order to achieve certain effects. Funnily for me the most demanding part was speaking English with a very strong German accent. I am half an Englishman and have a much less pronounced accent in real life. When playing, I got confused at first. It was very interesting to determine how different my brain works when I have to switch back and forth between the two languages. I feel a little delayed sometimes because I will often translate mentally before I react. My voice also sounds different when I speak English I believe.
Can you explain a little about your character?
When introduced at first, we get to know Friedrich as a high-ranking German military officer - shortly after capturing English soldiers. The challenge is to give the "enemy" - from an English perspective - a human face. In the course of the story, Friedrich will lose his beliefs in the concept of war and thus question his entire life. From a dramatic point of view, he reflects Albert's development in a nearly mirror-like manner: Whereas Albert continues to harden, Friedrich, in his desperate desire to defend his humanity, continues to soften through his experience in the war. What binds the two characters together is their unconditional love for the horses.
Besides yourself, which actor in the production is going to blow people away?
I have the privilege of being part of an outstanding ensemble. It is unbelievable what talented actors our Casting Director Jill Green and Director Katie Henry have gathered to bring this enormous show to life. It is merely impossible to emphasise individual colleagues at this point as War Horse is a true ensemble play with everyone contributing equally to it’s success.
You’re the first German Friedrich in War Horse, what’s the experience been like? Do you feel an extra pressure taking on the role?
It is very exciting in many ways to meet this challenge. In Germany, the First World War is completely overhauled by the reprocessing and remembrance of the Second World War. Because of the Germans' war guilt, there is no collective mourning of the dead, we have no equivalent to Remembrance Day. Only in recent years have there been attempts to tell the differentiated history of German soldiers. I too grew up with the image of the unscrupulous murderer, who would literally stop at nothing. Now having the opportunity to give the German soldiers a human face is a great responsibility which stirs me every evening anew. It is important to point out that we are all human beings with the same fears, hopes and needs, especially in those times when we seem to be moving farther and farther apart. Besides, I am very much looking forward to perform before my English family for the first time. My aunts, uncles, cousins and grandcousins have so far only seen me on TV, never on stage before...
What do you think makes War Horse so special and lasting?
To me War Horse almost represents a deep psychological inventory of the British nation. The songs put together by John Tams and performed by Bob Fox are deeply rooted in the DNA of the British people - partly going as far back as Celtic times. The story has a universal character whilst, very concretely taking place in a time that characterises Great Britain to this very day. The unspeakable suffering and the social upheavals, caused by the First World War, which interestingly is called The Great War over here, have in the most brutally possible way ushered in modern society. The audience is invited to witness the transition from 'innocent' country life to technologically alienation. Through the identification with the horses those unconscious experiences are being made accessible again. I believe it is a very cathartic experience for a lot of people.
What do you think will people be saying as they leave the theatre?
No more wars, hopefully.
If you had a magic wand, which show would you do next?
The place in Germany I come from (interestingly founded in the Middle Ages by an English monk from Malmesbury) is home to the largest German open-air theatre festival - the Bad Hersfelder Festspiele. There I saw a stunningly current version of Cabaret last year. The piece has accompanied me since I was 15 as it was the first I ever performed in. Ten years ago I also had the chance to play the role of Ernst Ludwig in Vienna. I would very much like to have the opportunity to bring the time before the Nazis took over to life in English-speaking countries because there are so many obvious parallels to our present time, which I would love to explore - preferably in the role of the M.C.
If you could travel back to any era, when would you go to and why?
Last year I had the opportunity to play in an exciting new series, which will soon be broadcast in England on Sky and in America on Netflix. It is called Babylon Berlin and like Cabaret it is set in the period of change between First and Second World War. An incredibly ambivalent era between joy and despair. A hysterical time in which a whole society is living on the edge. If I had the chance I would love to go back to the Twenties in Berlin to experience what people felt and how ultimate freedom could turn into repression so easily.
Finally, what’s your best piece of advice for aspiring performers?
Our profession is increasingly internationalising. I am personally experiencing just how enriching it is to work in another country at the moment. In this respect, I would advise young actors: Travel as much as you can, learn different languages, the world is great and the possibilities are more diverse than ever before!
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
Thank you so much Peter for chatting with us! Make sure you catch War Horse on it's UK Tour.
Interview by Olivia Mitchell, Editor
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