Saturday 17 March 2018
Sondheim on Sondheim, Royal Festival Hall | Review
Sondheim on Sondheim
Royal Festival Hall
Reviewed on Thursday 15th March 2018 by Olivia Mitchell
★★★★
Stephen Sondheim is one of the most loved musical theatre composers ever but because so much of his music is deeply rooted into it's source shows, his songs are rarely performed in a revue style as it tends to make little sense. However, people often try to make it work which is how Sondheim on Sondheim, conceived by James Lapine, was born. Instead of just being a series of songs, it includes footage and commentary from Stephen himself.
There is a mixture of biographical footage as well as more musically descriptive passages which meld into the live performances. Particularly effective moments were when Sondheim describes the various opening numbers for A Funny Thing Happened On The Way To The Forum before they're sung live, and when he explains the musical complexities of Sweeney Todd as Julian Ovenden gives a rousing rendition of Epiphany.
The cast of this concert were sublime, with some outstanding ensemble moments including the jazzy, extra-swung version of West Side Story's Something's Coming. Claire Moore and Liz Callaway are both spectacular, with their touching mash up of Losing My Mind and Not a Day Goes By being a stand out of the night as well as their solo performances of Send in the Clowns and Buddy's Eyes. Julian Ovenden showed off his powerful voice in a number of songs, especially the glorious Finishing the Hat from Sunday in the Park with George.
I felt that Rebecca Trehearn and Tyrone Huntley were underused in the concert. However, Rebecca's rendition of I Read and Tyrone's, Being Alive were absolutely wonderful. Both performers are firm favourites of mine and it was joyous to hear them backed by a full, flowing orchestra, even if it was only for a brief period. Damian Humbley replaced Ben Forster and provided some fantastic vocal moments, namely during Franklin Shepard, Inc.
Aside from the vocal performances, the BBC Concert Orchestra were splendid, however at times, especially in the first act, the balance between them and the performers just didn't work and led to very uneven sound. At points it seemed like the microphones were not working at all whilst at others it sounded over amplified.
Overall this was a beautifully moving concert with some light hearted moments as well as some more moving flashes such as when Sondheim describes his relationship with Oscar Hammerstein and talks candidly about receiving a letter from his mother saying she wished she never birthed him. I left the Royal Festival Hall in awe of the performers, in love with Sondheim's music and connected to him as a person. Of course we just saw him on screen but in his candid moments he came across as a genuinely kind person who adores music- something which we can all relate to.
Sondheim on Sondheim will be broadcast on Tuesday 20 March, 7.30pm on BBC Radio 3
photo credit: Mark Allan
Friday 16 March 2018
Female Parts: Shorts, Hoxton Hall | Review
Female Parts: Shorts
Hoxton Hall
Reviewed on Thursday 15th March 2018 by Nicola Louise
★★★★
Female Parts: Shorts tells the story of three very different women through their three very different monologues. A Woman Alone, An Immigrant and A Mother, each one battling their own series of events and demons.
The show opens in a living room, clothes hanging on the wall and baby things over tables and floor; the Women Alone busts into the living room singing and dancing her heart out, it’s not until she notices that a new neighbour has moved in that she starts talking. The Women Alone, played by Gehane Strehler, starts to describe her life as this happy fairy tale, it isn’t until we get further into the story that we realise appearances are not all they’re cracked up to be.
Strehler delivers a fantastic performance as a hard done by woman having to live her life according to her husband. The emotions she displays in this hour monologue pull you into the story wondering what her next move is.
The next monologue is from The Mother played by Rebecca Saire, a woman who just found out her son’s a terrorist. She asks the audience, ‘what would you do?’ You could see the pain in her eyes, as she asked herself: ‘why me?’ ‘what did I do?’. Saire takes you on a journey of love, hatred, and disgust in this 40-minute monologue and I wager a bet that you don’t come out of there questioning the way you look at terrorists and their families.
Saire talks us through a dream she had, being the mother of a terrorist and takes us through her experience. She’s able to add in other characters, completely different to herself and give them lives of their own.
The last performance was The Immigrant portrayed by Clare Perkins, a west indies woman whose dream was always something bigger than what her family had for her back home. She came to London, got an engineering degree, came home and got a job at the UWI (University of West Indies), got married and had a child.
The conversation was aimed towards the Imperial College London graduating class of 2018 where her daughter sat. Perkins spoke about the injustice of her going up into space, how, if she were a man, no paper would ever dare question her role as a parent, papers up and down the country were labelling her as the mother who abandoned her child. Perkins delivers an emotional speech of truth and realisation when she starts to address her daughter and it was refreshing to see that she knew she was more than just a mother … she was an astronaut.
Female Parts: Shorts is a moving and outstanding look at the highs and lows women go through and deserves to be seen.
Female Parts: Shorts is playing at Hoxton Hall until the 31st March 2018.
photo credit: Sharron Wallace
Wicked (UK Tour), Bristol Hippodrome | Review
Wicked (UK Tour)
Bristol Hippodrome
Reviewed on Thursday 15th February 2018 by Isobelle Desbrow
★★★★★
Come with me to the Emerald City...
Wicked is a phenomenal show that has been taking the West End by storm over it’s 11 year run and I’m pleased to say that the tour equally amazing. The cast couldn’t have been better and it was a privilege to be able to watch Glinda’s understudy take to the stage during the matinee performance at the Bristol Hippodrome.
Amy Ross’s Elphaba is the seamless combination of good and wicked. Every note she sings is bone chillingly beautiful and her stellar diction allows us to hear every word and become immersed in the story. A stand out was ‘Defying Gravity’ which was a perfect way to end Act 1 and left me eager so the final half.
Unfortunately Helen Woolfe (Glinda) wasn’t performing for this performance. Instead we were treated to the equally cheerful and Popular Charli Baptie who has an excellent voice and plays a fabulous, frilly, humourous Glinda who manages to have depth, light and shade in her performance.
The glorious music is note perfect and I was pleased that it was not too loud (as I have experienced previously) so dialogue could still be heard whilst it was being accompanied.
The dancing was crisp and spell blindly visually; whilst the cast’s singing made each song sound new and exciting. The quality of this tour is almost West End standard and I’d thoroughly recommend anyone who can’t get to London, to see this show as it flies round the UK on it’s current tour.
If you get the opportunity, spend One Short Day watching Wicked as it’s a tour not to be missed!
photo credit: Matt Crockett
Thursday 15 March 2018
Bat Out of Hell, Dominion Theatre | Press Launch
Yesterday afternoon I attended a strobe filled, electrifying press launch for Bat Out of Hell's sure-to-be-triumphant return to the West End as it prepares to take over the Dominion Theatre from April.
Now I must admit, I didn't adore the show when I saw it at it's Coliseum press night but I think that's because I had no idea what to expect. Seeing the performances yesterday put the show into a new light for me (quite literally) and made me really appreciate the skill and talent that goes into it. It's true that Bat Out of Hell has a very random and vague plot, but this show, the performances and the way its presented is unlike anything currently in the West End and for that it should be applauded.
The event took place at the American International Church; an out there choice for an out there musical. The brightness and space of the room perfectly showcased the music and the juxtaposition of a rock musical being performed in a church was really very special.
Once the doors opened we were ushered in, handed a branded notebook, pen and lanyard and shown the way to our seats to get a wonderful view of the wild performances. The pews and upstairs area quickly filled up with a selection of excited fans who'd won tickets, as well as press and other guests. For those that couldn't be there, the launch was also live-streamed and as we counted down to go live there was a buzz of excitement in the air.
The event was co-hosted by Planet Rock Radio and their presenter Paul Anthony who stepped out in a flash of light and introduced us to the rocking cast. From then on it was high energy entertainment as the cast performed five songs and showcased their talents brilliantly. The small venue felt like a full-scale arena as it was filled with loud, rock music, dry ice and lots and lots of lights. The cast opened with Bat out of Hell then performed Two Out of Three Ain’t Bad, What Part of My Body Hurts The Most, Dead Ringer for Love and finally, the rousing I Would Do Anything For Love. The cast gave each song their all and seemed to genuinely be loving what they were doing.
After the performance we were invited to meet Andrew Polec, Christina Bennington, Sharon Sexton and Rob Fowler, we took a very quick photo and briefly congratulated them on their work before heading to the Dominion Theatre for some drinks and a sneak peek at the get in.
With a cast of 34 and 145 people on the payroll each night, everything about this show is big, including it's set which filled 17 containers and took 5 weeks to get back to London after the shows run in Canada. It was extremely impressive to see the hard work that goes in behind the scenes to make this show what it is and also to see how passionate everyone that's a part of it is.
Despite not being a number one fan of Bat Out of Hell when I made my way to this launch, I can now say that I am more than excited to see the show as its rocks, rolls and rages at it's new home, the Dominion Theatre from April 2nd. The energy, talent, passion and drive from the performers and everyone involved in this show is infectious and is sure to take the West End by storm on it's second run.
If you missed the livestream you can watch it here.
Post written by Olivia Mitchell, Editor
Cilla (UK Tour), Bristol Hippodrome | Review
Cilla: The Musical (UK Tour)
Bristol Hippodrome
Reviewed on Tuesday 13th March 2018 by Isobelle Desbrow
★★★★
Cilla: The Musical is a refreshing and fun new musical about the life of the one and only Cilla Black. Just a few years after her death it lovingly remembers her life as a singer and tv presenter.
Kara Lily Hayworth is a breath of fresh air; her wonderful characterisation of Cilla along with her strong Liverpudlian accent and blissfully wonderful singing voice would do Cilla proud. Her rendition of ‘Anyone Who Had a Heart' which drew he first half to an end is a performance I’ll never forget. With a flawlessly clear and powerful voice it really did give me goosebumps!
Kara Lily Hayworth is a breath of fresh air; her wonderful characterisation of Cilla along with her strong Liverpudlian accent and blissfully wonderful singing voice would do Cilla proud. Her rendition of ‘Anyone Who Had a Heart' which drew he first half to an end is a performance I’ll never forget. With a flawlessly clear and powerful voice it really did give me goosebumps!
The second act opened and was met with tears, laughter and applause. Unfortunately I’m unable to give a full review of the second act as there were 2 medical emergencies. However what I can say is that when the cast returned to the stage they were met with yet more applause. The whole cast were spectacular in closing and finished with a standing ovation.
It was wonderful to see so many different tributes to amazing bands and singers on the stage in one night, that thanks must go to the exceptionally talented musical director Scott Alder who managed to make The Pacemakers', The Beatles' and Cilla Black's music flow seamlessly.
This was a wonderful production, I only wish I had time to watch it again! All the cast and crew should be incredibly proud of themselves not only for their performances, but also for being able to end the show in such spectacular fashion even after a break.
Cilla runs at the Bristol Hippodrome until 17th March before continuing it's tour.
Wednesday 14 March 2018
The Sound of Music, Palace Theatre | Review
The Sound of Music (UK Tour)
Palace Theatre
Reviewed on Tuesday 13th March 2018 by Becca Cromwell
★★★
The Bill Kenwright production of The Sound of Music has embarked on another UK tour, but this time with Lucy O’Byrne and Neil McDermott at the helm. Based on the 1959 Rogers and Hammerstein musical of the same name, the film became one of the highest grossing films of all time.
The well-loved story shows Maria Rainer, a young Postulant at the Nonnberg Abbey who is sent to be the Governess for the Von Trapp Family after not fitting in at the Abbey. It is there that she meets Captain Georg von Trapp and his seven children Liesl, Friedrich, Luisa, Kurt, Brigitta, Marta and Gretel. During her time as Governess, the Anschluss begins where the Germans invade Austria, and the second act of the show depicts the struggles and changing moods during this time.
Lucy O’Byrne is known for becoming runner up on ITV’s The Voice in 2015 and landed the role of Maria in the previous UK tour of this production. Since then, O’Byrne has gone on to play Fantine in Les Miserables in the West End, and has now thrown herself back into the iconic role of Maria von Trapp for the 2017/2018 UK Tour. Originally played by Julie Andrews in the 1965 film, she has big boots to fill. The vocals were impressive and her portrayal of Maria was fantastic. It was well acted and believable.
Neil McDermott plays the Naval Captain Georg von Trapp, who after the death of his wife lost touch with his children. McDermott is known for playing Ryan Malloy in BBC’s Eastenders, amongst many other theatre roles. With a strong voice, McDermott gave a fantastic performance.
A stand out however, was Megan Llewellyn as the Mother Abbess. Her voice was absolutely astounding. Even though she does not make too many appearances in the show as the Reverend Mother, you certainly knew about it when she did.
The child cast were superb, providing incredible vocals for their ages. They were true professionals from the beginning through to the end and I hope to see them go far in their careers. The rest of the company all gave very good performances, leading to a fantastic performance of the show.
I was pleasantly surprised with the production, and it deserved a bigger audience than the one it got. I would recommend seeing this when it comes to a theatre near you in the future, as it is a highly enjoyable family show.
The Sound of Music UK Tour unfortunately comes to an end this week; however I hope to see it tour the UK again in the next few years.
Birdsong (UK Tour), New Victoria Theatre | Review
Birdsong (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 13th March 2018 by Steve Willox
★★★★
This excellent performance warranted a viewing full house, however this was not to be, with only approx 150 seats occupied at Birdsong's opening in Woking.
Rachel Wagstaff has cleverly adapted Sebastian Faulks' novel Birdsong into a thought provoking play. The play takes place mainly on the Western Front in France during World War I (1916 - 1918) but intertwines back to 1910 in Amiens where we meet Stephen Wraysford before his involvement in the war.
A well designed set allowed for the easy movement from 1910 to World War 1 to pass effortlessly. Enabling us to see, through flashbacks, Stephen's memories of the love of his life, Isabelle. Low lighting gave a feeling of life in the trenches and also highlighted when there was an explosive moment of gun fire and shells.
A small but skilful cast, playing many different roles, brought Faulks's novel to the stage in an emotional and moving way. Tim Treloar gives a soul-stirring performance as Jack Firebrace; eager and intense when rallying his mates whilst tunnelling under enemy lines, but sad and emotional at the death of his son. The rest of the cast were also adept at bringing this moving and evocative novel to the stage.
Whilst initially this may not have been our first choice of theatre viewing we are so very glad that we went. A beautiful love story, inter weaved with the horrors of war. We would thoroughly recommend this production of Birdsong.
Birdsong runs at the New Victoria Theatre until March 17th before continuing it's tour.
Tuesday 13 March 2018
Hairspray (UK Tour), Edinburgh Playhouse | Review
Hairspray (UK Tour)
Edinburgh Playhouse
Reviewed on Monday 12th March 2018 by Michèle Duck & Viv Conway
★★★★★
The funny, daring and radical story of Hairspray truly dances to its own beat. After the last curtain fell at the Edinburgh Playhouse, the residue of hope of change was left in the air. Mark Goucher, Matthew Gale and Laurence Myers present the story of Hairspray with an exceptional cast and orchestra, based on the New Line Cinema film by John Waters.
The musical tells the story of racial segregation in America and the fight for racial equality. From mentions of Rosa Parks and Martin Luther King, the audience are reminded of a struggle that although portrayed as historic, is still relevant today all over the world. The story of bravery, friendship and ‘doing what is right’, is told in a charming and compelling manner through the lyrics of Scott Whittman and Marc Shaiman. The story is told through the bright, naïve eyes of Tracy Turnblad and her passion for dancing. As Tracy’s understanding of herself and world widens, her ambition grows into a galvanising desire for change.
It is hard to know where to start with such a talented and energetic cast. Every cast member brought life and vitality to the performance and executed the complex choreography with vigour, precision and enjoyment in equal measure.
A particularly captivating and poignant performance from Motormough Maybelle (Brenda Edwards) in I Know Where I’ve Been, caused the audience to tangibly hold a collective breath. Her words wove a story of segregation which although targeted to the 1960s, still rings true in the current global climate. This song tells a heartfelt story of loss and struggle and the promise of a better life. One wonders when we may truly get to the ‘Promised Land’ that Martin Luther King described in his speech the day before he was assassinated.
Edna and Wilbur Turnblad (Matt Rixton and Norman Pace) were a down to earth, honest and side-splitting double act, which really brought life and humour to the show. Whether forgetting their lines was intentional or not, their realistic and relaxed roles bounced (literally) off each other in a light-hearted and warm rendition of You’re Timeless to Me.
Annalise Liard-Bailey brilliantly executed her goofy portrayal of the ‘best-friend’, Penny Pingleton with perfect mix of humour, talent and relatableness. Laird-Bailey is one to watch.
However, the stand out performance of the show came from Seaweed (Layton Williams). Williams brought his character to life, and before the audience knew it, Seaweed became the leading man. Between his back flips, his energetic and sensual rendition of Run and Tell That, William’s raw talent and clear love of musical theatre shone though, infecting the audience with his energy. This leading role take-over was very appropriate considering the shows storyline of the journey to equality.
Overall, the 2018 cast of Hairspray tells a family friendly and warm hearted story. Through its upbeat songs (who doesn’t love a singalong encore), the audience are left with the important underlying message of standing up for what you believe is right, no matter your size. After all, all that really matters is the size of your heart.
Hairspray runs at the Edinburgh Playhouse until March 17th before continuing it's tour.
photo credit: Darren Bell
Thursday 8 March 2018
Good Girl, Trafalgar Studios | Review
Good Girl
Trafalgar Studios
Reviewed on Wednesday 7th March 2018 by Shaun Dicks
★★★★★
I have always had a soft spot for one person shows. I believe that it takes such skill to carry a full show on a singular pair of shoulders. Today, on International Women’s Day, I am writing about the one woman show, Good Girl. This show is everything society should be. We follow the story of GG from her informative years in the 90’s all the way into her early 30’s in 2018. We follow GG as she discovers her body, emotions and the primitive nature of humanity. This show is an uncompromising and honest story of a woman finding her way, wading through the darkness without a torch.
The show is written and performed by Naomi Sheldon. Sheldon is a star. She is hilarious, honest and real. Her storytelling is so in depth and vivid, from her use of accents (which were perfection) to her clearly defined multiple characters, who she transitioned between seamlessly. What really strikes me in Sheldon’s work is her vulnerability, she is unafraid to show real and ugly emotions, it's truly beautiful. She says what everyone else is afraid to say when it comes to emotions and expression.
In contrast to the catalogue of emotional expression, the show is gut-bustlingly funny. The script is littered with many a hilarious scenario and joke. Multiple times I cried with laughter. Sheldon uses music, physical theatre, accents and the wonderful words to tell a beautiful, and necessary story. In the world of theatre, which is a world of imitating reality, Naomi Sheldon’s show is the closest you will get to real.
This show is so beautiful. It is honest and real. It is essential viewing for every woman in the world, but also every man. It gives an understanding to the human condition when it comes to emotions and discovery. The show is relatable whether you’re a man or a woman.
Naomi Sheldon is an incredibly talented human being, an intelligent writer and actress, but also a very honest woman. From her alternative poster in the programme, where she shared hostile reactions about the show, to the plethora of emotions in the show; this show and Sheldon’s talents deserve to be recognised. I hope this show has life past its current run because everyone needs to see this.
Good Girl runs at Trafalgar Studios until March 31st
photo credit: Felicity Crawshaw
Wednesday 7 March 2018
Macbeth, National Theatre | Review
Macbeth
Olivier Theatre, National Theatre
Reviewed on Tuesday 6th March 2018 by Olivia Mitchell
★★★
I've seen and studied a fair few Shakespeare plays but I wouldn't say I'm an expert in any form. I do however, know what I like when going to the theatre and recognise brilliant acting when I see it. The National Theatre's current production of Macbeth does have brilliant acting but overall it just didn't do it for me.
Walking into the wonderful Olivier theatre we are greeted with an almost bare stage, there are four poles with ragged, witchy fabric attached to the top; in the centre there is a sloped wooden platform decorated with severed limbs from plastic baby toys. Rae Smith's minimalistic set works well with the sparse life of the characters within the show; with them all (including Duncan and Macbeth) looking as though they're on the poverty line in muddy, battered clothes.
Rory Kinnear is thoughtful and suitably plagued as Macbeth; his small comedic moments are particularly enjoyable and he proves why he's such an esteemed actor.
The choice to make Alana Ramsey's Murderer a fishnet tights-clad alcoholic is a great one and she works very well to show the extents which people will go to when they feel they have nothing, just to get their fix or some quick cash.
Trevor Fox's alcoholic Porter is like a ghost moving around, silently hearing all the secrets he shouldn't know. It's refreshing to see him as a more serious, important character rather than mainly being onstage for comedic relief. This darker side emphasises him as the metaphor for the gates of hell, something which I feel is often missed in productions of Macbeth.
It's Anne-Marie Duff who steals the show as Lady Macbeth. Every movement is clearly well thought out and her transition from the headstrong wife who lacks humanity to the crumbling woman plagued by ghosts is striking.
I didn't find anything specifically wrong with this production, I just didn't really feel, well, anything. It's not scary, it's not particularly gory, it's not emotional and it's not funny, it's just a bit uninspiring. There are elements which have brought Shakespeare's play into the modern world but the emotions didn't translate for a modern audience... at least for me.
If you're a Shakespeare fan then there's no reason why you shouldn't go and judge Rufus Norris' Macbeth for yourself but if not then I wouldn't rush along, as I don't think this is the production to make you a fan.
Macbeth runs at the National Theatre until June 23rd and will be broadcast live to cinemas worldwide on May 10th as part of NT Live.
photo credit: Brinkhoff Mögenburg
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