Sunday 20 May 2018
Louise Dearman: This is Me, The Other Palace | Review
Louise Dearman: This is Me (Concert)
The Other Palace
Reviewed on Saturday 19th May 2018 by Olivia Mitchell
★★★★★
Louise Dearman is West End royalty so it's only fitting that her first solo concert in four years took place on the day of the royal wedding. The question is: who's the bigger queen? Well Meghan may actually be royalty now but Louise's killer voice, perfect humour and all round brilliant stage presence certainly makes her a Queen in my eyes.
Last night's concert at The Other Palace felt like a family coming together to celebrate Louise. I must admit I'd never seen Ms Dearman in a solo concert before but looking around at the smiling faces and hearing the instant applause made it clear that her loyal supporters and friends were all there to revel in the gloriousness of her performance. There was no hesitation in cheering, joining in to clap or laughing out loud; the audience were so giving and I can only imagine how great that must feel as a performer.
Louise's performance was faultless. Her natural wit and charm had me smiling from ear to ear and just feeling joyous. The concert featured a number of songs from new album For You, For Me which includes songs Louise has fallen in love with over the years and songs fans have asked her to sing. Particular stand out's of the night were Easy as Life which was effortlessly beautiful and Time Heals Everything which not only sounded glorious but rekindled my love for Mack and Mabel. Other standouts were the haunting, Uninvited, heartfelt She Used to Be Mine and the wonderful Donna Summer medley.
The band were outstanding as were Louise's backup singers/duet partners. Ashley Samuels sounded especially beautiful durning his duet of City of Stars. The delight on everyone's faces was evident which made the killer vocals even more impressive.
Obviously Louise's powerhouse belt mixed with smooth vocals are outstanding but it's her charisma which makes a night like this so special. From the get go she commands the stage and is genuinely funny. I don't think I've ever laughed so much at a concert and am truly honoured to have been a part of the night. Louise's quick wit goes a mile a minute and she fills every moment of no singing with a joke, anecdote or hilarious facial expression which keeps the show flowing and the audience invested through the concerts entirety. Particularly hilarious was when Louise restarted her song after singing it in a MirandaSings style (not that it sounded bad to me at all!), a self-confessed lyric forgetter, Louise is professional at carrying on and makes light of any mistakes and she certainly didn't forget as many lyrics as this iconic performance of June is Busting Out All Over.
Everyone who was a part of this concert was outstanding and it was a truly mesmerising night. Louise Dearman is a spellbinding performer and I can only hope it's not another four years until we get to experience this joy again. Louise told the audience to never be afraid of asking her to sing songs so I'd like to put my request in that she performs the entire phone book... alternatively a gender-switched version of Moving Too Fast from The Last 5 Years.
Louise's album For You, For Me is available now.
Friday 18 May 2018
Priscilla Queen of the Desert, Sydney’s Capitol Theatre | Review
Priscilla Queen of the Desert
Capitol Theatre, Sydney
Reviewed on Wednesday 16th May 2018 by Amy Mitchell
★★★
Warning: Adjective Overload
Priscilla Queen of the Desert, on it's 10th Anniversary tour, is an all bejewelling, all bedazzling, all singing (well mostly lip-syncing) all dancing, OTT, smut-fest, sprinkled with heaps of sentimentality.
Based on the 1994 award winning Aussie comedy-drama movie The Adventures of Priscilla, Queen of the Desert created by Stephan Elliott– This iconic Australian musical follows Sydney drag queen Tick (alter-ego, Mitzi Mitosis), Kylie Worshipper come sass machine, Felicia Jollygoodfellow and former glittering Les Girl, Bernadette as they jeté aboard their beaten up tour bus Priscilla. The trio embark on a voyage of friendship, self-love and acceptance as they “Go West” across the Aussie outback from Sydney to Alice Springs.
Jam packed with jukebox disco bangers like Son of a Preacher Man, It’s Raining Men and I Will Survive – with vocals often led by three belting divas suspended from the rafters, this movie come musical is a camp as Christmas bonanza- yet, amidst all the frocks and fancies this show has heart. Our three main characters navigate through wild bush and even wilder prejudice while Tick prepares to reunite with his 6 year old son Benji, all the while battling the fear that he won’t be accepted for who he really is.
The show is scattered with witty one-liners, innuendoes and sass a plenty – as a whole it lacked a bit of substance and moved at a pace that made it difficult to truly believe or understand the deep connections of the three main characters. The set was clumsy at times and some of the racial gags fell flat on the PC sensibilities of a 2018 audience.
Back to the positives and don’t get me wrong they were bountiful! Euan Dodge slays as the naive yet outlandish Felicia, his debut rendition of Better The Devil You Know was a riotous affair. David Harris is brilliant as Tick, see-sawing between heartstring tugging ballads like True Colours to thumping disco tunes. Tony Sheldon plays Bernadette, a role he sharply delivers with class, poise and a fabulously acid tongue.
The costumes! The costumes need an adjective of their own. An insanely fantastical abundance of glitter splattered, nonsensically superfluous garb that tickled the audience until curtain’s closed.
Priscilla is more EXTRA than a Wrigley’s factory, and at it's heart a tremendously extravagant celebration of acceptance, draped in a kaleidoscope of colour and fun!
Priscilla Queen of the Desert runs at the Capitol Theatre until July 21st 2018
Wednesday 16 May 2018
The Book of Mormon, Sydney's Lyric Theatre | Review
The Book of Mormon
Lyric Theatre, Sydney
Reviewed on Tuesday 10th March 2018 by Amy Mitchell
★★★★
The Book of Mormon opened on Broadway in 2011 and since then has been showered with Tony Awards, international re-runs and widespread critical acclaim. Now, I’m a self-confessed sucker for show tunes, but to my own surprise I had little to no idea what this mammoth in musical theatre was all about before I took my seat (3 rows from the front- smug!) in Sydney’s Lyric Theatre last week…
Writers Trey Parker and Matt Stone (creators of South Park) and songwriter Robert Lopez (Disney’s Frozen ring any bells?) joined forces to concoct a joyous melange of politically incorrect subject matter, riotous stereotyping and unapologetically crass humour all tied up in an oddly charming, toe tappingly melodic bow.
Book of Mormon follows the journey of two young Mormons and their quest to spread the word of the Church of the Latter Day Saints. Elder Price is a cookie cutter Mormon poster boy while Elder Cunningham is a hyperactive, loveable dork with a penchant for lying and Sci-fi movies. This unlikely duo is sent to a remote Ugandan village on a quest to convert its inhabitants to the Latter Day Saints. Their visions of an Africa a la Lion King are abruptly shattered as they encounter AIDS, female genital mutilation and a tyrannical warlord with an unprintable moniker.
As Elder Cunningham, Broadway’s own A.J. Holmes dominated the stage with his enormous presence and side splitting physical comedy. It was one of those performances where it’s nigh on impossible to imagine there being an actor behind the character.
Elder Price was played by understudy Steve Danielsen. Danielsen was superb, his all Australian good looks and strong vocal performances managed to make the audience warm to an obnoxious and potentially unlikeable character.
In fact, the entire cast was stellar. It’s impossible to decipher who stole the show. Aside from our two main Missionaries, the best performance title could equally have gone to PJ Adzima who played Mission Leader Elder McKinley. His energy could genuinely take your breath away. Also a close contender was Aussie local, Zahra Newman who played Nabulungi, daughter of the village chief. Her vocals in Sal Tlay Ka Siti (Salt Lake City) were nothing short of heavenly.
The Book of Mormon score/lyrics are brilliant and will have you cringing in half delight at the controversial lyrics peppered with comedic hooks. Spooky Mormon Hell had the audience erupting in laughter and Joseph Smith American Moses is equally hysterical.
Each song draws inspiration from well-known musicals, e.g. Hasa Diga Eebowai is reminiscent of the Lion King’s Hakuna Matata. Challenge – try and guess the parody. Hint – think West Side Story, Avenue Q, Fiddler on the Roof, Wicked and Hairspray.
There’s been a certain amount of hullabaloo surrounding the religious and racial overtones of the show. I’m actually surprised Book of Mormon got the go ahead (and unsure if it would if it was pitched in 2018!) but I’m not surprised it went onto become a smash hit. To me, it delivers on so many levels and the delightfully distasteful satire (in true Trey Parker and Matt Stone style) has a palpable social conscience.
Wickedly witty, The Book of Mormon pokes fun at the seemingly un-pokeable and ultimately manages to leave the audience with the cheerfully uncomfortable warm fuzzies. It’s also fantastic to see homegrown Australian talent holding their own (and killing it) alongside the Broadway greats.
The Book of Mormon runs at the Lyric Theatre, Sydney until 2nd September
photo credit: Jeff Busby
Monday 14 May 2018
West End Live Lounge: Number 1, The Other Palace | Review
West End Live Lounge: One
The Other Palace
Reviewed on Sunday 13th May 2018 by Olivia Mitchell
★★★★★
The email telling me about an upcoming West End Live Lounge concert is one I look forward to with excitement and anticipation as the night always proves to be a joyous, talent-filled one. Last night's concert was exactly that, a celebration of Number 1 music, performed by a stellar line up, in aid of Centrepoint, a charity which supports homeless young people.
Opening the show with a gloriously haunting version of Sia's Titanium, were the ever stunning Kelly Agbowu and Natalie Green. Both performers have beautifully smooth vocals and they complement one another perfectly.
From here on, act one of the concert raced by with vocal brilliance after vocal brilliance. Lisa Marie Holmes and Zoe Birkett gave heartfelt performances whilst, Jodie Jacobs gave an energetic performance of Jerry Lee Lewis' rock classic Great Balls of Fire. Rock numbers proved to be an audience favourite with Andrew Polec earning rapturous applause and cheers after his performance of Living on a Prayer.
Adam Bailey's haunting interpretation of Run was a sure stand out and Moya Angela closed act one with a spine-tingling, note perfect performance of Whitney Houston's I Will Always Love You.
Hosting the night were the hilarious Vikki Stone and The Other Palace producer, Paul Taylor-Mills. The pair bounced off each other naturally with their wit and banter providing fantastic transitions between songs.
Vikki took a break from hosting to open act two with her comical, stripped back performance of Cotton Eyed Joe. The great thing about West End Live Lounge is that although it's for a serious cause and a celebration of immense talent, at it's heart it's about love and humour. The whole night is set out to be a joyous night of fun and that's exactly what it is. You can feel the love in the room and it's truly heartwarming to be a part of.
Act two was a maelstrom of talent with 1/3 of Divalution: Sejal Keshwala involving the audience in her spirited version of Aretha Franklin's Think. Joel Harper Jackson and Andrew Bateup both brought chills with their performances of Lay Me Down and Georgia on my Mind. Their voices are smooth as butter and they are mesmerising performers to watch.
Act two was a maelstrom of talent with 1/3 of Divalution: Sejal Keshwala involving the audience in her spirited version of Aretha Franklin's Think. Joel Harper Jackson and Andrew Bateup both brought chills with their performances of Lay Me Down and Georgia on my Mind. Their voices are smooth as butter and they are mesmerising performers to watch.
Natalie and Kelly returned with the wonderful Impossible and Liisi LaFontaine, on her fleeting visit to London, treated us to a seamless performance of Grenade. The song selection of this concert was top notch, with song after song fulfilling my emotive ballad craving. Christina Modestou's performance of If I Were a Boy was vocally flawless as was Liam Tamne's rendition of Diamonds.
Musical director extraordinaire Sam Coates and his incredible band did an outstanding job of accompanying the performers and creating their own musical magic. American singer Stacey Francis brought gospel to The Other Palace, whilst Divalution (formerly Sapphire Soul) brought their usual sass and killer belt with an epic 23 song mash up.
Bat Out of Hell stars Andrew Polec and Christina Bennington concluded the night with an acrobatic, dynamic performance of Evanescence's hit, Bring Me To Life. The pair have enough sparks to power all the lights in The Other Palace and it's clear why audience's are loving them over at the Dominion theatre.
Although the performers were amazing, the real star of West End Live Lounge is Shaun McCourt who set up the concerts. Shaun puts so much work into them and it's clear that his passion and drive are infectious throughout the entire West End Live Lounge family. There's so much joy evident and each concert provides a perfect, musical night out. Don't miss the next one... you'll regret it!
photo credit: Nick Brittain
photo credit: Nick Brittain
Miss Saigon, Palace Theatre, Manchester (UK Tour) | Review
Miss Saigon (UK Tour)
Palace Theatre
Reviewed on Thursday 10th May 2018 by Olivia Mitchell
★★★★★
Boublil and Schönberg's Miss Saigon is one of my all time favourite musicals. I saw the show twice at the Prince Edward theatre and have watched the 25th Anniversary film countless times. The stunning music, moving story and all round spectacle, makes it one of the most emotive, moving and timeless musicals.
Telling the story of 17 year-old Kim, this classic musical set during the Vietnam War, is a story of love, pain and heartache. After watching her village burn, Kim is forced to accept a job in a Brothel, run by the Engineer. There she meets Chris, a GI, and their doomed romance begins.
Adapted from Puccini's opera, Madame Butterfly, this features one of the most swooping and virtuosic scores. Boublil and Schönberg's music draws you in from the opening notes and perfectly accompanies the high emotion and mental state of the characters. Expertly played by the outstanding orchestra, it's a complete and utter joy to hear the intricately stunning music live. The orchestrations are worth the ticket price alone.
At this performance the role of Kim was played by alternate, Joreen Bautista who's natural youth and vulnerability shines through from the moment she steps on stage. Vocally she is extremely strong but there were a few times where I was longing for just a bit more oomph. However, there's no denying that Joreen is a star in the making and at only 17 I'm sure she has an amazing theatrical career ahead of her. Kim's love interest, Chris, is played by Ashley Gilmour who is perfectly torn in the role. Ashley's vocals are outstanding, especially his performance of Why God Why? The two have great chemistry with one another and bounce off each other throughout the whirlwind romance.
Ryan O'Gorman plays Chris' fellow GI and later on crusader for the Bui Doi, John. Again the duo have a clear chemistry and genuinely seem like very close friends. Ryan's vocals are supremely strong and his character development throughout is fantastically clear and well thought out.
As the infamous engineer, Red Concepción is wonderful. His constant transitions from friendly to evil, mean you can never decide whether he's a 'goodie' or a 'baddie'. Red has perfectly mastered the humourous side of the role and has balanced it well with the mean, calculating side to create a well-rounded, multi-layered character. His performance of The American Dream is one of the most memorable theatrical experiences.
The supporting cast are equally as impressive, Gerald Santos as Thuy, Aicelle Santos as Gigi and Elana Martin as Ellen do a wonderful job of progressing the story, emoting their scenes and delivering stellar vocals.
Miss Saigon is musical theatre at it's best. A direct transfer from Broadway, this touring production has lost none of it's sparkle and is full of so many intricacies that the experience is visceral and moving.
Miss Saigon begins a 6 week run at the Bristol Hippodrome from May 16th.
photo credit: Johan Persson
Saturday 12 May 2018
Soap, Spiegeltent | Review
Soap
Spiegeltent
Reviewed on Thursday 10th May by Lucy Jardine
★★★★★
On a sunny evening in May, spending an evening in a dark circus tent might seem like a bit of a waste of the good weather. Why would you want to avoid the sun and warmth to sit in the dark and get wet too? Don’t we get enough of that already?? The sacrifice was, however, worth it. What a fun, uplifting 70 minutes!
The show, somewhat erroneously entitled Soap (there is no soap in evidence, just lots of water) is, in essence, an acrobatic show by six extremely skilled acrobats from across the globe: Russia, Canada, Germany, Ethiopia, Spain, Portugal and Germany, where the company hails from. Their unique device is to use bath tubs and water to display their skills, and are accompanied by a wide range of music, sung by the American soprano Jennifer Lindshield.
From trapeze work, to juggling, partner acrobatics, the aerial hoop and yes, using baths and water as their props, these performers are at the top of their game. What makes them stand out is not just their strength and agility, but the combination of these with gracefulness, humour and a little bit of audience participation.
The tent is small, enabling spectators to get up close and personal with each of the performers as they perform their acts individually and collectively.
If you want to spend an hour of pure entertainment and have some fun into the bargain, don’t miss it – as long as you don’t mind getting a little damp!
Soap is at the Spiegeltent until June 17th
Thursday 10 May 2018
Beautiful: The Carole King Musical (UK Tour), New Theatre Oxford | Review
Beautiful: The Carole King Musical (UK Tour)
New Theatre Oxford
Reviewed on Tuesday 8th May 2018 by Nick Fisher
★★★★
Carole King rightly occupies a place in the pantheon of great American songwriters and this lively production of Beautiful: The Carole King Musical, is a fitting tribute to her musical legacy.
The performance begins with King, propelled to stardom by her solo album ‘Tapestry’, sitting at her piano in Carnegie Hall. All too quickly, we are taken back to her teenage years, living with Mum in a Manhattan apartment striving to become a songwriter. She is revealed as a slightly awkward yet determined teenager who meets her future writing partner and husband, Gerry Goffin, when studying education at college. After she becomes pregnant, the pair marry and embark on their career as hit-makers for Don Kirsher known as the ‘man with the golden ear’ who made stars of King, Neil Diamond and Neil Sedaka amongst others.
We are taken at a rapid clip through some classics including, ‘Some Kind of Wonderful’ originally performed by the Drifters, ‘Will you Love Me Tomorrow’ by the Shirelles and ‘You’ve Lost That Lovin’ Feeling by Barry Mann and the Righteous Brothers. The show portrays vividly the look and feel of Kirshner’s song-writing factory, a rabbit warren of cubicles inhabited by young writers, desperate to write hits for the Billboard 100. At the factory, the pair meet friends and competitors, lyricist Cynthia Weil and composer Barry Mann. The witty and smart Weil and the comic, charming Mann, provide a light-hearted secondary duo who are destined to live happily ever after. Indeed, the pair have been married since 1961 which is in sharp contrast to King and Goffin who both remarried 3 times following their divorce. In fact, it is during this intensely productive period at the factory when the first cracks appear in their relationship. Goffin’s desire to stay out every night to immerse himself in the music scene conflicts with King’s desire for domesticity coupled with an intense desire to make it as a songwriter.
In Act 2, we are taken, albeit it at a slightly slower pace, from 1962, with ‘Chains’ initially released by the Cookies and in 1963, covered by the Beatles. We are then treated to some classics, ‘Walking in the Rain’, and ‘It’s Too Late’, culminating in a wonderful rendition of ‘(You Make Me Feel Like) a Natural Woman’ originally recorded one year before her divorce from Goffin in 1968. The final scene takes us back to the Carnegie Hall show in 1971, the year when King released her seminal solo album, Tapestry, one of the best-selling albums of all time. It is at this point when Goffin makes a final appearance. The pair had lost contact since King’s move to Los Angeles in 1968 and Goffin takes the opportunity to express his appreciation of how much she had achieved in her career. It doesn’t matter if this actually happened, it portrays a deep love and respect for the woman and the writer. In any case, in a statement following his death in 2014, King described Goffin as her ‘first love’ and how he had a ‘profound impact’ on her life.
Overall, this is a rip-roaring musical roller coaster ride. The quality of the music, led by Musical Director Patrick Hurley, really cannot be faulted, from the tight harmonies and wonderful choreography in Act 1 to the evocative songs in Act 2. This is not a history lesson in any sense even though this is a period rich in social and political change including the racial integration of the University of Alabama in 1963 and the height of the Vietnam War in the early 70s. Was King affected by these momentous events and did it affect her music? Almost certainly, but at the end of the day it was Goffin’s lyrics which serve as a narrative for the time.
This brings us to the performances. Bronté Barbé is superb as Carole King. Her voice is captivating and her performance of Natural Woman was incredibly moving and captured perfectly a tumultuous stage in King’s marriage to Goffin. Playing Goffin was Kane Oliver Parry who had a palpable chemistry with Barbé. Nevertheless, his Brooklyn accent was unconvincing and needs more work.
Almost eclipsing Barbé was Amy Ellen Richardson as Cynthia Weil. She brought maturity and depth to the role including stand-out performances in ‘Walking in the Rain’ and ‘He’s sure the Boy I Love’. Her partner, Barry Mann was sensitively played by Matthew Gonsalves and he introduced some moments of real humour.
Carole King will always be a shining star of world music. She has written or co-written over 400 songs recorded by artists such as Aretha Franklin, Neil Diamond, Diana Ross and the Beatles. She has been inducted into the Songwriters Hall of Fame, recorded 25 solo albums, the second of which, ‘Tapestry’ remained at the top of the Billboard 100 for a record-breaking 15 weeks. Come to this performance, stick some dimes into the jukebox and join the baby boomers dancing in the aisles in celebration of a cultural icon.
Beautiful: The Carole King Musical is at the New Theatre Oxford until 11th May 2018
Tuesday 8 May 2018
Kinetics (Film) | Review
Kinetics (Film)
★★★★★
Sue Wylie’s stunning play, Kinetics has been adapted for film. The moving story is told through the eyes of Rose who has recently been diagnosed with Parkinson's disease. She meets Lukas, a free-runner with whom she forms an unlikely friendship. Both have a desire to move and be free and ultimately remind one another that life is worth living.
'Accept, adapt, adjust' really sums up this play in a nutshell. Not only is it a beautiful story but it raises awareness of Parkinson's a relatively unknown disease that affects around 127,000 people in the UK alone.
Lukas played by Roly Botha is a wonderful addition to the film. He adds so much movement and fluidity; a brilliant contrast to Rose. He has heaps of talent, not only acting but also free running. His story within the play is touching and the interplay between the characters really gives out a message of hope.
A special mention must go to Steve Eaton Evans who plays Mr Burton and successfully portrays an older gentleman with Parkinson's who eventually gives the best advice of the whole film.
Rose played by Sue Wylie is a wonder to see. She really does tell her story well. Her play is well worded and very powerful, while staying respectful to those suffering from Parkinson's. By telling her own story regarding her diagnosis of Parkinson's and how it affects her both in her job and personal life is simply beautiful.
I urge anyone and everyone to watch Kinetics either in film or play version as it has so much potential not only to spread awareness with Parkinson's but also as it gives the audience a wonderful feeling of hope.
Review by Isobelle Desbrow
Wednesday 2 May 2018
Chess, London Coliseum | Review
Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell
★★★
Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum.
The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.
Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming.
Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.
On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own.
Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.
The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more.
Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum.
There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short.
Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it.
Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with.
Chess runs at the London Coliseum until June 2nd.
photo credit: Brinkhoff Mögenberg
Tuesday 1 May 2018
Young Frankenstein, Garrick Theatre | Review
Young Frankenstein
Garrick Theatre
Reviewed on Monday 30th April by Olivia Mitchell
★★★★
So far in 2018, Young Frankenstein is the show which has pleasantly surprised me the most. I must admit, all I knew of the show was the performance I'd seen at the Olivier Awards so I expected a cheesy, ridiculous story that I wouldn't enjoy. What I got was a cheesy, ridiculous story which I thoroughly enjoyed!
Young Frankenstein is a hilariously brilliant night at the theatre and certainly one of the funniest shows in the West End. Of course it's the work of comic genius Mel Brooks so you'd expect greatness, but the show had a less than stellar run on Broadway and despite it's huge budget, failed miserably. However, from what I've read and been told, this production is scaled down and swifter. The book by Brooks and Thomas Meehan is the most successful aspect of the show, with emphasis solidly on the comedy.
Frederick Frankenstein (pronounced "Fronkensteen") is an American professor of neurology who is drawn to Transylvania when his grandfather passes away and he is set to inherit his gothic home and all that's inside it. There, he meets a number of wacky characters and begins to toy with the idea of recreating his grandfather's famous experiment and reanimating a corpse.
Ben Cracknell's atmospheric lighting alongside, William Ivey Long's fabulous costumes and, Gareth Owen's effective and spooky sound design create a thrilling assault on the senses and add to the humour and drama of the show without becoming repetitive or sleazy. Any moments which could be cringy and cliched are cleverly avoided by onstage characters pointing out how ridiculous they are! Beowulf Borritt's set design cleverly intertwines aspects of the film and moves seamlessly from one location to another. Again, nothing is too over the top.
The cast are exceptional. Each giving spades and spades of energy whilst perfecting the comedic balance. Making it hysterical without being forced. Hadley Fraser is delightfully dynamic as Frederick and his glorious vocals ring out beautifully, especially in Frederick's Soliloquy.
Cory English scuttles round the stage humourously as the contorted, gormless Igor. He brings a warmth to the role as well as a somewhat eerie side. Lesley Joseph is gleefully devoted to the older, violent Frankenstein. Her rendition of He Vas My Boyfriend is wonderfully weird and enjoyable.
Young Frankenstein is definitely not an ode to feminism, but the political incorrectness makes it all the more funny. Summer Strallen and Emily Squibb bring their tongue-in-cheek characters to life with side-splitting humour and verve as well as giving wonderful vocal performances.
This show is funny beyond belief and a real joy to watch. If it's a feel good show you want, then Young Frankenstein is the one for you.
photo credit: Alistair Muir
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
