Friday 14 September 2018
Thriller Live! (4000th Show Gala), Lyric Theatre | Review
Thriller Live! (4000th Show Gala)
Lyric Theatre
Reviewed on Wednesday 12th September 2018 by Emma Gradwell
★★★★
This week Thriller Live! celebrated its record breaking 4000th performance with a glittering Gala Night featuring special guest performer Peter Andre for one night only.
It was also the launch of a year long collaboration with The Prince's Trust with proceeds from tickets sales to be donated, and a commitment from the Thriller Live! team to provide experiences and mentoring over the next year, which will help to support young people to develop the confidence and skills they need to realise their ambitions through workshops, art projects, Q&A sessions and opportunities to experience the show.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
Before the show began, the atmosphere was really electric. There were dedicated fans packing the audience, many of whom had been to see the show many times before.
Comedians Russell Kane and John Culshaw started off proceedings with an introduction for the evening and delivered with humour and style.
For anyone not familiar with Thriller Live!, the show is a nostalgic and fond journey through Michael Jacksin's musical career from the early days of Motown and The Jackson Five to beyond his Bad album.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
Bouncing onto the stage came the adorable Xhanti Mbonzongwana as a young Michael. His beautiful voice and sharp dance moves took us back to his early career with songs such as ABC and I Want You Back. Backed by an excellent ensemble it was a great performance and got the audience up and on their feet right from the off.
Making his way back to Thriller Live! to perform as an adult Michael was Kieran Alleyne who has previously performed as little Michael in the early days of Thriller Live! Well observed mannerisms and slick dancing in Michael's staccato style made his performance mesmerising. The ensemble dancers in this production really have their work cut out. For most part the show is very high tempo and the choreography is both complex and gruelling. They make it look effortless and it really did make the crowd go wild with excitement. They are clearly having a great time on the stage and this is reflected in how well it is received by the audience.
My only criticism of the show is that some of the high energy performances are very clearly lip synced to a backing track and with so many great vocal performances it's hard to understand why that is. However, this really was a THRILLING night. The audience loved it, the partnership with The Princes Trust is to be applauded and I am sure the show will continue to entertain in the future.
Thriller Live! is booking at the Lyric Theatre until 7th April as well as a UK Tour
photo credit: Betty Zapata
Heathers, Theatre Royal Haymarket | Review
Heathers
Theatre Royal Haymarket
Reviewed on Monday 10th September 2018 by Olivia Mitchell
★★★★
Every so often a show comes around which receives an exceptional amount of hype and has the West End buzzing. Heathers is currently that show and the good news is that it truly lives up to it. Based on the 1989 film starring Winona Ryder, this musical adaptation is full of energy and humour as it balances the line between political correctness and incorrectness. We find ourselves drawn towards the darkness but also cringing at the atrocities that go on.
Laurence O'Keefe had huge success with his adaptation of Legally Blonde and has applied his winning formula once again to bring this show to life with a camp, sassy and at times melancholic score. The plot follows Veronica Sawyer, a girl who is 'different' to the others at her school and longs for unity between all cliques and social standings. However, in order to make it through High School, she befriends the rulers of the school, the "lipstick gustapo" made up of three girls named Heather. Our protagonist then meets a brooding new boy, Jason J.D Dean who turns out to be a kill happy psychopath. From there on there are deaths, parties, funerals and a whole lot of destruction.
When the movie came out in 1989 it became an instant hit and then received a cultish following when it opened off-Broadway in 2014. The show's transition to the West End has been no different as teens and young adults flood to the theatre with scrunchies in hair and pleated skirts on to see this wildly fun but disturbing musical brought to life.
The entire cast bring this show to life with vivacious passion and immense talent. Leading the gang, Carrie Hope Fletcher is a powerhouse as she battles between what's right and wrong and what she wants to do to boost her social standing/love life. Carrie steps on stage to well deserved cheers and blows the roof of with her entire performance, especially her new song 'I Say No' which gives her a backbone and the rough 'Dead Girl Walking Reprise'. Veronica's moments of strength are certainly where Carrie shines but she is also humourous and likeable as she swoons over JD.
Under Andy Fickman's direction, Jamie Muscato plays the mysteriously murderous JD with an intensity that you can't help but be drawn to. Whilst it's not wise to partner up with a murderer, we all love a bad boy and the combination of JD's smooth talking and Jamie's perfectly rough voice make us feel for him a little bit, even though he becomes a monster before our eyes. Muscato's frenetic energy in 'Meant To Be Yours' is certainly a theatrical highlight of the year.
The three Heathers waltz around the stage as one but have quirky personality traits which are owned and embodied by each. As leader of the pack, Heather Chandler who "floats above it all", Jodie Steele is brilliant. Her permanent scowl, sharp movements, sublime vocals and stellar comedic timing make her perfect for the role. Sophie Isaacs brings an innocence to Heather McNamara which is interesting to play out. Whilst she is part of the mean girl group, it's clear from the outset that she is merely following the pack and wishes to break away. Isaacs' rendition of Lifeboat is a pin-drop silence moment which stands out in the show. As the final Heather, Duke, T'Shan Williams is feisty and aggressive, with her solo Never Shut Up Again earning her laughs and cheers from the audience.
Stand outs of the cast also include Jenny O'Leary who gives a moving performance of Kindergarten Boyfriend, Rebecca Lock who brings the entire theatre to life with her fiery, belt-tastic Shine a Light and Christopher Chung and Dominic Andersen who are humour embodied as the jocks who combine to create Kram. Ensemble members Lauren Drew and Olivia Moore also catch the eye throughout.
Gary Lloyd's choreography is especially effective with the Heathers, namely during the iconic Candy Store which sees them sashaying round the stage but in true Heathers style, being in complete control the entire time and never stepping out of sync with one another.
Mention must go to Ben Cracknell's lighting, which like the music, intensifies every emotion on stage. Particularly effective are the varying tones of light between the characters. The Heathers are of course lit in their iconic colours (brought to life vibrantly through David Shields' costumes) but whats most striking are the moments when Veronica is lit in warm spotlights whilst JD is basked in stark, almost grey tones. This highlights the contrast between the true evil and the kind-of-forced-into-evil in a clever way.
Most of the subject matter of this show is uncomfortable but sadly ever present: bullying, suicide, murder, depression. Heathers does a good job of satirising the sensationalism of them and shines a light (pun intended) on the fact that unity and kindness are always the way forward.
Whilst this isn't a light hearted show in content, the songs are crazily catchy, the talent level is ridiculously high and it's just a really good night out. For Big Fun, get down to the Theatre Royal Haymarket!
Heathers runs at the Theatre Royal Haymarket until 24th November
photo credit: Pamela Raith
Thursday 13 September 2018
Wasted, Southwark Playhouse | Review
Wasted
Southwark Playhouse
Reviewed on Wednesday 12th 2018 by Olivia Mitchell
★★★
With a cast of just four, Wasted tells the story of the Brontë siblings and their journeys to success, and questions (to an extent) what makes a legacy and how fulfilment is achieved. Whilst there are some catchy songs and the cast do a good job conveying the struggles of 18th century women, Wasted is drawn out and somewhat uninformative.
The entire show has a tonne of potential and with tweaks could certainly be a coherent, enjoyable show. However, in it’s current state it feels somewhat self indulgent and the basic story (the girls struggle, eventually get published but feel they have Wasted their lives) is stretched unnecessarily to fill almost three hours.
The cast are helmed by West End superstar, Natasha Barnes who has made a triumphant return to the stage after giving birth to a beautiful baby earlier this year. Working with Christopher Ash's demanding score, Natasha leads the show with faultless vocals and outstanding commitment to the level-headed, dreamer Charlotte Brontë.
As her brother who aims to be famous, Matthew Jacobs Morgan is suitably humourous but troubled. As her sisters, Emily and Anne, Siobhan Athwal and Molly Lynch give strong performances although at times it is hard to understand what is being said. This may be due to mics but does mean that it takes real attention to keep up with the story.
Another issue is the amount of repetition. The first act especially feels like we hear the same thing over and over again; after the first 10 minutes it was clear the girls “need to work” but we were told several more times which instead of reinforcing something important, felt unnecessary and added to the length of the show dramatically.
Wasted could easily have been performed as two separate shows. Both act one and act two have good starting and finishing points which would make for solid 90 minute straight-through shows but together just felt too much.
Despite it's flaws, it is wonderful to see such an experimental, new, British musical and the cast do an outstanding job of bringing a mischievous, fresh view of the Brontës.
Wasted runs at the Southwark Playhouse until 6th October
photo credit: Helen Maybanks
Monday 10 September 2018
Proms in the Park, Hyde Park | Review and Five Reasons to Go
I have always loved the BBC Proms especially the last night which I have only ever seen on the TV. I was never really that aware of its alter ego The Proms in the Park, that is until last night. A friend and I were not only fortunate enough to attend this musical extravaganza but we were also given access to the VIP and Press arena. I can honestly say that it was one of the best evenings out I have ever had.
Every year the line-up of performers changes, this year as in previous years the event was hosted by the multi-talented Michael Ball. He was absolutely perfect in this role, linking everything seamlessly whilst making everyone feel included and thoroughly enjoying himself, which was totally infectious.
The afternoon kicked off at 3pm with the BBC DJ Tony Blackburn, who was then followed by the London based, Country, Folk, Pop quartet The Wandering Hearts. We were then treated to outstanding performances from The Rock Choir with the BBC orchestra followed by Lisa Stansfield, who performed some new material and wowed us all with her older hits. Matt Goss was next accompanied by the BBC Big Band, his set was not only excellent, but he also personally surprised and shocked a superfan.
Another highlight was the hugely talented and energetic cast from Bat out of Hell, led by Jordan Luke Gage and Christina Bennington, who had everyone on their feet belting out the songs. Just a small plug, if you only go to one show in London this year go and see Bat out of Hell, you won’t be disappointed! Also, on the bill was the young saxophonist Jess Gillam and award-winning songwriter Albert Hammond who were both outstanding.
The Maltese opera star Joseph Calleja was wonderful, and my personal favourite Josh Groban performed a truly beautiful version of Somewhere over the Rainbow, among other stunning songs. It was then time for the headline act which this year was Gladys Knight. What a fantastic performance she gave, she still has the most incredible voice and had all 40,000 of us dancing and singing along to all the hits we know and love.
Then came the iconic flag waving finale, it was so amazing to be part of this experience which was being mirrored over at the Royal Albert Hall. We all played our part in the rousing renditions of Land of Hope and Glory and Jerusalem. A spectacular firework display was a very fitting end to a truly wonderful day. I hope to be fortunate enough to go again next year and as if the musical performances aren’t enough of a reason to go, here are 5 more:
- This event is in the most glorious setting of Hyde park in central London, arrive early and take a stroll around this magnificent space. Maybe take a boat out on the lake, marvel at the stunning plants, trees and statues or simply sit peacefully and watch the world go by for a while, before entering the arena.
- This is a wonderful iconic event to attend, whether with a group of friends, as a couple or a family but even if you went alone you wouldn’t be for long. The camaraderie amongst the attendees was like nothing I have ever experienced at a large event or concert. People of all nationalities and ages from tiny tots to shall I say a more mature contingent were sharing, stories, drinks, food and lots of laughter.
- Whatever your taste in music there is absolutely something for everyone, from musical theatre, to Opera, rock, pop and disco. This is a wonderful opportunity to see a multitude of fantastically talented artists at one venue.
- The organisation of such a huge event, 40,000.00 people attended, is mind boggling and needs to be seen to be believed. I have no idea how something like this is put together so slickly. From the fabulous selection of food and drink vendors, the security, the staging, lighting, superb sound and visuals to the properly plumbed in toilets. Certainly, a feat of engineering in themselves.
- This event is a wonderfully eclectic mix of music, food, fun and revelry mixed with the superb Pomp & Circumstance associated with the Proms. In the words of a fellow reveller “it made you proud to be British”.
★★★★★
Last Night of the Proms, Royal Albert Hall | Review
Last Night of the Proms
Royal Albert Hall
Reviewed on Saturday 8th September 2018 by Olivia Mitchell
★★★★
After a spectacular eight weeks of concerts, the 2018 BBC Proms came to an end on Saturday night in a grand and celebratory fashion. As a first time attendee of the last night, I was excited to be part of such a well-known piece of theatrical history and the atmosphere and performances left me elated and proud to be British.
The concert followed it's traditional format, with a more serious first half followed by an audience participation fuelled second act. Master of ceremonies for the night was Andrew Davis who made a triumphant return after eighteen years and brought together a magical night.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Debut work, Songs of Darkness, Dreams of Light by Roxanna Panufnik is a moving ten minute piece which brings together opposing religions and cultures and was especially exciting to witness. Of the various French and English choral pieces, a stand out was definitely Charles Villiers Stanford's The Blue Bird, performed expertly by the BBC Singers and causing the rambunctious audience to be in pin drop silence for its entirety.
Saxophonist Jess Gillam provided energy, glitz and talent in equal measure through her performances of Scaramouche and a selection of World War One songs arranged by Anne Dudley. Gerald Finley also gave dominant performances of Stanford's Songs of the Sea and the vast Soliloquy from Carousel.
The second act was a fine celebration of patriotism and community. The audience, orchestra, BBC Singers and BBC Symphony Chorus joined together for a number of classic Last Night of the Proms pieces including Jerusalem and Auld Lang Syne, all of which were rousing and left the audience elated as the Proms came to a close and we all left the Royal Albert Hall for another year.
Saturday 8 September 2018
Unexpected Joy, Southwark Playhouse | Review
Unexpected Joy
Southwark Playhouse
Reviewed on Friday 7th September 2018 by Olivia Mitchell
★★★★
Unexpected Joy, more like an unexpected delight of a show. The latest of Aria Entertainment’s shows to hit London, Unexpected Joy follows three generations as a grandmother, mother and daughter come together after not seeing each other for a long time. There are secrets, past tensions and varying viewpoints which have the potential to break the family apart. This is a heartfelt show that just like real life, features moments of humour, sadness, joy, angst and above all, love.
The show opens with Joy (Janet Fullerlove) welcoming us to her concert which is celebrating the life and music of her late husband, Jump. From the onset we see that Joy is a larger than life character who has always been a free spirit and is the opposite of her daughter.
Jodie Jacobs gives a moving performance as Rachel/Rainbow, the mother who is struggling to balance her beliefs with change and is losing her relationship with her daughter. Jacobs shows her internal struggle with a perfect subtlety and moments of pure vocal perfection.
In her professional debut, Kelly Sweeney gives a mesmerising performance as the youngest family member, Tamara, who longs to break free of the constraints her mother has so carefully put on her in an attempt to not expose her to too much. Kelly brings an innocence and energy to Tamara that you can't help being drawn to and her impeccable vocals are to die for.
As Lou, Melanie Marshall brings humour and truth in equal measure and gives a fantastically vibrant performance. As the only person not in the family by blood, it's interesting to see how Lou becomes the mediator and is able to more easily see each side of the story.
Bill Russell and Janet Hood's musical is a wonderfully nuanced show which brings light to a number of ever relevant issues without being overwhelmingly preachy. Amy Anders Corcoran's direction means that issues with race, social acceptability, and attitudes towards change are approached and discussed in a natural way. The fact that there is not a solid resolution at the end of the show just makes it that bit more truthful.
Unexpected Joy not only shows us the importance of family but also the importance of music to heal; with a number of catchy songs and tight and beautiful harmonies, it really showcases how music can transport us.
The message throughout, that we should always take each others view points into consideration, even if we don't agree with them is needed now as ever. There will always be some common ground between people, you just have to be willing to look for it.
Unexpected Joy is a beautiful piece of theatre which allows us to see viewpoints of everyone and understand that although families argue, at the end of the day, everything they do for one another is for love. A female led production with wonderful songs, a heartfelt message and a whole lot of love, there's no reason not to see Unexpected Joy.
Unexpected Joy runs at the Southwark Playhouse until 29th September
photo credit: Pamela Raith
Friday 7 September 2018
Five Reasons to see Eugenius
I've been lucky enough to see Eugenius throughout it's journey, from it's first public concert at the London Palladium, to its first stay at The Other Palace and now at its triumphant return. It's wonderful to see such a fun British show become an audience favourite and a cult classic. At risk of full on repeating myself, instead of reviewing the show again, I bring you a list of reasons why should see it...
It's the Definition of Catchy- If you're a fan of upbeat, 80s inspired music and heartfelt ballads then this show is for you. If you don't find yourself humming "go Eugenius" or "Don't shoot for the stars, shoot higher" basically all the time after seeing the show, then you are very good at escaping musical earworms! (It's in my head even just from writing those words)
The Cast are Superstars- The talent on the stage of The Other Palace is unreal. Rob Houchen perfectly embodies the geeky Eugene who loves comics more than life and dreams of a brighter future where he will "inherit the earth". Laura Baldwin's voice is complete perfection as she balances angst, humour and joy with ease. Dan Buckley is the ultimate musical theatre comedian and Scott Paige brings the ideal level of sass to The Other Palace. Basically, this cast are astronomical and deserve to be seen.
It Allows us all to be G.E.E.K Geeks- However hardcore we try and be, deep down (or not deep down in my case) we're all geeks. This show allows us to embody this whilst living our best 80s lives. The message of the show is all about acceptance and inspiring us to strive for more, which is pretty great indeed.
The Whole Show is Pure Fun- Eugenius is one of the most self-aware shows I've ever seen. There are so many parts that are ridiculous and super cheesy and it does have it's faults but it knows that and doesn't try to be anything more than it is, which is a pure fun-fest. For a light-hearted, truly joyous night, get yourself along to Eugenius.
The Fans Are the Best- It's my belief that the fans can make or break a show. Regardless of what critics/reviewers say, a shows fanbase can spread the love and word quicker than wildfire. Sitting in row G I had a wonderful view of the fantastic fans who took up much of the first two rows and who were giving as much to the cast as the cast were giving to the audiences. Their beaming smiles, instant applause, knowledge of every word and action in the show and love on social media is heartwarming to watch. Go see Eugenius purely to see what the fans are raving about!
Eugenius runs at The Other Palace until October 21st 2018
photo credit: Scott Rylander
Wednesday 5 September 2018
Six, Arts Theatre | Review
Six
Arts Theatre
Reviewed on Friday 31st August 2018 by Olivia Mitchell
★★★★★★ (it seems only right)
As someone who grew up spending her weekends visiting Hampton Court Palace, Six is pretty much my ideal musical. Bringing the wives of Henry VIII to us live in concert and changing HIStory to HERstory this show is a celebration of girl power and shows us that there's far more to the rhyme we all grew up hearing.
Written by Toby Marlow and Lucy Moss, Six is fresh, modern and unlike anything I've experienced. The lyrics are fast paced and extremely clever but draw you in so much that at no point do you find yourself struggling to understand them. Each Queen has a distinct style which works fantastically. From the jazzy feel of Catherine Parr's solo to Catherine of Aragon's Beyoncé style song, all the music feels relatable and makes you feel you could be friends with any of the Six ladies.
Each Queen is inspired by current pop-stars with the cast bringing clear influences from pop culture as well as making the roles truly individual and memorable. As their respective wives (Ex-Wives *mic drop*) Jarneia Richard-Noel, Millie O'Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed are outstanding. It's unfair to talk about them individually as they all bring so much to the show and despite having solo's, make this show the united, ensemble piece it's meant to be.
The Ladies in Waiting aka the on stage band bring energy and even more power to Six. Emma Bailey's set is simplistic in the tiny space of the Arts Theatre but extremely fitting, with the black box almost becoming a chapel where we can worship these powerful women. Tim Deiling's lighting helps achieve the pop concert vibe and is especially effective in Haus of Holbein where Anna of Cleves' tells her story accompanied by strobe lights and fluorescent neck ruffs.
Carrie-Anne Ingrouille's choreography is sharp and fills the space extremely well. Alongside Gabriella Slade's fabulous and flirty costumes and Jimmy Jones' chiselled makeup looks, the ladies really do own the Arts Theatre and become the hottest girl group in London.
Six is inventive, coherent, uplifting and full to the brim with talent. The varying tempos and genres make the piece continually engaging and the "Britishness" of it all is truly wonderful when so much of the West End is currently/soon to be dominated by imported shows. Henry VIII may have been the Tudor King, but these Queens are the rulers of London theatre.
Six runs at the Arts Theatre until 14th October, and then tours around the country
photo credit: Idil Sukan
Friday 31 August 2018
There is Nothing Like a Dame, Cadogan Hall | Review
There is Nothing Like a Dame (Concert)
Cadogan Hall
Reviewed on Thursday 30th August 2018 by Olivia Mitchell
★★★★
Combine four of the most talented female performers to have ever graced the West End stages and a celebration of 100 years of Women in musical theatre and you have a stellar debut show from Lambert Jackson.
West End superstars Rachel Tucker, Louise Dearman, Ria Jones and Alexia Khadime joined forces to showcase some of the most iconic female roles of the last 100 years and highlight the positive changes that are happening for women in the industry. Every song seemed to top the last and it was a truly uplifting night at Cadogan Hall.
The concert opened with all four ladies floating onto the stage accompanied by rapturous applause to perform Anything Goes which set the benchmark for the night extremely high and began our journey through a number of beautiful solo's, duets, trios and quartets.
The ladies gave all round stellar performances, with highlights including a great medley of Rodgers and Hammerstein songs; Rachel Tucker sung a hilariously drawly version of I Can't Say No, Alexia Khadime a playful I'm Gonna Wash That Man Right Out Outa My Hair, Ria Jones a graceful Shall We Dance and Louise Dearman a pin-drop perfect, You'll Never Walk Alone.
Since seeing Louise Dearman in her solo concert earlier this year, I have been continually surprised by her versatility as a performer and she once again showcased her ability to transform both her vocals and mannerisms to fit any style. Louise is truly a musical theatre chameleon; her performance of I Dreamed a Dream was certainly a stand out.
Other highlights included Ria Jones' With One Look from Sunset Boulevard which brought the audience to their feet, Alexia Khadime's heartfelt, Home from The Wiz and a lovely rendition of In His Eyes from Jekyll and Hyde from Rachel Tucker and Louise Dearman. Mention must also go to the wonderful duet from the three former Elphaba's, Louise Dearman, Alexia Khadime and Rachel Tucker who put a fresh spin on The Wizard and I.
The audience were also treated to a peek at the future of the West End with a great and powerful performance of Don't Rain on my Parade from Daisy Greenwood who won a competition to perform at the concert. Aged only 17, she commanded the stage and is sure to be seen again among the great performers.
It must also be pointed out how fantastic all four ladies looked, donning two glamourous gowns each and embodying the superstar vibes. Also joyous to watch, was the way all the women supported one another and watched each other as if in awe. Women supporting women is just as important now than it's ever been and it's wonderful to see women who could so easily see each other as competition, admire each other and celebrate talent.
If the next 100 years of musical theatre is filled with performances like the ones this night provided then it will be truly wonderful!
Photo credit: Danny Kaan
Wednesday 29 August 2018
Bat Out of Hell Sing-along, Dominion Theatre
Bat Out of Hell | Sing-along
Dominion Theatre
Reviewed on Tuesday 28th August 2018 by Olivia Mitchell
★★★★★
I'm going to start this post by saying it's not really going to be a review but more of a babbling-praise-fest for the amazing team at Bat Out of Hell and the fantastic sense of community they have created over their various runs.
It's no secret that I wasn't the biggest Bat fan when I first saw it at the Coliseum, but since then, something has changed and I just can't get enough of the show. Sure, the story is lacking but the performances and intricacies of every element just make it a complete extravaganza for all the senses and you can't help but feel energised and elated every time you see it. I certainly don't think the show is everyone's cup of tea, but if you go into it ready to be shocked, wowed and dazzled, then there's not much that can go wrong.
I've raved about them on twitter and praised them vastly in my previous posts about the show, but last night's sing-along just brought to light again, the incredible talents of the entire Bat cast. Whilst not everyone in the audience was singing along (the lady next to us told us to stop, so we just sang LOUDER) those that were, were giving it their all just like the cast do every night (minus all the dancing, quick changes and acting they do on top). My friends and I were going pretty full out in our sing-along "performances" but were giving no where near the energy and precision the cast provide night after night and we were still exhausted. This just highlights further the immense talent and stamina of the cast who perform night after night, giving it 150%; I truly believe you'd be hard-pressed to find a more well-rounded, powerful cast in the West End.
The sing-along itself was a wonderful thing to be a part of; I've been trying (and failing) to be a bit subtle about my adoration for Bat but last night I fully embraced the love and fangirling. With a small screen above the stage and a couple of others dotted round the theatre displaying lyrics, it was clearly shown which songs the audience were invited to sing along to. Much of the audience seemed to come out of their shells and start belting for their lives in Act 2, with Objects In The Rearview Mirror and I Would Do Anything For Love being clear audience/fan favourites. The microphones being turned up also meant that none of the cast's vocals were missed and we were still able to bask in the beauty of their voices. These sing-along performances not only give fans a chance to live their best lives, singing along whilst hearing their favourite songs live, but also puts the message out clearly that the normal shows are not for people to sing at. When you pay for a ticket to the theatre, you want to hear the performers sing, not someone next to you, so these special performances provide the perfect outlet and are a happy medium for everyone.
The Bat community are a wonderful family, that's for sure. I have only recently gotten into the show but have been welcomed in with open arms and have experienced the kindness and generosity of the fans several times already. The fans support not only the cast and show itself, but each other. A number of people at the singalong had met through the show and bonded over their love for it, so to see and hear them celebrate that was truly magical to be a part of. I expect the future singalongs and the upcoming last show of Patrick Sullivan and Andrew Polec will continue to highlight the fantastically dedicated community and show how music and theatre can really bring people together.
I'm aware this post really has very little content and is just me putting my post-show Bat thoughts out into the world but I felt I had to write something because the sing-along has made me feel so energised, inspired and content. The generosity of the cast with both their talent and time is fantastically motivational to see. I personally find stage-dooring very awkward but find myself drawn to it at Bat, purely to gush at the cast about how amazing they are. Despite having been rehearsing all day, performing a show a preparing for a double show day, the cast members who came out were so gracious and giving of their time. It's been discussed many times before that casts don't owe coming out and chatting/signing to any audience members, but it is great when a cast so clearly appreciate the people who support them and their show.
If you get the chance to see a normal show or a sing-along, you should grab it with open arms. If you haven't seen Bat Out of Hell before, go into it with an open mind and I am sure you'll leave feeling elated. If you have seen it before, then you know what to expect and can just relish in the pure spectacle of it all!
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
I am a mixture of larynx pain and adrenaline but couldn't be happier to have been a part of this exhilarating and special show... can I say I've played Raven now I've belted out It's All Coming Back to Me Now at the Dominion!?
Further Bat Out of Hell sing-along performances are taking place on September 25th, October 31st, November 27th and December 31st and the show is booking until January 5th.
Sunday 26 August 2018
Flashdance, Grand Opera House, Belfast (UK Tour) | Review
Flashdance (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 22nd August 2018 by Damien Murray
★★★★
Book-ended by its ever popular signature song, this was a fantastic feel-good show for people who remember the popular film with its memorable big hit songs or for those who just want an entertaining night of light-hearted escapism (which, judging by public reaction, was 99% of the audience).
Although there were some dramatic moments, this rather shallow and cliché-ridden story was never going to be a platform for displaying acting skills but simply a dance-based showcase for fancy footwork and ridiculously high-energy routines that made me exhausted just watching them.
When you know not to have high dramatic expectations, then you will not be disappointed, but you will be guaranteed to be blown away by this show’s series of storming dance routines for, as a dance-based piece, it proved to be every bit as energetic as one would have expected.
Going back in time to the era of baggy blue jeans, shell suits, work-out outfits, neon leg-warmers and equally bright head-bands, it all began with the mundane and relatively colourless world of welders contrasting in so many ways with the, sometimes sleazy, but always dazzling one of the dancers with Matt Cole’s spectacular and varied routines being so well realised by the extremely fit cast and even including choreographed cyclists at one point.
For those who don’t know the story, it is basically about a tom-boyish welder, Alex (Joanne Clifton), with dreams of training to be a professional dancer at an elite dance academy and her relationship with her well-meaning and influential boyfriend, Nick (Ben Adams), who is also her boss.
The sub-plot centres on another relationship – that of her down-on-her-luck dancing friend, Gloria (Hollie-Ann Lowe) and her wannabe, but unsuccessful, comedian boyfriend, Jimmy (Colin Kiyani).
Surrounded by the symbolic brick and metal stage frame, the dual level set may have looked cumbersome at times, but it was very cleverly designed to be both mobile, functional and versatile, using its many steps, projection screens and positioning points to become everything from a ballet studio to a run-down bar and from a work canteen to a nightclub.
I particularly liked the unusual angular performance space that it created at times and the performance space height variations that it allowed and, common to a lot of shows nowadays, I thought the use of the cast moving the props and set worked well for slick and distraction-free scene changes.
Andrew Ellis’ lighting plot was varied (often pulsating to the music) but was also subtle during the more dramatic scenes and very effective at key moments, while the blue and red neon lighting helped to establish the era of the piece.
With such a poor script, director, Hannah Chissick, must have had a difficult job inspiring her cast in the non-dancing parts of the show, but she did capture the frustrating reality of the audition process.
Strictly Come Dancing champion, Joanne Clifton, was a natural on stage as she took the demanding challenges of the dance routines in her stride; totally nailing the films two iconic moments (the chair-drenching Act 1 finale and the Academy audition routine), and, surprisingly for some, coping well with her acting and singing roles.
In many ways, this piece gave former A1 star, Ben Adams, very little to do, as – not being involved in the dance scenes - he had to rely on a few acting moments to show his skills.
I felt he was very much under-used, but, thankfully, as a more romantic character, he did get to use his impressive vocals to good effect, especially in his duets with Clifton.
Both Hollie-Ann Lowe and Colin Kiyani impressed here as the less successful couple, with Lowe capturing her character’s frustration about her general bad luck and life with her failed comedian boyfriend; a role that Kiyani made his own as he realised their relationship was more important than his dreamed about comic career.
Also worthy of mention were Demmileigh Foster as dancer, Tess, who was excellent throughout with great stage presence and top dancing skills, and Carol Ball’s Hannah; a Grand Dame of dance who lives in the past reminiscing about the successes of her glory days with unrealistic hopes for more.
Musical Director, George Carter’s 5-piece band offered solid backing throughout with musical highlights including: the song of dreams and hopes, It’s All In Reach; the female ensemble showing the first signs of what was to come in terms of manic movement during Maniac; the comic routine, Put It Down; the male choral work of Justice; the energetic and almost acrobatic version of I Love Rock And Roll; the duets, Here And Now and Hang On; the Act 1 finale reprise of Maniac; and Where We Belong, which sounded like it was written and performed by Dean Friedman .
Some additional songs for the stage version worked better than others, but it was always going to be difficult to match the quality of the show’s big well-known hit songs.
Finally, What A Feeling at the end of the show was well worth the long wait to see the iconic audition piece recreated, before a long curtain call and an all-dancing finale which gave everyone a chance to throw some serious moves centre stage (even Ben Adams).
It must be said that these dancers worked harder in the finale than most performers do in an entire show … never mind What A Feeling … What A Dance Show … you would be a Maniac to miss it!
Flashdance runs at the Grand Opera House, Belfast until 25th August
Subscribe to:
Posts (Atom)
Welcome to the BLOG
Into The Spotlight
