Tuesday 11 December 2018

A Christmas Carol (LMTO), Lyceum Theatre | Review


A Christmas Carol (LMTO) 
Lyceum Theatre
Reviewed on Monday 10th December 2018 by Olivia Mitchell 
★★★★★

The London Musical Theatre Orchestra are fast becoming a staple part of my Christmas tradition, with their glorious performances of A Christmas Carol really bringing the joy and festivity of the season to life, and of course, providing a wonderful night of top quality musical theatre.

Based on the classic novel by Charles Dickens and with music by Alan Menken and Lynn Ahrens and a book by Mike Ockrent, A Christmas Carol tells the tale of Ebeneezer Scrooge as he's visited by the ghosts of Christmas Past, Present and Future and is forced to evaluate the way he lives his life. 

Under the expert hand of Freddie Tapner the LMTO bring out all the best parts of this beautifully virtuosic score. Alan Menken's music brings a Disney-esque vibe to the story which actually broaches some dark subjects such as homelessness and poverty, and manages to evoke a whole range of emotions. 


Griff Rhys Jones brings the miserable but endearing Scrooge to life with a wonderful and fresh portrayal. His performance is supremely entertaining and he manages to enthral, even in this semi-staged concert production.

As the hilarious Mr and Mrs Fezziwig (among other characters) Nicolas Colicos and Rosemary Ashe have the audience in the palms of their hands whilst they give supremely humourous and vocally powerful performances. 

The vocal delights on offer in this concert are second to none, with Cedric Neal providing smooth riffs and a delicate but powerful tone that's to die for and Jeremy Secomb bringing the ultimate scrooge to life in a menacing but humourous rendition of Link By Link, in which he shows off his booming voice.  David Hunter is charming as Bob Cratchit alongside the fantastic Caroline Sheen as his wife and Jon Tarcy gives a memorable performance as Young Scrooge.


I'd like to be visited by the three ghosts just to be serenaded by them. Miriam-Teak Lee is sass embodied as the brings the Ghost of Christmas Past to life. Her vocals are super strong and she really brings magic to the stage with her performance. Lucie Jones' voice continually astounds; her clear as can be vocals and stellar diction bring Emily and The Blind Old Hag to the forefront of the show and equally, as the ghost of Christmas Future who never utters a word, Lucie still magnetises the audience and gives a subtle performance that you can't be drawn away from.

The young cast are great, as are the LMTO Chorus who are perhaps the strongest chorus at an LMTO concert yet. Completely in sync throughout their humourous numbers and close harmony pieces, they ground the piece and bring a magnificent Christmas choral feel to the show.

The true festive kindness was shown when two young girls in front of us beamed from start to finish and shared a single sweet between them during the final song. Cheer and love enveloped the theatre throughout this magically festive, and brilliantly performed evening. Get yourself to the Lyceum Theatre next Monday for a jubilant night of theatre. 

A Christmas Carol is on at the Lyceum theatre on Monday 17th December at 4pm and 7.30pm

photo credit: Nick Rutter
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Sunday 9 December 2018

Jack and the Beanstalk, Grand Opera House, Belfast | Review


Jack And The Beanstalk
Qdos Entertainment 
Grand Opera House, Belfast 
Reviewed on Tuesday 4th December 2018 by Damien Murray 
★★★★

Jack’s back!… and so is pantomime in all its traditional glory in this truly spectacular show that remains as magical as Jack’s famous beans … for, it really is the BeansTALK OF THE TOWN! 

The key to the success of any Panto is not only having all of the required elements, but achieving the right balance of its ingredients -staging, spectacle, performance, humour, music, choreography, magic, special effects, sound and lighting etc.,- to make it equally appealing and entertaining to all of its cross-generational audience… and this production has it all with balance finely tuned in all departments. 

However, the most challenging thing about this super slick production was how to give this annual treat a new direction in terms of returning to more traditional values without diminishing the hi-tech appeal and special effects that modern audiences have come to expect and appreciate. 

So, while the humour is more traditionally corny and the re-introduction of both a speciality act and some visual magic adds the degree of old time ‘variety’ lacking in so many current pantomimes, the visual impact of the show-stealing effects embraces more than ‘smoke and mirrors’ to keep the theatrical tricks as hi-tech as possible to impress even the most critical of today’s demanding audience. 

The simple trick of having the ever-present twinkling of lights incorporated into the star curtain on the surrounding set proscenium is most effective in ensuring that the magical feel of panto is always there. 

While the stunningly beautiful sets, lighting and costumes all play a big part in the overall success of this great team effort, the story, which is re-imagined and relocated to Belfast in true panto style with lots of popular local references and jibes, throws up great characters for all, especially the show’s four main principals. 


Now in her 29th year as the pantomime dame at this prestigious venue, May McFettridge (aka John Linehan) remains as popular as ever (in the role of Jack’s Mummy, Dame May Trot) as she effortlessly targets fellow cast members and audience alike with her quick-fire put-downs and, with the addition this year of a video camera, is in her element as she embarrasses her audience victims even more by projecting them onto an on-stage screen during her relentless banter. 

Although this idea brings audience participation to a new level, I must admit that the one type of participation I miss this year is May’s excellent encounters with very young children as she ‘interviews’ them on stage with hilarious, if unpredictable, results. 

As usual, her partner in crime is local actor and pantomime regular, Paddy Jenkins (as her long-suffering husband, Farmer Paddy Trot), who has become an expert at comedy timing and delivery over the years. 

Also big in the comedy stakes is former cruise comic, Rikki Jay (as their son and brother of the more ‘clued in’ Jack), who -with his simplistic one-liners and likeable character- proves a big hit with the children in the audience. 

However, following his outstanding performance in last year’s panto, the quick return of the multi award-winning, David Bedella (as the Giant’s villainous and evil henchman, Fleshcreep) is a masterstroke for the venue as there are few actors as good at being bad as Bedella when it comes to being the ultimate ‘baddie’… without being too scary for the little ones. 


This quartet is ably supported throughout by Joanna O’Hare’s Mother Nature, Georgia Lennon’s Princess Apricot, Michael Pickering’s Jack, an adult ensemble and talented young performers from the McMaster Stage School, while an added attraction is the speciality roller-skating act -Italian duo, Armando Ferriandino and Giovanna Manuela Mar- who bring skill and daring to the show as The Belfast Roller Rollers. 

Under Mark Dougherty’s musical direction, the small 5-piece orchestra work hard on the varied score to offer many musical highlights, including Justin Timberlake’s ever-popular Can’t Stop The Feeling, Talk To The Animals from Dr. Dolittle, an almost obligatory offering from The Greatest Showman, Michael Jackson’s Bad and Frank Sinatra’s My Way. 

With a tight hold on both direction and choreography, Andrew Wright ensures a memorable panto experience for all and while other highlights include the choreographed cow and other farmyard animals (with most realistic costuming), the novelty scene when the squashed Simon sings and dances, the tongue twister tales and the slapstick principal line routine, the show stealers are the appearance of the mighty Giant and that of May’s transportation to the top of the beanstalk, which, as the Act 1 finale, even puts Miss Saigon to shame in terms of theatrical special effects. 

Yes, traditional panto is back in Belfast with a bang (and I don’t just mean the pyrotechnics) and I am so glad that, on her first ever visit to a panto, one of my grandchildren could experience a gigantic spectacular of such quality as this really is Northern Ireland’s biggest and best panto. 

Jack and the Beanstalk runs at the Grand Opera House until Sun 13th January, 2019 

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Saturday 8 December 2018

Nine Night, Trafalgar Studios | Review


Nine Night 
Trafalgar Studios 1 
Reviewed on Friday 7th December 2018 by Olivia Mitchell 
★★★★★

Natasha Gordon has become the first living black female writer to have a play in the West End, and what a beautiful, moving play it is. Nine Night follows a Jamaican family as they mourn family matriarch, Gloria, and discover things about themselves, their relationships and grief. 

 The play looks at the divisions between Jamaican and British culture, modernity and tradition and generational divides. The family dynamic which is so well written, makes each argument and break feel relatable to anyone and subtly gets the entire audience caring for the characters.

 Like all good plays, Nine Night has struck a perfect balance between humour and intensity. Rajha Shakiry's ideally cluttered set is so truthful, with even the hob working as if we're really watching a real family go about their lives. Roy Alexander Weise has got the pacing spot on and managed to highlight all important moments in a nuanced but effective way.

It's the believability of the entire show which makes it so wonderful with the astounding cast giving extraordinary performances. Gordon expertly plays the desperate, grieving daughter, Lorraine; Oliver Alvin-Wilson is the brother Robert, who is trying to keep up appearances and maintain success; whilst his white wife played by Hattie Ladbury is facing the issue of feeling at home and the intricacies of adult life in general. Michelle Greenidge's Trudy is a masterclass in character growth as she grapples with her own insecurities whilst cloaking them in a larger than life manner. Cecillia Noble is commanding as Aunt Maggie and especially believable as she drops in snide but caring comments here, there and everywhere. As Anita, Rebekah Murrell is particularly entertaining.

 This is a truly fantastic, affecting and entertaining piece of theatre that deserves the space its been given plus more. 

 photo credit: Helen Murray
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Friday 7 December 2018

In Conversation With... Sophie Isaacs | Cinderella | Interview

Fresh from starring in the hit musical, Heathers, Sophie Isaac's is getting festive and tackling Panto with Cinderella which opens tonight in Woking  at the New Victoria Theatre. Olivia sat down with Sophie for a festive chat...


You've just finished playing Heather McNamara in Heathers, tell us a bit about that...

It was possibly the best experience I've ever had. Seeing a job from workshops, then to a sold out run at The Other Palace and then transferring to the West End; to see a show develop from the start like that has been incredible and also, it's such a special show that I just adore it. 


Heathers has obviously already been on, but you basically created this version of Heather Mc yourself, so what was the hardest part?

Probably just getting to grips with the character and her journey because she starts off being a Heather, with the not nice aspect of that but her journey means her character changes throughout the show and her interactions with different people affect her. Especially with Veronica (Carrie Hope Fletcher) and that friendship, which really develops. So getting that journey is the most important in terms of making sure she had heart at the beginning, even though it was a little hidden, and gradually bringing that out. 


Did you get a lot of say in the changes in your production of Heathers?
Yeah, we were really lucky. The creative team were unbelievable; so gracious and open to us saying "it doesn't feel natural" but honestly, generally they knew what was right and what was best. They've been with the show for ten years but they were absolutely open to discussion and seeing what works and what doesn't.


Heathers audiences were very different in terms of their live reactions compared to other musical audiences, what was that experience like and do you think it prepped you for the interactive aspect of Panto?
Yes, Heathers was like a rock concert and it's nice because I now won't be put off by people suddenly shouting at me or cheering or being very very involved. We always said that the Heather's audience was the fifth Beatle and pantomime has the fifth Beatle as well, so it was very good prep. 

We didn't know how Heathers would land going from 300 seats at The Other Palace to the much bigger, Haymarket but it was bigger and better which was amazing.


So, Cinderella the Panto- are you excited?
Yes! I put the dress on today and I just cannot wait. The shoes are just stunning, jewelled everywhere, with a monster jewel on the front. I am possibly the biggest Christmas fan on the planet so any opportunity to get festive, I love!


What are your favourite parts of Christmas, do you have any traditions?
Of course the whole, advent calendar and chocolate for breakfast everyday thing. My favourite things are generally food related! Mulled wine, piggies in blankets, I love a buffet.... oh and love a mince pie! Just all of it! 

I was out of the country last year for Christmas and it was awful, I was just so sad cause I wanted to be here with my family so I thought to myself, "what's the most Christmassy thing I can do next year?" and here we are... Panto!


Are you a big Panto fan?
Yeah I love it, absolutely love it. I haven't been in one for years and years and years but the last one I saw was Cinderella. It was in Swindon and my friend was playing Cinderella so it's nice to be doing this now.


So why should people come and see Cinderella in Woking?
You should come to the Panto because it's an amazing night out, it's a time to have a lot of fun with your family; it's festive; there are jokes that mums and dads will get, and jokes that the children will get, so it's fun for all and I think it's going to be incredible!

Cinderella runs at the New Victoria Theatre until January 6th 2019

Interview by Editor, Olivia Mitchell

photo credit: Grahame Larter
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Wednesday 5 December 2018

Hot Gay Time Machine, Trafalgar Studios | Review



Hot Gay Time Machine
Trafalgar Studios 2
Reviewed on Tuesday 4th November 2018 by Olivia Mitchell
★★★★

Fun, flamboyance and festivity, Hot Gay Time Machine is probably the most fun you'll have at the theatre this year (and next year when it'll no doubt be ruling the West End and the world). Conceived by Zak Ghazi-Torbati, Toby Marlow and Lucy Moss, this show is a ridiculously humourous look and laugh at life as a hot (privileged) gay. With a pink carpet and sparkles abounding, Trafalgar Studios becomes the time machine as Zak and Toby travel through a series of iconic moments in their lives, accompanied by a catchy, riotous soundtrack.

Zak and Toby have done an outstanding job of creating a show that feels fresh, modern, exciting, wild and amusing but also has moments that are moving and informative.  Alongside innuendos and outright unruly behaviour there are sweet moments about gay-splaining and coming out which are looked at with sincerity and fun.


Asides from the fantastically witty writing, it's the chemistry between the pair which makes this show a surefire success. The duo bounce off one another as if the whole show is impromptu, and there are a number of moments where they ad lib and give one another knowing glances that just add to the already extra humour. Toby deftly plays the piano whilst singing his soul off and Zak provides vocals for days as well as witty one liners and harmonies to give you life. 

In all honesty there's not much  more I can say about this show other than: GO SEE IT. If you want to laugh your face off and have 75 minutes of pure, unadulterated, gay fabulousness alongside absolutely stellar performances, Hot Gay Time Machine is the show you need in your life. Go now or commit a small hate crime.

Hot Gay Time Machine runs at Trafalgar Studios 2 until January 5th 2019

photo credit: Pamela Raith
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Tuesday 4 December 2018

Striking 12, Union Theatre | Review


Striking 12
Union Theatre 
Reviewed on Monday 3rd December 2018 by Olivia Mitchell 
★★★★

Now we've entered December, the festive shows on offer are really stepping up, with the Union Theatre's Striking 12 providing a festive but not in-your-face-Christmas 90 minute story to warm hearts and have toes tapping. 

With an eclectic score by Brendan Milburn and Valerie Vigoda's this re-telling of Hans Christian Anderson's The Little Match Girl, switches between a contemporary New Year's Eve and the 1840s New Years Eve where the Anderson tale is set. 

Declan Bennett plays Brendan, a man who dislikes NYE as he's haunted by memories of his ex-fiancé; whilst home alone, he reads the Anderson tale and is reminded of the importance of giving and sharing. Bennett is vocally powerful and gives an admirable performance despite some sound issues, especially towards the start, which made him hard to hear. 


In the 1840s setting, Bronté Barbé plays the Little Match Girl with a sweetness and sincerity that the audience can't help but be drawn to, and in the modern setting, she plays an equally kind and appealing character  as a girl selling seasonal lightbulbs. Barbé's effortless vocal performance is utterly mesmerising to watch and, helped by Alex Lewer's lighting, really evokes the warm feeling we all desire at Christmas. 

The rest of the cast are made up by Andrew Linnie on piano, with Danielle Kassaraté, Kate Robson-Stuart and Leon Scott acting as narrators, secondary characters and musicians in a series of seamless turns and twists. The trio do an outstanding and humourous job of moving the story forward and work extremely well together in the small space of the Union.


Whilst the cast are very strong and the story is sweet, there are a few faults with this production, mainly that the overarching story, doesn't have much oomph as it lacks emotional depth. Our leading man spends the entirety of the show reading about the struggles of the Little Match Girl so that he eventually becomes a 'new man'. However, he wasn't bad to start with, at least, from what we see. Other than turning away the young girl selling light bulbs, there isn't a scrooge-like aspect to him so his transition doesn't feel overly effective. There's also a number of mentions of his ex-fiancé which aren't explored, so again,  have little impact.  

However, even with these issues, the story is super sweet and with a couple of tweaks could be a real hit. To combat those winter blues, and get a fuzzy feeling inside, be sure to take a trip to the Union Theatre and spend 90 minutes with Striking 12.

Striking 12 runs at the Union Theatre until 23rd December 2018

photo credit: Tom Grace
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Monday 3 December 2018

A Christmas Story: The Musical, Waterloo East | Review


A Christmas Story: The Musical
Waterloo East
Reviewed on Saturday 1st December 2018 by Olivia Mitchell 
★★★

A stage adaptation of the 1983 film, A Christmas Story: The Musical follows young Ralphie who's sole Christmas wish is to receive a Red Ryder Carbine Actin 200-shot Range Model Air Rifle. Besides that there's pretty much no story other than a boatload of coming of age tropes, including bullying, classroom issues and family arguments. It's a simple show, which doesn't contain anything groundbreaking but is well performed by the cast.

The main story is focussed on Ralphie and his family unit who are struggling during the Depression but are still hopeful for a merry Christmas. Ralphie's mother sings stereotypically about a mother's work and his younger brother refuses to eat whilst his father wins a leg lampshade in a crossword competition- random indeed. 

Whilst very different in tone to their other works, and particularly less memorable, the music of this show is by highly successful writing duo, Pasek and Paul (The Greatest Showman, Dear Evan Hansen, La La Land) who have provided some charming but repetitive pieces, which despite being somewhat uninspired, do evoke a warm, festive feeling.


The cast are really what make this show. The children (at this performance: Harry Irving, Edward Flynn Haddon, Evan Huntley-Robertson, Flynn Timberlake, Chloe Weir and Sofia-Elena Tait) are full of energy and cheer as they rattle around the stage with young glee and excitement for impending Christmas celebrations. Sofia-Elena Tait is a particular standout throughout. Leading the show as Ralphie, Rufus Kampa is very strong as he barely steps off stage and provides some lovely vocal moments. As Farkus the bully of the school, Bradley Riches is wonderful, and even more so as he shows off his humourous side as an elf who is certainly not loving his life. It's just a shame Bradley doesn't have a little more stage time as he really shines among the cast.

The adult cast who make up the rest of the show are great. Lucyelle Cliffe brings a real warmth to her role whilst her partner, Simon Willmont brings humour as well as sincerity in his solo moments where he just longs to be someone special. Garry Freer narrates the show well, whilst, Jenny Gayner astounds as the hilarious Miss Shields, and performs potentially the best number of the show with her act 2 tap dance (choreographed by Rhainne Butts). Katy Stephens is also strong in her various roles and again, it would be nice to see more of her. 

Despite it being a different time and place, there's something jarring about a number of songs focussing on a gun; some transitions are a little clunky and the story is basically non-existent, but thanks to the strength of the performers, I think we can let those things slide and appreciate A Christmas Story: The Musical, for the injection of festivity that it is.

A Christmas Story: The Musical runs at Waterloo East until 22nd December

photo credit: Robert Piwko
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Carmen, Royal Opera House | Review


Carmen
Royal Opera House 
Reviewed on Friday 30th November 2018 by Olivia Mitchell 
★★★

Twisting Carmen on it's head, the Royal Opera House's revival of Barrie Kosky's production brings modernity, a narrator, simplicity and vibrance together to create a fresh and mostly effective production. 

Taking the place of the original dialogue/recitative is new text performed by pre-recorded narrator, Claude De Demo who sounds sultry and gives vibes of Carmen herself. Whilst this narration does bring a flow and more typically theatrical feeling to the show, overall Carmen does feel somewhat un-cohesive as it tries to be a bit too clever for it's own good. 

Katrin Lea Tag's set comprises of a vast stair case which covers the stage and prompts us to use our imaginations to see the tobacco factory and other settings. The simplicity effectively highlights the performances and provides a great backdrop for more dramatic and colourful moments of action; although at times it seems in the way of the flow of the show. There are times where the performers are legging it up the deep steps, that it feels there would be much less struggle and more payoff if they were not the main entrance, exit and focal point throughout the entire production.


Performance wise, this is an incredibly strong production. Stepping in last minute as Carmen, Gaëlle Arquez is astounding. From the various sleek costume changes from a pink matador, to a gorilla, to a suit and various dresses; to the elegant way she crosses the stage and of course her powerful but vulnerable vocals, Arquez demands to be seen in the title role. Brian Jagde brings an equally commanding passion to Don José but at times lacks characterisation that would bring a more menacing and psychologically commanding aspect to the character. With his booming bass and charismatic performance Alexander Vinogradov as Escamillo makes it clear why Carmen would choose him over Don José.

Otto Pichler's choreography emphasises the Cabaret theme which runs throughout the show, with six dancers who work hard to showcase various dance styles. There are moments when the choreography really works, creating a frantic, popping energy.


A melting-pot of movie, musical and pop culture references, this production of Carmen does a good job of refreshing and modernising the opera but feels at times that in attempting to be too accessible that it instead becomes unaccessible. 

Carmen runs until 22nd December at the Royal Opera House

photo credit: ©ROH. Bill Cooper
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Sunday 2 December 2018

Lea Michele and Darren Criss (Concert), Vicar Street, Dublin | Review


Lea Michele and Darren Criss (Concert) 

Vicar Street, Dublin 
Reviewed on Thursday 29th November 2018 by Damien Murray
★★★★

It is not often that you get not only one, but TWO Broadway and former Glee stars sharing a concert stage together in Ireland.

However, so good a time was had by both in Dublin on the last Glee tour that – ahead of their LM/DC concert tour dates in the UK – Lea Michele and Darren Criss (aka Glee’s Rachel Berry and Blaine Anderson) decided to open their latest joint tour in the Irish capital. 

Although the venue was a relatively intimate one for such a popular attraction, it proved to be a perfect choice for this talented twosome to display the wide-ranging vocal ability that they each possess and – being a rock venue (a ‘first’ for Michele!) as opposed to the more theatrical surroundings that they are used to – it was a totally less formal affair for an opening night and made for a more relaxed and fun-filled atmosphere for both the audience and performers alike. 

While Gleeks and musical theatre fans turned out in force from all corners of Europe to enjoy this ‘Glee-ful’ trip down memory lane, there was so much more to this concert than the Glee and musical theatre input, with the inclusion of a selection of rock and pop songs representing either songs they performed in the iconic television series or those they wished they had performed … and either songs they had written or those they wished they had written. 

Backed by a tight 4-piece band, the dynamic duo did not disappoint in this eclectic night of music, with around 2 dozen songs during the 2-hour performance. 


The relaxed mood also allowed for lots of stage banter from the pair (although I was surprised at some of the colourful language being used) and their individual personalities shone every bit as much as their singing skills with jokes about the tour being called the Nick Jonas and Idina Menzel Show because of their similarity in looks to these stars. 

Neither could conceal their obvious excitement at being back in Ireland again and, during her solo set, Michele became openly emotional at one point and surprised many by revealing some secrets about herself, including that she is very nervous during shows and that she needs a wide range of liquids on stage to aid her vocals … and that she, too, is a Gleek! 

Opening with soaring vocals in two classic Broadway duets - Sondheim’s Broadway Baby and Suddenly Seymour- the duo’s softer harmonies came into play and were perfectly suited to their third choice, Falling Slowly (The Swell Season’s Once); a popular choice for a Dublin audience as it is a story set in the city and written by local singer/songwriter, Glen Hansard. 

Lea's solo set was very entertaining with pop songs like Cannonball and Lady Gaga’s Poker Face/Edge Of Glory alongside a show-stopping trio of musical theatre classics, including belters like Don't Rain On My Parade and Maybe This Time, and, while it may have been a rock venue, you could have heard a pin drop during her beautiful vocals in an Eva Cassidy style rendition of Over the Rainbow.

Accurately describing the show as ‘a celebration of all types of music’ during his solo set, Criss, who often accompanied himself on guitar and piano, was really at home in a rock venue and, in addition to some of his own compositions (of which Going Nowhere was an undoubted highlight), offered some surprises in re-imagined and improbable versions of musical evergreens, Hopelessly Devoted To You, and I Dreamed A Dream.


Keeping the set list fresh and, to a degree, unpredictable, Criss has made a point since the tour began in May of throwing in a new song each performance that is appropriate in some way to the gig location on any given night. 

With so many great songs having emerged from Dublin over the years, he had a difficult job deciding which one to perform … So, he ended up giving a musical nod to the city with a short rendition of a Thin Lizzy hit and a full version of U2’s I Still Haven’t Found What I’m Looking For. 

The duo reunited on stage for the finale, which featured the last song that Rachel performed in Glee, This Time (written for her by Criss), and one of the earliest songs from the series, The Human League’s international chart-topper, Don't You Want Me. 

The encore also proved to be a highlight, and a surprising choice, with a totally acoustic and unamplified version of Bob Dylan’s Make You Feel My Love as a final little love note to the fans. 

Overall, peppered with interesting little anecdotes from their past, this was a fun-filled night full of surprises, musical and otherwise, and a chance to hear two incredible and quite different young stars doing what they love so perfectly. 
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Friday 30 November 2018

The Nutcracker (UK Tour), New Victoria Theatre | Review


The Nutcracker (UK Tour)
New Victoria Theatre
Reviewed on Thursday 29th November 2018 by Olivia Mitchell 
★★★★

As the festive season steps up a gear, it seems only fitting that The Nutcracker should be required viewing, and the Northern Ballet's current production provides festivity and magic in abundance. David Nixon's choreography and a sublimely talented cast make this an enchanting show, which exudes youth and generates a true feel-good factor. 

The Northern Ballet Sinfonia lead the show musically with control and effectiveness. Showing off Tchaikovsky's stunning score, they are led fearlessly and faultlessly by Brett Morris.

Other than the dancing, this is a visually stunning show thanks to Charles Cusick Smith's inventive and luxurious set which not only frames the choreography but adds another level of intricacy and interest. Act III's Garden of Delights is especially mesmerising thanks to the beautiful tones of burgundy, gold, peach and green which are woven into both the set and costumes (David Nixon). The Russian Cossacks, French Ballet Dancers and Arabian Princesses are all incredibly unique in design but work cohesively to create a strong flow throughout. 

Despite these intricacies, the more simplistic moments are also incredibly moving, such as the Pas De Deux between the Sugar Plum Fairy (Antoinette Brooks-Daw) and Cavalier (Kevin Poeung) which despite being surrounded by opulence, is purely focussed on the faultless ballet. 

Ommaira Kanga Perez's beaming smile and innocent attitude is perfect for the young Clara who is overwhelmed by a world of magic and sparkle, just like the audience watching her.  Literally brought to life by glitter, our Prince, Riku Ito is outstanding. Mention also goes to Harris Beattie and Natalia Kerner who caught the eye from the start, Mlindi Kulashi who is suitably mystical and attractive as Drosselmeyer and the Mouse King (Lorenzo Trossello) who gave a fully humourous performance, including flossing which brought the piece right up to date.

The Northern Ballet's production of The Nutcracker is a real treat of a show that has magic and enchantment that will keep both adults and children entertained and enthralled.

 The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.

 photo credit: Emma Kauldhar
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Tuesday 27 November 2018

Seussical, Southwark Playhouse | Review


Seussical
Southwark Playhouse
Reviewed on Tuesday 27th November 2018 by Olivia Mitchell 
★★★★

Seussical is a colourful whirlwind of a musical which takes the works of  Dr. Suess and winds them into a magical, heartfelt story of acceptance and love. We follow JoJo, a Who with a larger than life imagination who, along with the rest of the Whos, live on a tiny speck of dust which is found by Horton the elephant. Horton vows to protest this speck with all his might which leads to a story of ups and downs and a whole host of characters.

Aesthetically this is a beautiful production. The pops of colour both in the set (Justin Williams and Jonny Rust) and the costumes (Rachel Cartlidge) really emphasise the story book feel and bring this wacky world to life in an over the top but never tacky, way. The costumes cleverly differentiate the characters without becoming cliched or predictable.

Marc Pickering leads the cast sublimely as the Cat in the Hat. Absolutely commanding every inch of the stage he touches and demanding the audiences attention with every brow raise and smirk; he is utterly hysterical and clearly born to be seen. Amy Perry is sincere and relatable as Gertrude, Anna Barnes is suitably energetic as JoJo and Adam Dawson and Daisy Steere are outstanding as Mr and Mrs Mayor and they totter around the stage with humourous aplomb. 


Scott Paige is endearing and vocally faultless as the lovable Horton and it's great to see him helming a show after standing out in Eugenius and The Addams Family. Paige brings a heart and warmth to this story that makes it the perfect show for a cold winter evening. The entire cast are enthusiastic and full of life from the get go; with tasteful audience interaction, energetic, sharp and fitting choreography (Chris Whittaker) and a boatload of originality, they make the production sleek and engaging.

Captivating and innovative, Seussical is a musical for all the family that is sure to delight and enthral from start to finish. Presenting an over the top look at some crucial and relevant social issues, it's a show for everyone, that is extremely well thought out and will leave you feeling warm inside, with a smile so wide.

Seussical runs at the Southwark Playhouse until 29th December 2018

photo credit: Adam Trigg
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Monday 26 November 2018

Glyndebourne's Cendrillon (UK Tour), New Victoria Theatre | Review


Cendrillon (UK Tour)
New Victoria Theatre 
Reviewed on Friday 23rd November 2018 by Olivia Mitchell 
★★★

Fiona Shaw takes the lead in directing Glyndebourne's first production of Massenet's ravishing fairytale, and turns it somewhat on it's head. The line from the opera "don't be ordinary, nor too original" feels very fitting for this production which has moments of magic but doesn't leave you utterly wowed. 

From the get go, the show is a little frantic, with lots of action but no clear centre for us to focus on. Whilst this does make the later scenes of peace and tranquility more affecting, it sometimes feels unnecessary and indulgent.  However, the act one scene of the Stepmother and Stepsisters preparing for the ball, is perfectly overindulgent, just like the characters. Social media obsessed, snapping selfies throughout the whole process and getting padded up to the nines a la the Kardashians, Agnes Zwierko, Eduarda Melo and Kezia Bienek are humourous, vocally excellent and suitably annoying.

Also well performed is the relationship between Cendrillion and her country-loving, spineless father played by William Dazeley. The pair are tender with one another and Dazeley provides some comic relief as he tries to stand up to his wife. Alix Le Saux and Eléonore Pancrazi are convincingly youthful as Cendrillon and the Prince as they perform with heart and passion.


The real star of the show is soprano Caroline Wettergreen as the Fairy Godmother. Dressed in an Elsa-esque coat, with braided hair and sparkles adorning her face; Wettergreen casts spells before reclining in her chair with a cigarette and is perfectly nonchalant but magical. Her coloratura is outstanding and the oak tree dance in act three really shows off her voice, as well as Sarah Fahie's choreography which is perfectly timed with every trill and ornament.

Jon Bausor's set brings not only magic to the stage but makes it feel expansive. The use of mirrors throughout, transports us to a huge ballroom and makes the stage seem double the size it truly is. Small details such as the butterflies symbolically appearing across the stage, alongside Anna Watson's clever use of projections do bring an element of magic as well as keeping the stage uncluttered with unnecessary props.

The ultimate magic of Cendrillon is truly Massenet's gloriously sumptuous score but this production does a good job of making the classic fairytale more psychological as well as retaining the mystical feel we desire, especially at this festive time.

photo credit: Richard Hubert Smith
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Saturday 24 November 2018

A Stagey Guide to Singing... Mané Galoyan | La Traviata | Interview

Mané Galoyan is currently helming the UK tour of Glyndebourne's La Traviata where she plays the heartbreaking character of Violetta. Watching the opera, one thing was evident: Mané's voice and technique are second to none, so I jumped at the chance to get some inside information and tips all about singing from the lady herself...



Can you tell me a little about your vocal journey and training?
I started voice and piano lessons at the age of 9 and I’ve always been lucky because I had the best teachers. I hold my Bachelor’s and Master’s degrees from Yerevan State Komitas Conservatory, after which I was a studio artist at Houston Grand Opera for its 2015/16, 2016/17 and 2017/18 seasons.


Violetta is a vocally demanding role, how do you maintain your voice and vocal health?
For me, the only thing that is very important is a good night’s sleep. Since our instrument is our body itself, we just need to treat our body with respect and care, but nothing is better then a good night’s sleep and healthy food. Other than that, I live my life as I normally would (without any extremes, of course! ha ha)


Violetta is also an extremely emotional role, how do you distance yourself from the emotion so your voice remains strong and you're not overly affected by it personally?
The truth is, you can’t fully distance yourself from Violetta. It is an extremely relatable role and I remember when I first started working on the score I was sobbing reading through the text. But it is important to understand that you are not the character – you are just the one who gives voice to the character and keeps it alive. It is indeed a fine balance to keep the emotions and the technique on the same level, but that is the challenge and of course the rehearsals are there to help you to find it!


What is your pre-show warm up like?
I usually do at least 5-10 minutes of yoga to stretch my body and warm it up first. It’s much easier to warm up your voice after your body is warmed up and your breath is going. And then some humming, a couple of scales, check in with the score and ready to go!


Who is your dream duet partner?
A partner who is always present dramatically and who I can make beautiful music with! And right now I am very lucky to have Luis Gomes as my partner in La Traviata. He is the best!


If you could describe performing in 5 words, what would they be?
Sharing, living, exciting, transforming, loving.


What's your top piece of advice for aspiring singers?
Always be open to accept feedback from the professionals around you, but never forget to listen to your own intuition…

La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.

 Interview by Editor, Olivia Mitchell


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