Friday 14 December 2018
Aladdin (Panto), New Wimbledon Theatre | Review
Aladdin (Panto)
New Wimbledon Theatre
Reviewed on Tuesday 11th December 2018 by Becca Cromwell
★★★
Panto season is upon us once again, and this year at the New Wimbledon Theatre, we are transported to Old Peking in Aladdin.
We are first introduced to the wickedly evil Abanazar (Adam Pearce), who explains that Aladdin is the 'Chosen One', and must go into the cave to collect the magic
Then comes along Blue's Lee Ryan, most recently of Strictly fame, who plays the title character of Aladdin, a peasant boy who dreams of marrying the Empress (Linda John-Pierre)’s daughter, Jasmine (Lauren Chia). However, his brother Wishee Washee (played by magician Pete Firman) has the same ambition. Have I Got News for You's Paul Merton plays Widow Twankey, and provides more laughs than everyone else put together. Unfortunately, it's the unscripted lines that are funnier than the script itself. With quick witted, hilarious responses to hecklers, he keeps the audience in stitches.
Pete Firman, who is better known for being a magician on ITV1's The Next Great Magician, does a pretty good job of the comedy sidekick. Magic tricks are thrown in for good measure, thoroughly entertaining everyone.
Everyone in the show gives a good performance, and the team of dancers are spectacular. We are treated to renditions of Defying Gravity and One Love as well as some new music written specially for the show. In one particular scene, we even see Lee Ryan come out over the audience, which brings a smile to most people’s faces.
The pantomime features a 3D screen with various special effects such as the Genie and a second magic carpet ride, which is an impressive feat and something relatively new to pantomime.
However, the special effects are more suited to a horror film than a family pantomime, with some children in the audience screaming in terror, rather than amusement. The second carpet ride taking five minutes, does drag and feels like a filler.
At times the show is lacking. For example, an actual genie rather than a 3D animation, or an actual story that is easier to keep up with.
As this is pantomime, all ends happily ever after with Abanazar turned good and Aladdin and Jasmine married. Its an overall entertaining evening with plenty of laughs and jokes for all of the family. Even the teenagers enjoyed it.
Aladdin runs at the New Wimbledon Theatre until January 6th 2019
photo credit: Craig Sugden
Thursday 13 December 2018
Cinderella (Panto), New Victoria Theatre | Review
Cinderella (Panto)
New Victoria Theatre
Reviewed on Wednesday 12th December 2018 by Olivia Mitchell
★★★★
In the world of Panto, I am a total newbie having only seen a couple in my life. So the way I judged Woking's festive offering was by the reactions of those around me and they seemed to love the humourous, slightly magical and well characterised show.
Alan McHughes book keeps to the classic roots of Cinderella, switching up for comedic effect but never really bringing anything new or fresh to the story. It does however, remain fluid and entertaining. With the Act 2 performance about what life would be like for the characters if they had other jobs, was highly enjoyable and a stand out moment.
A lot of the show is based around Craig Revel Horwood's character, Baroness Hardup who graces the stage in a number of bedazzled gowns, accompanied by the Strictly Come Dancing theme tune and a barrage of dry humoured jokes. Craig gives the performance we expect and does a good job as the villain we love to hate. Although I would've liked to hate him a little more.
Suitably named stepsisters, Tess and Claudia are well played well by Suzie Chard and Wendy Somerville, with mockery and flounceyness used to a T, but are underused and lack the opportunity to really come to life.
Despite some book related flaws, the cast are highly energetic and enthusiastic, doing a fantastic job of livening up the audience without becoming a complete cheese fest. As the title character, Sophie Isaacs gives a truly royal performance both vocally and characterisation wise and is matched in charm by the swoon worthy Oliver Savile who brings his Fiyero vibes to Prince Charming.
Stealing much of the show are Paul Chuckle and Phil Butler as Baron Hardup and Buttons. The pair bounce fantastically off of one another and ensure a steady banter which translates well between the two and the audience. What the script lacks in story, is made up for with the spades of fun these two bring to the New Victoria stage.
Cinderella is a festive treat for all the family that of course, uses Panto tropes but doesn't make them overbearing and instead brings a lighthearted show to life with ease, fun and energy. With dancing pumpkins, flying horses and sparkles upon sparkles, there's sure to be something for everyone in this production.
Cinderella runs at the New Victoria theatre until 6th January 2019
photo credit: Ian Olsson
Kinky Boots (UK Tour), Edinburgh Playhouse | Review
Kinky Boots (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 11th December 2018 by Liv Ancell
★★★★★
Audiences at the Edinburgh Playhouse are being transported straight to the Price & Sons Shoe Factory in Northampton this December, to a time and place where drag queens and shoemakers collide in spectacular fashion, in what is a truly unique and special tale.
Kinky Boots has boldly strutted into town and delighted the Edinburgh Playhouse’s audiences since opening night on 11th December. With original music & lyrics by Cyndi Lauper performed by a diverse cast eager to impress, it is impossible not to get swept up in the drama and excitement of this unique spectacle.
The promise of the show’s eponymous red kinky boots seems far off at first, as the curtain rises to reveal the gritty factory belonging to Price & Sons, practical shoemakers. Here we meet Charlie Price, who was portrayed brilliantly by the energetic and tone-perfect Joel Harper-Jackson.
Set design (by Tim McQuillen-Wright) convincingly transforms the stage between its main two states: a working shoe factory and an intimate drag club. This reinforces the contrast between the very different worlds of protagonists Charlie and Lola, as the story dips in and out of Charlie’s tough reality and the exciting world of the exotic drag queen, Lola.
Speaking of Lola, Kayi Ushe who played the show’s famous red-boot bearer on the night stole the show in spectacular fashion. With his perfectly placed sashays, sassy one liners and full range of emotions, Kayi Ushe put on a winning performance in what is undeniably an extremely demanding role. From booty drops to belting out ballads, deadpan put-downs and effortless switches between the character’s macho masculine and drag-queen personas - sometimes done in the very same breath - the audience was absolutely blown away by the level of talent and professionalism Kayi brought to the performance.
Another notable performance in the show was that of Coronation Street veteran Paula Lane, who stepped into the fun role of homegrown Northampton pocket rocket Lauren. Her rendition of The History of Wrong Guys - just one of the show’s long list of incredibly catchy tunes - was underpinned by well-delivered slapstick elements which caused hilarity among the audience.
Lola’s cast of utterly fabulous drag queens, a.k.a The Angels, proved that when drag and theatre cross-over, the result is electric. Played by the kick-ass combination of Connor Collins, John J. Dempsey, Damon Gould, Joshua Lovell, Chileshé Mondelle, and Toyan Thomas-Browne, The Angels left the audience in utter wonderment with their sharply executed choreography. Their performance should almost come with a warning that mere mortals should not attempt their high-tempo sequences of squats, drops, jumps, sashays and moves at home. Not to mention the Angels’ costumes (costumes by Gregg Barnes) which would have put even Ru Paul’s Drag Race contestants to shame, with their dazzling glitter and unashamed flamboyance.
The story of Kinky Boots has its glorious ups, its poignant downs, and beautiful nuances of human emotion which eclipse the themes of loss, love, acceptance and even, the challenges of running a family business. The cast perfectly led us along the full spectrum of emotions, and put on a visual feast for the whole audience. A particular highlight for me in terms of staging was the boxing scene, where strobe lights helped to paint a particularly tense and dramatic scene.
I’ll leave the rest under wraps; this show is an absolute treasure box of surprises, laughs, and delights. The cast and production is of the highest standards and quality rarely seen outside of the West End or Broadway. If you’re looking for a little sparkle and escapism on a cold December evening in Edinburgh, there truly is no better place to be.
Kinky Boots runs at the Edinburgh Playhouse until January 5th 2019
photo credit: Helen Maybanks
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
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
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
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
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
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
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
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
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
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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