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Galloping Through the Heart: War Horse Stirs the Soul
Wednesday, 15 January 2025
War Horse (Tour)
New Victoria Theatre
War Horse returns to the stage with all the emotional resonance and technical mastery that have solidified its place as an iconic theatrical experience. Directed by Tom Morris, with revival direction by Katie Henry, this production feels especially poignant in today’s world, where themes of resilience, connection, and hope resonate more profoundly than ever.
The centrepiece of this production is the breathtaking puppetry, crafted by the visionary Handspring Puppet Company. Joey and Topthorn are engineering marvels, made from lightweight materials that allow for lifelike movements while retaining a skeletal elegance. Each flick of an ear, swish of a tail, and laboured breath is brought to life by the outstanding puppeteers. Matthew Lawrence (Joey- Head), Rafe Young (Heart), and Felicity Donnelly (Hind) infuse Joey with a remarkable blend of power and vulnerability, while Rianna Ash (Head), Chris Milford (Heart), and Thomas Goodridge (Hind) give Topthorn a commanding presence that is as awe-inspiring as it is poignant. It's quite amazing how quickly you fall in love with these animals, and just shows how effective the puppetry is.
The lighting design (Rob Casey), masterfully executed, plays a crucial role in elevating the production’s emotional intensity. Harsh, angular beams during battle sequences evoke the chaos of war, while softer, golden hues in pastoral scenes create a sense of peace and nostalgia. The transitions are seamless, guiding the audience’s emotions as effectively as the narrative itself.
The atmospheric sound design and Adrian Sutton’s stirring score further immerse the audience, evoking the thundering hooves of cavalry charges and the haunting quiet of the battlefield. The interplay of sound and visuals heightens the emotional impact, ensuring each scene lands with maximum resonance. While there are moments where the graphics feel a little basic, they do fit with the general vibe and can't really detract from such a wonderful production.
Joey’s foalhood is depicted with exquisite charm by Eloise Beaumont-Wood (Head), Diany Samba-Bandza (Heart), and Jordan Paris (Hind), whose synchronised movements perfectly capture the playful innocence of a young horse.
Another heart of this emotionally charged production is Tom Sturgess as Albert Narracott, whose heartfelt performance anchors the story with warmth and authenticity. Sturgess masterfully captures Albert’s unyielding determination and deep bond with Joey, imbuing the character with a raw vulnerability that resonates throughout the play. Whether he’s expressing tender affection for his beloved horse or grappling with the horrors of war, Sturgess commands the stage with a magnetic presence that keeps the audience firmly invested in Albert’s journey. His portrayal adds an essential human dimension to the sweeping narrative, making the connection between man and horse all the more poignant.
This production transcends traditional storytelling, blending artistry and innovation into a truly immersive experience. As one character wisely observes, “Where there’s life, there’s hope.” In a world fraught with uncertainty, War Horse is a timely reminder of our shared humanity, perseverance, and capacity for love.
From the remarkable puppetry to the evocative lighting and sound, War Horse is a technical and emotional triumph that gallops straight into your heart. This is theatre at its finest- unmissable and unforgettable.
★★★★★
Reviewed on Tuesday 14th January 2025 by Olivia
Photo Credit: Brinkhoff-Moegenburg
{AD PR Invite- tickets gifted in exchange for honest review}
Everything You Could Ask For in a Panto: Sleeping Beauty at the New Victoria Theatre REVIEW
Thursday, 12 December 2024
Sleeping Beauty (Pantomime)
New Victoria Theatre
The New Victoria Theatre’s Sleeping Beauty was a beautifully crafted production with amazing scenery, atmospheric lighting and flamboyant costumes; it was everything you want a panto to be. From the playful delightful Royal magician (Richard Cadell), Spirit of Dreams Dame played by the national treasure himself Christopher Biggins, to the wicked Evil Sorceress Carabosse delivered by the talented Faye Tozer, everything was wonderful.
To hear the adult’s laughter and the children’s screams of delight was a jubilant piece of escapism from a very grey world of doom and gloom. All the cast were fantastic in their differing roles and together, they transformed the theatre into a magical sanctuary of joy and fun for everyone. It was funny throughout with hilarious one liners that didn’t veer into political territory as is sometimes the case. Instead it focussed more on colloquialism of the local towns and surrounding areas of Woking and general life experiences, which were really effective and brought the audience to tears of laughter. Particular mention must go to the inventive stage design and special effects; the 3D scenes with the helicopter and the dragon were so effective, they had the front rows cowering!
Another real hit with the audience was Sooty accompanied by Sweep and SOO, it certainly transported me back to being a young child and loving that little puppet so much that you begin to believe that they are real, well aren't they? Special mention of course must go to Richard Cadell as Muddles and Faye Tozer as Carabosse. Muddles really galvanized the plot together with brilliant funny one liners, his magical illusions, excellent timing and great engagement with the audience. Tozer as Carabosse made an excellent villain and to be honest was not a role I had thought would naturally suit Faye, but how wrong was I. She delivered both excellent acting and singing- a perfect Panto villain. The rest of the cast equally delivered solid performances. Prince William made a great leading man with a Bridgerton air around his persona and a great singing voice, with both the King and Queen delivering a majestic and humorous performance, Princess Aurora, as the love sick princess being completely oblivious of Muddles’ crush on her and his feelings. With Christoper Biggins delivering a masterclass of being a Panto Dame, as the spirit of dreams whilst precariously hanging in the air above the stage.
I left the theatre in a much happier place after seeing the Pantomime, it made me vow to myself that I would make a promise to upkeep the British tradition of of going every year, after not going to for such a long time. I left the theatre with ringing in my ears of cries of delight "look behind you", "I feel good", "Oh no you don't "and "Goodbye Biggins " and with the whole audience dancing to ‘Tragedy’. In summary- I absolutely loved it!
If you want a feel good feeling, sprinkled with a festive fairy dusting of humour and fun, then Sleeping Beauty is the panto for you! A definite 10/10!
★★★★★
Reviewed on Tuesday 10th December by Glenys Balchin
Photo Credit: Ian Osslon
{AD PR Invite- tickets gifted in exchange for honest review}
The West End’s Most Stylish Show? The Devil Wears Prada Musical Delivers Glamour and Heart
Friday, 6 December 2024
The Devil Wears Prada musical delivers a dazzling blend of nostalgia, fresh storytelling, and powerhouse performances- a night out that even Miranda Priestly might deem acceptable"
The Devil Wears Prada
Dominion Theatre
When adapting a cultural phenomenon like The Devil Wears Prada, the stakes are high. Fortunately, this musical adaptation succeeds in channeling the charm and sass of the beloved 2006 film while refreshing the story for modern audiences. With a talented creative team led by Elton John (music), Shaina Taub/Mark Sonnenblick (lyrics), and direction/choreography by Tony Award-winning Jerry Mitchell, the musical brings a vibrant mix of fashion, drama, and heartfelt character development to the stage.
One of the show's strengths lies in its balance of homage and reinvention. Fans of the movie will appreciate iconic nods like the cerulean sweater monologue and Andy’s stunning transformation, while new elements ensure the production feels fresh. For example, Andy's struggles with her weight are taken out, reflecting contemporary sensibilities. Similarly, the character of Nigel (played with warmth and depth by Matt Henry) has been given more of a backstory, highlighting his journey as a gay man and his profound love for fashion. These updates add layers of relatability and emotional resonance to the narrative.
Another welcome change is the improved portrayal of Andy’s boyfriend, Nate (played here by Rhys Whitfield). In the film, he’s often criticised for being unsupportive, but here he’s a far more sympathetic figure, expressing his emotions and making genuine efforts to support Andy as she navigates the high-stakes world of Runway magazine. These tweaks make the story feel less dated and more nuanced.
The cast is a powerhouse, led by Georgie Buckland, who shines as the ambitious and relatable Andy Sachs; her vocals are fantastic and she does a great job of showing Andy's journey and development throughout. As recently promoted assistant Emily, Amy Di Bartolomeo completely steals the show. Her razor-sharp wit and impeccable comedic timing make every scene she’s in a delight, and her big number is a standout moment that earns thunderous applause; her vocals are astounding and she truly shines in every single moment. Vanessa Williams as Miranda Priestly is commanding and effortlessly stylish, capturing the character’s icy exterior and surprising moments of vulnerability with finesse. Universally, the cast are really strong with a number of member multi-rolling to great effect.
Visually, the show is a feast for the eyes. The costumes-unsurprisingly-are spectacular, Gregg Barnes has done a stellar job of bringing high fashion to life on stage. The gala scene, paired with the title number 'The Devil Wears Prada', is a jaw-dropping spectacle where the wardrobe truly takes centre stage. The lighting design (Bruno Poet) is equally impressive, often framing characters as though they’re mannequins in a window display- a clever and effective visual motif that underscores the story’s themes of image and identity.
Elton John’s score is undeniably fun, packed with witty lyrics and catchy melodies. While it doesn’t push the boundaries of musical theatre, it fits the show perfectly, delivering the energy and humour fans expect. Numbers like 'How to Survive at Runway' and 'Miranda Girl' capture the glitzy yet cutthroat world of fashion, while more introspective songs give the characters room to breathe and connect with the audience.
This production knows its audience: die-hard fans of the film and lovers of fashion will relish every moment, but it also has the potential to win over theater newcomers. Its approachable storyline, dazzling production values, and killer performances make it an excellent introduction to musical theatre.
Ultimately, The Devil Wears Prada is not a groundbreaking work of art, but it doesn’t need to be. It’s a stylish, fun, and faithful adaptation that celebrates what we loved about the original while making smart updates for today. With its 2000s nostalgia, enviable wardrobe, and impactful performances, this is a show that delivers exactly what it promises: a fabulous night out.
Miranda Priestly may not gush, but this production earns a well-deserved four stars. That’s all.
★★★★
Reviewed on Sunday 1st December 2024 by Olivia
Photo Credit: Matt Crockett
{AD PR Invite- tickets gifted in exchange for honest review}
The Lightning Thief: The Percy Jackson Musical Review- A Vibrant Escape Packed with Heart and Humour
Friday, 29 November 2024
Like Camp Half-Blood itself, this show offers an unforgettable escape filled with friendship, unity, and a world where everyone can be a hero."
The Lightning Thief: The Percy Jackson Musical
The Other Palace
The Lightning Thief the Percy Jackson Musical based on Rick Riordan’s beloved novel of the same name, finds its perfect home on the intimate stage of The Other Palace. This fantastically staged production knows exactly what it’s aiming for: a heartfelt, high-energy story for fans of the books, young theatergoers, and anyone seeking an escapist evening of fun. It’s not a transformative piece of theatre but it never tries to be. Instead, it’s a faithful, joyfully chaotic adaptation that delivers a thoroughly entertaining experience.
The musical, with a book by Joe Tracz and music and lyrics by Rob Rokicki, condenses the sprawling first book of the Percy Jackson & the Olympians series into a fast-paced two-hour show. Percy Jackson, a seemingly average teenager, discovers he’s the demigod son of Poseidon. Alongside his best friend Grover and fellow camper Annabeth, he embarks on a quest to retrieve Zeus’s stolen lightning bolt, battling monsters and confronting his insecurities along the way. Themes of friendship, belonging, and overcoming personal challenges echo throughout, resonating especially with anyone navigating the struggles of growing up.
The standout performances begin with Max Harwood as Percy Jackson. Harwood, known for his starring role as Jamie New in the movie version of Everybody's Talking About Jamie and his recent role in Stranger Things once again demonstrates why he’s a star on the rise. I was lucky enough to see Max's debut as Melchior in Spring Awakening and I knew great things were on the horizon for him so it's so wonderful to see him leading this show with such brilliance. His strong, healthy vocals handle Rokicki’s rock-influenced score with confidence, while his physicality and emotional depth ground Percy’s journey in authenticity. Harwood’s Percy is funny, flawed, and fiercely relatable- a hero in trainers we can all root for. Watching him embody the sarcastic yet earnest demigod is an absolute treat, solidifying his status as one of the most exciting young performers on the stage today.
Mirroring Percy’s charm are Jessica Lee as Annabeth Chase and Scott Folan as Grover. Jessica brings a sharp wit and determined energy to Annabeth, perfectly capturing the daughter of Athena’s intellect and drive. Her duet with Harwood, 'My Grand Plan', is both heartfelt and empowering. Scott, meanwhile, is utterly delightful as Grover, mixing lovely comedic timing with moments of vulnerability that bring the satyr’s loyalty to life.
The ensemble shines, masterfully multi-rolling through a colourful array of characters, from meddling gods to fearsome monsters. Their quick changes and distinct characterisations are a testament to their talent and energy. Whether it’s a eye-dangling Fury or a groovy Poseidon, the ensemble brings Riordan’s mythological world vividly to life.
The creative team deserves immense credit for transforming the small stage of The Other Palace into a dynamic playground of gods and monsters. Charlie Morgan Jones’s vibrant lighting design and Duncan McLean’s imaginative projections work in tandem to expand the space, while clever touches- like bubbles to suggest underwater scenes- immerse the audience in Percy’s world.
The musical’s ability to nod to large-scale moments from the book (like the showdown with Ares) without overcomplicating them is a smart move by director Lizzi Gee. By focusing on character and humour rather than spectacle, the adaptation avoids the pitfalls of feeling overly ambitious.
Rob Rokicki’s score is an infectious blend of rock and pop that captures the angst and excitement of Percy’s story. Songs like 'Good Kid' and 'The Tree on the Hill' resonate emotionally, while the humorous numbers like 'D.O.A.' provide laugh-out-loud moments. That said, at times, the sound mix leaned too heavily on volume, making some lyrics difficult to catch- a minor issue in an otherwise great production.
The Lightning Thief thrives because it knows its audience. It’s not here to change the world- it’s here to celebrate it, offering fans of Riordan’s books and newcomers alike a chance to step into a world of camaraderie and mythological mischief. The Other Palace, with its cosy yet versatile stage, feels tailor-made for this production, inviting the audience into Camp Half-Blood’s warm embrace.
The musical excels at what it sets out to do: entertain, uplift, and provide a few hours of joyous escapism. With a faithful adaptation, a gifted cast led by the brilliant Max Harwood, and a visually inventive production, it’s a treat for fans and a celebration of the power of storytelling- a monster of a show! Like Percy’s time at Camp Half-Blood, it reminds us that even when life gets messy, friendship and unity can see us through.
★★★★
Reviewed on Thursday 28th November 2024 by Olivia
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Now That’s What I Call a Musical: A Fun Nostalgia-Fest with some Flaws | Review
Wednesday, 27 November 2024
Now That’s What I Call a Musical
New Victoria Theatre
If you’re craving a night of toe-tapping 80s hits and breezy humour, Now That’s What I Call a Musical might be just the ticket. Currently touring the UK, this jukebox musical delivers big on nostalgia, though it stumbles in depth and pacing. With a talented cast and high-energy set pieces, it’s a fun evening out, even if it doesn’t push any creative boundaries.
The first act introduces a 1989 school reunion and a group of ex-students struggling with love, ambition, and nostalgia. However, while the setup is charming enough, the narrative lacks momentum, with the story often feeling like it’s merely an excuse to lead into the next song. Fortunately, the second act ramps up the stakes. Secrets unravel, tensions surface, and the characters finally confront their dilemmas in earnest. While these revelations might not reinvent the wheel, they bring a welcome spark of drama and emotional resonance.
The cast gives it their all, infusing charisma and vocal talent into even the thinnest material. Nina Wadia (as Gemma who feels stuck in her life) brings a heartfelt performance and vocals. Shakil Hussain steals scenes as the sarcastic but brother, delivering some of the show’s best comedic moments. Meanwhile, Chris Grahamson is compelling as Tim, the sleazy player who's got Gemma wrapped around his finger. The standout is absolutely Melissa Jacques who enters just before the end of act one and provides the best vocals and some really emotional moments. Her portrayal of the larger than life April, who went to LA to live her actress dreams is very well characterised and feels like the most developed of them all. Carol Decker makes a guest appearance for one song and showcases her great vocals in her hit song 'China in Your Hand'.
The humour is light and occasionally sharp, with plenty of laugh-out-loud moments and nods to the 80s. The jokes might not land for everyone, but there’s an endearing self-awareness in the script that keeps it from taking itself too seriously. And, of course, the 80s anthems are the real star here. Whether it’s 'Red Red Wine' or 'Every Breathe You Take', the production knows how to use these iconic songs to maximum effect.
The show’s design team deserves applause. The set design, by Tom Rogers, captures the small-town charm with a versatile backdrop that transitions seamlessly between locations. Ben Cracknell’s lighting design adds flair, particularly in the second act’s climactic moments, bathing the stage in dramatic reds and blues that elevate the mood. The sound design by Adam Fisher ensures the music is crisp and immersive, though there were moments where dialogue got lost beneath the score.
If there’s a weakness, it’s in the writing. Pippa Evans' script doesn’t dig deeply into its themes or characters, sticking to predictable tropes and shallow conflicts. While this simplicity might frustrate those looking for a more substantial narrative, it’s clear the focus here is on entertainment, not profundity.
Now That’s What I Call a Musical won’t change your life, but it’s an enjoyable escape. For fans of 80s music, it’s a nostalgic treat, carried by a dedicated cast and vibrant production design. While the story doesn’t say anything new, the show’s heart and humour make it a worthwhile outing. Go for the tunes, stay for the laughs, and enjoy the trip down memory lane.
★★★
Reviewed on Tuesday 26th November 2024 by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Wicked Movie Review: Everything we Hoped For and More
Wednesday, 20 November 2024
Like so many, I’ve been enchanted by Wicked since I was young. The musical shaped my childhood, inspired my imagination, and stayed with me through every stage of life (my dog is literally called Elphie!) When news of a film adaptation first surfaced all those years ago, my heart soared, though tempered with the hope that they would do justice to something so pivotal to me and countless others. It’s been a long yellow brick road, with years of speculation, rumours and anticipation, but now that it’s here, Wicked: The Movie exceeds every expectation and delivers a spectacle that was worth every moment of the wait.
Director Jon M. Chu has not only brought the world of Oz to life- he has redefined what a movie musical can be. This film doesn’t just enchant; it moves, it stirs, and it utterly inthralls. From the first soaring notes of 'No One Mourns the Wicked' to the breathtaking final moments, it’s clear that this team poured their hearts into every frame.
The cast, led by the luminous Cynthia Erivo as Elphaba and the effervescent Ariana Grande as Glinda, is extraordinary. Erivo’s performance is as brilliant as we all expected- her Elphaba is fierce, vulnerable, and heartbreakingly human. Of course, she also imbues every note with raw emotion, making every song a transcendent experience. Grande, meanwhile, brings a sparkling charm and necessary depth to Glinda, perfectly balancing her bubbly exterior with a poignant sincerity. The chemistry between the two is electric, capturing the complexities of friendship and rivalry that lie at the heart of the story, I am already buzzing with anticipation of how the pair are going to develop in Wicked: Part Two. Like with every aspect of this film, you can tell how much love has gone into it, Ariana and Cynthia's performances feel so incredibly lived in, you can tell how much they adore the roles and how they planned and turned every stone in finding their own versions. They feel true enough to the originals but also bring newness and fresh energy. The Winkie Prince doesn't have as developed of a role in Part One but Jonathan Bailey as Fiyero is still masterful. His smooth charisma is utterly swoon-worthy but more than that, his sincerity and depth is enchanting to watch. In my opinion, 'Dancing Through Life' is one of the most edited songs from the original, but it works so SO well. The new musical arrangement is very cool, with a more funkified feel that complements the show, while feeling totally relevant for a 2024 Wicked release; the whole scene is a joy to watch. Supporting performances by Ethan Slater as Boq, Jeff Goldblum as The Wizard and Michelle Yeoh as Madame Morrible round out the ensemble, each actor bringing something fresh to the beloved characters and paving the way for Part 2.
The music, brought to life with lush orchestration and gorgeous vocals, feels both reverent to Stephen Schwartz’s original score and fresh for this new medium. Familiar songs like 'Popular' and 'What is This Feeling' shine anew, while the staging and cinematography elevate them into true cinematic moments.
One of the greatest triumphs of this adaptation is its fidelity to the source material. Despite its aspirations of massive commercial success- evident from the ambitious marketing campaign- it never sacrifices the heart of the story or the integrity of the musical’s themes. This feels like a love letter to the fans who’ve cherished Wicked for years. Seeing the iconic Time Dragon Clock, the enigmatic blobby men (yes, the technical term!), guest star appearances, and subtle musical motifs scattered throughout feels like being reunited with an old friend. I also love how the cast were allowed to play around with riffs throughout the movie, something that's a big part of the Wicked fandom. There are whole YouTube compilations of the best 'Defying Gravity Riffs' and I have no doubt that the movie one will be added alongside all the others that perfectly fit and bring a freshness to the score that delivers on every level.
The world-building is nothing short of spectacular. Every corner of Oz is brought to life with meticulous attention to detail, from the verdant forests of Shiz and the university to the glittering, imposing Emerald City. Each setting feels wonderfully alive, creating a fully realised world that you can’t help but get lost in. It’s a treasure trove of visual and thematic delights, packed with details that will have fans poring over every frame on their fourth, fifth, or tenth viewing.
This is the kind of film that makes you want to shout about it, to grab everyone you know and say, “You have to see this!” Jon M. Chu and the entire team behind this masterpiece have created a work that will fill the hearts of longtime fans while dazzling new audiences with its brilliance.
For those of us who grew up with Wicked, this is more than just a movie- it’s a moment, a celebration, and a dream brought to live. I could go on for hours and I'm honestly still tearing up the morning after seeing this film, but in summary- it's perfect! Congratulotions to the cast, crew, and creators for giving us something so magical, so heartfelt, and so, so Wonderful. 💚
Sincerely, Olivia
Wicked Lover since Age 8
★★★★★
{movie tickets were gifted}
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