Posts with the label Barbican Centre
Showing posts with label Barbican Centre. Show all posts
Showing posts with label Barbican Centre. Show all posts
Tuesday, 9 July 2019
Jesus Christ Superstar, Barbican Theatre | Review
Jesus Christ Superstar
Barbican Theatre
Reviewed on Thursday 4th July 2019 by Olivia Mitchell
★★★★
Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.
Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.
What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.
Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.
Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.
This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.
photo credit: Johan Persson
Friday, 26 October 2018
Macbeth, Barbican Centre | Review
Macbeth
Barbican Centre
Reviewed on Thursday 25th October 2018 by Jake C Macpherson
★★★★
Having never experienced Shakespeare live before, but going into the RSC’s production of Macbeth knowledgeable in the complete story I was apprehensive in how it would be adapted and whether it would be brought up to date for a contemporary audience.
The production opens with the appearance of the witches - not typically imagined. Three young girls in matching red dresses. All of the witches are seen throughout in unusual and unpredicted parts of the play, but all play a vital part in delivering the horror thriller movie vibe that I believe designer Fly Davis and director Polly Findlay have envisioned.
The set designed by Fly Davis was reimagined and interpreted to structure the psychological and mental aspect that was heavily heightened throughout the piece. The carpet was cleverly used on most of the stage to make the link of waiting rooms, quietness and rooms of power.
Christopher Eccleston delivers a fresh and vulnerable Macbeth, one who is not afraid of the tasks he must achieve but is afraid of the hunger for power Lady Macbeth holds. Niamh Cusack is a strong-willed Lady Macbeth whose intentions are very clear from the outset. Cusack begins her character journey at a peak that only keeps on rising throughout.
The Porter (Michael Hodgson)- eerily cemented at the back of the stage, intensifies the element of the psychological trauma Macbeth and Lady Macbeth are going through. For every death that takes place, a tally is struck against the black chalkboard at the back of the stage. Visually this works well. Hodgson is also able to captivate the audience and add some humour to the play which helps break up the trauma of it.
After the death of Duncan (David Acton) an oversized LED timer begins to countdown from the centre of the stage; representing the fate that is yet to come and the fall of Macbeth and everything around him in such a short space of time. Although I found this element a little distracting at points, I feel that the time element did add another level of interest and eeriness to the show.
However, after the intense build up to the end climax I found that it didn’t really go anywhere. The timer strikes zero mid fight and Macbeth is quickly killed, it gave the clear impression that it had been rushed and made me wonder whether the timer could have been re-worked. It added to the piece as a whole but left me leaving wondering whether it was worth it.
Overall it is a beautiful re-telling of Macbeth, keeping true to the script but taking a twist on a unique element. Macbeth at the Barbican is not to be missed.
Macbeth runs at the Barbican until 18th January 2019.
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
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