Posts with the label Turbine Theatre
Showing posts with label Turbine Theatre. Show all posts
Showing posts with label Turbine Theatre. Show all posts
Thursday, 23 March 2023
Eugenius!, Turbine Theatre | Review
Eugenius!
Turbine Theatre
★★★
After a London Palladium concert and subsequent runs at The Other Palace, the comic book tale of Eugenius! has been on the radar of many theatre lovers, and fans were thrilled to hear of the show's reworked return at the Turbine Theatre. The sweet characters and over the top tale are back like before, but somewhere along the way, the musical has lost some of the sparkle and infectious joy that previously made it such a charming production.
Eugenius! tells the story of Eugene, a self proclaimed geek who creates a comic book and gets thrown into a world of Hollywood movies and space dramas. Alongside him are his best friends Janey and Feris who are all trying to make it through school and retain their identities and friendship. With a number of witty side plots and caricature characters, there's lots to be enjoyed, but compared to previous versions of the show, there's not as much of a wholesome, uplifting vibe.
The small Turbine space which works so well for other shows, feels like a hinderance for Eugenius. There's not enough space for the show to reach its soaring potential and some of the bigger moments are squashed. This is through no fault of Andrew Exeter's set design which effectively brings the comic book world to life, as does Andy Walton's excellent video design which is wonderfully aesthetic and in keeping with the show; but nothing fully takes away from the feeling of the show longing for a larger space. Mention must also go to the really well thought out design of the foyer and entrance to the theatre which is adorned in every space with Tough Man posters, as well as comic book memorabilia and neon lights, all of which help to create an immersive experience and are a treat to explore.
Cast wise, the production is bursting with talent. Elliot Evans is endearing as Eugene, and brings a really lovely sense of vulnerability to the role whilst also providing stunning vocals, which especially soar in act two. As his partner in crime (who feels firmly in the friend zone) Jaina Brock-Patel gives a humourous performance and really leans into the comedy which is fun to watch. Equally humourous is James Hameed as Feris who is a funny character for the most part, but sometimes a bit one dimensional. The trio are strong and there are some touching moments. Their chemistry isn't bursting off the stage but they certainly do a good job and really come into their own towards the end of the show.
Dominic Andersen is fabulous in all his roles, especially as the movie star Gerhard who has some of the most laugh out loud moments in the show. As Super Hot Lady, Maddison Firth is great and her solo number is very high octane, although it's somewhat overpowered by so much happening on stage, so she doesn't truly get a chance to shine. There are also some sound issues which plague the show and mean a fair bit of dialogue is lost. The show as a whole is loud, perhaps too much so at points, but the vocals are often too quiet so we miss the talent of the cast.
The 80s-esque music that has references to lots of iconic songs, is really wonderful and you can't help but bop along to the self-aware, hilariously literal tunes. Ben Adams and Chris Wilkins have written some incredibly catchy pieces that continue to shine in this rendition of the show. They also have some sneaky cameos on bedroom posters and music videos which are a nice touch.
It's definitely nostalgic and energetic but this isn't the best Eugenius! has been. There are some great moments but the musical never evokes the same feelings of feel good empowerment and unity that it did previously. Hopefully there will be future iterations of the show where are the stars can align to create the ultimate version.
Reviewed on Wednesday 22nd March 2023
photo credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 20 October 2022
But I'm A Cheerleader, Turbine Theatre | Review
Turbine Theatre
Reviewed on Wednesday 19th October 2022
★★★
Since its opening in 2019, the Turbine Theatre in Battersea has been a leading player in showcasing new musicals, while providing a safe space to try out modern and exciting work. Their most recent is a musical version of the cult classic film But I'm a Cheerleader. Producer, Paul Taylor Mills has been championing this show for several years and after personally seeing it as a workshop version at MT Fest, it's great to see how the musical has developed and progressed to its current form.
But I'm a Cheerleader tells the story of a seventeen year old wannabe professional cheerleader whose world is thrown into turmoil when her family and friends suspect she's a lesbian so send her to a rehab centre. It's a show which focusses on some real emotional topics, but does so on a way that is witty, enjoyable and oh so current, if at times a little cringe.
There's certainly heart to the story and the basis is good but a chunk of the show feels shoehorned in and doesn't really add to the story, At two and a half hours it could definitely be cut down to be more concise and effective. Despite lacking material, the cast are made up of stars who do the absolute best with what they've got. Jessica Aubrey is charming as Megan, giving a really heartwarming performance with killer vocals to match. In the role of the grungy Graham, Megan Hill is humours and engaging, but also shows a softer side at various points in act two, plus their vocals are effortless throughout. Ash Weir is especially entertaining as she multi-roles as a cheerleader and a larger than life Australian campmate; whilst Michael Mather is also hilarious is both his roles and gets a laugh every single time he steps on stage.
Bill Augustin and Andrew Abrams' score has some strong points and some weak points. There's a level of character that fits perfectly with the show and some of the songs are great, namely Seeing New Colours which is glorious, but on the other hand, much of the music blends into itself and becomes repetitive.
Overall that's really the theme of the show: some stand out moments amongst a lot of sameness. That being said, there's certainly a loving group of fans for But I'm A Cheerleader and after some further development it's sure to improve. For it's first real run, it's a pretty solid start with a strong core.
Thursday, 12 March 2020
Identity, Turbine Theatre | Review
Identity
Turbine Theatre
Reviewed on Wednesday 11th March 2020 by Olivia Mitchell
★★★★
Described as a "controversial and captivating masterpiece", Identity endeavours to showcase "society's negative perceptions" and highlight that being true to yourself and owning your insecurities is a way to thrive. With the constant pressures perpetually hurled at us via social media, as well as those around us, it's always important to be reminded that we're not alone in our struggles. This show certainly does that, and it's exciting and innovative in its approach.
Caitlin Elizabeth Taylor opens the piece by battling with a Polaroid camera, continually reaching and then drawing herself away from it. It's from this moment that her battle between hiding and owning her identity begins. Having composed some of the music and spoken word, it's clear from Caitlin's fierce performance that this piece is special to her. She boldly throws herself around and strikes a great balance between aggressive stress and introspective peace.
Whilst Caitlin does an excellent job of leading the show, it's during the ensemble (made up of Callum Sterling, Tinovimbanashe Sibanda, Marina Climent and Luke Cartwright) moments when it really comes to life. The interpretive and super sharp dance numbers are effective and emotive, even if they are a little aloof at times. Visually the way they pulse and leap around stage is exciting, but the use of sound adds another layer. It isn't just the movement that's synchronised but every breath feels as though it's coming from one entity. Equally, this unison makes the moments where the ensemble fall out, even more effective. Christopher Tendai has done a great job of incorporating contemporary dance, with Afro beats to create something which looks and feels stirring.
As well as Caitlin's music, the motion is also accompanied by the incredibly soulful sounds of Sam.G (aka Shekinah Mcfarlane). Her beautifully expressive music is evocative by itself, but when combined with the choreography, a really strong narrative is created.
Over an hour, we are taken on a journey of discovery. This piece finds a solid middle-ground between in your face expression and pared back simplicity. This is in part, thanks to Charlotte McAdam's lighting which is effective throughout; especially during striking strobe light moments where Caitlin's character contorts against the black backdrop.
Thanks to the killer cast and evident love for the work which is engrained in every moment, this is a great show to experience purely to start up a new conversation about being you. A very promising production, Identity is sure to fire up anyone who watches it and would be a great piece to showcase in schools as a subtle reminder to be a little kinder.
Saturday, 2 November 2019
High Fidelity, Turbine Theatre | Review
High Fidelity
Turbine Theatre
Reviewed on Thursday 31st October 2019 by Olivia Mitchell
★★★★
Nick Hornby's High Fidelity, a book about love and music set in a run-down North London record shop has crossed mediums being made into both a film and a musical, with a TV series on the way in 2020. The location for the film and the shows opening on Broadway was America but in this UK premiere, it's been transported back to its roots and is firmly rooted in London. As the Turbine Theatre's second production, its wonderful to see a musical which brings to life some of the excellence of this city.
High Fidelity tells the story of Rob who owns a record shop which is barely surviving, and his on-again, off-again relationship with Laura, a lawyer who he loves but struggles to maintain a mature, long lasting relationship with. In the shop are also Barry and Dick, two misfits who started as part-timers and ended up sticking around and creating lives amongst the records. The lonely characters are portrayed wonderfully and despite being somewhat heartbreaking to watch, it's lovely to be reminded that there's a place for everyone.
The whole story is told from Rob's perspective as he addresses the audience and tells them what's going on both in his physical world and in his head. Rob chronicles many of his life's moments into 'Top Five' lists which are not only entertaining but an insight into how his brain works. On stage for pretty much the entirety of the show, Oliver Ormson is charming as Rob. Despite playing a character who it's often hard to empathise with, Ormson brings a warmth and sincerity which makes the audience side with him even when his decisions are rash or morally dubious. Ormson's voice is strong and he maintains an energy which fizzles throughout and really powers the show. Opposite him, Shanay Holmes is exquisite as Laura who is continually conflicted by her feelings for Rob. Holmes' voice is absolutely exceptional and she manages to shine in both the bold, booming moments and the simple, toned down times.
The entirety of the cast give excellent performances. Joshua Dever is vocally excellent and earnest until the very end; Eleanor Kane is outstanding as Marie. Her voice fills the Turbine Theatre as she envelops the audience with her delightful Brandi Carlile-esque tones and gives a performance to remember. Robert Tripolino gives a show stealing performance as the wacky Ian, a spiritualist who is all about the good vibes and natural healing. Tripolino is hilarious in pretty much every moment of his stage time and a real stand out. Mention must go to Rosie Fletcher who shines out from start to finish and gives vocals for not just days, but months.
Tom Jackson Greaves directs with a brilliant ease and fluency so the entire production feels relatable. Perhaps not in terms of the story itself but through the truthful self-reflection and humour of it all. Whilst there's not an overwhelming amount of choreography, what's there is phenomenal. The small stage is used to it's full capabilities as the cast often move around as if inside Rob's brain. Particularly wonderful is the balloon choreography which is ingenious and incredibly sleek. David Shields' set is simplistic and effective. Record sleeves scatter the theatre and the stage is transformed by small changes which work perfectly to signal the varying locations.
The plot is by no means the best thing in the world and some of the songs feel too much like fillers but the performances and the Great British Bake Off meets Bat Out of Hell vibes of the whole thing make High Fidelity a throughly enjoyable night out. The Turbine Theatre team are showing us bit by bit what they're made of and we can only wait to see what will come next in this new London hub.
High Fidelity runs at the Turbine Theatre until 7th December 2019
photo credit: Mark Senior
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