Posts with the label andrew lippa
Showing posts with label andrew lippa. Show all posts
Showing posts with label andrew lippa. Show all posts
Monday, 28 May 2018
A Little Princess, Southbank Centre | Review
A Little Princess
Southbank Centre
Reviewed on Monday 28th May 2018 by Olivia Mitchell
★★★
After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa's lesser-known show A Little Princess was brought to the west end for it's UK Premiere at the Southbank Centre. Telling the story of Sara Crewe, a girl sent from Africa to a boarding school in London where she meets mean girls and a strict headmistress, this is a sweet story, with melodically beautiful songs and a heartwarming moral.
As Miss Minchin, the headmistress who's a melange of Miss Trunchbull, Mrs Lovett, Mdme. Thenadier and others, Amanda Abbington was good. In her musical theatre debut she did well to convey the tiredness of the character but lacked menace. Vocally she was a little lacking and tended to speak-sing but still gave a pretty solid performance and I look forward to seeing her tackle future theatrical roles.
Danny Mac was dashing as ever as Captain Crewe, with wonderful vocals alongside a sweet connection with the children of the cast. The pacing of the show itself is funny and means that all the characters are a little under-developed. We got to see a lot of Captain Crewe at the start but as the show went on (especially in Act 2) everything felt rushed. With some rewrites this could be a lovely show and it would be great to see Danny having a bit more time to shine. Mention must go to his stellar performance in the pattersong-esque, Timbuktu.
Equally deserving of more time to shine was the stunning Rebecca Trehearn who always manages to steal her scenes. As Miss Amelia, the ditsy sister of Miss Minchin, Rebecca gave a wonderfully humourous performance and shone in her solo, Once Upon a Time.
Alexia Khadime and Adam J Bernard as Aljana and Pasko gave vocally stunning performances despite being a little overpowered by the orchestra at times.
This was the first production which had actual children playing the children and it was them who stole the show. All the young cast did a great job of owning their roles, with Jasmine Nituan giving a heartfelt, funny performance as Sara's best friend and maid, Becky.
Jasmine Sakyiama is truly a star in the making. Her performance as Sara Crewe was 100 miles a minute from the start with her vocals and emotive facial expressions never failing. Of all the children, Jasmine also had the strongest diction which made her stand out even further. Keep an eye on this girl because she's going to go far!
Nic Farman's lighting added a mystical, magical vibe to the story which was lovely and took the show from a simple concert to an emotive production.
Despite enjoying this production, it does need some edits. I'm no one to say what these edits should be, but Act 2 felt extremely rushed and there were a number of moments that felt unnecessary/over-extended. However, the cast were great and I hope this isn't the last we see of this sweet show in the UK.
Saturday, 21 October 2017
Kristin Chenoweth, London Palladium | Review
Kristin Chenoweth (Concert)
London Palladium
★★★★★
When this post goes live it will officially be my 21st birthday which is crazy, but what’s even crazier is how incredible my birthday eve was. I spent the night at the London Palladium seeing the amazing, pint-sized superstar Kristin Chenoweth in concert. Before I continue on this review I must say that it’ll be pretty different to my usual ones as it’s going to be way more informal and personal, purely because I’ve had such a long history with Kristin so it was a pretty momentous night and I’m finding it hard to put into cohesive words.
So let’s start with the history... like many UK Kristin fans, I saw Wicked when it opened back in 2006, subsequently listened to the Broadway recording and fell in love with the cast. I then entered an obsessive phase where I watched all Kristin videos, listened to every song she'd ever sung, read every interview she'd done and was generally that annoying fan that could talk about nothing else. Since then I have become less over the top with my obsession but my love for Kristin has definitely not diminished and I was dying with excitement when I knew I was finally going to see her live.
The concert was marketed as an "Intimate Evening" with Kristin which I was dubious about seeing as it was taking place in the vast London Palladium; and whilst the venue certainly isn't intimate in any way, shape or form, Kristin somehow managed to pull me in and make me feel as if I was watching her sing in her living room.
Whilst I could go in depth about each song, there isn't really much point as I'll just be praising every one to no end, so what I will say is that each piece was vocally beautiful and Kristin gave honest, heartfelt performances from start to end. Of course she sang a number of her most famous songs including 'Popular' and 'Taylor The Latte Boy' (my grade 8 musical theatre piece!) but she also sang some lesser known tracks such as 'Upon This Rock' and 'I Was Here'. A particularly stunning moment was Kristin's rendition of the Les Miserables classic: 'Bring Him Home'- I was in floods of tears... as I was for the entire concert! We were also treated to a spine tingling duet of 'For Good' with one of my favourite performers ever: Rachel Tucker... truly epic!
I must be honest and admit that I was a little wary about watching Kirstin perform. Obviously I am a huge fan but I was worried that seeing such a big idol of mine live would be a bit of a let down. Well I couldn't have been more wrong. This was honestly the best concert I have ever experienced and I have never had such a strong emotional reaction to seeing someone live. Sure I cry at emotional parts of shows but this was another level, my mum and I were blubbering messes throughout... especially when Kristin finished the show with a NO MIC rendition of 'Smile'... tears upon tears!
I just want to touch upon my personal connection to Kristin so you can really understand how much this concert meant to me. Firstly, as a Classical singer in training, Kristin is just everything I aspire to be. Her stage presence and vocal technique are things I can only dream of mastering on her level and her unapologetic performances inspire me to no end. I don't want to go too in depth with the second reason but several years ago I had a series of extended hospital stays and 20 operations on my knee (ouch, right?) due to an illness and during that time I remember reading Kristin's book 'A Little Bit Wicked' and being motivated and positive to get better. It wasn't something I had thought about until watching her perform but Kristin's influence on my life has truly been vast and way more involved than I'm going to explain but basically this was a magical and emotional night.
I'm still struggling to really put into words what made this concert so special but it was truly the most incredible theatrical experience I've ever had. Kristin is a master of her craft as well as a hilarious woman who completely commands the stage. Her outfits were the glitziest things I've ever seen but honestly, she could've worn a paper bag and I still would have been blown away. I couldn't have asked for a better entrance to being 21 and I will continue to strive to reach the levels Kristin is continually climbing. I pray to all the theatre gods that we can get Ms Chenoweth over on our turf for a bit. But in the mean time I will continue to relish in the delight and emotion that this devastatingly brilliant concert provided and I hope to one day meet Kristin and tell her in person how amazing I think she is!
Watch my vlog of the concert: https://youtu.be/5-Bsh6_UKJk
Watch my vlog of the concert: https://youtu.be/5-Bsh6_UKJk
Thursday, 5 October 2017
The Addams Family (UK Tour), Grand Opera House | Review
The Addams Family (UK Tour)
The Grand Opera House, Belfast
Reviewed on Tuesday October 3rd by Damien Murray
★★★★
This Irish and UK premiere tour production of the musical comedy, The Addams Family was an entertaining and fast-paced production of Andrew Lippa’s funny musical about a less than conventional family and its ancestors.
Right from the off, it was obvious that this was not going to be ‘One Normal Night’, as – during the overture – a finger-clicking hand appeared through the letter box; the hand of an unknown person (in this case, probably a ‘stage hand’!!).
Mainly played out on the superbly old and run-down eerie mansion befitting to such a weird and spooky family, the functional set designs, with moveable staircases and great use of the two side balconies, helped greatly with the good pace of this production.
Despite the family’s appearance, values and lifestyle, this atmospheric piece is not so much scary as it is a funny musical with great one-liners that, thankfully, are never just throw away lines for the experienced cast.
We were then introduced to a mixed bag of weird ancestors who looked almost normal when compared to the central family of the piece.
They made up a well-used ensemble, which, despite its relative lack of numbers, produced some excellent harmonies during choral pieces (e.g. 'One Normal Night' and 'Move Toward The Darkness') and provided solid support throughout in vocals, dance, movement, visuals and as a distraction during scene changes.
While the Act 1 finale, 'Full Disclosure' (Part 2) was a great production number, the orchestra and cast rose to the challenge here with the varied and difficult score, which - apart from the variety of tempo changes from one song to the next - had to cope with a degree of musical fragmentation caused by lots of start/stops throughout many songs and challenging underscoring.
While the great musicality of the tango rhythms made numbers like 'Trapped', 'Secrets' and 'Not Today' stand out here, it was the orchestra’s sheer accuracy of performance and the visual impact of the dancers in the production number, 'Tango De Amour', that combined to make this an irresistible musical highlight.
'Pulled' was another highlight because of Wednesday’s strong vocal performance, while the flamenco flavoured music of 'Let’s Live Before We Die' impressed and 'But Love' provided a little vaudeville-style distraction between scenes.
There were some soft ballads in the varied score, including the gentle, 'The Moon And Me', while 'Move Toward The Darkness' was unusual in that it is rare that a ballad is used as a finale number, but it did allow for some great choral work.It was good to see the reprise of the up-tempo, 'When You’re An Addams', being used to send all home happy after the ballad finale.
Choreography was a strong element in this production and the concepts were well-executed right from the opening production number, 'When You’re An Addams', when we knew that there was going to be no problems with dance, as this song’s varied choreography included lots of arm movements and samples of line dancing, the bunny hop and the twist. The moon ballet was well-staged ('The Moon And Me'), while it was a nice touch to use a ‘young’ Wednesday to highlight the emotions of the song during Happy Sad.
The nightmarish family in this macabre musical was effortlessly brought to life by the talented principals, including Cameron Blakely as the Latino-looking and hen-pecked husband, Gomez, who supplied some touching moments in the song, 'Happy Sad', yet also managed to deliver the song’s humorous lines on cue, while always maintaining the right comic timing to get the laughs when needed.
Samantha Womack as the very much in-charge and matriarchal Morticia was both tall and elegant and looked the part in her long black ankle-length dress and long black hair like Crystal Gale. Boasting dead-pan looks that could kill, this was a very confident performance from a total all-rounder with a great voice and good stage presence who perfectly captured her character’s dry wit. She also proved to be a most impressive dancer, especially in the song and dance number, 'Just Around The Corner', which allowed her to show her macabre emotions of joy.
However, for me, the star of the show was Carrie Hope Fletcher’s manipulative daughter, Wednesday. This amazingly talented girl is a strong performer with a great voice and real stage presence and this was highlighted in her performance throughout, but especially during the ‘coming of age’ song, 'Pulled'.
In the absence of Les Dennis, due to illness, his understudy, Scott Paige, was more than deserving of this role and impressed greatly both in his acting, comic timing and vocal ability, especially as he was acting so much ‘out of age’ in this part. Despite playing the loveably crazy uncle, Fester, he provided lovely vocals during his gentle ballad, 'The Moon And Me' and as the show’s narrator character.
Dickon Gough had a dream role as the ever-growling zombie-like butler, Lurch, and played one of musical theatre’s great non-speaking parts exceptionally well, while Grant McIntyre, as Pugsley, played the younger brother with a grown-up attitude well.
There was good support from Charlotte Page’s fully-disclosed Alice, Dale Rapley’s typical American parent, Mal, and his college student son, Lucas, played by Oliver Ormson, while Valda Aviks’ eccentric Grandma was good, but I would like to have seen more of her character’s outspoken and irreverent attitude.
Perfectly-timed sound effects and special visual effects like the thunder and lightening, the monster in the box and the use of individual ancestors in the portrait painting all added to the success of this slick production.
Thanks to the brilliant lighting, costumes, props, make-up and hair, this was a visually stunning show from its strong opening to its unusual ballad ending … absolutely ‘finger-clicking good’ throughout!
The Addams Family runs at the Grad Opera House, Belfast until October 7th.
Photo credit: Matt Martin
Wednesday, 17 May 2017
The Addams Family (UK Tour), New Wimbledon Theatre | Review
The Addams Family (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday May 16th 2017 by Olivia Mitchell
★★★★
The Addams Family musical comedy first made an appearance on the Broadway stage in 2010 and has finally made its way over the pond for its UK premiere. This version of the much loved cartoon series family, sees them struggle as their daughter Wednesday falls in love with a 'normal' boy. In an attempt to make good, Wednesday organises a dinner party between the two families. What ensues are secrets, wackiness and a whole load of kooky chaos.
The production is wonderful and great to look at. Diego Pitarch's set is constantly changing and extremely layered but doesn't look overcrowded or messy and the Gothic feeling is achieved extremely well. The lighting and sound effects work well alongside it and the elaborate costumes and make up add a whole other, very effective, dimension.
Samantha Womack's Moticia is surprisingly funny and suitably dark and stiff but at times it feels she is too reliant on people already knowing the character instead of making it her own. Overall though she gives a very good performance, especially in the tango scene!
Cameron Blakely is the standout of the show as Gomez. He is passionate and energetic throughout, with a constant humour and stage presence. His little camp moments are hilarious and his voice is outstanding. His relationship with the whole cast is brilliant but especially with his daughter Wednesday.
Played by Carrie Hope Fletcher, Wednesday is witty and sharp whilst being suitably kooky. Her vocals are fantastic and she seems at ease on the stage. Her incredibly clear voice works wonderfully with large belting moments and her precise diction is notable especially during 'Pulled' which seems to be an audience favourite!
Oliver Ormson plays Wednesday's love interest, the all-American Ohio born, Lucas. The pair work well together but Fletcher is definitely the stronger of the two performance wise. Les Dennis is strong as the quirky uncle Fester and has the audience laughing with him as well acting as the narrator at points. His character does seem a little out of place at times and not developed enough to warrant a full song but Dennis pulls it off well.
Charlotte Page is hilarious as the rhyme talking mother, her voice is brilliant and she frequently steals the show! Her partner is played by Dale Rapley who is good but again feels a little under developed.
Andrew Lippa's music is full of life (and death), colour and vibrance and certainly has something for everyone. There are energetic moments (helped along by Alistair David's brilliantly slick choreography), hilarious moments and more contemplative moments which all combine for a lovely production.
This is a wonderful production which will hopefully see a West End life after its tour. There are genuine laugh out loud moments which are sure to be enjoyed by people of all ages. Overall, a stellar production.
The Addams Family is at the New Wimbledon Theatre until the 20th May before continuing its tour.
photo credit: Matt Martin
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