Posts with the label national theatre
Showing posts with label national theatre. Show all posts
Showing posts with label national theatre. Show all posts
Friday, 22 February 2019
Follies, National Theatre | Review
Follies
National Theatre, Olivier Theatre
Reviewed on Thursday 21st February 2019 by Olivia Mitchell
★★★★
After its sold out run in 2017, Follies is back in true glamourous style as it follows a group of dancers reminiscing and reliving their youth. Mr Weismann's iconic theatre is being turned into a car park, so he's invited his past Follies dancers back to say one last farewell to the space. The walls of the theatre bring back memories and as we see childhood friends Phyllis and Sally reopen chapters they thought were closed, we are taken on a journey where past and present collide.
Dominic Cooke has once again directed a visceral and intense production. At 2 hours 15 minutes with no interval, the piece steadily flows and retains ferocity throughout. Vicki Mortimer's set and costumes are a spectacle in themselves; the crumbling theatre is periodically brought back to life by a subtle change and cleverly used to signify mental changes and journeys as well as the physical flashbacks. The costumes are elaborate and unique to each girl, with the delicate smatterings of jewels and sparkles, shining and flowing as they move around the stage.
Bill Dreamer's choreography brings the best of the Follies era to life as the girls move around the stage gracefully, as if every movement is strategically planned for attention. Of course, the stand out choreographic moment is 'Who's That Woman' where the young and old combine to create a magical tap routine. Also, particularly striking is the way the young and old follies dancers, reflect themselves across the stage.
In terms of cast, you can't get much better than this one. Tracie Bennett's 'I'm Still Here' is a chill inducing, nuanced filled performance; whilst, Claire Moore is hilarious throughout, no more so than in her gloriously sung, 'Broadway Baby'. Fellow The Girls alum, Joanna Riding is utterly outstanding as Sally. The transition from excitable girl, to fragile woman is perfectly performed, with 'Losing My Mind' providing a complete masterclass is acting through song and maintaining vocal technique even in moments of peak emotional earnestness. This intensity is mirrored by Gemma Sutton as Young Sally who is perfectly cast, alongside Christine Tucker as Young Phyllis, to show how we change, and how we remain the same.
Janie Dee is striking as Phyllis, whilst husbands, Buddy and Ben have great characterisation and development thanks to Peter Forbes and Alexander Hanson.
Whilst Follies is an outstanding piece of theatre, personally I feel a little far removed from the story; most likely because I lack the life experiences to relate on an emotional level. However, there's not denying that this is one of the most glitzy shows around, with one of Sondheim's finest scores and it's worth a visit to see how theatre should be done. Regardless of being able to relate, this is a marvellous piece of theatre.
photo credit: Johann Persson
Thursday, 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Wednesday, 7 March 2018
Macbeth, National Theatre | Review
Macbeth
Olivier Theatre, National Theatre
Reviewed on Tuesday 6th March 2018 by Olivia Mitchell
★★★
I've seen and studied a fair few Shakespeare plays but I wouldn't say I'm an expert in any form. I do however, know what I like when going to the theatre and recognise brilliant acting when I see it. The National Theatre's current production of Macbeth does have brilliant acting but overall it just didn't do it for me.
Walking into the wonderful Olivier theatre we are greeted with an almost bare stage, there are four poles with ragged, witchy fabric attached to the top; in the centre there is a sloped wooden platform decorated with severed limbs from plastic baby toys. Rae Smith's minimalistic set works well with the sparse life of the characters within the show; with them all (including Duncan and Macbeth) looking as though they're on the poverty line in muddy, battered clothes.
Rory Kinnear is thoughtful and suitably plagued as Macbeth; his small comedic moments are particularly enjoyable and he proves why he's such an esteemed actor.
The choice to make Alana Ramsey's Murderer a fishnet tights-clad alcoholic is a great one and she works very well to show the extents which people will go to when they feel they have nothing, just to get their fix or some quick cash.
Trevor Fox's alcoholic Porter is like a ghost moving around, silently hearing all the secrets he shouldn't know. It's refreshing to see him as a more serious, important character rather than mainly being onstage for comedic relief. This darker side emphasises him as the metaphor for the gates of hell, something which I feel is often missed in productions of Macbeth.
It's Anne-Marie Duff who steals the show as Lady Macbeth. Every movement is clearly well thought out and her transition from the headstrong wife who lacks humanity to the crumbling woman plagued by ghosts is striking.
I didn't find anything specifically wrong with this production, I just didn't really feel, well, anything. It's not scary, it's not particularly gory, it's not emotional and it's not funny, it's just a bit uninspiring. There are elements which have brought Shakespeare's play into the modern world but the emotions didn't translate for a modern audience... at least for me.
If you're a Shakespeare fan then there's no reason why you shouldn't go and judge Rufus Norris' Macbeth for yourself but if not then I wouldn't rush along, as I don't think this is the production to make you a fan.
Macbeth runs at the National Theatre until June 23rd and will be broadcast live to cinemas worldwide on May 10th as part of NT Live.
photo credit: Brinkhoff Mögenburg
Thursday, 14 December 2017
Pinocchio, National Theatre | Review
Pinocchio
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 13th December 2017 by Olivia Mitchell
★★★★
Disney have given the stage rights of the Oscar-winning Pinnochio score to the team at the National Theatre who are on a mission to create their next theatrical spectacle. Based on the fable by Carol Collodi, this show tells the story of a Geppetto, a puppeteer who longs for a child. One night he is visited by a mystical lady who commissions a new puppet to be made out of her own enchanted wood. This puppet needs no strings and is for all intents and purposes, a boy... except for the fact he's made of wood!
Marketed towards "Brave 8 year-olds and above" this show is definitely darker and more sinister than the Disney classic. Featuring a strange Fox who's tail is full of magic and a host of other not so kind characters, this definitely has more depth than expected. I was throughly entertained by by both the child-aimed and adult-aimed jokes, of which there was a good mix and all were pulled off well.
The use of oversized puppets (designed by Tom Olie) is absolutely wonderful. The actors and puppets become one through their synchronised makeup and the way they move together. At first I was a little confused by the fact that the puppets mouths don't move as they speak, however, this issue melted away almost instantly and I found the lack of movement especially striking in first act when Stromboli became deathly angry; the contrast between the dramatic voice of and the sinister smile on the puppet make my skin crawl.
As Pinoccio, Joe Idris-Roberts starts out throughly annoying, doing as he pleases with no care for his actions, however as he grows and develops he becomes more likeable and his journey of self realisation is wonderful. He cleverly embodies childlike qualities and shows his 'wooden' side well, despite having no physical pointers.
As his conscience, Audrey Brisson is hilarious. Dramatic and obsessive she manages to warm the audience to her whilst remaining extremely humourous. Again the link between her and her puppet, helped along by another puppet master is absolutely outstanding.
Mention must also go to Mark Hadfield who is sincere but strong as Geppetto (along with David Kirkbride). Especially in the opening scenes his acting and voice are really shown off and he gives a lovely performance. Dawn Sievewright also deserves notice for her energetic performance as Lampy in Pleasure Island (however I do think this scene could've been cut down slightly).
This is a magical, heart-warming production which uses a variety of theatrical devices in the purest and most masterful way. I'd certainly urge you to get to the National to experience it for yourself and be reminded of the importance of love and family.
Pinocchio runs at the National Theatre until April 2018.
Photo credit: Manuel Harlan
Monday, 13 November 2017
Saint George and the Dragon, National Theatre | Review
Saint George and the Dragon
Olivier Theatre, National Theatre
Reviewed on Friday 10th November 2017 by Olivia Mitchell
★★★
The National Theatre's current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as "a folk tale for an uneasy nation" this production time travels from the medieval times all the way to the current day and questions whether England is losing it's traditional values and whether change is always positive.
Rory Mullarkey's play has faults and drags a little but its interesting and humourous throughout and works extremely well in the space of the Olivier theatre.
As George himself, John Heffernan is Shakespearean, larger than life, witty and charming- perfect for the role. A particularly funny moment is when he disguises himself as 'Ian' in the 2017 world, raising the question of how much we're willing to change to fit in. The character is interesting because as those around him change, he stays the same and becomes somewhat innocent in nature. This transition from the bold hero, to almost childlike is an interesting watch and the idea that distant 'heros' aren't always what the world needs is especially relevant now when it's being revealed that many Hollywood idol's are not the people we should be looking up to at all.
Julian Bleach is the perfect contrast as the sinister but witty Dragon; his portrayal is fantastically strong and gave me major child-catcher vibes in the second act. As the feisty, voice of reason heroine, Elsa, Amaka Okafor is brilliantly cast.
This show wouldn't be what it is without Rae Smith's outstanding set design which transitions along with the characters seamlessly and adds a simple but strong dimension to the play. From the green fields of medieval England to the factory filled London during the industrial revolution, each set is instantly recognisable. Whilst extremely fitting for the time period, the sets also have a humourous aspect such as the way smoke puffs out of the factories. Accompanied by the great, atmospheric lighting by Bruno Poet we are transported through the history of England.
Overall I don't think this play will be to everyone's taste and it could certainly be trimmed down for a smoother flow but it's definitely interesting and I enjoy how it raises some important and relevant questions whilst still remaining humourous. Its genuinely funny and entertaining and Rory Mullarkey has done a great job of reinventing a traditional tale.
Thursday, 28 September 2017
Jane Eyre, National Theatre | Review
Jane Eyre
Lyttleton Theatre, National Theatre
★★★★
The National Theatre are outstanding at championing new, innovative work and thinking outside the box to bring audiences spectacular shows, something which they have once again succeeded at with this Sally Cookson's production of Jane Eyre. In Bristol, the tale was split into two parts but artistic director Rufus Norris has wisely squeezed the action into one performance.
I'm sure I'm not alone in having gruelling flashbacks to A-level English literature when I hear Brontë's novel mentioned, and what's lovely about this adaptation, thanks to the minimal sets, is that it allows the audience to create the world of Jane Eyre with their imagination as they would do when reading the book. The set is extremely modernistic in it's simplistic design with no grand structures to show the various momentous locations in Jane's life but instead using wooden platforms, metal structures and ladders as a framework for the action. The use of lighting is particularly impressive with white cloth backdrop that surrounds the stage being changed to different colours to show the various moods. The shocking red room is especially effective.
What struck me about this production is not only how modern it is in terms of aesthetics but how contemporary the character of Jane herself is. She's feisty with strong morals and a real feminist side. Although having seen her as ahead of her time when I read the novel, I'd never realised how truly relatable she is until watching this production. Her quest for freedom whilst not compromising her passions is joyous to watch.
The strong use of physical theatre added an intensity to the piece, as well as flow, especially in the running transitions during Jane's travels. The varying motion from smooth lyrical to frenzied, perfectly mirrored the changes in Jane's physical and metal health throughout. Another particularly interesting aspect was members of the ensemble speaking Jane's thought's aloud. This was humourous at times but also a very clever way of developing the character more without her having to tell the audience anything directly.
The trio of onstage musicians added a whole other layer with a number of musical styles accompanying crucial moments and transitions. Melanie Marshall was absolutely fantastic both physically and vocally; singing atmospheric pieces to fit with other characters or her own, Bertha. Her voice is strong and angelic whilst having a menacing and painful side. Her rendition of Crazy was notably unexpected but brilliant and perfectly woven into the story.
The entire ensemble are faultless but I must give a special mention firstly, to Paul Mundell who is hilarious as Pilot, adding some welcome humour. And secondly to Hannah Bristow who perfectly and distinctly plays Adele, Helen, Grace Poole and others.
This is a somewhat lengthy (3 hours and 15 minutes) play, but a striking production of a classic. The start is slightly slow but as we get into the action the momentum speeds up and we really get to see is the power of one of the first literary modern women.
Friday, 8 September 2017
Follies, National Theatre | Review
Follies
Olivier Theatre, National Theatre
★★★★
It's been 30 years since a fully staged production of Follies has been seen on a London stage so there's been a huge buzz surrounding the current production at the National Theatre, which boasts a stellar cast. The production is largely sold out but don't fret if you didn't manage to snap up tickets as it is set to be broadcast to cinemas through NT Live on November 16th.
Mr Weismann's iconic theatre is closing so to commemorate he invites all his old Follies to dance and reminisce about their time in the company. Being back in the places of their youth, many characters start being pulled back to the past and we watch as the past and present become intwined. Childhood best friends with a past, Sally and Phyllis and their husbands Buddy and Ben reopen a chapter of their lives which they all thought closed. Both couples are experiencing problems in their marriages and despite time having passed, they can't help but relive old feelings.
Follies was originally written as a straight-through piece with no interval; whilst some productions have included intervals, the National Theatre's doesn't. Speaking to others about the show it seemed that people were wary of having to sit for that long without a break and whilst it is the same as watching a film, I suppose there's more freedom and less embarrassment to have a loo break during a film. This needn't be a worry at all though as the show flows wonderfully and really builds up momentum throughout, meaning that stepping out doesn't cross your mind as the show flies by.
The entire cast are absolutely stellar, keeping up the energy from the get go to the end. I particularly enjoy Di Botcher's rendition of 'Broadway Baby' which is completely hilarious and gorgeously sung and Tracie Bennett's 'I'm Still Here' which is gritty and powerful. Her nuanced performance is one of the best I've ever seen on stage. The younger selves of the two main ladies, played by Zizi Strallen and Alex Young are extremely well performed. The mirroring of the young and old girls is spectacular and extremely moving. Alex's transition from the giddy girl into the obsessed girl is striking.
This obsession continues with the adult Sally, played by the ever brilliant, Imelda Staunton. Sally has not really changed throughout the years and comes onto the stage just as giddy as a child when we first see her. Her fragility begins to show little by little, coming to a head in her stunning rendition of the classic, 'Losing My Mind'. Sally's partner in crime, Phyllis is played by the equally brilliant, Janie Dee who is strong and sassy from start to end.
Dominic Cooke's direction creates a flow of movement and an ease throughout which is joyful to watch. Bill Dreamer's choreography works hand in hand with is and showcases the best of the Follies era. Along with the National's revolve, the choreography swims along and is faultless. A particular stand-out moment is the tap number 'Who's That Woman?'... I'm a sucker for tap and this was pulled off perfectly as the older Follies girls join their younger selves to create a thing of beauty.
Vicki Mortimer's set design cleverly shows hints of the former glory of the grand Weismann theatre as it crumbles in current day. The costumes are stunning not only with the gorgeous glitz and glam of the Follies but with how well they show off the character of each individual lady in the current day.
Overall this is an absolutely wonderful production which has everything you could wish for in a musical. There's glitz, glam, grit and emotion, which along with a perfect cast create an absolutely wonderful production of Sondheim's classic musical.
Follies runs at the National Theatre until January 3rd.
Monday, 14 August 2017
In Conversation With... Kirsty MacLaren | Our Ladies of Perpetual Succour | Interview
I'm back with another Our Ladies of Perpetual Succour post (see my recent interview with Karen here)! Today I bring you a chat about all things Our Ladies with the lovely Kirsty MacLaren who plays Manda!
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
Well, for me, doing Our Ladies has been the highlight. I’ve covered so many career goals on this job, from working with National Theatre of Scotland, performing at the National Theatre, touring internationally and now working in the West End. Plus originating a role is a pretty special experience. It’s been the job that has kept on giving, to be honest.
Before I started Our Ladies, and during the breaks we’ve had, I’ve been lucky to do some really diverse work where I’ve learned so much. I’ve worked at Pitlochry Festival Theatre for a year, played Lulu in a series of radio dramas and performed with companies like the Royal Lyceum in Edinburgh. These experiences give you the chance to really learn what it is to be an actor.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
I always has lots of energy as a child and was sent to dance lessons to tire me out. I come from a musical family so was always exposed to different types of music, although I didn't really know anyone who had acted professionally. I loved doing amateur dramatics and going to acting classes when I was little, but I had always wanted to be a lawyer until I sort of fell into doing the arts. I went to a Knightswood Secondary, which has a performing arts school attached, and knew then that I had to go down that path.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
I think that we were all so excited with this piece we had made that we weren’t really thinking about how much of a hit it might be. We certainly couldn't have imagined the success that we have had over the 2 years of doing it. The team that are on it are amazing and we were having such a good time creating this piece of theatre that was totally different to anything anyone had done before. But the reception that we got on our first night at the Traverse is something I’ll never forget.
I saw the show at both The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work and rehearse change for different venues?
The show relies so much on story telling so whether you are in a small 100 seat venue or an 800 seat venue, that principle stays the same. What changes is how much you have to project in each venue, but as long as you think about telling the story to the person at the very back or top of the theatre, you can’t go wrong.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
I’m trained in different vocal styles, but rarely do you have to mash them together in one show. It’s tiring on the voice, but once you build up the stamina, it becomes much easier.
How do you keep your voice healthy? Do you have any vocal rituals?
We always do a big group warm up together before the show which gets you ready. It’s really important to rest when you can. I’ve also got a vocal steamer helps stop your voice drying out.
Besides yourself, who would you like to see play your role?
I’m a big fan of Morven Christie. She’s seen the show and tweets about it a lot. I think she’d fit right in with us girls.
Can you sum up Our Ladies in five words?
Bold; life-affirming; hilarious; heartbreaking; female
Have you had any funny onstage or offstage mishaps in the show?
Often! We are always laughing at each other on stage. I remember going on with my mic on the outside of my clothes. The other girls didn't tell me until quite a bit through the show. I didn't know what they were laughing at until I eventually realised, and by that point, it was too late.
Is there a musical or play you’ve seen recently that you loved?
I’ve been able to see quite a lot of theatre this summer while I’ve been in London. I loved The Glass Menagerie and Half a Sixpence - both very different, but both brilliant.
Whats a fun fact people might not know about you?
I work as a fitness instructor in my spare time. Its a great job when I’m not acting as its flexible, plus I can fit classes in during the day when I’m working in a show.
What’s your best piece of advice for an aspiring performer?
Every opportunity is a good opportunity. Whether you're at youth theatre, am-dram, drama school or a professional show, you can learn from every experience. Listen to any advice you can get and never be scared to ask for help.
A huge thank you to Kirsty for doing this interview!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Tuesday, 8 August 2017
In Conversation With... Karen Fishwick | Our Ladies of Perpetual Succour | Interview
I am an absolutely massive fan of Our Ladies of Perpetual Succour (it was number 5 in my Top 10 Shows of 2016) and its incredible cast. One of its members is Karen Fishwick who plays the role of Kay spectacularly. She embodies various other characters brilliantly and is just a fantastic performer. Karen was lovely enough to sit down and answer some questions and the show, the music and advice for aspiring performers.
For anyone that doesn’t know, can you explain a little about your career and what your highlights have been so far?
I went straight from high school to Motherwell College where I did two years of Musical Theatre (HND) and rounding off my BAhons on the Acting course. Before that, all through high school my summers were filled with any creative short courses I could possibly apply for - acting, opera, contemporary dance, circus. I wanted to do it all. I think these were valuable training without noticing it at the time.
Were you born wanting to be a performer or did you have another career path in mind when you were younger?
It was always there though I do remember a brief spell of hoping to become a zoo keeper. I remember playing defense on the school football team; everyone chased the ball to the other end of the pitch while I'd stand there on my own and sing. And thus my dazzling football career came to an end.
Our Ladies is just epically brilliant. When you first started working on it did you know it was something special?
Thanks, that's kind. No, I mean, you never know do you? You, of course, always hope a piece will be received well but if you go in thinking "this could be the next big hit" you're kinda focussing on the wrong thing. When I first read it, I was amazed at how different it was to anything else I'd ever auditioned for and that was thrilling. That made it stand out for me. I don't remember rehearsing and thinking oh wow, this is going to be nuts. It was really hard work, that's all we were thinking. Gotta nail this bit, then this bit. When the first audience response came at the Traverse in 2015, that was the moment. I'll never forget it.
I saw the show both at The National and at the Duke of York and it didn’t lose any of it’s intimate feel or charm. Does the way you work at rehearse change at different venues?
Absolutely. With every single new venue we played, as soon as we got onto the stage it was "ok, what are we dealing with here". We need to know there isn't one corner we'll miss flinging this story at. Eye-balling the audience is one of my favourite parts of the show. The sound would feel different depending on how big or small and venue was. The huge rock moments or intimate confessions need to carry the same wether we're at the brilliantly close Live Theatre in Newcastle or the Theatre Royal in Brighton. Vicky always made sure it was the first thing we'd address.
There are so many styles of music in the show. Does this come naturally or did you have to learn to sing different styles?
A mixture, I think. The classical to rock stuff has different demands. Even within the ELO numbers themselves, they're songs are eclectic! Martin Lowe, our beyond wonderful MD leaves no stone unturned there and we worked hard with him on each sound. His attention to detail for each different style is what makes the show so successful.
How do you keep your voice healthy? Do you have any vocal rituals?
I didn't sing in the play I did before this so a few weeks before we started rehearsal, I made sure I was strengthening it up. I found YouTube videos for that (thank you Verba Vocal Technique). I drinks tonnes of water and try to keep on top of tension in my neck and shoulders. Steaming is good. And not being hungover.
Besides yourself, who would you like to see play your role?
Can I pick anyone? Christopher Walken.
Can you sum up Our Ladies in five words?
Messy. Honest. Loud. Touching. Empowering.
Have you had any funny onstage or offstage mishaps in the show?
For sure. I panicked and took off one shoe once. Did a couple scenes without it. I really didn't know when I'd be able to put it back on. Another time, I accidentally threw a box of candy sticks straight into the face of a girl sitting on stage. Other venues didn't have a chair there, it was muscle memory gone daft! She lived.
 |
| Karen Fishwick (Kay), Caroline Deyga (Chell), Melissa Allan (Orla), Frances Maylie McCann (Kylah), Kirsty MacLaren (Manda), Dawn Sievewright (Fionnula) |
Is there a musical or play you’ve seen recently that you loved?
I freaking loved Book of Mormon! I thought it was so funny and done so well. There's so such much I wanted to see but can't make; Angels in America, Hamlet.
What’s a fun fact people might not know about you?
My great, great, great, great grandfather was a tiny little mushroom.
What’s your best piece of advice for an aspiring performer?
If you work as hard as you possibly can, you will not fail. You will not. What about luck? Work hard to generate it. Nothing will happen if you don't work for it.
A huge thank you to Karen for doing this interview! Keep your eyes peeled for another Our Ladies interview coming soon!
Our Ladies of Perpetual Succour runs at the Duke of York's until September 2nd 2017Interview by Olivia Mitchell, Editor
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