Showing posts sorted by date for query Come From Away. Sort by relevance Show all posts
Showing posts sorted by date for query Come From Away. Sort by relevance Show all posts
Tuesday, 5 November 2024
Cast Announced for Stiles + Drewe’s Best New Song Prize Concert 2024: A Star-Studded Celebration of New Musical Theatre Talent
Prepare for an unforgettable night of new musical theatre as Mercury Musical Developments and Stiles + Drewe, in partnership with Broadway Licensing Global, present the 2024 Best New Song Prize Concert. Hosted by Olivier Award-winning actor Jenna Russell, this one-night-only gala will take place at The Other Palace on Monday, December 2 at 7:30 pm, showcasing the incredible talent of both emerging and established musical theatre creators.
This unique concert features a glittering cast, including stage icons like Charlie McCullagh (42 Balloons, Jesus Christ Superstar), Desmonda Cathabel (Aladdin, Miss Saigon), Lauryn Redding (Standing at the Sky’s Edge), Natalie Paris (Pretty Woman, SIX), Obioma Ugoala (Frozen, Hamilton), Samuel Barnett (Rock Follies), and Tim Howar (Rock of Ages, The Phantom of the Opera). Also performing are Allyson Ava Brown (Hamilton, Les Misérables), Cassius Hackforth (Something Rotten), Dan Partridge (Grease), Jodie Jacobs (Hello Dolly!), and Liv Andrusier (Fiddler on the Roof).
Alongside performances from these incredible artists, the event will feature songs from recent British musical successes like Becoming Nancy, Cable Street, Two Strangers (Carry a Cake Across New York), and 42 Balloons. The evening celebrates the vitality of new writing with a special showcase of 12 finalist songs, which include:
- 'The Temptation of Me' from Proud by Mark Anderson & Lee Freeman
- 'I’m Going to Stay With You' from The Tale of the Gifted Prince by Lezlie Wade & Dan Green
- 'It Starts Small' from Unfolding by Emma Vieceli
- 'Ideal Robot Assistant' from A.I. Will Solve All Your Problems by Leo Mercer
- 'Someday My Prince Will Come' from Queering the Canon by Cheeyang Ng & Eric Sorrels
- 'Viareggio' from Lifeboats by Gus Gowland
- 'Die Like Trees' from Girl Goes to the Underworld by Sam Norman & Bela Kawalec
- 'Hero' from Man Vs Snake the Epic Musical by Stuart Matthew Price & Daniel Fletcher
- 'Spread a Little Joy Around the Place' from Retail Therapy by Hilmi Jaidin
- 'Locked Away' from The Queen is Mad by Amy Clare Tasker & Tom McGrath
- 'Drek!' from Otto's Weidt's Brush and Broom Workshop for the Blind by Amir Shoenfeld & Caitlyn Burt
- 'Invisible' from Hatched! by Lydia Shaw & Edward Court
A distinguished panel of judges, including Chris Bush, George Stiles, Anthony Drewe, and Joanne Benjamin, will select the winning song, awarding £1,000 toward the winner’s development. An additional award recognising Voice, Vision & Potential will also be presented. Sponsored by Broadway Licensing Global, Dorico, Tarento Productions, and Kenny Wax Productions, the Best New Song Prize Concert celebrates the vibrant future of British musical theatre and its outstanding creative talent.
Wednesday, 30 October 2024
Initial West End Casting Announced for Clueless the Musical
Exciting news for fans of Clueless- the beloved ’90s classic is coming to the West End stage in a fresh new musical adaptation! Emma Flynn (Beautiful, Little Shop of Horrors) will make her West End debut in the iconic role of Cher Horowitz, joined by Keelan McAuley (Heathers, Grease) as Josh. Both actors are thrilled to breathe new life into these characters, with Flynn sharing her excitement to continue Alicia Silverstone’s legacy, saying:
I can’t wait for audiences to rediscover Cher’s wit and heart in a whole new way.”
Meanwhile, McAuley looks forward to channeling the charm of Paul Rudd’s original Josh, especially as he brings a new musical twist to the role.
Fans can already get a taste of the musical's vibe with the release of 'New Girl', a track featuring Flynn alongside KT Tunstall, who composed the original score. Tunstall, known for her hit songs 'Suddenly I See' and 'Black Horse and the Cherry Tree', collaborated with three-time Tony Award nominee Glenn Slater (The Little Mermaid, Sister Act) to bring a contemporary, ’90s-inspired sound to the West End. Together, they capture the upbeat, fun-loving spirit of the original film with a fresh score that combines nostalgic ’90s pop with today’s musical stylings.
Amy Heckerling, the original writer-director of Clueless, is thrilled to see her characters return to the spotlight, noting:
I’m thrilled for Emma to bring her own take on Cher’s unforgettable charm and Keelan to make Josh his own.”
This production is directed by Rachel Kavanaugh (Chichester Festival Theatre, Regent’s Park Open Air) and choreographed by Olivier Award winner Kelly Devine (Come From Away), making it a high-energy show packed with humour, iconic fashion, and plenty of heart.
Set in Beverly Hills High, Clueless The Musical brings audiences back to the world of Cher, a matchmaking fashionista who’s trying to help her new friend Tai fit in with the cool crowd. But when her own world starts to get a little complicated, Cher finds herself on an unexpected journey of self-discovery. With its fun plot, memorable characters, and catchy tunes, Clueless promises to be a majorly cool addition to the West End.
Monday, 28 October 2024
Dear Evan Hansen Extends UK Tour with Extra Dates for 2025!
Fans across the UK now have extra chances to experience the powerful story of Dear Evan Hansen as ATG Productions announces an extended four-week run due to popular demand. This award-winning musical- celebrated with Olivier, Tony, and Grammy wins- will reach additional cities with new dates, bringing this moving production to even more audiences. The tour, directed by Nottingham Playhouse's Artistic Director Adam Penford, premiered at the Nottingham Playhouse in September 2024 and has captivated audiences nationwide with its emotional depth and impactful story.
Dear Evan Hansen tells the story of Evan, a socially anxious high schooler whose desire to fit in leads him down a path of tangled truths and unexpected consequences. Ryan Kopel (Newsies) stars as Evan, delivering a nuanced performance alongside Lauren Conroy (Into the Woods) as Zoe Murphy and Alice Fearn (Wicked, Come From Away) as Heidi Hansen, Evan’s mother. Supporting them is an ensemble cast, including Helen Anker (Mamma Mia!), Richard Hurst (The Lion King), TikTok-discovered Sonny Monaghan as alternate Evan, Killian Thomas Lefevre (Bat Out Of Hell) as Connor Murphy, Tom Dickerson (Heathers) as Jared Kleinman and Vivian Panka (9 to 5 the Musical) as Alana Beck. The ensemble are Lara Beth-Sas, Will Forgrave, Daniel Forrester, Jessica Lim, Sonny Monaghan and Elise Zavou. This marking the first UK production to incorporate an ensemble cast.
This extended leg will visit Aylesbury Waterside Theatre (June 10-14), Birmingham Alexandra (June 17-21), Grand Opera House York (June 24-28), and Edinburgh Playhouse (July 1-5), with tickets available now at evanontour.com. The production’s team boasts a high-caliber crew, with design by Morgan Large, choreography by Carrie-Anne Ingrouille, lighting by Matt Daw, and a score by Benj Pasek and Justin Paul, whose songs have become musical theatre icons.
In partnership with The Mix, a UK charity supporting those under 25, Dear Evan Hansen provides resources and outreach to audiences affected by its themes, addressing mental health issues relevant to young people today. This partnership reinforces the musical’s mission to encourage conversation, support, and awareness for sensitive issues central to the story.
Get ready to immerse yourself in the unforgettable world of Dear Evan Hansen, a journey of truth, forgiveness, and resilience that speaks to audiences of all ages. Don’t miss your chance to witness this celebrated musical on its extended UK tour- book your tickets soon, as demand continues to grow.
photo credit: Marc Brenner
Wednesday, 23 October 2024
Here You Come Again: Strong Performances & Nostalgic Set Design Outshine a Thin Plot in This Dolly Parton-Inspired Musical
Here You Come Again (Tour)
New Victoria Theatre
Here You Come Again: The Musical is a lighthearted jukebox musical that blends the iconic charm of Dolly Parton’s greatest hits with a tale of self-discovery set during the lockdown era. Created by Bruce Vilanch, Gabriel Barre and Jonathan Harvey, this show brings the country queen’s signature wit and wisdom to the stage, all while exploring themes of loneliness, identity, and the universal need for connection. Currently touring, it is soon heading to the West End, where fans of Dolly’s music and humour will undoubtedly flock.
The story revolves around Kevin, a man struggling with the emotional fallout of a breakup during the pandemic. Isolated and adrift, Kevin is unexpectedly visited by his idol, Dolly Parton- part fairy godmother, part figment of his imagination—who helps him through his personal crisis with a series of humorous, song-filled moments. The concept of facing one's inner demons during lockdown is timely and offers moments of introspection, but ultimately, the plot feels somewhat underdeveloped. Kevin’s journey lacks the emotional depth to make his self-discovery truly engaging, and the ending, without giving too much away, feels a bit too convenient. While the premise is intriguing, there’s not enough character growth to sustain a two-hour show.
That being said, the real highlights of Here You Come Again lie in its stellar performances and detailed set design. The two leads- Tricia Paoluccio as Dolly and Steven Webb as Kevin- carry the production with extraordinary vocal talent and impeccable comedic timing. The chemistry between Dolly and Kevin is undeniable; their playful banter keeps the audience laughing, while their shared emotional moments add some needed tenderness to the storyline. The actors’ voices are perfectly suited to the classic Dolly Parton hits, delivering each song with warmth, power, and precision. Tricia Paoluccio is Dolly Parton, her portrayal is completely faultless, with every inflection and rhythm completely spot on. If you're attending this show for the music and the performances, you won’t be disappointed.
The set, designed by Paul Wills, is another triumph, offering a richly detailed, nostalgic environment that keeps things visually interesting despite its minimal changes throughout the show. Kevin's attic home is packed with fun Easter eggs, from a mischievous Sooty and Sweep puppet set to a slightly eerie Chucky doll lurking upstairs. Of course, Dolly Parton records dot the space, creating a shrine-like atmosphere perfect for a superfan like Kevin. The clever use of the set helps maintain the whimsical tone, with small magical effects (Richard Pinner) and props that appear out of nowhere, adding charm and surprise to each scene. The live band (led by Jordan Li-Smith) and ensemble, stationed mostly on the upper floor of the set, adds an extra layer of energy to the performance, and their seamless integration into the scenes enhances the intimate, living-room-concert vibe.
Despite the strengths of the performances and the captivating set, the plot often feels like it's simply a vehicle for Dolly’s music. While this is common in jukebox musicals, there are shows that manage to balance narrative and song more effectively. Kevin’s central conflict- his struggle with loneliness and identity post-breakup- doesn't feel fully resolved by the end. His transformation, or lack thereof, feels handed to him rather than earned, which may leave some audience members (myself included) feeling a bit underwhelmed.
However, the fairytale-like quality of Dolly’s guidance and the feel-good nature of her music provides enough sweetness and heart to make the experience worthwhile. For those who are diehard Dolly fans or enjoy a nostalgic trip through the country icon’s greatest hits, Here You Come Again offers plenty of charm. The show may not deliver the most compelling story, but its combination of five-star performances, a cleverly designed set, and Dolly’s ever-enchanting presence makes it worth a visit for a fun, light night out at the theatre.
★★★
Reviewed on Tuesday 22nd October 2024 by Olivia
Photo Credit: Hugo Glendinning
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 9 October 2024
A Life-Affirming Musical: Come From Away on Tour REVIEW | New Wimbledon Theatre
Come From Away
New Wimbledon Theatre
Come From Away is an extraordinary and heartwarming celebration of humanity, compassion, and community spirit. This remarkable musical, based on the true events following the tragic events of September 11th, 2001, chronicles the story of a small town that welcomed over 7,000 stranded passengers when 38 planes were unexpectedly diverted to Gander, Newfoundland. The 100-minute production, performed without an interval, captivates audiences from the first note to the final bow, leaving you inspired and deeply moved by the resilience and kindness of strangers.
The show, created by the brilliant team of Irene Sankoff and David Hein, debuted in 2013 before premiering on Broadway in 2017 to critical acclaim. It went on to win a Tony Award for Best Direction and has become a worldwide phenomenon; after (devastatingly) closing in the West End, the show is currently touring the UK and touching the hearts of countless theatergoers. What makes Come From Away unique is that it doesn’t dwell on the tragedy itself; rather, it highlights the powerful goodness that arose in response. It’s a story that everyone needs to see- a true testament to the strength of human spirit and the way communities can come together in times of need.
The cast of Come From Away is a masterclass in ensemble performance, with each of the twelve actors seamlessly taking on multiple roles, transitioning between characters with just a subtle change in voice, posture, or costume. Sara Poyzer is great as Captain Beverly Bass, commanding the stage with poise and delivering a stirring rendition of 'Me and the Sky,' a poignant ode to the barriers women face in aviation and beyond. Jamal Zulfiqar’s dual roles as Kevin and Ali are portrayed with depth and sincerity, while Nicholas Pound brings a steady warmth to Mayor Claude Elliott. Bree Smith, as Hannah, delivers an emotionally charged performance that resonates deeply, and Rosie Glossop’s Bonnie has an endearing authenticity that reflects the compassionate spirit of Gander’s residents. Daniel Crowder and Kirsty Hoiles, as Nick and Diane, exude heartfelt chemistry, and Amanda Henderson’s portrayal of Beulah is both humorous and touching, embodying the very essence of Newfoundland hospitality. Natasha J. Barnes is wonderfully endearing as newbie news-reporter Janice, while Mark Dugdale brings great light and vocals to Kevin T. Oliver Jacobson and Dale Mathurin provide some of the most humourous moments of the show and complete the universally perfect cast.
Howell Binkley’s brilliant lighting design transforms the relatively simple set into myriad locations, evoking a sense of intimacy and immediacy that brings the story to life. The lighting shifts subtly to reflect both the tension and warmth of each scene, helping audiences feel every moment of hope, uncertainty, and joy. Kelly Devine’s choreography is equally impressive- fluid and organic, it mirrors the natural rhythms of life in Gander and the mingling of so many lives, capturing the bustling energy of the community while maintaining a focus on small, authentic human interactions.
The music, with its Celtic-inspired score composed by Sankoff and Hein, is the heartbeat of the production. From the powerful opening number, 'Welcome to the Rock,' to the joyful 'Screech In,' the songs are infused with East Coast flair, featuring lively fiddles, bodhrans, and an ensemble that sings and plays with palpable passion. Under the direction of Andrew Corcoran, the music beautifully conveys both the emotional highs and lows, transporting audiences to Newfoundland with its driving rhythms and haunting melodies.
More than just a musical, Come From Away is an experience that reminds us of the inherent goodness within people. The uplifting message is amplified by the Pay It Forward initiatives that the production actively supports. These activities, organised by Lydia Greatrix, in honour of her friend and Come From Away superfan Laura Townsend, which include partnerships with local charities and community outreach, bring the show’s message of kindness off the stage and into the real world. By championing causes that encourage generosity and connection, Come From Away continues to “pay forward” the generosity of Gander, ensuring that its legacy of compassion extends far beyond the theatre.
In the end, Come From Away is not just a must-see show- it’s a life-affirming testament to the power of people and the enduring strength of community. It’s a reminder that, even in the face of unimaginable darkness, human decency shines through, and strangers can become friends. This is a show that will leave you laughing, crying, and wanting to be a better person- a story that every single person should experience, especially in today’s world.
If you would like to donate to future pay it forward events, check the Just Giving page here.
★★★★★
Reviewed on Tuesday 8th October 2024 by Olivia
Photo Credit: Craig Sugden
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 28 November 2023
My Neighbour Totoro at the Barbican Centre Review: Whimsical, Enchanting and Idealistic
My Neighbour Totoro
Barbican Centre
After a hugely applauded and successful run last year, My Neighbour Totoro has returned to the Barbican Centre and is as highly anticipated as ever. The 1988 Japanese animated fantasy film is much loved around the globe, but having never seen it personally I was intrigued how this stage adaptation would affect me. Thankfully I was blown away by the story and staging and can see why it's a tale so close to people's hearts.
Brought to the stage by producers Joe Hisaishi and the Royal Shakespeare Company, the show is a perfect combination of animation style moments and theatrical wonder. As a whole, it does a masterful job of capturing the essence of childhood wonder and innocence in a way that's relatable to adults and children alike. The colours are vibrant, the details meticulous, and the animation style timeless. From the moment the logo comes to life, the enchanting world of Totoro wakes up and takes the audience on a whimsical, wonderful journey.
The story, a heartfelt tale of two sisters, Satsuki and Mei, and their mischievous encounters with forest spirits, is simple but encompasses a range of emotions. The emotional depth and universal themes of family, friendship, and the magic of nature are portrayed with a subtlety and grace that I'm learning is very typically, Studio Ghibli. It's not the most intriguing of tales and is definitely more of a visual treat but the pacing is perfect, and allows the audience to savour every moment whilst keeping engaged throughout.
Tom Pye's ingenious design, paired with the creative direction of Phelim McDermott, has given life to an awe-inspiring and intricately detailed set, with hidden aspects and elements that come swooping in to create magical moments. The intricacy of this production's design serves as a testament to the limitless potential that the enchanting world of theatre can bring to life and even more special, is how throughout, it also manages to retain a sense of cosiness and intimacy.
The truly mesmerising part of My Neighbour Totoro is of course the astounding puppets crafted by Basil Twist. The production fearlessly showcases the puppeteers, adding a unique layer to the wonder and escapism of the performance. Far from diminishing the magic, the visible puppeteers become an integral part of the spectacle, stopping to bow during the show, often breaking the fourth wallk and culminating in a genius curtain call that is it's own whimsical show that's truly unexpected and brilliant.
The music in My Neighbour Totoro is the beating heart of the production, thanks to the enchanting vocals of Ai Ninomiya. Her performance provides a mesmerising soundtrack that weaves seamlessly with the unfolding events. The original film score by Joe Hisaishi, expertly re-orchestrated by Will Stuart, and the adapted lyrics by Tom Morton-Smith and Hilmi Jaidin which blend delicate Japanese and English verses, all add layersof depth to this beautifully intricate production. The perfect harmony between music and storytelling creates an immersive experience, and furthers the impact of the tale.
The amazing cast assembled feels like a tight-knit family on stage. Mei Mac and Ami Okumura Jones, portray the lively sisters Mei and Satsuki, effortlessly taking the audience on an emotional rollercoaster with their youthful energy and seamless chemistry. Dai Tabuchi and Emily Piggford give endearing performances as the caring parents, Tatsuo and Yasuko. What's truly remarkable is that, beyond their main roles, each cast member (bar Mei and Satsuki) also step into the role of puppeteer, showcasing the incredible versatility and talent that defines this consistently outstanding ensemble.
Whether you're a long-time Studio Ghibli fan or experiencing the magic for the first time, My Neighbour Totoro at the Barbican Centre is an absolute must-see. It's a theatrical gem that touches hearts and transports audiences to a world where imagination knows no bounds. Five stars simply don't do justice for this enchanting experience.
★★★★★
Reviewed on Monday 27th November 2023 by Olivia
Photo Credit: Manuel Harlan
Tickets for My Neighbour Totoro are available at London Box Office
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 3 November 2023
Lizzie at the Southwark Playhouse (Elephant) Review: A Bloody Good Time
Lizzie
Southwark Playhouse (Elephant)
A transfer from the Hope Mill Theatre, Lizzie boasts a cast that impresses with their strong vocals and well-defined characterisations. The performers do an excellent job bringing their characters to life and infusing the show with their energy and passion, making it an engaging experience for the audience.
The musical takes inspiration from the infamous Lizzie Borden case and the story revolves around Lizzie Borden and her sister; exploring the mysteries and events leading up to the gruesome murders of their parents. It delves into themes of murder, mystery, and the complexities of human nature, all set against a rock opera backdrop. With a gripping narrative, powerful performances, and a thrilling atmosphere, Lizzie invites the audience to step into a world where dark secrets are uncovered, and the truth is as elusive as the swing of an axe.
One of the standout features of Lizzie is the striking lighting design and stage setup by Andrew Exeter, which, particularly during the climactic moments of Act One, leave you breathless with its deathly allure. The lighting and set design effectively create an atmosphere that's visually captivating and in keeping with both the rock musical vibes, and the traditional 1800s setting of the story.
While William Whelton's choreography wields a sharp blade and is executed very well, it sometimes feels like it's hacking away at a different story, leaving us with a tenuous connection. It adds some movement and visual appeal, but it doesn't fully meld with the narrative.
Direction wise though, Whelton has approached the show at a fun angle, melding massive arena concert energy with traditional musical theatre techniques. The energy is consistently high and despite knowing the ending, you're still on the edge of your seat, awaiting the next thrilling act. The use of handheld microphones is a cool twist on the storytelling, and hung in holsters at their sides it's almost as if the ladies are wielding them as potential murder weapons. However, when they're actually in use, it doesn't always make sense within the context of the show, I think it would be more effective if it was made clear that they were symbolising inner most thoughts or something of the like.
This really is a girl power musical and each character in the production is well-defined, allowing the audience to connect with their individual stories and motivations. The attention to detail in the character development adds depth to the overall performance, revealing layers like peeling back the pages of a forbidden diary.
The cast deliver exceptional performances, with each woman commanding the stage with finesse. As this performance, Lizzie Borden was played by Emma Louise Hoey who seamlessly transitions from innocence and sweetness to sheer and utter madness. Her expressive eyes, and body tics convey a myriad of emotions, and every movement she makes skilfully illustrates her transformation into the manic killer fully. There's also a real level of innocence woven throughout the character and despite her gruesome act and obvious manipulation, you can't help but root for her. Vocally, Emma is marvellous, providing literal killer vocals with ease and conviction.
Shekinah McFarlane shines as Lizzie's sister, particularly in Act 2, showcasing her superb vocal prowess, that peaks and troughs in all the right places. For vocal masterclasses, this truly is the show to see. It's certainly a trend, as Mairi Barclay also astounds with her killer voice, as Bridget Sullivan. Barclay not only gets to showcase her impressive vocal range but also adds a touch of humour to this otherwise dark drama, often subtly encouraging Lizzie to commit the heinous acts in clever and witty ways, even if her motivations remain somewhat ambiguous. As Lizzie's friend Alice Russell, Maiya Quansah-Breed's performance is nuanced and heartfelt, offering a soothing contrast to the intense and rage-filled numbers that punctuate the show.
Rachel Tansey's costumes are notably well-executed, dressing the characters for their gruesome deeds and helping transport the audience back in time to the historical setting, where every outfit feels like a well-prepared disguise.
Musically Steven Cheslik-Demeyer and Tim Maner have created songs which sound great in the moment but aren't particularly memorable. Lyrically they are fast-paced and super action packed, sometimes to their detriment. So much is crammed in that you don't know what to focus on so things come across somewhat disjointed.
However, despite its minor shortcomings, Lizzie manages to transform the intimate Southwark Playhouse into a high-energy rock concert experience that's a crime of passion, making it a unique and memorable theatrical event that keeps you on edge and engaged.
★★★
Reviewed on Thursday 2nd November 2023 by Olivia
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
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, 12 January 2023
The Commitments (UK Tour), New Wimbledon Theatre | Review
The Commitments (Tour)
New Wimbledon Theatre
Reviewed on Wednesday 11th January 2023 by Olivia Mitchell
★★★
35 years after the publication of Roddy Doyle's popular novel The Commitments, the stage adaptation is making its way round the UK and Ireland to bring soul to the masses. Set in Dublin in the mid 1980s, it tells the story of a group of working class friends and acquaintances who are trying to start a soul band. Featuring classic songs from the 50s and 60s the musicals has got some real toe tapping moments but doesn't strike the right chord throughout.
The musical score is a mile a minute, with the likes of Tina Turner, The Beatles and Aretha Franklin filling it out, and whilst the performances are great, the structure and use of musical numbers leaves something to be desired. There's no variety; the songs are either performed as a rehearsal or performance and just fill a gap every so often. Instead of adding anything to the story, they are shoehorned in, therefore making the whole thing feel a bit clunky and surface level. The performances themselves are excellent and as a concert you'd be more than happy with what's on offer, but as a theatrical piece it doesn't flow in a particularly cohesive or captivating way.
That being said, the highly talented cast do a great job of working with what they've been given. Namely, Ian McIntosh who's vocals are outstanding as Deco. He gives an arena worthy performance and is a joy to watch. The show especially excels in its ensemble moments, when the band come together to really show what they're made of. Ciara Mackey showcases some lovely vocals as Imelda, Stuart Reid is fabulous as Joey, Connor Litten has some fantastic musical solos and Ronnie Yorke is hilariously over the top as Mickah.
Also impressive is Tim Blazdell's set, which reminiscent of Billy Elliot, uses various levels and moving elements to transform into multiple venues such as the bar and Jimmy's home, allowing some motion throughout and providing visual entertainment. Equally, Jason Taylor's lighting is extremely effective, especially towards the closing of the show.
Throughout the show there are moments that are really special but they are purely musical. Unfortunately the inconsistent and sort of abrupt script makes it very hard to connect to the characters and their plight in any way. The stakes are never high enough and there's a distinct lack of fluidity throughout any of the plot line. There's some semi-romantic moments and some lowkey drama but nothing to really sink your teeth into and after an abrupt ending that seemingly comes out of nowhere, the show closes with a long encore that is one of the most enjoyable parts and makes a strong case for this to be purely a concert musical without bothering with a plot or script.
All in all, whilst it may not be everyones full cup of tea, there's absolutely an audience for this style of show and overall The Commitments is a feel-good celebration of soul that has you clapping along and feeling good. The strong performances make it worth a watch and whilst you won't be emotionally invested, it’s a harmless, musical way to wile away a few hours.
photo credit: Ellie Kurttz
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 23 November 2022
Girl From The North Country (UK Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed on Tuesday 22nd November 2022 by Olivia Mitchell
★★★★
The UK theatre scene is no stranger to jukebox musicals, but Girl From The North Country which features Bob Dylan's backlog, is a completely different and outstanding take on the genre. Dylan's work is the definition of storytelling, with each song creating a mood and narrative to follow so it really lends itself well to being interspersed into a show.
Writer and Director Connor McPherson has taken the songs and set them in Minnesota (Bob Dylan's birthplace) against the backdrop of the depression; this leads to a dark show but it's surprisingly filled with a lot of light and humour and ultimately manages to be uplifting. McPherson's writing is truly wonderful, his rich, multi layered plot sweeps you up and takes you on a hugely moving but also intimate journey. Although at times things can be a little confusing you can't help but be drawn into the world of the characters and the story manages, much like life, to be both simplistic and chaotic at once.
The setting is an old boarding house run by Nick Laine, who is struggling to look after his wife Elizabeth who has dementia. Also struggling to make ends meet we see him try to stay afloat alongside the various others who come through his doors. Frances McNamee is breathtaking as Elizabeth, giving vocals that are so superbly soulful and smooth you're completely enamoured. Her performance is also amazingly witty and mischievous, often proving hilarious one liners and always keeping you on the edge of your seat; it's a real masterclass performance. Alongside her Colin Connor gives a really strong performance as the husband who is trying to hold everything together without falling apart himself.
Marianne (Justina Kehinde) was taken in by the Laines as a baby and now helps out in the guesthouse but is facing her own hardships as she is pregnant. Her father therefore is desperate to marry her off to alleviate some of the financial and social burden. Whilst his biological son (Gregor Milne) is an alcoholic wannabe writer who is completely stuck in a rut. It's really a portrait of a family who are struggling, which feels very relevant given the huge struggles today with the cost of living crisis and recession. Despite this, the musical (although its more a play with songs) isn't particularly maudlin, instead it's almost a celebration of resilience and relationships.
Without giving too much away, there are also a number of other romantic and friendship relationships showcased, all of which are well rounded and beautifully nuanced. One of which is that of Gene Laine and Katherine Draper (Eve Norris) which is a small part of the show but one of the standout moments with their performance of I Want You being a vocal delight.
As a whole the performances are incredibly strong. Justina Kehinde conveys Marianne's youth and vulnerability in a brilliantly natural way. Joshua C Jackson is mysterious and imposing but also tender as Joe Scott and Owen Lloyd is wonderful as bible seller Elias Burke. The ensemble performances make this show as moving as it is, with every song being performed in perfect conversation with the script. Like A Rolling Stone is a definite stand out, as are the moments of silence. The cast are so in sync that rests feel like a communal breath and it's magical to experience.
Girl From The North Country is raw and poetic show which quietly sneaks up on you and leaves you pondering the important things in life. It's intimate, energetic, entirely engaging and a really great theatrical experience.
Friday, 1 July 2022
Come From Away to Play Final Performance in West End on 7 January 2023
The multi award-winning London production of global hit musical Come From Away will extend in the West End from September until the end of the year before holding its final performance at the Phoenix Theatre on Saturday 7 January 2023.
By the time the West End company take their final bow, this critically acclaimed production will have played 1048 performances in London, 47 performances in Dublin and won many major UK theatre Awards including the Olivier, Critics’ Circle and What’s On Stage Awards for ‘Best Musical’.
The current London cast of Come From Away includes Jenna Boyd (Beulah and others), James Doherty (Claude and others), Mark Dugdale (Kevin T/Garth and others), Alice Fearn (Beverley/Annette and others), Kate Graham (Diane and others), Robert Hands (Nick/Doug and others), Jonathan Andrew Hume (Kevin J/Ali and others), Gemma Knight Jones (Hannah and others), Kirsty Malpass (Bonnie and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others), Lejaun Sheppard (Bob and others), with Chiara Baronti, Ricardo Castro, Stuart Hickey, Alexander McMorran, Sarah Morrison, Lucy Park, Jennifer Tierney and Matthew Whennell-Clark.
The Come From Away band includes Alan Berry (Musical Director/UK Musical Supervisor), Matt Bashford (Whistles/Irish Flute/Uillean Pipes), Aoife Mairead Nà Bhriain (Fiddle), Oli Briant (Electric/Acoustic Guitar), Justin Quinn (Acoustic Guitars/Mandolins/Bouzouki), Joey Grant (Electric and Acoustic Bass), Ray Fean (Bodhrán/Percussion), Ian Whitehead (Drums/Percussion), Huw Evans (Associate Musical Director), Andrew Barrett for Lionella Music, LLC (Electronic Music Design), Phij Adams (Associate Keyboard Programmer), Ryan Driscoll (Music Preparation), and David Gallagher (Orchestral Management).
Come From Away shares the incredible real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that invited these ‘come from aways’ into their lives.
Experience the joy, heartache and soaring music as the spirited locals and global passengers overcome their fears and a world of cultural differences to come together and forge friendships that will stay with them forever. The first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter are among the many real characters caught at the start of the moment that changed the course of history, and whose stories became a true celebration of hope, humanity and unity.
The international hit musical has celebrated sold-out, record-breaking engagements on Broadway, in Canada, throughout Australia, and on a 60-city North American Tour.
The Come From Away creative team includes Irene Sankoff and David Hein (Book, Music and Lyrics), Christopher Ashley (Director), Kelly Devine (Musical Staging), Ian Eisendrath (Music Supervision and Arrangements), Beowulf Boritt (Scenic Design), Toni-Leslie James (Costume Design), Howell Binkley (Lighting Design), Gareth Owen (Sound Design), David Brian Brown (Hair Design), August Eriksmoen (Orchestrations), Pippa Ailion CDG and Natalie Gallacher CDG (Casting), Joel Goldes (Dialect Coach), Michael Rubinoff (Creative Consultant), Bob Hallett (Newfoundland Music Consultant), Shirley Fishman (Dramaturg) and Tara Overfield (Associate Director and Choreographer UK).
Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.
Wednesday, 25 May 2022
Line-Up for West End LIVE is Unveiled
A packed line-up of 34 hit West End shows has been unveiled so far ahead of this year’s West End LIVE, a free and unticketed celebration of London’s world-leading theatre scene which comes to Trafalgar Square on the weekend of 25 and 26 June. More acts are due to be announced in the next few weeks, as London gears up for the biggest ever West End LIVE.
Tens of thousands of theatre fans are expected to flock to the capital for this year’s musical theatre spectacular, enjoying free performances from dozens of top shows - from long-running favourites Hamilton, Les Misérables, Wicked, Six, The Book Of Mormon, Disney’s The Lion King and Matilda The Musical, to new shows making their West End LIVE debut, such as Moulin Rouge! The Musical, Legally Blonde, My Fair Lady, Disney’s Beauty And The Beast, Back To The Future - The Musical and Get Up Stand Up! The Bob Marley Musical.
This unique event, a joint production by Westminster City Council and the Society of London Theatre (SOLT), unites London’s theatre industry every year and brings people of all ages into central London to experience the best of the West End - from the city’s unparalleled culture scene to food, drink, fashion, nightlife, retail and more.
As excitement builds for West End LIVE, anyone visiting central London in the next couple of weeks - and who happens to look up - might catch one of a series of surprise, pop-up performances by West End shows on iconic London rooftops, an opportunity to get a feel for things to come from one of the world’s most spectacular outdoor theatre events. Details for these ‘Sing it from the Rooftops’ events will be teased before each appearance on the West End LIVE and Official London Theatre social channels, and anyone lucky enough to witness one will be in with a chance of winning a West End LIVE queue jump. The first pop-up performance will take place today (Wednesday 25 June) at 4pm, in Covent Garden’s famous piazza on the SUSHISAMBA balcony.
Sky VIP are welcomed back as sponsor for West End LIVE 2022, having also supported last year’s event. Once again, they will be offering their customers the chance to watch from the exclusive Sky VIP viewing area onsite, plus win some fabulous prizes.
They join returning partners The Northbank and Edwardian Hotels and sponsors Art of London, Capco Covent Garden, The Crown Estate, Derwent London, Great Western Railway, Heart of London Business Alliance, New West End Company, The Portman Estate, Regent Street & St James’s, Shaftesbury, Veolia, Victoria Business Improvement District, Victoria Westminster Business Improvement District and Whitehall Business Improvement District.
Eleanor Lloyd, President of SOLT, said:
‘London’s theatres are the envy of the world, and West End LIVE is a highlight of the theatrical calendar for so many - not just the countless fans who converge on Trafalgar Square to enjoy a wealth of incredible live entertainment, but also the hundreds of performers and crew involved in putting on what is always an unforgettable weekend. We are delighted to continue to work so closely with Westminster to deliver West End LIVE, and hugely grateful for the support of Sky, who have a long history as champions of theatre and the arts.’
Cllr Tim Roca, Deputy Leader at Westminster City Council, said:
‘West End LIVE is a much-loved annual event that brings together the musical theatre community in celebration of the world-class theatre we have right on our doorstep. One of the main aims the new administration has for the council is to make culture, arts and leisure accessible to everyone living in Westminster, not just the few. We want to encourage all residents, especially those in disadvantaged communities, to participate and join in cultural opportunities and big, fun events such as West End LIVE so we can bring all our communities in Westminster together.’
Joel Keoghan, Head of Brand Partnerships at Sky said:
Sky is delighted to be part of West End LIVE again. This annual celebration of London’s world class theatre is a fantastic event and a highlight in the arts calendar. It’s a great opportunity for us to host and thank our customers, getting them closer to the entertainment they love through Sky VIP.
Official London Theatre will be backstage throughout the West End LIVE weekend sharing exclusive behind-the-scenes content across our social channels.
West End LIVE remains free and unticketed as in previous years. The event will be BSL interpreted by Sue MacLaine, Marco Nardi and Caroline Richardson.
List of shows appearing at West End LIVE 2022
More shows and acts will be announced in the lead-up to the event
& Juliet
Back To The Future - The Musical
Disney's Beauty And The Beast
Bonnie And Clyde The Musical
The Book Of Mormon
Chess, Kinky Boots and Treason at Drury Lane
The Choir Of Man
Come From Away
Dear Evan Hansen
The Drifters Girl
Fantastically Great Women Who Changed The World The Musical
Disney's Frozen
Get Up Stand Up! The Bob Marley Musical
Grease The Musical
The Great Gatsby
Hamilton
Heathers The Musical
Jersey Boys
Legally Blonde The Musical
Disney's The Lion King
Magic Mike Live
Mamma Mia!
Mary Poppins
The RSC’s Matilda The Musical
Les Misérables
Moulin Rouge! The Musical
My Fair Lady
Only Fools And Horses The Musical
The Phantom Of The Opera
Pretty Woman: The Musical
Six
South Pacific
Tina - The Tina Turner Musical
Wicked
photo credit: Pamela Raith
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