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Monday, 17 July 2023

The Wizard of Oz at the London Palladium review: A Delightfully Nostalgic Experience

a visual spectacle that fits so well with the whimsical and well-loved world of Oz"

The Wizard of Oz

London Palladium

★★★★

Magic, wonder, and unforgettable melodies reign supreme as you step into the mesmerising world of The Wizard of Oz at the London Palladium. This enchanting production, a transfer from the Leicester Curve, weaves a delightful experience that is sure to captivate audiences of all ages.

Thanks to Nikolai Foster’s direction, once the curtain rises you will find yourself immersed in a world of imagination and fantasy. The detailed costumes, effective sets and strong video effects seamlessly blend together to create a visual spectacle that fits so well with the whimsical and well-loved world of Oz. The semi-modern, steampunk aesthetic lends a unique twist to the classic tale, infusing it with a fresh and vibrant energy.

The cast of The Wizard of Oz delivers exceptional performances, breathing life into the beloved characters with charm and charisma. Dorothy, portrayed by the stunning Georgina Onuorah with innocence and determination, effortlessly captures our hearts as she embarks on her journey to find her way back home. Joining Dorothy on yellow brick road are three iconic friends she makes. Searching for courage, the Cowardly Lion is played superbly well by Jason Manford, who is perfectly evocative of Lahr in the film but with a spin of his own that really works. Looking for a heart the Tin Man is oiled by well by Ashley Banjo who creates some really brilliant moments; the vocals aren’t as stellar as they could be but his dance skills and charisma more than make up for it. Completing the quad is Louis Gaunt as the Scarecrow searching for a heart, who is utterly charming and a real triple threat. The chemistry between the group is well portrayed, however on stage you don’t feel as a strong of a connection to their journey and never root for them quite enough; their story is enjoyable but not as emotionally intense as it could be.

The other supporting cast members shine in their respective roles, each bringing their own unique flair and personality to the story. Christina Bianco’s Glinda and Dianne Pilkington’s Wicked Witch of the West are throughly entertaining, if a little underdeveloped but both provide some of the stand solos of the show. The musical numbers in The Wizard of Oz combine Andrew Lloyd Webber's new compositions with the beloved songs from the classic film and while Webber's additions may not steal the spotlight, they seamlessly blend with the original score, enriching the overall experience. The familiar melodies of ‘Somewhere Over the Rainbow’ and ‘Follow the Yellow Brick Road’ undoubtedly take centre stage, evoking a wave of nostalgia and bringing smiles to the faces of the audience.

This musical really does exactly what you’d expect it to in telling the story which so many love. All the classic moments are featured and there are also some fun things to spot such as Ozified show names (West Witch Story, Margaret Hamilton etc…) a hidden Olaf and some swanky costumes which are truly Ozian. However, act two is a little bit lacking as a whole, with the video aspect which is so effective in act one, becoming gimmicky and a little basic, especially when showing the wicked witch’s army and the flying monkeys. Moments which could have been really awe-inspiring are instead brushed over and there’s never a true wow moment.

A way the production does soar is in how it pays heartfelt homage to the original book by Frank L. Baum, incorporating references that will surely delight fans. The inclusion of Dorothy's return to Kansas in her Oz dress adds a touch of nostalgia, serving as a loving nod to the source material. These thoughtful gestures elevate the production, reminding us of the timeless charm that made the story a classic in the first place.

It’s not a faultless show but The Wizard of Oz offers a delightful escape into a world of fantasy and adventure. With its talented cast, striking visuals, and heartfelt nods to the original, this production is well worth seeing. Whether you are reliving cherished childhood memories or experiencing the magic for the very first time, this show will transport you to a place where dreams come true and a trip to Oz should definitely be part of your summer plans.

Reviewed on Wednesday 12th July 2023 by Olivia Mitchell

Photo Credit: Marc Brenner

{AD PR Invite- tickets gifted in exchange for honest review}

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Tuesday, 28 February 2023

Oklahoma, Wyndham's Theatre | Review

Rodgers & Hammerstein's Oklahoma

Wyndham's Theatre

★★★★

One of the most exciting and invigorating productions of recent time, Oklahoma at the Wyndham's theatre is truly a spectacle of theatre which uses a number of engaging elements to transform this old school show, into something which feels fresh and bracing.

Directed by Daniel Fish, the reimagined musical has lot of interesting moments and is a deliberately unsettling and provocative piece of theatre. This is a show which delivers some interesting social commentaries and has been updated to be relevant for contemporary audiences. As a commentary on mob mentality and societal positions, it's very effective and well done; and the plot/character change to the end completely turns the show on its head and leaves the audience to draw its own conclusions on right and wrong- a very impressive ending.

Among the changes, are those to the score which is totally switched up from how it's classically been heard. Daniel Kluger's arrangements allow the music to soar in a completely different way and make it sound as though it was written today. Hearing it like this, it's quite unbelievable that this is one of the first ever book musicals and even more so that it feels so relatable. One of the biggest differences is the vocal style of leading lady Anoushka Lucas as Laurey who in contrast to the usual soprano performance, sings the songs like the singer/songwriter she is; and really grounds the music in reality. Alongside Arthur Darvill who also plays the guitar on stage, there is an incredible level of vulnerability and angst shown throughout.

The rest of the cast are astounding and do an excellent job of interpreting the musical in their own way. As Ado Annie Georgina Onuorah is incredibly witty as well as being a vocal powerhouse, her rendition of I Can’t Say No is an absolute stand out and highlight of the show. Liza Sadovy is a powerful presence on stage and gives Aunt Eller a lot more autonomy than usual, especially in her romantic endeavours. As Will Parker James Patrick Davis is gloriously clueless whilst Stavros Demetraki is his own worst enemy. There's also a moving section with the dream sequence dance which Marie-Astrid Mence performs excellently. You couldn't ask for a better gelled, and talented cast.

Whilst there are humourous moments, the show could lean into the comedy more and have some more ramped up moments. The subdued moments work very well and the tension is continually built up but there aren’t any hugely contrasting moments of joy. The cast are unanimously strong but due to the stylistic choices of the show, there’s rarely a truly positively moment and at times it feels like the cast are constrained by the intense nuance and darkness.

The use of lighting (Scott Zielinski) is one of the most effective and exciting parts of the show. Beginning with the house lights up and the whole audience in plain view, the sudden changes to an eerie green hue and later on full blackouts, have an amazing influence on the story and how the audience feel about the characters. It’s quite incredible how a small lighting change can completely subvert a song and show it, both literally and figuratively, in a new light. The initial blackout which features Curly (Arthur Darvill) and Jud (Patrick Vaill) creates a theatrical atmosphere like no other. In a sort of asmr style moment, the full darkness, with even the fire exit signs turned off, means you can’t help but focus completely on the actor’s voices as they boom out via handheld mics. The already tense scene becomes completely unnerving for the audience and is a theatrical moment that will stay with audiences for a long time.

This is a very different Oklahoma to the one your grandparents know so you may want to consider that before booking (especially if planning on taking children) but for the boldness and pure invigoration that this show brings, it’s definitely worth seeing. A non-traditional production which is jarringly dark, Oklahoma will give you a theatrical experience like no other and is a stunning addition to the West End.

Reviewed on Saturday 25th February

photo credit: Marc Brenner

{AD PR Invite- tickets gifted in exchange for honest review}

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Saturday, 16 July 2022

Millennials, The Other Palace | Review

Millennials

The Other Palace Studio

Reviewed on Thursday 14th July 2022 by Olivia Mitchell

★★★★

With the recent announcements of many West End shows closing, it certainly feels like the perfect time to inject something new onto the scene and Elliot Clay's Millennials certainly does just that. Entering the completely transformed studio space at The Other Palace you are greeted by pink cellophane walls, slinkies suspended from the ceiling, inflatable flamingos, ball pits and so much more. Andrew Exeter's design makes it a feast for the eyes from the moment you enter and at just over an hour, the song cycle continues to provide a brilliant way to spend an evening.

The six strong cast who make up the show are all forces to be reckoned with, as they bring individuality to the piece whilst also being a gloriously well-blended ensemble. Opening the show, Luke Bayer starts contemplative and later brings energy in spades; always providing super strong vocals. Hiba Elchikhe is star power embodied as she belts and riffs for her life in 21st Century Girl before showing her versatility with an emotionally intense performance near the show's closing.

Rob Madge is everything you could with for in a comedic role. Their performance makes the most of every second of the music and imbues perfect humour alongside great vocals- a real stand out! Luke Latchman's rendition of Priceless is also wonderfully humourous. Taking on one of the most beautiful songs in the show, Hannah Lowther is lovely. Her vocal talent really shines as does her acting as she really welcomes the audience to feel the song and experience it alongside her. Completing the cast is Georgina Onuorah who's voice is heavenly in her solo number Remember the Feeling. It would be hard to find such a strong cast elsewhere and the entire six are are a credit to musical theatre.

Millennials is everything you could want in a fun show but there are some elements that don't quite work. Mainly the fact that it isn't really millennial, instead it's a look at growing up. Which is fine and entertaining but with the insistence of the millennial theme, it just feels like it's missing something. The show would do well with being slightly more specific in its lyrics to really fit the millennial theme, however there's certainly something to be said for how universally relatable the lyrics and feelings are, no matter the generation. Of course this is a song-cycle not a fully fledged musical but it would also be good to have a bit more of a through line between the songs.

There may be a little final sprinkle of fairy dust missing but Millennials is one of the funnest shows about and it'll be brilliant to see where it progresses. Hurray for new British writing and hurray for Millennials!

photo credit: Mark Senior

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