Showing posts sorted by date for query Mean Girls. Sort by relevance Show all posts
Showing posts sorted by date for query Mean Girls. Sort by relevance Show all posts
Thursday, 11 July 2024
Mean Girls the Musical: A Fetch-Tacular West End Debut You Can't Miss | REVIEW
Mean Girls
Savoy Theatre
Mean Girls in the West End? That's fetch!
After much anticipation, Mean Girls the Musical has sashayed its way onto the West End stage, and it’s nothing short of a fetch-tacular extravaganza! Adapted from the iconic 2004 film penned by Tina Fey, this musical first dazzled Broadway audiences in 2018 and has now graced London with its fabulous presence, bringing all the drama, comedy, and high school hierarchies across the pond.
I first saw and reviewed Mean Girls at the August Wilson Theatre on Broadway in 2018, and I was blown away by the sharp wit, vibrant performances, and infectious energy. Seeing it again on the West End feels like a fabulous homecoming for this beloved show, and I can confidently say that it has lost none of its sparkle and charm in the transition.
For the uninitiated, Mean Girls follows the journey of Cady Heron (played with charm and sincerity by the supremely talented Charlie Burn), a previously homeschooled teenager who moves to the American suburbs from Africa. Navigating the treacherous waters of North Shore High School, she encounters the Plastics, led by the fabulously tyrannical Regina George (Georgina Castle), with her loyal sidekicks Gretchen Wieners (Elèna Gyasi) and Karen Smith (Grace Mouat). With the guidance of her quirky friends Janis Sarkisian (at this performance played by Baylie Carson) and Damian Hubbard (Tom Xander), Cady embarks on a mission to take down Regina, only to find herself transforming into the very thing she swore to destroy.
This vibrant production boasts an amazing cast, blending West End veterans with exciting new talents who are firmly cementing themselves as stars. Aaron Samuels (Daniel Bravo) steals hearts, while Ms Norbury, Ms Heron & Mrs George (Zöe Rainey) bring a delightful double dose of adult hilarity and warmth.
The performances are unanimously nothing short of wonderful. Each actor brings their unique flair, contributing to the high-energy, electrifying atmosphere that permeates the entire show and theatre. The ensemble, in particular, is incredible, delivering dance numbers with precision and enthusiasm that leaps from the stage and feels so exciting to watch. The performances are so captivating that I find myself wanting to return to the show again and again, just to focus on a different performer each time and appreciate their individual contributions to this vibrant production. Charlie Burn is infectiously charming as Cady and provides faultless, pin precise vocals to match. The commanding presence of Georgina Castle as she floats above it all as Regina George is all you could ask for from someone playing this iconic role, plus, Georgina absolutely provides a top theatre moment of the year with her rendition of World Burn. Elèna Gyasi is heartbreakingly desperate to fit in and does so in such a fun but still heartbreaking way, whilst Grace Mouat's Karen is just happy to be there. Grace's performance is laugh out loud funny and I loved her act two song 'I'm Blowing Up' which has been reworked and added back into the show to great effect. Baylie Carson and Tom Xander are the perfect double act as Janis and Damian, again bringing huge doses of humour as well as some of the strongest vocals in the musical. I also loved Lucca Chadwick-Patel as mathlete Kevin Ganatra and Daniel Bravo who brought a real sincerity to Aaron Samuels. I could go on all day about the cast because they're really all fantastic and as I say, every new visit is sure to offer a new layer of enjoyment and discovery, maybe Cady is right and the limit does not exist for how many times you could watch this show!
One of the standout features of this production is designer Scott Pask's ingenious use of screens and projections, which not only bring the hallways of North Shore High to life but also add an immersive, almost cinematic quality to the musical. This dynamic visual approach enhances the storytelling, making scenes pop with vibrancy and energy and allowing for a number of locations without the hassle of in depth scene changes, something which really allows the show to flow and maintain pace.
The West End production has seen some exciting changes from its Broadway counterpart. The creative team, led by director and choreographer Casey Nicholaw, has refined certain scenes and musical numbers to better suit the London audience. There are subtle changes in the dialogue and some new staging that add fresh layers to the beloved story, keeping it as sharp and hilarious as ever. Additionally, the musical's score has been tweaked slightly to enhance its already catchy and memorable tunes.
Let’s be real—Mean Girls the Musical may not be everyone’s cup of tea. If you’re not a fan of cheesy, over-the-top musicals, this might not be your thing. But for those who revel in fun, camp, and excellently performed music wrapped in a big pink bow, this show is pure joy. The musical numbers are infectious, with standout hits like 'Apex Predator', 'Revenge Party', and the empowering 'I’d Rather Be Me', each performed with gusto and flair by the cast.
The show captures the spirit of the original film while adding layers of depth through its songs and performances. It’s a fun, carefree romp that’s perfect for a night out with friends, a date night, or even a solo adventure to bask in its joyous glow. From the moment the curtain rises to the final bow, the audience is taken on a rollercoaster of laughter, nostalgia, and heartfelt moments.
Mean Girls in the West End is a pink-tinted, fabulously fun, spectacle that shouldn’t be missed- grab your tickets now and join the party at North Shore High!
★★★★★
Reviewed on Wednesday 10th July 2024 by Olivia Mitchell
Photo Credit: Brinkhoff / Moegenburg
{AD PR Invite- tickets gifted in exchange for honest review}
Sunday, 16 June 2024
Fun Things to do this Summer in London | Festivals, Food, Theatre and More...
Summer in London is always brimming with vibrant events and 2024 is no exception. Whether you're a music lover, theatre enthusiast, or just looking for a fun day out, there's something for everyone. Here's a roundup of some must-see events happening in the city this summer.
Taste of London Festival: From 12th-16th June the Taste of London festival is back at Regent’s Park, featuring top chefs, interactive workshops, and a variety of gourmet delights. This event is perfect for those looking to explore the culinary scene and try new dishes from some of the best restaurants in the city.
BST Hyde Park: BST Hyde Park is back and bigger than ever. This year's lineup is stellar, featuring Robbie Williams, Andrea Bocelli, Kylie Minogue, and Stevie Nicks among others. The festival promises not just incredible music but also gourmet food, drinks, and a posh VIP area for those looking to splurge a bit. It's happening across weekends in June and July, so mark your calendars!
Somerset House Summer Series: From July 11-21, Somerset House will host its Summer Series, offering a magical experience in the heart of the city. Expect performances from Pip Millett, Corinne Bailey Rae, and legend Patti Smith, among others. This series is known for its eclectic mix of artists and intimate setting in the iconic courtyard. A perfect summer outing!
Kaleidoscope Festival: Taking place on July 13 at Alexandra Palace, the Kaleidoscope Festival is a treat for those who love a mix of music and more. The lineup includes Soul II Soul, Ministry of Sound Classical, and Erol Alkan. Beyond the music, enjoy comedy, science workshops, and acrobatics. It's a festival that truly lives up to its name and offers a colourful array, suitable for every interest.
Wireless Festival: From July 12-14, Finsbury Park will be buzzing with the sounds of Wireless Festival. With headliners like Nicki Minaj, Doja Cat, and 21 Savage, it's a haven for hip-hop, R&B, and grime fans. Expect high energy, massive production, and plenty of surprises.
Mean Girls the Musical: Running until October 27, Mean Girls is finally in the West End. This adaptation of the classic film by Tina Fey is just as hilarious and entertaining. It's a must-see for fans of the movie and anyone looking for a good laugh. We loved it on Broadway!
Kew the Music: Kew Gardens will be hosting its annual Kew the Music series from July 9-14. This year's lineup includes fantastic artists like MIKA, JLS, and Beverly Knight. Enjoy an evening of great music in the beautiful setting of Kew Gardens. Bring a picnic or indulge in the delicious food and drink stalls on offer.
Zoo Nights at ZSL London Zoo: For something a bit different, check out Zoo Nights at ZSL London Zoo, running until July 26. Enjoy live music, street food, and after-hours tours of the zoo. It's a unique way to experience the zoo and learn about its nocturnal inhabitants.
Hampton Court Palace Festival: Just outside London, the Hampton Court Palace Festival from June 11-22 offers an enchanting setting and a fantastic lineup, including Tom Jones, Sam Ryder, and Paloma Faith. With the historic palace as a backdrop, it's a concert experience like no other.
Battersea Park in Concert: This August, Battersea Park will transform into an open-air concert venue featuring classical (Proms in the Park), West End (A Night at the Musicals), and jazz music (Ronnie Scott's Jazz Orchestra). Perfect for a summer evening, attendees can enjoy live music while indulging in delicious food and drink.
London's summer calendar is packed with incredible events that cater to all tastes. Whether you're into music, theatre, or unique experiences, you'll find plenty to enjoy in the city this summer. So, grab your tickets and get ready for an unforgettable season!
If you have an event happening between June and August that you'd like added, just send us an email, we'll be updating this post throughout the Summer.
Saturday, 9 March 2024
Reneé Rapp 'Snow Hard Feelings' Tour in London and Intimate Acoustic Show REVIEW
Reneé Rapp's Snow Hard Feelings Tour
Eventim Apollo, Camden Roundhouse and Banquet Records
Having followed Reneé Rapp since 2018 and attending her debut London show last year, I snapped up tickets for her London residency in an instant and waited with extreme levels of excitement to see her perform again. It's funny having watched someone for so long, you feel a strange sense of pride without even knowing them personally. Perhaps with Reneé it's even stronger because of her connection to us fans that makes her feel almost like a friend, even on the other side of the Atlantic. So, going into the weekend I knew it was going to be special, but it turned out to be so much more than that.
From her breakout role as Regina George in Mean Girls on Broadway and then the recent film adaptation, to her portrayal of Leighton in the charmingly relevant The Sex Lives of College Girls series, to her acclaimed debut album, Rapp has grown from strength to strength, gaining an adoring fanbase along the way, and always staying true to her values of honesty and integrity. Last year her first full length album was released to much critical acclaim (snubbed by the Grammy's, but we move) and this tour was a testament to her evolution as an artist, and a celebration of her impressive musical intuition and writing skills. I won't go into depth because we'd be here forever but for me it's a no skip album that perfectly blends elements of pop, rock, and theatre to create a spellbinding journey. Lyrically it hits hard and musically it offers variety and so much melodic interest whilst still retaining a very Reneé feel.
Watching last year's concert, with music from Rapp's EP 'Everything to Everyone' it was hard to imagine it could get better but with time, it seems Renee has grown in confidence and truly proves to be born for the stage. Two of the shows I saw (Hammersmith Apollo and Camden Roundhouse) were part of the Snow Hard Feelings Tour, which included a mixture of songs from both releases. During these full production concerts, Rapp commanded attention with her dynamic vocals and infectious energy, delivering unforgettable performances, supported by her brilliant band and excellent lighting and video design.
But it was Rapp's acoustic performance at Banquet Records that truly showcased her vocal prowess and artistry. Stripped of elaborate production, Rapp delivered soul-stirring renditions of her songs, allowing her powerhouse vocals to take centre stage. With each note, she demonstrated remarkable control and nuance, effortlessly navigating through intricate melodies and emotive lyrics. Her performance was a masterclass in vocal performance, with faultless transitions between delicate falsetto and powerful belting.
I've always been in awe of Reneé's vocal technique, from her rounded vowels, to her impeccable breath control, phrasing and healthy belt, so getting a chance to witness it close up felt really special. Vocally she shone in all three shows, but there's really something magical about an acoustic show, with only a few hundred people all living in the moment and experiencing someone's innate talent. This show's version of 'Snow Angel' will go down as one of my favourite live vocals I've ever heard.
Throughout the shows, Rapp's authenticity and vulnerability were palpable. Whether sharing personal stories or engaging in playful banter with the crowd, she created an intimate connection that made everyone feel like old friends. Despite the occasional interruptions caused by fainting fans, Rapp handled each moment with grace and humour, turning potential disruptions into endearing anecdotes. Plus, her ability to convey emotion through her vocals and infuse each lyric with depth and sincerity, creates an intimate connection with her audience. Part comedy show, part concert, you're sure to be laughing out loud and probably crying during a Reneé Rapp concert.
Music is such a community former, and these shows were testament to that. From standing in the queues to waiting in the venue for the concert to start, I got chatting to so many people and felt like I was in a room of likeminded people who just wanted to have a good time. The ethos of acceptance and friendship which Reneé fosters, trickles down to her fans, allowing the creation of a brilliantly welcoming environment. There are also a number of excellent audience chants which when screamed out, really unite the crowd, and I must say, as a Brit I feel like we really excel at these, thanks to our years of assemblies and pantomimes. The signs held up by fans added to the sense of community, but unfortunately there were many which veered into objectification. Sign culture and boundaries is a whole topic of it's own but Reneé navigated these situations with poise, reminding fans of the importance of respect; let's just hope people chill out for her next performances.
The support acts, Towa Bird and Sekou, brought their own energy to the stage, setting the perfect tone for Rapp's captivating performances. Towa Bird, with their soulful melodies and infectious energy, warmed up the crowd with their genre-bending sound, seamlessly blending elements of indie-pop and R&B. Their dynamic performance left a lasting impression, showcasing their undeniable charisma and artistry. Meanwhile, Sekou captivated audiences with his powerful vocals and heartfelt lyrics, delivering an electrifying performance. At only 19 years old, he's sure to go from strength to strength and I can't wait to see him flourish in the music industry.
As the final notes of 'Snow Angel' echoed through the venues and confetti rained down, it was clear that Rapp's London shows had left an indelible mark on all who were lucky enough to witness them. With her unparalleled talent, genuine connection to her fans, and unwavering authenticity, Reneé Rapp has proven once again why she is a force to be reckoned with. And as London basks in the afterglow of her triumphant performances, one thing is certain: the star of Reneé Rapp is only just beginning to rise. Bring on the Reneésance.
★★★★★
Reviewed on 1st, 2nd, 3rd March by Olivia Mitchell
Photo Credit: Olivia Mitchell
Tuesday, 8 November 2022
Benjamin Rauhala & his West End Besties at Cadogan Hall
Fourth Wall Live are delighted to announce BENJAMIN RAUHALA & HIS WEST END BESTIES at the Cadogan Hall on Sunday 5 February at 6.30pm. Tickets on sale now www.fw-live.com/ben
One of Broadway’s most trusted music directors and collaborators, Benjamin Rauhala will be joined on stage by stars of the West End including Luke Bayer (Everybody’s Talking About Jamie, Soho Cinders), Paisley Billings (Six, The Lion King, ‘Tattoo Fixers’), Lauren Drew (Six, Heathers, Legally Blonde, ‘The Voice’), Hiba Elchikhe (Everybody’s Talking About Jamie, Aladdin), WhatsOnStage Award nominee Jordan Luke Gage (& Juliet, Bonnie & Clyde, Bat Out of Hell), Ben Joyce (Back to the Future, Jersey Boys), Claudia Kariuki (Six, Wicked, School of Rock), Olivier Award nominee Frances Mayli McCann (Bonnie & Clyde, Heathers, Our Ladies of Perpetual Succour), Zara MacIntosh (&Juliet, Six) Olivier Award nominee Natalie Paris (Six, Billy Elliot, Les Miserables), Courtney Stapleton (‘Belle’ in Beauty and the Beast, Six), Jodie Steele (Six, Heathers) Benjamin Yates (Jersey Boys, School of Rock, Wicked). Guests are subject to change.
Music director Benjamin Rauhala’s love affair with the London theatre community and actors of the West End has been ongoing since his first sold-out concerts with Jeremy Jordan in the summer of 2016. Rauhala grew up obsessed with British pop music, including a subscription to Top of the Pops magazine! As a mainstay of the Broadway community, he has produced hundreds of sold-out concerts that spawned viral YouTube concert clips totalling * totalling over 56million views, including Jeremy Jordan’s ubiquitous cover of “It’s All Coming Back To Me Now” and the many medleys featured in his Broadway Princess Party concert series.
Rauhala found that everyone he met in London had a favourite one of those videos and wanted to chat about it, so he had an idea: what if he gathered a dozen of his favourite West End performers with an epic band and re-created some of those beloved videos, as well as crafting some new arrangements for these amazing singers? On the heels of a sold-out run at Theatre Royal Drury Lane with Jeremy Jordan and in preparation to play the London Palladium with Ariana DeBose and for an upcoming international tour of Disney Princess The Concert, this was the perfect moment to create a concert unlike anything London has ever seen! BENJAMIN RAUHALA AND HIS WEST END BESTIES will be a night filled with Rauhala’s signature mashups and medleys, some of the best contemporary musical theatre, some radically rearranged Disney tunes, and, of course, tunes from the likes of Céline Dion, the Spice Girls, Selena Gomez, and Sam Smith!
Benjamin Rauhala is the Music Supervisor, co-creator, and ‘Fairy Godfairy’ of Disney Princess - The Concert, touring over 100 cities in North America throughout 2022, and internationally in 2023. He helped conceive and arrange the opening and closing numbers of the 2022 Tony Awards for Academy Award winner Ariana DeBose. Rauhala has toured the world since 2014 as the music director forJeremy Jordan, the Tony-nominated star of Broadway's Newsies and TV’s ‘Supergirl’, and in 2020, Rauhala was named 'Best Musical Director' at the Broadway World Cabaret Awards.
His Broadway credits include Fiddler on the Roof, American Psycho, and Pippin. His Off-Broadway credits include Hit List, the meta-musical from the NBC television show Smash, Duncan Sheik’s The Secret Life of Bees and David Byrne’s Joan of Arc: Into The Fire. He is also the music director for Academy Award Winner Ariana DeBose, Halston star Krysta Rodriguez, Tony Award nominees Derek Klena, Jennifer Damiano, Kathryn Gallagher, and Disney legend Jodi Benson, as well as Nashville star Kyle Dean Massey, Anastasia star Christy Altomare, Smash star Andy Mientus, Moulin Rouge star Ashley Loren, and Frozen stars Caroline Bowman and Austin Colby.
Rauhala co-founded the Write Out Loud songwriting competition with Mean Girls Tony Award nominee Taylor Louderman, which is currently in its fourth season of supporting the next generation of composers. Additionally, he is an Original Programming Producer at 54 Below, where he has created hundreds of sold-out concerts, including the Broadway Loves Series, that has famously honored Celine Dion, Britney Spears, Selena Gomez, Sam Smith, Demi Lovato, and many more beloved pop icons.
Follow him @brauhala
Wednesday, 2 March 2022
The Osmonds, A New Musical (Tour), New Victoria Theatre | Review
The Osmonds, A New Musical (Tour)
New Victoria Theatre
Reviewed on Tuesday 1st March 2022
★★★
It has been over 50 years since the wholesome, handsome brothers from Utah, The Osmonds, began their career. They started as a barbershop quartet, performing for locals whilst fundraising and eventually became one of the biggest bands ever, dominating the charts for weeks on end and earning the hearts of girls all over the world. In 2022 their story has been brought to stage in a production written by Jay Osmond himself.
The autobiographical tale begins with the boys-Donny (Joseph Peacock), Jay (Alex Lodge), Merrill (Ryan Anderson), Alan (Jamie Chatterton) and Wayne (Danny Nattrass)- growing up and starting their professional career on the Andy Williams (performed excellently by Alex Cardall) show right until their world domination and consequent fiftieth anniversary reunion. The musical looks at some of the mental challenges the group faced throughout their lives but is mostly a celebration of the music and the fans who loved (and still love) it.
Throughout the show, the audience are introduced to a fan from Manchester called Wendy through the letters which she writes to Jay. This cleverly captures how much celebrities can mean to people, specifically the impact and support The Osmond family unit provided to many. It also acknowledges how the fans and those who showed up for the band helped them get to, and stay at the top of the charts.
The whole cast give excellent performances, with the main Osmonds giving solid vocal and acting portrayals which shine on stage. Georgia Lennon is especially brilliant as Marie Osmond and Charlie Allen and Nicola Bryan give strong performances as the Osmond parents. The young cast portray the boys' desperation to obey and please their father extremely well and are incredibly talented.
As you would expect, it's the music which carries this show, with the big hits Puppy Love, Crazy Horses and Love Me For a Reason providing highlights. The megamix at the end also proved an audience favourite and had pretty much all of the New Victoria Theatre on their feet.
The music and story are clearly very important to a lot of people and obviously seemed to resonate with many of the audience members who are long time fans. However, for anyone new visiting the show, it doesn't quite draw you in and if you don't have the nostalgia for the songs, it is somewhat lacking. If the full house is anything to go by though, there's nothing wrong with that. It seems the musical doesn't need to welcome a new audience of fans but compared to other jukebox musicals, it doesn't do as strong a job of appealing to a wider audience.
That being said, it's certainly a nostalgia fest and a must see for OG Osmond's fans who will enjoy every musical minute.
The Osmonds, A New Musical is at the New Victoria Theatre until 5th March and then continues its tour.
photo credit: Pamela Raith
Wednesday, 20 February 2019
Zog (UK Tour), Rose Theatre | Review
Zog
Rose Theatre
Reviewed on Tuesday 19th February 2019 by Olivia Mitchell
★★★★
Based on the book by Julia Donaldson with illustrations by Axel Scheffler, Zog, in an adaptation by Mike Shepherd with Freckle Productions has made its World Premiere in a superbly fun, colourful and heartwarming way that will entertain adults and children alike. Zog and his friends are growing up and learning how to become the best dragons they can be; on this mission, they attend Madam Dragon's school where they try their hardest to win a golden star. Whilst they struggle and succeed, Princess Pearl is there to help them along and give them the courage they need.
Theatre does an amazing job of subtly giving children the curiosity and creativity they need to understand our world. The characters on stage mirror our world and teach us how to understand emotions and empathise with one another. Towards the end of Zog, there is a particular scene where the dragons have to decide whether they continue for their own personal gain, or, help their friend Pearl. The young girl I took to the show turned to me and said "that's not fair, they're being mean", which may seem like a passing comment but there's no doubt that theatre opens up pathways for conversations about what it means to be good. As a production, Zog brilliantly paves the way for these conversations and brings out the importance of having self-belief whilst helping others.
The small but mighty Zog cast have done a marvellous job of creating a bright world where rabbits bark and dragons roam theatres. Not only do they give greatly emotive and energetic performances but their musicality is outstanding. With all live music, the team work as one to play various instruments and make use of a loop pedal to provide a score (composed by Johnny Flynn) which bubbles and keeps the piece going. The on-stage instrument changes are just another way the little audience are inspired and its exceptionally entertaining to watch the performers work so seamlessly in this peak of children's theatre.
As title dragon, Elliot MacKenzie is mischievous and caring, whilst Euan Wilson as Madame Dragon is harsh but humourous and feels like the dragon equivalent of Miss Trunchbull! Emily Benjamin gives a heartwarming performance as Princess Pearl, both vocally and acting wise, and shows how strong girls are. The message that you can achieve anything in life as long as you put your mind to it is ever necessary and Emily puts it across in an empowering and lovely way. Robert Ginty as Sir Gadabout the Great is especially humourous as he gets the audience involved in his search for the Knight and Dixie McDevitt, brings the ensemble characters (including the adorable rabbits) to life in a fantastic way.
The simple set of scaffolding and stars, designed by Katie Sykes works well to allow the story to move locations but also leaves room for the imagination to roam wild. Props such as fire streamers, add an extra element of excitement and alongside Lyndie Wright's stunningly crafted puppets, the show feels very well put together. The cast transition from being the dragons themselves, to controlling the puppet dragons superbly and manage to maintain the magic throughout.
As an adult, there's something wonderful about hearing children be inspired. The excitable gasps of wonder that pepper the audience, the beaming smiles on faces and the buzz of enthusiasm makes us happy in return and shows just how important theatre is as a tool to teach. Team Zog have created a piece of theatre which will captivate and influence the audience in the most wonderful way.
Zog runs at the Rose Theatre until 23rd February before starting it's UK tour
photo credit: Helen Maybanks
Tuesday, 8 January 2019
Christina Bennington, Live at Zedel | Review
Christina Bennington (Concert)
Crazy Coqs, Zedel
Reviewed on Monday 7th January 2019 by Olivia Mitchell
★★★★
The wounds are still fresh for Bat Out of Hell fans, who had to wave goodbye to their beloved show at the Dominion Theatre just two days ago; but the Bat love was still strong as Christina Bennington took to the stage in a one night only couple of concerts. As usual, the Zedel provided a cosy and relaxed backdrop for a night of pure vocal entertainment and we felt welcomed into the songbook of Christina's life and career.
After performing Jim Steinman's huge musical numbers for the last couple of years, it was enthralling and refreshing to hear Christina show off the other shades of her voice, with her lilting soprano contrasted wonderfully against her powerful belt and buoyant performance. Some stand out numbers included Green Finch and Linnet Bird, I'm With You and Salley Gardens which each showed a different aspect to the vast range Ms Bennington beholds. Act One closer, Raven was another highlight as Christina's voice soared over the audience and enchanted us all through the power of a beautiful song.
Alongside sweet anecdotes we also heard from two guest performers: Danielle Steers and Dan Buckley. Good Girls Go To Heaven performed by Danielle and Christina was met with elation from the audience who were wrapped around the performers fingers, whilst, Happy Days Are Here Again/Get Happy illustrated the friendship between the duo and how their voices complement each other so well. Daniel played the Disney Princes in the pairs mini Disney mash-up and reminded us of just how much talent is on offer in the West End with his beautiful rendition of You Matter To Me from Waitress; it's lovely to see two friends really seeming to have fun on stage.
Superbly talented Musical Director Noam Galperin took charge of the nights musical proceedings, leading his outstanding band with musical fluidity and providing some unique and interesting arrangements of well known songs.
It's interesting to see Christina outside of the rock musical format not only as a showcase of her versatile vocals but also her depth as a performer. Christina's comedic choices, especially during Stupid With Love from Mean Girls were highly entertaining. Equally her performance of Princess was immensely moving. The way Christina physically embodies a song is truly wonderful to see and it's clear why they say "the eyes are the key to the soul" as she conveys a single emotion or thought with a mere twitch of her eyes.
Closing the show with Heaven Can Wait and All Coming Back to Me Now was a wonderful way of rounding off, what must have been a whirlwind few years for Christina, and felt like a fitting way to put Raven away for now, and open doors for new ventures.
If you want to witness a master of acting through song and a beautiful songbird, don't miss Christina Bennington's future performances as she is sure to shine and astound.
photo credit: Joseph Sinclair
Friday, 12 October 2018
Lucie Jones, Live at Zedel | Review
Lucie Jones (Concert)
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell
★★★★★
One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.
The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.
Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.
I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.
Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!
We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.
I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.
photo credit: Olivia Mitchell
Wednesday, 3 October 2018
Mean Girls, August Wilson Theatre | Review
Mean Girls
August Wilson Theatre
Reviewed on Wednesday 19th September by Olivia Mitchell
★★★★★
It lives up to the hype. It truly lives up to the hype.
Mean Girls follows Cady Heron, who moves from the wilds of Africa to the wilds of suburban America, where instead of facing lions, malnutrition and loneliness, she faces boy drama, social issues and the struggle to stay true to herself. Shortly after joining North Shore High School, Cady is shown the various cliques that inhibit the halls. When the most popular girls at school, The Plastics, invite her to join their group, her real friends see it as a perfect way for her to go undercover and infiltrate the cool kids who rule the school.
The musical is based on the 2004 movie of the same name, written by Tina Fey who adapted her own work from screen to stage. The music is by composer of various television songs and Tina's husband, Jeff Richmond, lyrics are by Nell Benjamin who also wrote for other hit screen to stage musical, Legally Blonde. This is a super high energy musical which is perfect for all audience types (although perhaps a little mature for younger children).
There are mixtures of sounds and styles which makes this musical feel very fresh in the current theatre climate. There's pop, contemporary musical theatre, soft-rock, classic musical theatre and so much more which brings the show right up to date and keeps the audience on their toes. Each character has it's own musical feel which fits perfectly; Regina for example has slow, drawn out music which keeps us all in her web of power, whilst Gretchen has to sing everything quickly so as not to be cut off by Regina and Cady's songs are all very Disney-esque and flouncy. The songs of Mean Girls are sure to become regulars in rep folders, karaoke essentials and just earworms in general.
Ashley Park as Gretchen Wieners is so solid and provides a masterclass in committing to your character and putting the work in to make you believe every moment. She is hilarious and vocally stunning as Gretchen but the way she embodies the character is truly what makes the performance special. Kate Rockwell is dippy to perfection as the iconic Karen Smith and she really shines during Sexy which has the audience howling. Jennifer Simard is hilarious and versatile as Mrs Heron/Ms Norbury/Mrs George. Her voice is outstanding and she again brings the memorable moments of the film to life but puts her own spin on them.
At this performance, Cady Heron was played by understudy, Becca Petersen who is wonderful in the role both vocally and acting wise. Compared to the film, I felt much more sympathy for Cady and due to her kindness and innocence, found her a much more likeable character. Her being drawn to the allure of popularity feels natural although we still see the awful way she abandons her true friends.
Barrett Wilbert Weed as Janis is outstanding. From the first moment of Cautionary Tale she is completely natural in the role and it feels as though the real Janis has been plucked out of Illinois and placed on the August Wilson stage. Her best friend, partner is crime, Damien is played superbly by Grey Henson who is comedy on feet and it feels as though it was written in the stars that he would play the role.
The stand out of the show has to be Taylor Louderman who is everything and more as the head Plastic, Regina George. Her voice soars so effortlessly that it's like she's being auto-tuned in front of our eyes. Again, the way Taylor embodies Regina is mesmerising to watch and she is so spot on with every aspect of her performance. Someone Gets Hurt and World Burn are two of the best theatrical moments I've ever experienced.
Technically this show is sensational. The sets by Scott Pask are super simplistic but work well in a jenga-like way to transport us to the few locations of the show; with the screens not only bringing the show into the digital age, but providing constant stimulation for the audience. Modernity is also brought through Gregg Barnes' costumes which are intimately thought out. The Plastics of course, are dressed like they're constantly at an afternoon tea but the rest of the cast look like real, current students. So often with shows set in High Schools, the costumes are unrealistic or even outdated; the playbill states the the show takes place in "The Present" so it will be interesting to see whether the costumes change over time to fit with trends or whether the show becomes synonymous with 2018. Small details such as the theatre 'geeks' wearing actual show merch and Janis letting her hair grow out (perhaps symbolising her desire to avoid conformity), make the show feel truthful and grounded.
Tina Fey's book brings all our favourite moments from the Mean Girls film to life but the addition of new witty one liners and more character development means nothing feels recycled. Mean Girls is fresh and funny as well as having a strong moral heart which highlights bullying and acceptance. If you want a grool night out, get yourself along to the August Wilson theatre... and for us in the UK, lets start a stagey prayer circle for a West End transfer!
photo credit: Joan Marcus
Thursday, 13 September 2018
Heathers, Theatre Royal Haymarket | Review
Heathers
Theatre Royal Haymarket
Reviewed on Monday 10th September 2018 by Olivia Mitchell
★★★★
Every so often a show comes around which receives an exceptional amount of hype and has the West End buzzing. Heathers is currently that show and the good news is that it truly lives up to it. Based on the 1989 film starring Winona Ryder, this musical adaptation is full of energy and humour as it balances the line between political correctness and incorrectness. We find ourselves drawn towards the darkness but also cringing at the atrocities that go on.
Laurence O'Keefe had huge success with his adaptation of Legally Blonde and has applied his winning formula once again to bring this show to life with a camp, sassy and at times melancholic score. The plot follows Veronica Sawyer, a girl who is 'different' to the others at her school and longs for unity between all cliques and social standings. However, in order to make it through High School, she befriends the rulers of the school, the "lipstick gustapo" made up of three girls named Heather. Our protagonist then meets a brooding new boy, Jason J.D Dean who turns out to be a kill happy psychopath. From there on there are deaths, parties, funerals and a whole lot of destruction.
When the movie came out in 1989 it became an instant hit and then received a cultish following when it opened off-Broadway in 2014. The show's transition to the West End has been no different as teens and young adults flood to the theatre with scrunchies in hair and pleated skirts on to see this wildly fun but disturbing musical brought to life.
The entire cast bring this show to life with vivacious passion and immense talent. Leading the gang, Carrie Hope Fletcher is a powerhouse as she battles between what's right and wrong and what she wants to do to boost her social standing/love life. Carrie steps on stage to well deserved cheers and blows the roof of with her entire performance, especially her new song 'I Say No' which gives her a backbone and the rough 'Dead Girl Walking Reprise'. Veronica's moments of strength are certainly where Carrie shines but she is also humourous and likeable as she swoons over JD.
Under Andy Fickman's direction, Jamie Muscato plays the mysteriously murderous JD with an intensity that you can't help but be drawn to. Whilst it's not wise to partner up with a murderer, we all love a bad boy and the combination of JD's smooth talking and Jamie's perfectly rough voice make us feel for him a little bit, even though he becomes a monster before our eyes. Muscato's frenetic energy in 'Meant To Be Yours' is certainly a theatrical highlight of the year.
The three Heathers waltz around the stage as one but have quirky personality traits which are owned and embodied by each. As leader of the pack, Heather Chandler who "floats above it all", Jodie Steele is brilliant. Her permanent scowl, sharp movements, sublime vocals and stellar comedic timing make her perfect for the role. Sophie Isaacs brings an innocence to Heather McNamara which is interesting to play out. Whilst she is part of the mean girl group, it's clear from the outset that she is merely following the pack and wishes to break away. Isaacs' rendition of Lifeboat is a pin-drop silence moment which stands out in the show. As the final Heather, Duke, T'Shan Williams is feisty and aggressive, with her solo Never Shut Up Again earning her laughs and cheers from the audience.
Stand outs of the cast also include Jenny O'Leary who gives a moving performance of Kindergarten Boyfriend, Rebecca Lock who brings the entire theatre to life with her fiery, belt-tastic Shine a Light and Christopher Chung and Dominic Andersen who are humour embodied as the jocks who combine to create Kram. Ensemble members Lauren Drew and Olivia Moore also catch the eye throughout.
Gary Lloyd's choreography is especially effective with the Heathers, namely during the iconic Candy Store which sees them sashaying round the stage but in true Heathers style, being in complete control the entire time and never stepping out of sync with one another.
Mention must go to Ben Cracknell's lighting, which like the music, intensifies every emotion on stage. Particularly effective are the varying tones of light between the characters. The Heathers are of course lit in their iconic colours (brought to life vibrantly through David Shields' costumes) but whats most striking are the moments when Veronica is lit in warm spotlights whilst JD is basked in stark, almost grey tones. This highlights the contrast between the true evil and the kind-of-forced-into-evil in a clever way.
Most of the subject matter of this show is uncomfortable but sadly ever present: bullying, suicide, murder, depression. Heathers does a good job of satirising the sensationalism of them and shines a light (pun intended) on the fact that unity and kindness are always the way forward.
Whilst this isn't a light hearted show in content, the songs are crazily catchy, the talent level is ridiculously high and it's just a really good night out. For Big Fun, get down to the Theatre Royal Haymarket!
Heathers runs at the Theatre Royal Haymarket until 24th November
photo credit: Pamela Raith
Wasted, Southwark Playhouse | Review
Wasted
Southwark Playhouse
Reviewed on Wednesday 12th 2018 by Olivia Mitchell
★★★
With a cast of just four, Wasted tells the story of the Brontë siblings and their journeys to success, and questions (to an extent) what makes a legacy and how fulfilment is achieved. Whilst there are some catchy songs and the cast do a good job conveying the struggles of 18th century women, Wasted is drawn out and somewhat uninformative.
The entire show has a tonne of potential and with tweaks could certainly be a coherent, enjoyable show. However, in it’s current state it feels somewhat self indulgent and the basic story (the girls struggle, eventually get published but feel they have Wasted their lives) is stretched unnecessarily to fill almost three hours.
The cast are helmed by West End superstar, Natasha Barnes who has made a triumphant return to the stage after giving birth to a beautiful baby earlier this year. Working with Christopher Ash's demanding score, Natasha leads the show with faultless vocals and outstanding commitment to the level-headed, dreamer Charlotte Brontë.
As her brother who aims to be famous, Matthew Jacobs Morgan is suitably humourous but troubled. As her sisters, Emily and Anne, Siobhan Athwal and Molly Lynch give strong performances although at times it is hard to understand what is being said. This may be due to mics but does mean that it takes real attention to keep up with the story.
Another issue is the amount of repetition. The first act especially feels like we hear the same thing over and over again; after the first 10 minutes it was clear the girls “need to work” but we were told several more times which instead of reinforcing something important, felt unnecessary and added to the length of the show dramatically.
Wasted could easily have been performed as two separate shows. Both act one and act two have good starting and finishing points which would make for solid 90 minute straight-through shows but together just felt too much.
Despite it's flaws, it is wonderful to see such an experimental, new, British musical and the cast do an outstanding job of bringing a mischievous, fresh view of the Brontës.
Wasted runs at the Southwark Playhouse until 6th October
photo credit: Helen Maybanks
Monday, 28 May 2018
A Little Princess, Southbank Centre | Review
A Little Princess
Southbank Centre
Reviewed on Monday 28th May 2018 by Olivia Mitchell
★★★
After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa's lesser-known show A Little Princess was brought to the west end for it's UK Premiere at the Southbank Centre. Telling the story of Sara Crewe, a girl sent from Africa to a boarding school in London where she meets mean girls and a strict headmistress, this is a sweet story, with melodically beautiful songs and a heartwarming moral.
As Miss Minchin, the headmistress who's a melange of Miss Trunchbull, Mrs Lovett, Mdme. Thenadier and others, Amanda Abbington was good. In her musical theatre debut she did well to convey the tiredness of the character but lacked menace. Vocally she was a little lacking and tended to speak-sing but still gave a pretty solid performance and I look forward to seeing her tackle future theatrical roles.
Danny Mac was dashing as ever as Captain Crewe, with wonderful vocals alongside a sweet connection with the children of the cast. The pacing of the show itself is funny and means that all the characters are a little under-developed. We got to see a lot of Captain Crewe at the start but as the show went on (especially in Act 2) everything felt rushed. With some rewrites this could be a lovely show and it would be great to see Danny having a bit more time to shine. Mention must go to his stellar performance in the pattersong-esque, Timbuktu.
Equally deserving of more time to shine was the stunning Rebecca Trehearn who always manages to steal her scenes. As Miss Amelia, the ditsy sister of Miss Minchin, Rebecca gave a wonderfully humourous performance and shone in her solo, Once Upon a Time.
Alexia Khadime and Adam J Bernard as Aljana and Pasko gave vocally stunning performances despite being a little overpowered by the orchestra at times.
This was the first production which had actual children playing the children and it was them who stole the show. All the young cast did a great job of owning their roles, with Jasmine Nituan giving a heartfelt, funny performance as Sara's best friend and maid, Becky.
Jasmine Sakyiama is truly a star in the making. Her performance as Sara Crewe was 100 miles a minute from the start with her vocals and emotive facial expressions never failing. Of all the children, Jasmine also had the strongest diction which made her stand out even further. Keep an eye on this girl because she's going to go far!
Nic Farman's lighting added a mystical, magical vibe to the story which was lovely and took the show from a simple concert to an emotive production.
Despite enjoying this production, it does need some edits. I'm no one to say what these edits should be, but Act 2 felt extremely rushed and there were a number of moments that felt unnecessary/over-extended. However, the cast were great and I hope this isn't the last we see of this sweet show in the UK.
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