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Showing posts sorted by date for query Once. Sort by relevance Show all posts
Friday, 29 November 2024
The Lightning Thief: The Percy Jackson Musical Review- A Vibrant Escape Packed with Heart and Humour
Like Camp Half-Blood itself, this show offers an unforgettable escape filled with friendship, unity, and a world where everyone can be a hero."
The Lightning Thief: The Percy Jackson Musical
The Other Palace
The Lightning Thief the Percy Jackson Musical based on Rick Riordan’s beloved novel of the same name, finds its perfect home on the intimate stage of The Other Palace. This fantastically staged production knows exactly what it’s aiming for: a heartfelt, high-energy story for fans of the books, young theatergoers, and anyone seeking an escapist evening of fun. It’s not a transformative piece of theatre but it never tries to be. Instead, it’s a faithful, joyfully chaotic adaptation that delivers a thoroughly entertaining experience.
The musical, with a book by Joe Tracz and music and lyrics by Rob Rokicki, condenses the sprawling first book of the Percy Jackson & the Olympians series into a fast-paced two-hour show. Percy Jackson, a seemingly average teenager, discovers he’s the demigod son of Poseidon. Alongside his best friend Grover and fellow camper Annabeth, he embarks on a quest to retrieve Zeus’s stolen lightning bolt, battling monsters and confronting his insecurities along the way. Themes of friendship, belonging, and overcoming personal challenges echo throughout, resonating especially with anyone navigating the struggles of growing up.
The standout performances begin with Max Harwood as Percy Jackson. Harwood, known for his starring role as Jamie New in the movie version of Everybody's Talking About Jamie and his recent role in Stranger Things once again demonstrates why he’s a star on the rise. I was lucky enough to see Max's debut as Melchior in Spring Awakening and I knew great things were on the horizon for him so it's so wonderful to see him leading this show with such brilliance. His strong, healthy vocals handle Rokicki’s rock-influenced score with confidence, while his physicality and emotional depth ground Percy’s journey in authenticity. Harwood’s Percy is funny, flawed, and fiercely relatable- a hero in trainers we can all root for. Watching him embody the sarcastic yet earnest demigod is an absolute treat, solidifying his status as one of the most exciting young performers on the stage today.
Mirroring Percy’s charm are Jessica Lee as Annabeth Chase and Scott Folan as Grover. Jessica brings a sharp wit and determined energy to Annabeth, perfectly capturing the daughter of Athena’s intellect and drive. Her duet with Harwood, 'My Grand Plan', is both heartfelt and empowering. Scott, meanwhile, is utterly delightful as Grover, mixing lovely comedic timing with moments of vulnerability that bring the satyr’s loyalty to life.
The ensemble shines, masterfully multi-rolling through a colourful array of characters, from meddling gods to fearsome monsters. Their quick changes and distinct characterisations are a testament to their talent and energy. Whether it’s a eye-dangling Fury or a groovy Poseidon, the ensemble brings Riordan’s mythological world vividly to life.
The creative team deserves immense credit for transforming the small stage of The Other Palace into a dynamic playground of gods and monsters. Charlie Morgan Jones’s vibrant lighting design and Duncan McLean’s imaginative projections work in tandem to expand the space, while clever touches- like bubbles to suggest underwater scenes- immerse the audience in Percy’s world.
The musical’s ability to nod to large-scale moments from the book (like the showdown with Ares) without overcomplicating them is a smart move by director Lizzi Gee. By focusing on character and humour rather than spectacle, the adaptation avoids the pitfalls of feeling overly ambitious.
Rob Rokicki’s score is an infectious blend of rock and pop that captures the angst and excitement of Percy’s story. Songs like 'Good Kid' and 'The Tree on the Hill' resonate emotionally, while the humorous numbers like 'D.O.A.' provide laugh-out-loud moments. That said, at times, the sound mix leaned too heavily on volume, making some lyrics difficult to catch- a minor issue in an otherwise great production.
The Lightning Thief thrives because it knows its audience. It’s not here to change the world- it’s here to celebrate it, offering fans of Riordan’s books and newcomers alike a chance to step into a world of camaraderie and mythological mischief. The Other Palace, with its cosy yet versatile stage, feels tailor-made for this production, inviting the audience into Camp Half-Blood’s warm embrace.
The musical excels at what it sets out to do: entertain, uplift, and provide a few hours of joyous escapism. With a faithful adaptation, a gifted cast led by the brilliant Max Harwood, and a visually inventive production, it’s a treat for fans and a celebration of the power of storytelling- a monster of a show! Like Percy’s time at Camp Half-Blood, it reminds us that even when life gets messy, friendship and unity can see us through.
★★★★
Reviewed on Thursday 28th November 2024 by Olivia
Photo Credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 8 November 2024
Miss Saigon Returns to the Stage: A Legendary Musical Reborn in a New UK Tour
The powerful love story of Miss Saigon returns as Michael Harrison, in collaboration with Cameron Mackintosh, brings Boublil and Schönberg’s legendary musical back to the UK in a brand-new, contemporary touring production. Opening at Newcastle Theatre Royal on October 4, 2025, this reimagined Miss Saigon commemorates the 35th anniversary of its West End debut with fresh creative energy, captivating a new generation of audiences.
Following Newcastle, the production will tour to renowned venues including the Playhouse Theatre in Edinburgh, Palace Theatre in Manchester, The Alexandra in Birmingham, Grand Theatre in Leeds, and New Theatre in Oxford, running until early January 2026. Additional dates, full casting, and production team details are set to be announced soon, with priority booking available at miss-saigon.com.
In this epic musical set during the final days of the Vietnam War, 17-year-old Kim finds herself working in a bar run by a complex character known as The Engineer. There, she meets and falls in love with Chris, an American GI, but the fall of Saigon tears them apart. Unbeknownst to Chris, Kim bears his child and embarks on a powerful journey of survival, determined to reunite her family. Miss Saigon is filled with themes of love, resilience, and sacrifice, and features a score that has resonated with audiences worldwide.
Reflecting on this milestone, Cameron Mackintosh remarks:
Thirty-five years after Miss Saigon first opened to international success, I am delighted that this powerful, heart-wrenching love story has remained timeless around the world. This tale of two young people, an American soldier and a Vietnamese girl, who fall in love amid the devastation of war, has touched hearts and sparked connection worldwide.”
Inspired by a recent, critically acclaimed Sheffield Crucible production, this tour brings new life to the show’s intimate moments and grandeur alike, expanding to theatres beyond the reach of the original. Michael Harrison shares the excitement:
It is thrilling to be collaborating with Cameron on a brand-new production of Miss Saigon. Millions have been moved by its messages of family, love, and resilience, and now we have the opportunity to share it with audiences across the UK in a contemporary new form.”
Since its debut, Miss Saigon has won 75 major awards, including Olivier and Tony Awards, and has been performed in 378 cities, translated into 15 languages, and seen by over 38 million people globally. This extraordinary revival directed by Jean-Pierre van der Spuy promises to carry forward its legacy with modernised staging, fresh direction, and the enduring, iconic score by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil.
As Miss Saigon prepares to soar once more, this tour promises audiences the chance to experience one of the world’s most acclaimed musicals in a whole new light, bringing the sweeping story of love and sacrifice to life for theatergoers across the UK.
Wednesday, 6 November 2024
Matthew Bourne’s Iconic Swan Lake Celebrates 30 Years with Extensive UK and Ireland Tour
Dance lovers, prepare to experience the power and artistry of Matthew Bourne’s Swan Lake, as it embarks on an extraordinary UK and Ireland tour to celebrate its 30th anniversary. With 29 weeks of breathtaking performances across 19 venues, New Adventures once again brings Tchaikovsky’s classic to audiences with a thrilling revival that pushes dance theatre boundaries. Starting at Theatre Royal Plymouth on November 11, 2024, and leading into an 8-week holiday season at Sadler’s Wells, this tour marks New Adventures’ 22nd consecutive Christmas season at the iconic venue.
In 2025, the tour extends to Aberdeen, Sheffield, and Dublin, alongside previously announced cities including Birmingham, Cardiff, Edinburgh, and Glasgow, ensuring audiences nationwide will have a chance to experience the groundbreaking production that forever changed dance theatre. Since premiering at Sadler’s Wells in 1995, Swan Lake has won over 30 international awards and become the most successful dance production of all time, celebrated for replacing the traditional female swan ensemble with a bold, male corps-de-ballet. The production’s success has reverberated globally, holding records for the longest-running full-length dance piece in both the West End and on Broadway, with Olivier and Tony Awards in categories from Best New Dance Production to Best Choreography.
This tour also welcomes a new generation of New Adventures talent making their debut in lead roles: Harrison Dowzell, Jackson Fisch, and Rory Macleod as The Swan/The Stranger; James Lovell, Leonardo McCorkindale, and Stephen Murray as The Prince; Nicole Kabera and Ashley Shaw as The Queen; Katrina Lyndon and Bryony Wood in double roles. The company’s stellar ensemble will elevate Lez Brotherston’s set and costume design and Paule Constable’s dynamic lighting, with video and projection by Duncan McLean. The dark, witty, and emotionally charged choreography, directed by Matthew Bourne, remains central to this genre-defining experience, blending wit and menace in equal parts.
As Official Partners, Fortnum & Mason and Edwardian Hotels bring their support to the tour, underscoring the cultural importance of this masterpiece. Join the excitement as Swan Lake embarks on its 30th-anniversary journey, celebrating dance theatre history with every performance.
photo credit: Johan Persson
Tuesday, 22 October 2024
Matthew Bourne's Award-Winning The Midnight Bell Returns for a Nationwide Tour in 2025
New Adventures is thrilled to announce the return of Matthew Bourne's critically acclaimed The Midnight Bell in 2025. The production will open at the Everyman Theatre in Cheltenham on Thursday, May 15, before embarking on a 17-week tour across the UK, reaching new audiences at many venues for the first time.
Set in 1930s London, The Midnight Bell follows a group of ordinary people whose lives intersect in the pubs and foggy streets of Soho and Fitzrovia. The story unfolds within a tavern where a lonely-hearts club gathers to navigate the emotional complexities of love, longing, and heartbreak. The piece is inspired by the works of English novelist Patrick Hamilton, who captured the lives and struggles of the working-class man and woman in London's pubs, particularly in his novels Twenty Thousand Streets Under The Sky and Hangover Square.
Premiering in 2021 to widespread acclaim, The Midnight Bell received five nominations at the 2022 National Dance Awards, including wins for Matthew Bourne's Best Modern Choreography and Michela Meazza's Outstanding Female Modern Performance. Bourne reflects on the significance of this piece, which marked New Adventures' return to touring post-pandemic. He expressed his excitement about revisiting the show in 2025 and introducing it to new audiences, describing it as a collaborative masterpiece that explores the fundamental need for human connection.
For this revival, Bourne will reunite with his award-winning creative team, including Terry Davies (music), Lez Brotherston (set and costume design), Paule Constable (lighting design), and Paul Groothuis (sound design). The 2025 tour will feature a cast of fourteen of New Adventures' finest actor-dancers, with full casting to be announced soon. Audiences are invited to step inside The Midnight Bell once more to experience its bittersweet stories of human emotion and connection.
Anne Boleyn the Musical to Have World Premiere at Hever Castle: A Historic Debut Not to Be Missed
Historalia Productions is thrilled to announce the world premiere of Anne Boleyn the Musical, set to debut at Hever Castle in August 2025. This unique production brings the captivating story of Anne Boleyn to life at her childhood home, offering audiences an immersive experience at this iconic historical site. Directed by Roxana Silbert, with a book by Rebecca Night, music by Sam Gevers, and lyrics by Rebecca Night & Sam Kenyon, the musical will be performed in a specially constructed 1,800-seat outdoor auditorium, running from 2nd-30th August 2025.
Anne Boleyn the Musical explores Anne’s transformative journey from a young woman venturing into the royal courts of Flanders and France, to her eventual rise to Queen of England and her tragic downfall. Set against the stunning backdrop of Hever Castle, where Anne grew up, this production promises to reveal the true nature of one of history’s most intriguing women, offering audiences a fresh perspective on her ambitions, legacy, and her pivotal role in shaping England’s future.
Historalia Productions, founded by Simon de Merode and Eliane Astor-De Merode, brings its signature style of historical storytelling to the UK for the first time. Known for their large-scale musical productions in historic venues across Belgium, Historalia’s latest project is set to create an unforgettable theatre experience at Hever Castle. Previous productions, including Jeanne d'Arc, Marie-Antoinette, and 1830, have wowed audiences, and Anne Boleyn the Musical is poised to continue that tradition.
Hever Castle’s CEO, Duncan Leslie, expressed his excitement for this groundbreaking production, calling it an extraordinary opportunity to witness the story of Anne Boleyn unfold at the very place she once called home. This West End-calibre show, paired with the castle’s rich history, is sure to captivate both regular visitors and new guests alike.
With a talented creative team and the magical setting of Hever Castle, Anne Boleyn the Musical will be a must-see event in 2025. Full casting and additional creative details will be announced soon.
photo credit: Daniel Watson
Friday, 18 October 2024
Lord of the Dance- A Lifetime of Standing Ovations on Tour: A Footwork Feast with a Touch of Nostalgia
Lord of the Dance: A Lifetime of Standing Ovations
New Victoria Theatre
Lord of the Dance: A Lifetime of Standing Ovations is a unique production that showcases the unmatched talent of its dancers, but it also carries a sense of nostalgia that doesn’t quite hold up in today’s world. Originally created by Michael Flatley in 1996, the show is rooted in Irish mythology, featuring stunning footwork and energetic performances.
At its core, Lord of the Dance tells a mythic tale of good versus evil, with the "Lord" representing all that’s noble and heroic, while the "Dark Lord" embodies chaos and villainy. As these two archetypal male figures battle for dominance, female characters like "Saoirse" and "The Morrighan" find themselves relegated to fairly traditional roles: yearning for the hero or caught in the middle of the conflict. The story itself feels more like a backdrop to the dancing rather than a fully fleshed-out narrative, and the idea of macho men saving the day while women stand by feels a little tired in today’s cultural climate.
Visually, the show is a mixed bag. At times, the lighting, costumes, and staging can be quite effective, creating moments of real magic. However, there are other moments where the visuals feel random and disconnected, with no real cohesion in design or purpose. The costumes range from ethereal and elegant to overly flashy and out of place. The lighting effects, while dynamic, often seem to be trying to add drama where the narrative fails to deliver. These dated visual elements can distract from the otherwise incredible dance performances and make the production feel less polished than it once was.
That said, the live music elements, including violin interludes and occasional vocal performances, are a welcome addition. They break up the dance-heavy sequences in a way that adds depth and texture to the show. The mix of live music and recorded tracks is well-balanced, enhancing the energy of the performance while giving the dancers brief moments to reset.
The dancing itself is the undeniable highlight of the show. The sheer athleticism and precision of the cast are nothing short of remarkable. The iconic Irish step-dancing routines are performed with an intensity and flair that keeps the audience fully engaged, even when the story feels secondary. The choreography remains as impressive as ever, with the dancers’ footwork bringing an unmatched level of excitement and spectacle to the stage. Even if the visuals and plot don’t always hit the mark, the dancing alone is enough to make the show worth seeing.
Lord of the Dance is still a strong production for fans of Irish dance and music, but it feels very much like a product of its time. The plot is simple, predictable, and hinges on outdated gender roles, while the visual elements, although sometimes effective, lack coherence and can feel random or overdone. Yet despite these shortcomings, the live music and the incredible talent of the dancers keep the show afloat and make it worth a watch. It's a show that knows what it is and embraces it fully. It might not break new ground for those familiar with it, but it offers a nostalgic, enchanting escape for anyone craving the magic of Irish dance. For longtime fans, it’s a delightful revisit to a cherished classic, while for newer audiences, it serves as a beautiful introduction to the art form, even if it does show its age in places.
★★★
Reviewed on Friday 18th October by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 10 October 2024
Full Cast Announced for UK & Ireland Your of Kinky Boots the Musical
Producers ROYO and Curve are thrilled to announce the complete cast for the all-new Made at Curve production of Kinky Boots The Musical, winner of Olivier, Tony, and Grammy Awards. This celebrated musical will tour the UK and Ireland starting from 17 January 2025.
Joining the cast are: Newtion Matthews (Once on This Island) as Lola for select performances and Simon Snr for all others. Kara Lily Hayworth (Cilla the Musical) as Nicola, Joe Caffrey (Billy Elliot) as Don, Kathryn Barnes (Guys & Dolls) as Pat, Lucy Williamson (Fame!) as Trish, Jonathan Dryden Taylor (Fiddler on the Roof) as Mr Price, Scott Paige (I Should Be So Lucky) as George, Liam Doyle (Heathers) as Harry.
The ensemble cast also features: Kofi Dennis, Ru Fisher, Ben Middleton, Ashley-Jordon Packer, Cerys Burton, Cole Dunn, Kaya Farrugia, Jordan Isaac, Deena Kapadia, Tori McDougall, and Liam McEvoy.
These new cast members will join previously announced stars: Johannes Radebe (Strictly Come Dancing) as Lola, Dan Partridge (Grease) as Charlie Price and Courtney Bowman (Legally Blonde) as Lauren.
Kinky Boots The Musical features a score by Cyndi Lauper and a book by Harvey Fierstein, with direction by Curve’s Artistic Director Nikolai Foster. The story, based on real events and the 2005 film, follows Charlie Price, a man trying to save his family’s failing shoe factory. When he meets Lola, a charismatic drag queen, their collaboration brings hope, reinvention, and a splash of glamour to the business.
With its uplifting message of celebrating individuality and finding common ground, Kinky Boots promises to “Raise You Up” starting January 2025.
The production is helmed by Nikolai Foster, featuring choreography by Leah Hill, set and costume design by Robert Jones, musical supervision by George Dyer, lighting design by Ben Cracknell, sound design by Adam Fisher, casting by Harry Blumenau CDG CDA, and wigs, hair, and make-up design by Campbell Young Associates.
Associate direction is by Michaela Powell, with associate choreography by Johnny Bishop, and associate sound design by Harry Barker. Production management is handled by Setting Line.
Kinky Boots is produced by ROYO and Curve. Don’t miss this fabulous production when it kicks off its tour in January 2025!
Wednesday, 9 October 2024
David Tennant and Cush Jumbo’s Macbeth to be Released in Cinemas
Trafalgar Releasing, in collaboration with the Donmar Warehouse, has announced the cinema release of Macbeth, starring David Tennant and Cush Jumbo. This sold-out production, currently playing in London's West End, will be screened in cinemas across the UK, US, Australia, and select international locations starting February 5, 2025. Directed by Max Webster, this critically acclaimed performance was filmed live at the Donmar Warehouse.
Tickets for the cinema release go on sale October 16 at MacbethDonmarCinema.com.
Tim Sheader, Artistic Director of the Donmar, and Executive Director Henny Finch expressed excitement over the production's expanded reach, saying, “We are thrilled that this innovative staging of Macbeth will reach even more audiences beyond its original run. It’s exciting to think that thousands of viewers globally will get to experience this unique, immersive production in cinemas.”
Trafalgar Releasing’s CEO, Marc Allenby, highlighted the continued success of theatre in cinemas, remarking that, “Theatre remains a key driver of cinema box office, and working with the Donmar to bring Macbeth to global audiences further broadens our cultural content portfolio.”
The production, with David Tennant (Doctor Who, Broadchurch) as Macbeth and Cush Jumbo (The Good Wife, Criminal Record) as Lady Macbeth, has garnered rave reviews. The Daily Telegraph called it "enthralling," while The Guardian praised its "wolfish imagination and alarming surprise." The live cinema screening will capture the intense and brutal pace of this tragic tale of ambition, power, and fate, enhanced by immersive 5.1 surround sound.
The production also features Moyo Akandé as Ross, Cal MacAninch as Banquo, and Rona Morison as Lady Macduff, along with a host of seasoned performers, many with extensive theatre, television, and film credits.
The Donmar Warehouse, renowned for its intimate staging and groundbreaking productions, has teamed up once again with Trafalgar Releasing to bring theatre to a global audience. The company has previously collaborated with Trafalgar on successful cinema releases, and Macbeth promises to be no exception.
For more information and tickets, visit MacbethDonmarCinema.com.
Wednesday, 12 June 2024
Magic, Love, and Books 'A Novel Love Story' by Ashley Poston Enchants | BOOK REVIEW
A Novel Love Story by Ashley Poston
Published: 25th June 2024 by HQ
Ashley Poston’s A Novel Love Story is a delightful dive into the whimsical world of Eloraton, where books are not just read, but lived. This book is a love letter to every book lover out there, capturing the joy, escape, and sense of home that only a good story can provide.
The story follows our protagonist, Eileen Merriweather, who discovers the mysterious and quaint town of Eloraton—a place that gives off major Once Upon a Time vibes. Here, books are not mere objects but gateways to a world where characters come to life, in fact the whole town and its inhabitants are taken straight from her favourite book series. Eileen’s journey intertwines with the enigmatic and charming Anderson, whose minty eyes and brooding personality grow endearing over time. Together, they uncover secrets that bridge the magical and the real, leading to a plot twist that, while somewhat predictable, still feels satisfying.
Now, I can see how A Novel Love Story could be a marmite book. Some might find the magical realism a bit perplexing, or the plot holes a tad frustrating. But I’m firmly on the loving side of this divide. Poston's magical realism is reminiscent of Carrie Hope Fletcher’s style—grounded yet sprinkled with magic. Even if I didn’t fully understand all the magic, I believe that was sort of the point, adding to the charm and whimsy of the narrative.
The characters’ small acts of service and quiet signs of love were heart-melting. Anders’ minty eyes may have been mentioned a few times too many, and his “sweetheart” endearment seemed to come out of nowhere, but these quirks added to the unique charm. And let’s not forget the sheer celebration of books. The story encapsulates the pure joy and escape that books offer, a sentiment every bookworm will resonate with.
While I guessed the big plot point early on, it didn’t detract from my enjoyment. The journey was filled with so many quotable lines and tender moments, that guessing the twist felt like being in on a delightful secret rather than a spoiler.
I’ve never experienced those intense feelings for a book series where the characters felt like family, except maybe during my The Fault in Our Stars phase (which we won’t talk about). However, A Novel Love Story gave me a glimpse into what that might feel like. It made me think of how fans describe their love for the Addicted/Calloway sisters books and the Boys of Tommen series—real-world versions of Eloraton.
In short, if you’re a lover of books and magic, A Novel Love Story by Ashley Poston is a must-read. It’s a heartwarming celebration of the magic found in the pages of a book, filled with endearing characters and enchanting moments. Highly recommended!
Reviewed by Olivia
{AD PR product- book gifted by publisher}
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
Thursday, 8 February 2024
Kathy and Stella Solve A Murder! transfers to the West End
Francesca Moody Productions, Kater Gordon, Wessex Grove and Fiery Angel are delighted to announce that award-winning smash-hit murder mystery musical Kathy and Stella Solve A Murder! will transfer to the Ambassadors Theatre in the West End for a strictly limited season from 25 May - 14 September after thrilling audiences in Edinburgh, Bristol and Manchester. Tickets are now on-sale at www.kathyandstella.com with 5000 under £25 and a ticket lottery to be announced.
Bronté Barbé and Rebekah Hinds will reprise their roles as Kathy and Stella alongside Imelda Warren-Green who will once again play Erica. Further casting is to be announced.
Originally brought to the stage by Francesca Moody Productions and Kater Gordon Kathy and Stella Solve A Murder! won Musical Theatre Review’s Best Musical Award at the Edinburgh Festival 2022. The production reunites the writing and musical talents of Jon Brittain - Book and Lyrics / Co-Director and Matthew Floyd Jones - Music and Lyrics who previously collaborated on the critically acclaimed, Fringe First award-winning A Super Happy Story (About Feeling Super Sad). Fabian Aloise Co-Directs and Choreographs.
BFFs Kathy and Stella host Hull's least successful true crime podcast. When their favourite author is killed they are thrust into a thrilling whodunnit of their own!
This big-hearted, laugh out loud musical follows the unlikely crime-fighting duo as they put their friendship on the line to become part of the story. Can they crack the case, (and become global podcast superstars) before the killer strikes again…?
Monday, 5 February 2024
Cara Delevingne and Luke Treadaway to join the cast of Cabaret | THEATRE NEWS
The award-winning West End production of Cabaret at the Kit Kat Club is thrilled to announce that actress and model Cara Delevingne will play Sally Bowles, and Olivier Award-winning actor Luke Treadaway will take on the role of The Emcee from March 11 to June 1, 2024. Delevingne expressed her excitement about making her stage debut, while Treadaway is thrilled to join the Kit Kat Club production.
The show is booking until February 2025, and Cara Delevingne will have specific dates when she won't be performing*. They join Michael Ahomka-Lindsay as Clifford Bradshaw, Beverley Klein as Fraulein Schneider and Teddy Kempner as Herr Schultz. Nic Myers plays the role of Sally Bowles once a week.
Completing the company are Wilf Scolding as Ernst Ludwig, Jessica Kirton as Fraulein Kost/Fritzie, Liv Alexander as Texas, Natalie Chua as Frenchie, Taite-Elliot Drew as Hans, Damon Gould as Victor, El Haq Latief as Helga, and Travis Ross as Bobby, joining Laura Delany as Rosie, Grant Neal as Herman/Max and Hicaro Nicolai as Lulu. The cast is completed by Rebecca Lisewski, Ela Lisondra, Nic Myers, Andy Rees, Toby Turpin and Patrick Wilden.
The prologue company are Rachel Benson, Ami Benton, Onyemachi Ejimofor, Joseph Hardy, Liz Kamille, Andrew Linnie, Aine McLoughlin, Jack William Parry, Jazmyn Raikes, Oliver Stockley and Ena Yamaguchi.
Cabaret, praised as the ultimate theatrical experience, opened in December 2021 and won seven Olivier Awards in April 2022. The Broadway production featuring Eddie Redmayne and Gayle Rankin is set to open at the Kit Kat Club in April.
Transforming the theatre with an in-the-round auditorium and reimagined spaces, the Kit Kat Club invites guests to enjoy pre-show entertainment, drinks, and dining. The musical, featuring iconic songs like "Wilkommen" and "Don’t Tell Mama," is directed by Rebecca Frecknall, with set and costume design by Tom Scutt and choreography by Julia Cheng. The production promises a unique and immersive experience for audiences.
*Cara will not be performing on the following dates - Wednesday 13 March (matinee), Thursday 21 March (evening), Wednesday 27 March (matinee), Thursday 4 April (evening), Tuesday 9 April (evening) Wednesday 10 April (matinee and evening), Thursday 11 April (evening), Friday 12 April (evening), Thursday 18 April (evening), Wednesday 24 April (matinee), Thursday 2 May (evening), Monday 6 May (evening), Tuesday 7 May (evening), Wednesday 8 May (matinee and evening), Thursday 16 May (evening), Friday 17 May (evening), Saturday 18 May (matinee and evening), Wednesday 22 May (matinee) and Thursday 30 May (evening).
Photo credit: Jay Brooks and Emilio Madrid
Thursday, 18 January 2024
Rehab the Musical at Neon 194 Review: Struggles to Find Its Narrative Harmony
Rehab the Musical
Wyndham's Theatre
Written by Elliot Davis with music and lyrics from Grant Black and Murray Lachlan Young, Rehab the Musical follows 26-year-old pop star, Kid Pop (Christian Maynard), who finds himself in court, after being caught red handed in a drug fuelled tabloid sting. A judge gives Kid the choice between jail time or a rehabilitation centre for six weeks. Kid chooses to go the Glade rehab centre where he meets a host of characters and has to face some harsh realities about himself.
The musical tries to seamlessly weave together an array of elements that, unfortunately, leave the overall production feeling a bit scattered. The emotional journey is a rollercoaster, evoking heartfelt moments that pull at the audience's heartstrings, only to be swiftly followed by chaotic, feverish musical interludes that seem to materialise out of thin air. This tonal inconsistency gives rise to an emotional whiplash, making it a bit challenging for the audience to fully immerse themselves in the unfolding narrative.
Amidst the theatrical mosaic are intriguing plot line crumbs, teeming with the potential for impactful developments. Regrettably, these narrative threads are left hanging, never fully explored or developed. The overarching structure of the production yearns for a more streamlined approach, as the multitude of introduced ideas creates an unfocused and somewhat in-cohesive storyline. The musical teeters between being sincere and heartfelt, whilst also really leaning in to over the top humour, a balance which in this instance doesn't quite work.
However, within the ebb and flow of its narrative, Rehab the Musical has some luminous moments. The production sparkles with genuinely hysterical instances and unforgettable one-liners, thanks to the standout comedic performances by Keith Allen (Malcolm Stone) and Jodie Steele (Beth Boscombe). Steele's solo number is particularly striking, a testament to her vocal prowess, even though the character she portrays lacks the nuanced depth required for a fully rounded portrayal.
The undeniable chemistry between Maiya Quansah-Breed (Lucy Blake) and Christian Maynard (Kid Pop) adds a dreamy allure to the stage. Both actors deliver performances that resonate, yet the dialogue between their characters falls short of allowing for a fully realised emotional connection. That being said, their duets and solos are truly some of the high points of the show, with vocals that float and soar around the venue.
Commendation is due to the set design (Simon Kenny), which functions seamlessly in the round. Stairs metamorphose into drawers, and a minimalist aesthetic facilitates smooth scene transitions, preventing the physical aspects of the production from feeling cumbersome. It's not particularly inventive or exciting but really works in the confines of the space. On the flip side, while the choreography (Gary Lloyd) offers visual interest from every angle, it fails to weave itself significantly into the overarching action or storyline, missing an opportunity to enhance the narrative through movement.
Mica Paris, once again, graces the stage with a stellar vocal performance but finds herself in a role that echoes with underdevelopment. Her undeniable talent radiates- especially in her duet with Maiya, Museum of Loss which is a true theatrical treat- but again, the character lacks the narrative depth necessary to fully showcase Paris's abilities.
A standout moment in the production is the glorious gospel song that concludes the first act Letters Goodbye/Don't Eat Your Feelings, etching itself into the collective memory of the audience. It underscores the musical's potential for powerful and emotionally resonant moments.
While Rehab the Musical boasts strengths, including comedic brilliance, dreamy performances, and impressive set design, it falls short of deciding what sort of show it wants to be and fails to achieve a cohesive narrative.
★★★
Reviewed on Wednesday 17th January 2024 by Olivia
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday, 18 November 2023
Jamie Muscato to Perform Solo Concert at Cadogan Hall
Fourth Wall Live, in collaboration with Westway Music, is thrilled to present West End sensation Jamie Muscato live at Cadogan Hall on Saturday, July 21, 2024, at 6:30 pm. Tickets for this exclusive event go on sale starting Monday, November 20, at www.fw-live.com and www.cadoganhall.com.
Renowned for his outstanding contributions to musical theatre, Jamie Muscato, known for his roles in Moulin Rouge and Heathers, will showcase a new solo concert at Cadogan Hall in 2024. Muscato has an impressive repertoire, including performances in Les Misérables, Once In Concert, and Sweeney Todd.
Jamie Muscato's versatile talent extends to TV and film, with notable credits such as Chemistry of Death, Darkness Rising, and The Trial of Christine Keeler.
Fourth Wall Live, recognised for its successful productions like Bonnie and Clyde The Musical In Concert, consistently brings top-tier entertainment to audiences. Their recent shows have featured Broadway favourites like Jeremy Jordan and Audra McDonald, emphasising their commitment to showcasing stars from both the West End and Broadway. Additionally, Fourth Wall Live proudly produced the What’sOnStage Award-winning Bonnie & Clyde The Musical, concluding a successful run at the Garrick Theatre in London’s West End.
Thursday, 16 November 2023
SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly
SuperYou! the Musical in Concert
Lyric Theatre
Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.
After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.
What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.
Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.
Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.
Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling.
There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.
Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons.
In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere.
Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene.
★★★
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 20 September 2023
Police Cops: The Musical at the Southwark Playhouse Review: A Hilarious Riot of a Show
Southwark Playhouse (Borough)
★★★★
Who'd have thought a comedy musical about the US police force could be so entertaining? Well, Police Cops: The Musical proves it's possible. Fresh from wowing crowds at the Edinburgh Fringe, this lively spoof of 80s American action films has now hit London.
Created by Zachary Hunt, Nathan Parkinson, and Tom Roe, this musical takes you on a wild ride through all the clichés of action movies. It follows Jimmy Johnson, a regular teenager turned aspiring 'best damn police cop ever' after a tragic loss. He sets off on a mission to take down the big bad criminals, teaming up with a retired rogue cop, jetting off to Mexico and reconnecting with his high school crush. And all of this is delivered with a relentless dose of stupendously silly comedy.
In this latest iteration of Police Cops, the original team have penned some brilliantly witty lyrics, set to a catchy score by Ben Adams of Eugenius, drawing on musical theatre tropes and classic 80s hits. Andrew Exeter's set and lighting work is magical once again, contributing to a high-energy, high-budget production.
Police Cops: The Musical is outrageously ridiculous yet impressively slick, excellently performed, and keeps you engaged throughout. The humour is silly and over the top, and the cast and crew showcase their real skill in blending comic satire with musical theatre and improv, hitting every comedic and musical beat perfectly. Through the recurring gags, hilarious stage craft and show-stopping numbers it's clear this team understands their genres and have created something uniquely entertaining by merging them. Plus, the writing is really self-aware, touching on outrageous ideas but never crossing the line.
Melinda Orengo, Natassia Bustamente and at this performance Mychele Lebrun as well, all deliver standout performances. All three seamlessly blend polished musical theatre with offbeat character comedy. Zachary Hunt, Nathan Parkinson, and Tom Roe, the masterminds behind this show, also star in it, showcasing their versatility. Hunt, as the leading man, pours endless energy and enthusiasm into his role, while Roe's sharp comic timing and Parkinson's unhinged characters add to the laughter.
One of the most delightful aspects of Police Cops is how evident it is that the entire team is having a blast. You can often catch cast members trying to stifle their laughter, and the musical director, Gabriel Chernick, exudes such joy, especially during a hilarious improv section involving sweets!
In Ameri-conclusion, Police Cops: The Musical is an unexpected treasure, blending zany satire with polished, professional musical theatre. It's hard not to have a grin plastered on your face throughout the performance—it's an absolute blast!
Reviewed on Tuesday 19th September by Olivia Mitchell
Photo Credit: Pamela Raith
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 15 September 2023
The Little Big Things at Soho Place Review: Shines as a Celebration of Disability
The Little Big Things
Soho Place
★★★★
The Little Big Things at Soho Place presents an emotional journey that triumphs in depicting the resilience of the human spirit. Based on the story of Henry Fraser as told in his 2017 memoir of the same name, the musical tracks his journey from a budding rugby player, to being paralysed from the neck down after a freak diving accident on holiday in Portugal. This production is a testament to the power of adaptation and determination, and instead of being a somewhat patronising portrayal of becoming an inspiration after a life trauma, it showcases the transition from the person Henry was pre-accident to who he became post-accident. It also looks at how Henry's family deal with the changes and features the work of the NHS as well as a small romantic subplot. Each aspect makes this a truly uplifting and charmingly British musical, which feels like it's actively trying to shy away from the typical style of storytelling that often surrounds the stories of disabled people.
Nick Butcher (music) and Tom Ling (music and lyrics) clearly have a talent for writing high energy songs and ballads that tug at your heartstrings. The music is primarily upbeat and big however, while deeply engaging during the performance, the songs don't engrave themselves into memory once the curtains fall. The performances are undoubtedly and unanimously captivating, enriching the scenes and evoking a range of emotions. However, a few standout, memorable tunes would have elevated the overall experience and resonated long after leaving the theatre.
The integration of projections and lighting (Howard Hudson) in The Little Big Things is nothing short of remarkable. The creative use of light and visuals immerses the audience into the heart of the story, enhancing the emotional impact of the narrative. The play of light and shadows amplifies the depth of the characters' struggles and triumphs, leaving a lasting visual impression.
Director Luke Sheppard fearlessly pushes the limits of accessible theatre, infusing innovation, vitality, and charisma into an already poignant narrative. The staging is in constant motion, driven by Mark Smith's lively choreography, which ingeniously integrates moments of BSL (British Sign Language) and embodies the joy and celebration which is infused throughout the show.
Despite the undeniable power of the narrative, there are moments when the production grapples with sudden transitions and dialogues that could benefit from a smoother flow. The pacing occasionally feels a bit clunky, disrupting the overall rhythm. However, this doesn't detract significantly from the musical's poignant message of resilience and adaptation.
The cast's performances are stellar, embodying the characters with authenticity and dedication. Their portrayals breathe life into the story, allowing the audience to connect deeply with the struggles and triumphs of the characters. The musical shines as a celebration of disability, showcasing the strength and adaptability required to navigate a new life.
The Little Big Things is a moving musical that speaks to the resilience of the human spirit. The impeccable use of projections and lighting, along with a talented cast, creates a poignant theatrical experience. Despite minor pacing and memorability concerns, the musical stands as a heartfelt celebration of perseverance and a glowing portrayal of adapting to life's challenges. The little faults don't take away from the big things that make this show as glowing and special as it is and I wholeheartedly recommend it to anyone seeking a meaningful and uplifting night at the theatre, just make sure you take some tissues with you!
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 25 August 2023
Love Never Dies in Concert at the Theatre Royal Drury Lane Review: Musicality Reigns Supreme
Love Never Dies in Concert
Theatre Royal Drury Lane
★★★★
Once again, the LMTO and Fourth Wall Live have joined forces to bring a musical to life in concert form with a stellar cast and stunning music. This time, it’s the much discussed and dissected Love Never Dies, which hasn’t been staged in the West End since 2011. For two days the Theatre Royal Drury Lane played host to the latest iteration of the show which mesmerisingly took audiences back to the world of the Phantom and Christine. With the spotlight on a talented cast, and powerful orchestrations, this concert rendition really let the music shine and provided a memorable theatrical experience for those in attendance.
With such a brilliant cast, it’s no surprise that the performances were broadly nothing short of exceptional, capturing the essence of the characters and their emotions. Celinde Schoenmaker stepped back into the role of the beloved songbird, Christine Daae and did so in an utterly magical way, with her soaring soprano perfectly bringing the score to life and dazzling throughout her time on stage. Alongside her, Broadway veteran Norm Lewis put mask back on (in this case a swanky gold number) and became the musical Phantom of the Opera once again. His gorgeous baritone vocals provided some spectacular moments, especially in the rousing Till I Hear You Sing and it’s always a treat to see him on a West End stage. It did however seem that the rock number The Beauty Underneath was not performed live, which is a bit disappointing in a show of this calibre, and it would be interesting to know what prompted this decision from the creative team. This isn’t a criticism of anyone in particular, but perhaps opens a wider conversation about how these concert versions are rehearsed and put together. Of course it’s a massive task to create such strong shows in a short amount of time and given their minimal runtime it’s understandable that the turnaround has to be fairly quick, but it would be curious to know if it’s possible to create a rehearsal process that works for everyone involved and doesn’t leave the audience feeling shortchanged.
Aside from this, the music was incredibly strong, with a number of stand out moments that brought to life the deeply evocative and emotive feelings which course through this show. As Meg Giry, Courtney Stapleton brought a lovely buoyancy and freshness which showed the character in a new and engaging light, whilst Matthew Season-Young provided some strong vocal moments as Raoul. The supporting cast, including the London Musical Theatre Chorus deserve commendation for their remarkable vocals which truly soared in the Theatre Royal Drury Lane.
Staging wise, this was one of the less full-out concerts compared to others but it still did an excellent job of evoking the world of Phantasma and showcasing some of the whimsy of Coney Island. Rebecca Brower’s costumes were very in keeping with the gothic vibes and cleverly mirrored some of those from the original Phantom production, overall creating a dynamic atmosphere which cleverly set the place and time, without overshadowing the music.
The LMTO orchestra, under the baton of Freddie Tapner, masterfully captured the intricate emotions of the music, underscoring the characters' journeys with every note. The majestic melodies and haunting refrains were a testament to the timeless quality of Lloyd Webber's composition and it was such a treat to hear the score performed by such a large group of highly talented musicians.
While Love Never Dies has faced criticism for its narrative depth, the concert format seemed to address some of these concerns. The live performance allowed the characters to shine and their relationships to be explored with greater nuance. A lot of the plot is quite frankly ludicrous and the characters have taken complete 180s from their initial iterations but this concert format seemed to be a perfect vehicle for highlighting the strengths of the piece while minimising its perceived weaknesses.
Overall Love Never Dies in Concert, was a captivating and emotionally resonant experience. The talented cast and impeccable orchestral accompaniment combined to create a theatrical event that honoured the legacy of its predecessor while standing as a powerful production in its own right. Many of the original book issues still stand but from the audience reaction, it’s clear that this is still a show which many hold close to their hearts.
Reviewed on Tuesday 21st August 2023 by Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 22 August 2023
Death Note the Musical in Concert at the London Palladium Review: An Ambitious and Engaging Evening
a testament to the creative team's dedication to translating the essence of Death Note to the stage"
Death Note the Musical (Concert)
London Palladium
★★★★
In its first ever English language performance Death Note the Musical in Concert provides an engaging experience, that beautifully combines a concert style show with the allure of a full-fledged production, including captivating staging, meticulously designed costumes, and expertly executed choreography. Drawing inspiration from the iconic Death Note franchise, which originated as a manga series written by Tsugumi Ohba and illustrated by Takeshi Obata, this musical adaptation pays homage to the rich history and context of the source material.
The exceptional cast, which include remarkable talents such as Frances Mayli McCann as Misa Amane, Dean John Wilson as L, Aimie Atkinson as Rem and Adam Pascal as Ryuk, deliver performances that breathe life into the characters. Their portrayal of the characters showcasing both their impressive vocal prowess and their deep understanding of the emotional complexities within the story which questions morality, justice and power.
While the storyline can be a bit challenging to follow, particularly for those not acquainted with the original Manga, the production's sleek execution manages to pack in a lot without feeling overwhelming. The adaptation skilfully navigates the intricate plot points, a testament to the creative team's dedication to translating the essence of Death Note to the stage.
The translation of various elements from the manga to the stage is nothing short of impressive in this truly ambitious concert debut. The show's director, Nick Winston, and the rest of the creative team, including choreographer Alexzandra Sarmiento and costume designer Will Skeet, deserve commendation for their remarkable work in seamlessly integrating these elements into the live performance. The audience's palpable elation is a testament to the success of this collaborative creative endeavour.
The pre and post-show buzz, along with the audience's enthusiastic reactions, clearly indicate that Death Note the Musical has found its niche. Wonderfully, it manages to attract those who might not typically be drawn to musicals, thanks to its connection to the established Death Note franchise and the efforts of the cast and creatives. This broad appeal speaks volumes about the production's ability to engage and captivate diverse audiences.
Admittedly, the sound balance did exhibit some issues on opening night, which can be expected with such an ambitious score. While it occasionally detracted from the overall experience, it's understandable for a complex production. Once the sound balance is finely tuned, there's no doubt that this show will achieve the impactful resonance it aims for.
Death Note the Musical in Concert at the London Palladium showcases the successful fusion of storytelling, outstanding performances, and production design. By highlighting the talents of the cast, and thanks to the creative vision, the musical celebrates the legacy of the Death Note franchise while crafting a unique and captivating theatrical experience. The show's potential to become an unforgettable sensation is evident, and with further refinements, it's poised to leave a lasting mark on the world of musical theatre and is a must see for fans of the source manga.
Reviewed on Monday 21st August 2023 by Olivia Mitchell
Photo Credit: Mark Senior
{AD PR Invite- tickets gifted in exchange for honest review}
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