Showing posts sorted by date for query Rachel Tucker. Sort by relevance Show all posts
Showing posts sorted by date for query Rachel Tucker. Sort by relevance Show all posts
Tuesday, 26 March 2024
Wild About You the Musical in Concert at the Theatre Royal Drury Lane: A Musical Misfire
Theatre Royal Drury Lane
Wild About You: The Musical in Concert presents a mixed bag of highs and lows. On one hand, the cast undeniably pours their heart and soul into every note and step, igniting the stage with energy and harmony during ensemble numbers, providing genuine excitement and joy for the audience. However, the love story it weaves isn't without its thorns. The music, while splendidly performed, lacks the emotional depth to truly resonate, resembling forgettable pop tunes rather than soul-stirring melodies. Similarly, the lyrics feel clichéd, failing to capture the complexity of human emotion, leaving much to be desired.
But perhaps the most glaring issue lies in the storytelling. The plot meanders like a lost tourist, introducing subplots only to abandon them moments later, resulting in a directionless narrative that fails to engage. The show feels like two separate shows, neither of which succeed in creating a cohesive story, leaving audiences more puzzled than swooning.
Despite the stellar cast, which includes luminaries like Rachel Tucker and Oliver Tompsett, the characters remain underdeveloped, with surface-level exploration hindering empathy. The ambitious score, while showcasing vocal prowess, suffers from disjointed pacing and inconsistency, detracting from the overall experience.
In the end, Wild About You falls short of its promise, leaving viewers longing for more substance amidst the spectacle. While it may have fared better as a play, the musical format exacerbates its shortcomings, ultimately delivering a tale of missed opportunities and half-hearted attempts at romance. For a concert production, with only a small amount of rehearsal, this was undeniably sleek and well put together but in my opinion, it would need a big overhaul to succeed as a full production.
★★
Reviewed on Tuesday 26th March by Olivia
Photo Credit:
{AD PR Invite- tickets gifted in exchange for honest review}
Friday, 31 March 2023
Cast Announced for 42nd Street Tour
David Ian for Crossroads Live and Jonathan Church Theatre Productions are thrilled to announce that Samantha Womack will star as Dorothy Brock, alongside Michael Praed as Julian Marsh, Faye Tozer as Maggie Jones, Les Dennis as Bert Barry and Nicole-Lily Baisden as Peggy Sawyer in the UK tour of 42nd Street.
The cast will be completed by Sam Lips as Billy Lawlor, with Erica-Jayne Alden, George Beet, Charlie Bishop, Kevin Brewis, Olly Christopher, Briana Craig, Jordan Crouch, Rhianna Dorris, Ashleigh Graham, Alyn Hawke, Aimee Hodnett, Connor Hughes, Deja Linton, Sarah-Marie Maxwell, Greta McKinnon, Ben Middleton, Benjamin Mundy, Anthony Ofoegbu and Jessica Wright.
Following its run at the Marlowe Theatre, Canterbury, the production will visit Leeds, Bristol, Plymouth, Cardiff, Glasgow, Milton Keynes, Liverpool, Manchester, Southampton, Newcastle, Woking and Belfast. Current tour schedule below, with further dates to be announced. 42ndstreettour.com
Samantha Womack most recently starred as the White Witch in The Lion, The Witch and The Wardrobe at the Gillian Lynne Theatre. Her other credits include the role of Rachel in The Girl on the Train both in the West End and on tour, Morticia Addams in The Addams Family UK tour, Nellie Forbush in the Lincoln Center’s production of South Pacific at the Barbican and on tour, and Miss Adelaide in Michael Grandage’s production of Guys and Dolls alongside Patrick Swayze. Her screen credits include Ronni Mitchell in EastEnders, Mandy in Game On, the titular role in Imogen’s Face and The Kingsman franchise.
Michael Praed’s theatre credits include Tom Beauregard in Darker Shores at Theatre Royal Windsor and on tour, George in War of the Worlds at the Dominion Theatre, Alex in Aspects of Love at the Prince of Wales Theatre, Lawrence Jameson in Dirty Rotten Scoundrels, Dexter Haven in High Society and Captain Von Trapp in The Sound of Music all on UK tours. His television credits include the role of Frank Clayton in Emmerdale, Prince Michael in Dynasty and the titular role in Robin of Sherwood.
Faye Tozer is best known as a member of BRIT Award winning pop band Steps. Her theatrical credits include Singin’ In The Rain at Sadler’s Wells and on tour in the UK and Canada, Everybody’s Talking About Jamie at the Apollo Theatre, and touring productions of In The Spotlight, Over The Rainbow, Me And My Girl, Love Shack and Tell Me On A Sunday. Faye was also a runner-up in BBC1’s Strictly Come Dancing in 2018.
Les Dennis most recently starred as Grandad Trotter in Only Fools and Horses The Musical. His other West End credits include Wilbur in Hairspray opposite Michael Ball at the London Coliseum, Amos Hart in Chicago and Bill in Me and My Girl. His touring theatre credits include Art, Legally Blonde, High School Musical 2 and Uncle Fester in the musical comedy The Addams Family. His many TV credits include Michael Rodwell in Coronation Street and a fictional version of himself in Extras.
Nicole-Lily Baisden’s theatre credits include the role of Nabulungi in The Book of Mormon, both in the West End and on tour, and Hope Harcourt in Anything Goes at the Barbican Theatre and on tour.
Sam Lips’ theatre credits include the role of Don Lockwood in Singin’ In The Rain and Scott Hastings in Strictly Ballroom, both in the UK and Canada. His Broadway credits Cats, Chicago, Pippin, Rodgers and Hammerstein’s Cinderella and The Cher Show.
This new production will be directed by Jonathan Church (Singin’ in the Rain, The Drifters Girl) with choreography and design by Olivier Award winners Bill Deamer and Rob Jones, lighting design by Ben Cracknell, sound design by Ian Dickinson and Gareth Tucker, video design by Jon Driscoll, musical supervision by Jennifer Whyte and orchestrations by Larry Blank.
This iconic song-and-dance spectacular features a hit parade of toe-tapping songs, including the title number, “We’re In The Money”, “Lullaby of Broadway”, “Shuffle Off To Buffalo” and “I Only Have Eyes For You”. 42nd Street is a timeless and inspiring showbiz fairy tale that combines breath-taking tap dance routines, backstage intrigue, classic romance and delightful comedy to dazzling effect.
Fresh off the bus from small-town America, young and beautiful Peggy Sawyer arrives in New York City dreaming of her name in lights. She quickly catches the eye of a big-time director and lands a spot in the chorus line of Broadway’s newest show…and when the leading lady gets injured, Peggy gets her shot at stardom.
42nd Street is a larger-than-life, massively entertaining celebration of musicals and the irrepressible spirit of Broadway that’s guaranteed to lift anyone’s spirits.
42nd Street has music by Harry Warren, lyrics by Al Dubin, and book by Michael Stewart and Mark Bramble, based on the novel by Bradford Ropes. Original direction and dances were by Gower Champion. The show was originally produced on Broadway by David Merrick.
The use of all songs is by arrangement with Warner Bros. and EMI Publishing Ltd.
Monday, 23 November 2020
The Digi Creative release Theatrical Coffee Table Book
The Digi Creative release Dear Audience, a theatrical coffee table book filled with over 140 pages showcasing the Arts industry. With exclusive imagery, personalised letters to the Audiences, and more, this book is a celebration of Theatre and everyone who works in it.
Featuring Lucie Jones, Carrie Hope Fletcher, Cedric Neal, Lambert Jackson Productions, Layton Williams, Alice Fearn, Nicole Raquel Dennis, Rachel Tucker, Carl Man, Paul Taylor-Mills, Sejal Keshwala, Frances Ruffelle and so many more.
15% of profits will be donated to Applause For Thought a triple award-winning organisation that facilitates lower-cost Mental Health; support, talks, accredited courses, and bespoke Mental Health and Well-being Consultancy for all those working within the Arts and Entertainment Industry.
Digi Creative co-founder, Sophie Ross says: “We hope that this coffee table book will bring joy in a time when the Arts industry needs to be celebrated the most. Theatre is made up of so many people, (this being just a small percentage) and it’s important to showcase that at every given opportunity. I’m so proud of Danny and I for creating something that is an homage to this year and something we can look back on in years to come. Super grateful for everyone who gave up their time to be involved and can’t wait to share the book with everyone.”
Digi Creative co-founder, Danny Kaan says: I’ve always wanted to make a coffee table book but making it in 2020 feels even more special. The number of people that were willing to be involved was overwhelming and shows how supportive this industry is and how passionate we all are for the Arts. Combining Photography and my love for this industry has been a joy and I’ve honestly had the best time. Seeing so many faces in a time where human contact has been so limited has been heartwarming and wonderful”.
Pre-order the book here: www.dearaudiencebook.com (Christmas guarantee)
General on-sale Wednesday 25th November 10am (second batch delivery)
Pricing £35 with worldwide shipping available
Monday, 3 August 2020
A Stagey Guide to Singing... Rachel Tucker | Interview
Hello stagey people! Light seems to be shining at the end of the tunnel but there's still a distinct lack of theatre in our lives; so I thought today I would bring you a mini Q&A from the Rewrite This Story vaults. A while back I chatted to Rachel Tucker and asked her a few vocal technique related questions...
What are your go to warm ups?
I have a great warm up that a friend from New York introduced to me. A slow long warm up that slowly builds and is quite a classical warm up and it gets my break from my chest voice to head voice really smoothed out and warm.
You are the Queen of belting, do you have any tips? Do you change vowel shapes or anything like that?
It shouldn't really be the vowels you change it's the back of the throat. You can still sing the same vowel bright and belted with just some adjustment of the throat. It depends but I wouldn't really because it's nothing to do with the vowel shape, you should be able to belt any vowel or consonant. It's about the shape at the back of your throat. Space, space, space!
What are your tips for keeping your body and voice healthy?
Oh definitely to consume more water than you think is physically possible. Don't underestimate how much talking tires your voice, if you have a big sing just go on vocal rest, text friends and write things down.
And steaming after a big sing for sure- about 45 minutes with a facial steamer with a mouth piece and it'll bring down any swelling in your throat down, it should be for 30 minutes... at least!
And steaming after a big sing for sure- about 45 minutes with a facial steamer with a mouth piece and it'll bring down any swelling in your throat down, it should be for 30 minutes... at least!
Thanks so much to Rachel for answering these questions way back when! Stay safe and stay stagey!
-Olivia
Editor of Rewrite This Story
Monday, 24 February 2020
The Pirate Queen, London Coliseum | Review
The Pirate Queen (Concert)
London Coliseum
Reviewed on Sunday 23rd February 2020 by Hope Priddle
★★★★
The Pirate Queen sailed into the London Coliseum for a one off charity concert in aid of Leukaemia UK. Set in 16th Century Ireland, Boublil and Schönberg's musical tells the real life story of fearless mariner Grace O’Malley as she embarks upon a heroic struggle to defend her homeland from English rule. A tale of politics and passion, The Pirate Queen is an inspiring story of one woman’s efforts to determine her own destiny in a world run by men.
Rachel Tucker shines in the titular role. Tucker is feisty and fearless, perfectly capturing O’Malley’s youthful optimism in the opening scenes of Act 1. Her voice soars across the auditorium as she performs Woman. Likewise, Tucker beautifully explores O’Malley’s tender side as a mother, daughter and lover. The intimate duets she shares with Jai McDowall as sweetheart Tiernan and Father Dubhdara, played powerfully by Earl Carpenter, are highly moving.
Hannah Waddingham had a hard task playing Queen Elizabeth I, an imperious foil to Tucker’s spirited O’Malley. However, she undoubtedly excelled in this role. Waddingham was poised and dignified, commanding every scene with her impressive operatic prowess.
Daniel Boys provided excellent comedic relief as the unfoundedly arrogant and hapless Lord Bingham, one of two antagonists alongside Grace’s husband and eventual betrayer Donal, played by the terrific Matt Pagan.
It is however, Jai McDowall as Tiernan who steals the show with his rendition of I’ll Be There. He is endearing and charismatic as O’Malley’s sweetheart who proves his unconditional love for his Pirate Queen on more than one occasion.
The ensemble and choir are vocally assured and provide some beautiful harmonies. They are best showcased in a rousing rendition of Sail to the Stars which brings the first act to a swelling crescendo.
Special plaudits must also go to choreographer Jack Ludwig, who’s sharp and spritely Irish dance numbers inject the piece with joyful energy.
Technical elements work together to elevate this semi-staged production, despite a few niggles with mics early on. Lighting and visuals by Ben Rogers are simple yet effective. Painterly illustrations depicting the Irish Coast and English Royal Court provide a pleasing backdrop, while the use of coloured lighting seamlessly signals a shift between land and sea. A single purple spotlight shone upon Elizabeth and Grace as they converse in Act 2 was an especially nice touch; this royal hue indicated a meeting of two equals, both noble in character if not in title.
Fran Levin’s costumes are timely and sympathetic, yet mostly modest. Hannah Waddingham is an exception here; she looks suitably regal in Elizabeth’s embellished gown towering over O Malley’s boyish and diminutive frame.
Though the performances are indeed outstanding, the score so often borrows melodies from Les Misérables and Miss Saigon that it becomes somewhat predictable. Boys’ll be Boys is a fun but ultimately trifling homage to Master of the House. In short, unashamedly familiar tunes followed by unfamiliar lyrics resulted in an effect which was at times jarring.
While audiences may find this musical too repetitive to work as a fully realised production, The Pirate Queen provided an evening of outstanding vocal talent and swashbuckling storytelling.
photo credit: Earl Carpenter
Thursday, 6 February 2020
Hannah Waddingham on Bringing a Queen to Life in The Pirate Queen | Interview
Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland. To protect her
people and save her one true love, O’Malley must confront the one woman more powerful than her— her fierce rival, Queen Elizabeth I of
England.
From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.
Playing Queen Elizabeth I in this one night only extravaganza is Hannah Waddingham, who told us what we can expect from the musical, what other historical figure she'd like to play and what her favourite moment of the musical is...
Tell us about The Pirate Queen, what can we expect?
Audiences can definitely expect an absolutely glorious wall of sound to hit them from the get go. Just sitting in on rehearsals the last few days I can’t quite believe what the ensemble have already achieved, quite irritatingly quickly really! It’s the most beautiful, expansive, atmospheric piece and I can’t wait for us to unleash it on the London Coliseum.
You're playing Queen Elizabeth, what's it like brining a royal to life?
What’s struck me most about trying to mould myself into Queen Elizabeth I is the sense of responsibility and how information received by her from her court must be firstly processed as Queen, not as a woman.
What's your current favourite moment of the show?
My current favourite moment of the show is when she and Grace (Rachel Tucker) are in their own heads ruminating about the “other woman” in the duet She Who Has All.
It’s that beautiful construct of the audience seeing and hearing their insecurities in life and about the other person before they see it in each other in the flesh.
If you could star in a musical about any other historical figure, who would you choose?
If I were to take on the role of any other historical figure it would have to be a biblical one! Nothing touches Judas Iscariot for me. Both vocally and emotionally there could be no more satisfying a role for me than that.
Why should people come and see The Pirate Queen?
People should come and see The Pirate Queen because it deserves to be heard in the beautiful, epic setting of The London Coliseum. They are such fitting bed fellows.
The score is Alain Boublil and Claude-Michel Schönberg at their atmospheric best, and what greater cause could there be than for the Leukaemia Uk charity. The evening will be a great privilege for everyone to be part of, both on stage and off.
The Pirate Queen plays at the London Coliseum on 23 February, 7pm
photo credit: Danny Kaan
Rachel Tucker on Starring in The Pirate Queen | Interview
Based on the real-life story of history’s Grace O’Malley – an Irish Chieftain and notorious pirate, The Pirate Queen is an adventure
chronicling the compelling, inspiring heroine who led an extraordinary life as a rogue, lover and mother in 16th-century Ireland.
From the writers of Les Misérables and Miss Saigon, the show combines classic storytelling and a sweeping score, with the powerful, vibrant
traditions of Irish dance and song, to create a modern musical event that is both historic romance and a timeless epic.
Rachel Tucker is taking on the role of Grace O'Malley in the one night only London premiere of the musical. Rachel told us all about the show, her favourite moments and what it's like to bring real life characters to life on stage...
Tell us about The Pirate Queen, what can we expect?
The Pirate Queen is a very old, true Irish story about how the daughter of the O’Mally clan became the first woman Queen of in Ireland in 16th century. She was known for her fearlessness not just as a woman but as a leader and was known for her ruthlessness in political negotiations with Queen Elizabeth I and trying to get her peoples land back no matter what it took.
Today in rehearsals I sang two very powerful duets with Hannah Waddingham who plays Queen Elizabeth and we were both struck at how amazing it is that these two women back in the 1500s were the leaders of each of their own lands and negotiated with each other not just as chieftain & queen but woman to woman.
Their dialogue together is fascinating, the lyrics are so graceful yet explosive! It’s been a long time since I’ve listened and sang through an known score with so much excitement!
You're currently playing Beverley Bass and are now taking on Grace O'Malley for one night only. What's it like bringing real life people to life on stage?
Well as a job, it’s blooming great! I love bringing my own take and as much as Rachel to each role. I am constantly looking to bring only truth to every line and character I get to play, whether it be a comedic, tragic or heroic role. What ever the room, I love to tell the truth.
What's your current favourite moment of the show?
Can I say all of it?! Well today has been a first day rehearsals so my favourite moment of the day was hearing Queen Elizabeth sung like only Hannah could sing it! Just jaw dropping!
Why should people come and see The Pirate Queen?
I think this is a piece of musical theatre that should be seen and heard in this day and age. It almost feels more relevant now than it was when it first was first conceived.
You do not want to miss hearing the stunning choral ensemble of around 40 members and the orchestrations by Julian Kelly are going to transcend you to another level! The event of 2020 if you ask me!!!
The Pirate Queen plays at the London Coliseum on 23 February, 7pm
photo credit: Danny Kaan
Monday, 18 February 2019
Come From Away, Phoenix Theatre | Review
Come From Away
Phoenix Theatre
Reviewed on Tuesday 12th February 2019 by Olivia Mitchell
★★★★★
Come From Away is a giant hug in a musical which even the most icy of people will be moved by, as it portrays a time of amazing and heroic hospitality under immense pain and pressure.
Discussed as a 9/12 musical, Come From Away is set on and after the horrific events of September 11th 2001, but instead of leaving you downtrodden, it will leave you inspired and probably feeling a little sentimental. Written by Irene Sankoff and David Hein, it is an incredibly well rounded and fluent piece of theatre which provides catharsis whist becoming a celebration of goodness.
The show is set in the small town of Gander in ,Newfoundland Canada, which homes just over 11,000 people. On September 11th 2001, 38 planes were diverted to Gander airport, with 7,000 passengers and crew plus several pets and a pair of chimpanzees who were headed for a zoo. The people of Gander came together to provide shelter, food and friendship to the 'plane people'; and all who were there have incredible stories, bonds and live changing experiences from their time. They may have left Gander, but Gander never left them.
After interviewing many Plane People and Ganderites, David and Irene condensed these stories into a 100 minute show that features sleek role-swapping, musical theatre numbers and catchy Celtic tunes. Christopher Ashley's direction is crisp and to the point but also leaves room for us to study the story further, and of course allows us to look at ourselves and wonder what we would do in the same situation. This is further helped by Tara Overfield-Wilkinson's relentless and sharp choreography and Howell Binkley's striking and mood-evoking lighting. These aspects married with Beowulf Borritt's well thought out space, keep up momentum and evolve the story as simply but effectively as possible.
The heart of this show is community, and like the stories themselves, it is built around ensemble and teamwork. The typically Newfoundland scenes such as the 'Screech In', feel like we've stepped into a pub and are really experiencing a group of people enjoying life. In such a group led piece, with smooth character changes, amazing use of simple props/set, it is unfair to name standout performances. The cast as a whole bring these people and stories to life and it's truly moving to witness such a wonderful and transformative piece of theatre.
The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End.
The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End.
Concise and well-rounded, Come From Away is a stunning and poignant reminder of human kindness, which will surely leave you standing a little taller and smiling a little more.
Come From Away runs at the Phoenix Theatre and is currently booking until September 2019
photo credit: Matthew Murphy
Sunday, 23 December 2018
Come From Away, Abbey Theatre, Dublin | Review
Come From Away (European Premiere)
Abbey Theatre, Dublin
Reviewed on Wed 19 December 2018 by Damien Murray
★★★★
As a former refuelling stop for trans-Atlantic flights, the remote town of Gander in Newfoundland was once well used to having many visitors on board passing planes.
In 2001, due to its position and facilities, it unexpectedly found itself playing host to 38 international flights filled with 7,000 passengers of many nationalities during the horrific attacks of 9/11 on the North-Eastern region of the United States.
This is not a show about those atrocities, but rather a true story of generosity, gratitude and ultimate hope performed as a theatrical documentation of the unfolding events at Gander as a result of the attacks and the efforts of a small island population to help their fellow man in exceptional and demanding circumstances.
Ahead of its transfer to London at the end of January, it is, perhaps, appropriate that the European premiere of Irene Sankoff and David Hein’s relatively new, but highly-acclaimed, award-winning musical, is being staged in Dublin as Newfoundland owes much of its music, language and culture to Ireland.
This fact is reflected in the show’s accents, humour and music, with a distinctly ‘celtic’ approach to the score, instrumentation and underscoring in this Abbey Theatre co-production with Junkyard Dog Productions and Smith & Brant Theatricals.
Playing a multitude of roles with a quick-fire change of accent, hat, shirt or jacket to convey each character, the hard-working and 12-strong cast - Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and, returning to the city where she made her professional debut, Ireland’s own West End and Broadway star, Rachel Tucker - prove the perfect team for this exceptional ensemble piece.
Indeed, the captivating cast takes ensemble performance to a whole new and higher level in this factual, intense and heart-warming drama.
Performances here are of such a uniformly impressive standard, it is almost impossible to single anyone out for special praise, but it must be said that, with her commanding stage presence, quality vocals and passionate performance, it is no accident that one of Rachel Tucker’s main characters is, appropriately, that of the Captain.
By necessity, the casting is diverse to reflect the wide cross section of some of those who were caught up in the Gander situation with people of various shapes, colours and creeds being represented; each with their own story and circumstances and each dealing with the situation in their own way.
With Beowulf Boritt’s simple, sparse and static (apart from a stage revolve, which, thankfully, is not overused) set representing the remoteness of the forested island being cleverly lit by Howell Binkley’s mood-inspiring lighting, this production is greatly helped by Christopher Ashley’s no thrills direction and Tara Overfield-Wilkinson’s relentless choreography and movement to advance the evolving story in its 100-minute performance time, without ever losing the attention of its audience.
Because of the nature of its unfolding story, this unconventional musical benefits greatly by the absence on an interval to ensure no loss of momentum or continuity.
The show is also unusual in terms of the musical score, which mixes Celtic with folk and rock with the addition of a few ballads and, with tongue firmly in cheek, gives a musical nod to Titanic to add humour to the piece.
Apart from when they take centre stage for a bit of an international hoe-down during Screech In (highlighting the importance of music as an international language), the eight accomplished musicians, under Alan Berry’s musical direction, are discretely positioned at the side of the stage.
Musical highlights are dominated by the ensemble’s excellent choral work throughout, particularly in songs like Darkness And Trees, while the beautiful rendition of Prayer reinforces the commonality of music in religion.
Other highlights include Rachel Tucker’s moving showcase song, Me And The Sky, and the tender love song, Stop The World.
In the midst of mixed emotions, fear, confusion, panic, terror and tragedy, we find that camaraderie, friendship, tolerance, respect and humour are universal and all shine through in this story of interaction between strangers when they are thrown together in the most unusual of circumstances and when relationships survive and grow with random acts of kindness.
Human resourcefulness becomes second nature as all rally round to provide such practical essentials as food, clothing, accommodation, language interpreters, counselling, medical and spiritual care, money and special care needed for babies and animals that were on any of the grounded flights.
In addition to the positive feelings when they are all pulling together as one, a painful feeling of loneliness and emptiness descends on everyone immediately after they eventually leave to go home similar to that experienced at the end of an Irish wake.
This story of ordinary people doing extraordinary things in a time of need is truly inspirational and this intense, gripping, emotional and heart-warming production perfectly captures the generosity of the human spirit and the hope that has been born out of tragedy to create an oasis of harmony in a world of confusion.
Come From Away runs at the Abbey Theatre until Sat 19th January 2019
Photo credit: Matthew Murphy
Friday, 31 August 2018
There is Nothing Like a Dame, Cadogan Hall | Review
There is Nothing Like a Dame (Concert)
Cadogan Hall
Reviewed on Thursday 30th August 2018 by Olivia Mitchell
★★★★
Combine four of the most talented female performers to have ever graced the West End stages and a celebration of 100 years of Women in musical theatre and you have a stellar debut show from Lambert Jackson.
West End superstars Rachel Tucker, Louise Dearman, Ria Jones and Alexia Khadime joined forces to showcase some of the most iconic female roles of the last 100 years and highlight the positive changes that are happening for women in the industry. Every song seemed to top the last and it was a truly uplifting night at Cadogan Hall.
The concert opened with all four ladies floating onto the stage accompanied by rapturous applause to perform Anything Goes which set the benchmark for the night extremely high and began our journey through a number of beautiful solo's, duets, trios and quartets.
The ladies gave all round stellar performances, with highlights including a great medley of Rodgers and Hammerstein songs; Rachel Tucker sung a hilariously drawly version of I Can't Say No, Alexia Khadime a playful I'm Gonna Wash That Man Right Out Outa My Hair, Ria Jones a graceful Shall We Dance and Louise Dearman a pin-drop perfect, You'll Never Walk Alone.
Since seeing Louise Dearman in her solo concert earlier this year, I have been continually surprised by her versatility as a performer and she once again showcased her ability to transform both her vocals and mannerisms to fit any style. Louise is truly a musical theatre chameleon; her performance of I Dreamed a Dream was certainly a stand out.
Other highlights included Ria Jones' With One Look from Sunset Boulevard which brought the audience to their feet, Alexia Khadime's heartfelt, Home from The Wiz and a lovely rendition of In His Eyes from Jekyll and Hyde from Rachel Tucker and Louise Dearman. Mention must also go to the wonderful duet from the three former Elphaba's, Louise Dearman, Alexia Khadime and Rachel Tucker who put a fresh spin on The Wizard and I.
The audience were also treated to a peek at the future of the West End with a great and powerful performance of Don't Rain on my Parade from Daisy Greenwood who won a competition to perform at the concert. Aged only 17, she commanded the stage and is sure to be seen again among the great performers.
It must also be pointed out how fantastic all four ladies looked, donning two glamourous gowns each and embodying the superstar vibes. Also joyous to watch, was the way all the women supported one another and watched each other as if in awe. Women supporting women is just as important now than it's ever been and it's wonderful to see women who could so easily see each other as competition, admire each other and celebrate talent.
If the next 100 years of musical theatre is filled with performances like the ones this night provided then it will be truly wonderful!
Photo credit: Danny Kaan
Thursday, 12 April 2018
An Evening With Jason Robert Brown, London Palladium | Review
An Evening With Jason Robert Brown
London Palladium
Reviewed on Wednesday 11th April 2018 by Olivia Mitchell
★★★★★
Last night the London Palladium played host to one of the most brilliant concerts I have ever witnessed. American composer, pianist and conductor Jason Robert Brown debuted some of his new songs as well as hits from his various musicals and orchestral works. He was joined by the BBC Concert Orchestra (plus his own rhythm section), conductor Larry Blank, Capital Voices and musical theatre superstars Rachel Tucker, Betsy Wolfe and Norm Lewis in this one night only musical spectacular. Concerts of this caliber are so often confined to the New York scene so to get something like this live in London was truly magical and is not a night I'll forget in a hurry.
Jason opened the show with an emotive song about finding hope in a hopeless situation which he revealed was written the day after the last presidential election. He followed this with a song from a musical he has yet to complete, which tells the story of a teen in New York who dreams of having a career as a musician. The upbeat, rhythmical song, Melinda had the audience tapping their feet and ready for the concert ahead of them. This song with various musical dance genres entwined in it was the perfect song to show off Jason's musicianship and vocals as well as the clear dexterity of the BBC Concert Orchestra players. The two songs in succession set the tone for what was set to be a joyous as well as moving night.
The entire concert was of an immense standard and it would be unfair to pick a particular stand out but over the course of just over two and a half hours, we were treated to some of the gems of Jason Robert Brown's career, as well as a glimpse of what's to come with his new album, How We React and How We Recover. Similarly to last year's Kristin Chenoweth concert, this performance made the vast space of the London Palladium feel intimate and warm and proved that whilst donning various hats as singer, conductor and pianist, at the heart of it all Jason is a storyteller. In my recent interview with him, Jason told me that he loves when you can "go on an adventure with a piece of music" which truly sums up what this night was about.
Rachel Tucker who Jason called "the real thing" gave a glorious rendition of Stars and the Moon from Songs For a New World, which Jason described as "a medley of my greatest... hit!" Her rendition of the anthem, Invisible, written by Jason for a young wheelchair bound girl in collaboration with the Ronald McDonald House and Broadway Inspirational Voices was especially moving and energetic. Rachel also brought the house to their feet with her final performance of Flying Home, which although usually sung by a male voice, sounded as though it was written for Ms Tucker.
Norm Lewis performed gorgeous, mellow renditions of It All Fades Away and All Things in Time as well as joining Betsy Wolfe for a beautiful duet of Before and After You/One Second and a Million Miles which proved that the West End needs a production of The Bridges of Madison County, pronto! I know I said I didn't want to name stand-outs but Betsy's act 2 performance of I Can Do Better Than That from The Last Five Years was truly marvellous and proved why she's as adored as she is.
In addition to these songs we also got to experience a whole selection of songs from Honeymoon in Vegas which I saw in it's concert form at the Palladium last year, as well as some beautiful excerpts from Jason's symphony, The Trumpet of the Swan. Not only did this instrumental moment show of the virtuosic playing of the orchestra but showed just how emotive music is. Before beginning, Jason briefly explained the plot of the symphony which is based on a children's book, so we knew what was coming. What I found incredible was how everyone laughed and gasped at the same times despite there being no lyrics to describe the drama. This just proved how powerful music is as an art form and was an especially magical moment for me.
I have to briefly mention the lighting for this concert which was outstanding. For a one night only event which is going out to radio, not television, I was blown away by how much thought and time had clearly gone into every lighting cue. This really added to the warm feeling of the entire night.
At the risk of babbling on for an obscene amount of time, I'm going to wrap up my review here. I'm sorry to say that if you weren't there you missed out of a truly fantastic night but don't worry because you can hear the whole things on this week's Friday Night is Music Night and experience the joy of Jason Robert Brown's music for yourself. I was enchanted, surprised and blown away by every moment of this gem of a concert.
photo credit: Danny Kaan
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