Showing posts sorted by date for query Vision of You. Sort by relevance Show all posts
Showing posts sorted by date for query Vision of You. Sort by relevance Show all posts
Thursday, 7 November 2024
The Curious Case of Benjamin Button at the Ambassadors Theatre: A Timeless Tale with Newfound Precision and Radiance
The Curious Case of Benjamin Button
Ambassadors Theatre
The Curious Case of Benjamin Button the musical at London’s Ambassadors Theatre isn’t just a production; it’s an unforgettable journey through life’s fragility and beauty, rendered with soul-stirring precision and depth. I previously reviewed the show at the Southwark Playhouse and I'm thrilled to say that in its current run, this show has transformed into an even sleeker, tighter production, gracefully weaving together heartfelt storytelling with mesmerising visuals and a flawless cast. Every element is fine-tuned and elevated, resulting in a masterpiece that celebrates light over darkness and resilience over despair. At a time when the world is rife with uncertainty, especially on a night as charged as tonight with the outcome of US election, Benjamin Button feels like an essential reminder of hope, love, and the good in humanity. If the title makes you expect a straightforward story about aging backward or something akin to the Brad Pitt film, think again- this adaptation of F. Scott Fitzgerald’s short story blossoms into a beautifully layered, vibrant musical that’s so much more than its name suggests.
From the outset, the cast, led by the astounding performances of John Dagleish (Benjamin) and Clare Foster (Elowen), grounds the fantastical tale with warmth, authenticity, and nuance. Dagleish’s transformation through Benjamin’s reverse aging is breathtaking; he deftly captures the innocence of youth and the weariness of age within a single character arc, making every step of Benjamin’s journey feel genuine and impactful. Foster’s portrayal of Elowen exudes strength, tenderness, and an unwavering belief in love that carries the entire production. Together, their chemistry illuminates the stage, bringing the highs and lows of Benjamin’s unconventional life to vivid reality.
The supporting cast, too, delivers standout performances, each role finely crafted and essential to the show’s tapestry. This ensemble excels in maintaining a delicate balance between humour and emotion, enriching the story and infusing moments of levity that accentuate the depth of the more profound themes. It’s rare to find a cast so collectively committed to a show’s vision, and here, every actor plays a vital role (and instrument) in amplifying the story’s emotional impact.
This really is a theatrical feast and the technical design elements elevate the show even further. The lighting, created by Zoe Spurr, is simply exquisite; it bathes the stage in soft, evocative hues that shift subtly as Benjamin’s life unfurls. From warm sunlight to muted twilight, Spurr’s design captures the moods of both time and place, visually narrating Benjamin's life in a way that feels poetic and hauntingly beautiful. The sound design, crafted by Luke Swaffield, adds another layer of immersion. It gently guides the audience through the ebb and flow of Benjamin’s experiences, using carefully timed soundscapes that accentuate the emotional resonance of each scene without ever overshadowing the actors, as well as keeping us in the world during the pre-show and interval.
From the carefully curated theming of the venue with period-inspired newspaper articles and gentle nods to the show scattered around, to the Cornish-sourced drinks and playful options like Miss Moncreif's teapot cocktails, every touch feels like an invitation to step deeper into Benjamin’s world. The merchandise is equally thoughtful, with unique items that perfectly echo the essence of the production, offering mementos as distinctive as the show itself. What’s truly remarkable, though, is the respect the show affords its audience; it trusts them to form their own interpretations and to find meaning in the visual and thematic patterns woven throughout. Symbolic imagery and clever symmetry appear again and again, enriching the storytelling and leaving subtle clues for the audience to uncover on their own. The love and care that have gone into crafting The Curious Case of Benjamin Button shine through in every detail, creating a rare and unforgettable experience. Shows like this are a rarity, and it feels like a privilege to witness the start of something so genuinely special.
What makes The Curious Case of Benjamin Button particularly profound is its unwavering commitment to showcasing the best of humanity. In a story that could easily become mired in the tragic aspects of aging backward, this adaptation instead emphasises joy, connection, and the resilience of the human spirit. Every moment, whether tinged with sorrow or elation, reflects a radiant optimism that’s both disarming and inspiring. By centring the narrative on life’s beauty, fleeting as it may be, the musical leaves audiences with a renewed sense of appreciation and awe for the world we inhabit.
The score, written by Darren Clark and Jethro Compton, is both folk-inspired and timeless, perfectly complementing the story’s unique narrative. The music serves as an emotional anchor, moving with ease from soul-stirring solos to harmonious ensemble numbers that stay with you long after the final curtain call. Each song feels intricately woven into the fabric of the story, enhancing the unfolding of Benjamin's life and carrying the audience through his journey with grace and sincerity.
Reflecting on this evening's performance- especially set against the tense backdrop of the US election results- I can’t help but feel that Benjamin Button offers something the world desperately needs. It’s a beacon of light, a testament to the resilience of love and the enduring power of human connection. It urges us to look beyond divisions and differences and find solace in the beauty of a shared journey. I left the theatre not only deeply moved but also with an undeniable urge to spread the word about this remarkable production. Theatre this beautiful, this uplifting, deserves to be seen, discussed, and cherished.
In a world that sometimes seems obsessed with darkness, The Curious Case of Benjamin Button chooses to shine, offering a precious reminder of all that is good, kind, and beautiful. It’s a production that demands to be witnessed, not just for its artistic brilliance but for its resounding message: that even in a life bound by time, there’s so much to savour, celebrate, and remember. Don’t miss your chance to experience this exceptional production- it will touch your heart, challenge your perspective, and leave you with a warmth that lingers long after the lights dim.
Reviewed on 6th November 2024 by Olivia
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday, 5 November 2024
Cast Announced for Stiles + Drewe’s Best New Song Prize Concert 2024: A Star-Studded Celebration of New Musical Theatre Talent
Prepare for an unforgettable night of new musical theatre as Mercury Musical Developments and Stiles + Drewe, in partnership with Broadway Licensing Global, present the 2024 Best New Song Prize Concert. Hosted by Olivier Award-winning actor Jenna Russell, this one-night-only gala will take place at The Other Palace on Monday, December 2 at 7:30 pm, showcasing the incredible talent of both emerging and established musical theatre creators.
This unique concert features a glittering cast, including stage icons like Charlie McCullagh (42 Balloons, Jesus Christ Superstar), Desmonda Cathabel (Aladdin, Miss Saigon), Lauryn Redding (Standing at the Sky’s Edge), Natalie Paris (Pretty Woman, SIX), Obioma Ugoala (Frozen, Hamilton), Samuel Barnett (Rock Follies), and Tim Howar (Rock of Ages, The Phantom of the Opera). Also performing are Allyson Ava Brown (Hamilton, Les Misérables), Cassius Hackforth (Something Rotten), Dan Partridge (Grease), Jodie Jacobs (Hello Dolly!), and Liv Andrusier (Fiddler on the Roof).
Alongside performances from these incredible artists, the event will feature songs from recent British musical successes like Becoming Nancy, Cable Street, Two Strangers (Carry a Cake Across New York), and 42 Balloons. The evening celebrates the vitality of new writing with a special showcase of 12 finalist songs, which include:
- 'The Temptation of Me' from Proud by Mark Anderson & Lee Freeman
- 'I’m Going to Stay With You' from The Tale of the Gifted Prince by Lezlie Wade & Dan Green
- 'It Starts Small' from Unfolding by Emma Vieceli
- 'Ideal Robot Assistant' from A.I. Will Solve All Your Problems by Leo Mercer
- 'Someday My Prince Will Come' from Queering the Canon by Cheeyang Ng & Eric Sorrels
- 'Viareggio' from Lifeboats by Gus Gowland
- 'Die Like Trees' from Girl Goes to the Underworld by Sam Norman & Bela Kawalec
- 'Hero' from Man Vs Snake the Epic Musical by Stuart Matthew Price & Daniel Fletcher
- 'Spread a Little Joy Around the Place' from Retail Therapy by Hilmi Jaidin
- 'Locked Away' from The Queen is Mad by Amy Clare Tasker & Tom McGrath
- 'Drek!' from Otto's Weidt's Brush and Broom Workshop for the Blind by Amir Shoenfeld & Caitlyn Burt
- 'Invisible' from Hatched! by Lydia Shaw & Edward Court
A distinguished panel of judges, including Chris Bush, George Stiles, Anthony Drewe, and Joanne Benjamin, will select the winning song, awarding £1,000 toward the winner’s development. An additional award recognising Voice, Vision & Potential will also be presented. Sponsored by Broadway Licensing Global, Dorico, Tarento Productions, and Kenny Wax Productions, the Best New Song Prize Concert celebrates the vibrant future of British musical theatre and its outstanding creative talent.
Thursday, 31 October 2024
SCISSORHANDZ: A Musical Reinvented co-produced by Lance Bass Michelle Visage Set for European Premiere
The European premiere of Scissorhandz: A Musical Reinvented will hit London’s Southwark Playhouse Elephant on 23th January 2025 for a limited, exclusive 10-week engagement. After a highly successful and sold-out run in Hollywood, this fresh musical reimagining of Edward Scissorhands brings Bradley Bredeweg’s critically acclaimed vision to UK audiences, blending pop culture and an empowering message about individuality. With co-producers like Lance Bass and Michelle Visage on board, the show promises a vibrant journey celebrating the courage to be unique.
Michelle Visage shared her excitement, stating:
I am beyond excited to join the producing team for Scissorhandz! The energy, the message, the joy—it’s everything we need right now. In a world that feels a little upside down, this show is a celebration of life, individuality, and fierce self-expression...we’re not just creating a show; we’re creating a movement. Get ready, because it’s going to be an unforgettable ride!”
Lance Bass added:
Producing Scissorhandz has been one of the greatest pleasures of my career, and I can’t wait for London to experience this show! I think audiences in the UK will really embrace the show...It’s not just a musical—it’s a sensory journey...by the end, you’ll be on your feet, feeling like you’ve just experienced something truly unforgettable.”
This 90-minute pop-musical features hit songs from artists like Taylor Swift, Lady Gaga, and Alanis Morissette. It is a tribute and parody rolled into one, celebrating those who “dare to be different.” Bradley Bredeweg, the show’s writer and director, shared a personal connection to the original film, saying, “As a lonely quirky gay kid growing up in the 80s and 90s, this film meant the world to me because it spoke to anyone who felt like they didn’t quite fit in...Our thrill ride of a show is packed with joy and heart, and it’s about owning exactly who you are, even if you happen to have scissors for hands. In a world where people crave that kind of joy more than ever, I’m honoured to bring this story to a new audience in London.”
The Scissorhandz creative team includes choreography by Alexzandra Sarmiento, musical direction by Gregory Nabours, set design by James Pearse Connelly, costume design by Abby Clarke, lighting design by Adam King, sound design by Yvonne Gilbert, and casting by Harry Blumenau. Tickets for Scissorhandz are on sale now, with the official opening night set for 30 January. Prepare for a musical experience that is not only a show but a vibrant celebration of self-expression and the power of standing out.
Tuesday, 29 October 2024
'Come Alive!' The Greatest Showman Circus Spectacular to take part in a special performance for BBC Children in Need 2024
For the second consecutive year, BBC Children in Need and The One Show are bringing back the Challenge Squad, a group of inspiring young people whose lives have been transformed thanks to BBC Children in Need funding. This year’s squad features 16-year-old Ethan from Bridgend, Wales, who lives with Hurler Syndrome, a rare genetic condition affecting his growth, bones, hearing, and vision. Despite these challenges, Ethan found hope and passion through UCAN, a BBC Children in Need-supported arts charity for visually impaired youth, where he discovered a love for performing arts that has boosted his confidence and mental well-being.
On The One Show, Ethan learned from his mentor Alex Jones that he will take the stage in COME ALIVE! The Greatest Showman Circus Spectacular during the 2024 BBC Children in Need appeal show, marking an incredible milestone in his journey. Directed by Simon Hammerstein and inspired by The Greatest Showman, the performance will feature all the beloved songs by Benj Pasek and Justin Paul. Ethan’s excitement was palpable as he shared:
I’m being a part of Challenge Squad because I want to do this to show disabled people that we don’t need to be on the sidelines anymore – we can be out there with everybody… Acting has given me my confidence, and now I want to give back, so if you can give anything, please do.”
The COME ALIVE! team also expressed their excitement, stating:
We are incredibly honoured to take part in BBC Children in Need 2024 and welcome Ethan into the COME ALIVE! family for this special performance. The magic of this show is all about embracing your true self and finding your voice, and Ethan's journey embodies that spirit spectacularly. We can’t wait to share this unforgettable moment with him and all the viewers tuning in for such a meaningful cause.”
Viewers can follow Ethan’s story on The One Show as he prepares for his big performance, leading up to the BBC Children in Need appeal on Friday, November 15, 2024. This heartwarming moment promises to be a highlight of this year’s fundraiser, showcasing the power of resilience and the incredible impact of community support.
photo credit: Luke Dyson
Monday, 17 July 2023
A Strange Loop at the Barbican review: An Unflinchingly Honest Journey of Self-Discovery
a deeply relevant and relatable experience for audiences of all backgrounds."
A Strange Loop
Barbican Centre
★★★★
A Strange Loop at Barbican is an absolutely remarkable production that pushes the boundaries of theatre and delves deep into the complexities of identity, self-worth, and the human experience. From the moment the curtains opened, I was captivated by the raw and unapologetic exploration of the protagonist, Usher’s psyche.
This is a show which is really reliant on a united and strong cast and thankfully the performances throughout are super strong. The entire cast deliver powerful, emotionally charged portrayals. Due to the nature of the show, it may not directly resonate with the audience but the cast do an astounding job of making you feel for Usher’s story and really connect on a profound level. Each actor skilfully brings their character to life, blending humour, vulnerability, and intense introspection in perfect harmony. The energy on stage is infectious, and you really find yourself absorbed in the story.
The writing by Michael R. Jackson is truly effective. With a script that flawlessly combines witty dialogue, thought-provoking monologues, and catchy musical numbers to create a narrative which effectively mirrors the issues broached throughout. A Strange Loop tackles themes of race, sexuality, self-doubt, and societal expectations with unflinching honesty, making it a deeply relevant and relatable experience for audiences of all backgrounds.
The staging and set design (Arnulfo Maldonado) are brilliantly executed, utilising minimalistic elements to create a visually striking and versatile backdrop for the story. There are times when the stage feels underused but toward the end of the musical, it’s really stretched to its limits and is so impactful. The imaginative use of lighting (Jen Schriever) adds another layer of depth to the production, enhancing the emotional impact of each scene.
Furthermore, the direction by Stephen Brackett brings out the best in the cast and the material. The pacing ensures that every moment lands with the intended impact, at times causing a collective gasp from the audience. Brackett's vision seamlessly integrates the music, choreography, and storytelling, resulting in a cohesive and thought-provoking theatrical experience.
While A Strange Loop may not resonate with everyone, it has the power to profoundly impact those who are open to engaging with challenging themes. This production serves as a powerful testament to the transformative nature of theatre, as it encourages introspection, sparks meaningful conversations, and fosters empathy among its viewers.
If I were to have any reservation in giving it a perfect five-star rating, it would be that the complexity of the narrative and the rapid pace of the production might make it slightly difficult for some audience members to fully grasp the subtleties of the story. However, I firmly believe that this should not dissuade anyone from experiencing this groundbreaking piece of theatre during its limited run.
A Strange Loop at Barbican is an audacious and unforgettable production that dares to push the boundaries of what theatre can achieve. In just an hour and forty minutes, it fearlessly challenges societal norms, delves deep into internal struggles, and ultimately celebrates the triumphant journey of self-discovery. Prepare to be moved, thoroughly entertained, and enlightened as you embark on this hypnotic exploration of the human psyche.
Reviewed on Thursday 13th July 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Saturday, 10 June 2023
We Will Rock You at the London Coliseum review: Still Has 'A Kind Of Magic'
We Will Rock You
London Coliseum
★★★
After a ten year absence from the West End, the ‘show must go on’ for We Will Rock You (WWRY) as it takes up its summer residency at the London Coliseum. Set on the iPlanet, a corporate cyberspace where live music is forbidden, this iconic musical follows a group of rebellious bohemians in their search to rediscover the legendary art of rock and roll.
Unfortunately, jukebox musicals have come a long way since WWRY last graced the West End. Unlike newer examples such as &Juliet which prioritise cohesive and earnest story-telling, Ben Elton’s book is inarguably weak. It’s tiring to watch several scenes cynically shoehorned in to allow for a fan-favourites to feature in the show. Musical numbers often feel bookended awkwardly between immature dialogue, rather than moving the narrative along through song. However, these criticisms have been levelled at the show since its first inception, so no surprises there!
This production is clunky and cringeworthy at times. Scenes at GlobalSoft, Gaga High and Gaga Mall are cheapened by dated, distracting graphics and garish costumes. While clearly a deliberate aesthetic, for a show set decades from now it presents a futuristic vision that is firmly rooted in past. Fortunately, the overall design improves greatly when we’re invited into the rebel stronghold at Heartbreak Hotel. The set, designed by Stufish Entertainment Architects, becomes warm and inviting, with miscellaneous scraps and festoon lights cluttering the stage.
If the world of GlobalSoft is silly and contrived, then sadly so is their leader. A WWRY veteran, Brenda Edwards is vocally strong but her Killer Queen is more pantomime villain than ruthless technocrat. Lee Mead is woefully underused. He brings gravitas to his role as sidekick Commander Khashoggi and his performance of the Seven Seas of Rye is a great fun to watch as he peacocks across the stage with an air of gleeful sadism.
The show finally finds its heart when we meet the Bohemians, the first act belonging entirely to Christine Allado as Meat and her spellbinding delivery of No One But You. She is joined by the brilliant Adrian Hansel as hopeful believer Brit, creating a truly dynamic duo.
Elena Skye shines as Scaramouche. She’s feisty and spunky, with cracking comic timing and stellar vocals. Ian McIntosh gives an outstanding performance as the unsuspecting messiah of rock Galileo. He is an absolute vocal powerhouse, having the audience eating out the palm of his hand on more than one occasion. Together their chemistry is palpable and their bickering rendition of Hammer To Fall is a real treat.
Special mention must go to Ben Elton as rebel leader Pop. A singer he is not but he remains a joy to watch as he lives his best life in a world of his own creation.
At risk of being a relic of jukebox musicals past, WWRY still holds up as a night of rousing entertainment and the payoff is immense when it finally reaches its electric and euphoric finale of Queen’s greatest hits. Overall, it’s safe to say it still has ‘a kind of magic’ that will bring audiences back time and time again.
Reviewed on Friday 9th June 2023 by Hope Priddle
photo credit: Manuel Harlan
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 10 August 2022
Callum Scott Howells and Madeline Brewer Announced to Join Cabaret From 3 October 2022
The producers of the multi award-winning, critically acclaimed production of CABARET at the KIT KAT CLUB in London’s West End are thrilled to announce that BAFTA Award nominee Callum Scott Howells will play ‘The Emcee’ and Emmy Award nominee Madeline Brewer will play ‘Sally Bowles’ from 3 October 2022 until28 January 2023. kitkat.club
Callum Scott Howells said today “I can't wait to work with the incredible team and company, and follow on from two actors who I hugely respect and admire. I feel very lucky and excited to be taking on such an iconic role within this widely celebrated and unique production. It's going to be a ride.”
Madeline Brewer said today “Rebecca’s vision is the most magical and emotional and exciting Cabaret I’ve ever seen. It’s a Sally and a Kit Kat Club so thrillingly fun and humbly prescient. I’m beyond honored to be invited to the party.”
Callum Scott Howells is best known for playing Colin in Russell T Davies’ hit Channel 4 drama It’s a Sin. For his performance as Colin, Callum won the BAFTA Cymru Award for Leading Actor and the Royal Television Society Award for Best Male Actor. For the same role, he was twice nominated at the 2022 BAFTA Television Awards; for Best Supporting Actor and Virgin Media’s Must See Moment. Later this year, he will be seen in the Netflix film The Beautiful Game opposite Bill Nighy. Callum’s theatre credits include She Loves Me at the Menier Chocolate Factory and Matthew Bourne’s production of Lord of the Flies.
Madeline Brewer has starred as Janine Lindo in all four seasons of Hulu’s hit drama The Handmaid’s Tale, for which she was nominated for the Emmy Award for Best Supporting Actress in a Drama Series. She will star in the fifth season of the show, due to premiere this September. Madeline began her career portraying Tricia Miller in the Netflix series Orange is the New Black. Her film credits include Hustlers alongside Jennifer Lopez and Cam for Netflix. Madeline’s other credits include Netflix/Channel 4’s Black Mirror and Apple TV’s Shining Girls.
At certain performances, the role of Sally Bowles will be played by Emily Benjamin.
As a member of the original cast of this production, Emily has been a swing and understudy to the role of Sally Bowles since the show opened last year. Her other West End theatre credits include Bat Out of Hell The Musical at the London Coliseum and The Lion, the Witch and the Wardrobe at the Bridge Theatre.
Also joining the cast on 3 October 2022 will be Sid Sagar as ‘Cliff Bradshaw’, Danny Mahoney as ‘Ernst Ludwig’ and Michelle Bishop as ‘Fraulein Kost’. Vivien Parry and Richard Katz continue to play ‘Fraulein Schneider’ and ‘Herr Schultz’ respectively.
The cast is completed by Gabriela Benedetti, Charles Croysdill, Laura Delany, Sally Frith, Matthew Gent, Ying Ue Li, Ela Lisondra, Chris O’Mara, Grant Neal, Hicaro Nicolai, Adam Taylor, Toby Turpin, Patrick Wilden and Sophie Maria Wojna.
The Prologue Company currently includes Rachel Benson, Laura Braid, Asmara Cammock, Julian Capolei, Celine Fortenbacher, Reuben Greeph, Samantha Ho, Andrew Linnie, Carys McQueen, Kate Robson-Stuart and Sally Swanson.
This unique production of CABARET opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April this year, the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history, as well as three prestigious Critics Circle Awards.
In a time when the world is changing forever, there is one place where everyone can be free… Welcome to the Kit Kat Club, home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself.
Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a 'club entry time' to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…
One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.
CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision by Jennifer Whyte and musical direction by Ben Ferguson with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.
CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.
Saturday, 3 October 2020
The Theatre Channel, Episode One | Review
Innovation is coursing through the theatre community, as new ideas and ways to spread the joy of performance are brought to life everyday. One of these ways is the new brainchild of The Theatre Café and Adam Blanshay Productions: The Theatre Channel.
The channel is a series of musical episodes which celebrate the all-singing, all-dancing joy of theatre as well as showcasing fantastic performers and the café itself. Each episode is roughly half an hour long and features a different group of stage stars, as well as the Café Four (Alyn Hawke, Emily Langham, Sadie-Jean Shirley and Alex Woodward) who appear in each episode as a sort of omnipresent group of musical theatre muses. The performers are encouraged to perform songs or roles they've not previously had the chance to, which leads to an eclectic episode of musical excellence.
The first episode opens with the café four performing the very fitting Coffee in a Cardboard Cup, in which they use pretty much the entirety of the café to showcase their vocal, dance and acting skills; they're definitely a talented bunch! From then Tarinn Callender takes us on a soulful journey with On Broadway and Lucie Jones serves her stunning, clear-as-glass vocals with a brilliant rendition of Maybe This Time. Amongst an abundance of flowers, Carrie Hope Fletcher and Oliver Ormson bring the classic duet, Suddenly Seymour to life brilliantly. Jodie Steele takes things up an octave (and a level) as she gives a gender-switched version of Heaven on Their Minds from the roof of the cafe, which oozes sass and strength. Rounding off the episode, Matt Henry is smooth and oh so stirring with Let It Sing from Violet and Jenna Russell is completely excellent in every way with Sondheim's Ladies Who Lunch.
Whilst of course the performances are uniformly wonderful, it's the production value which really makes this series worth the hype. Ben Hewis' outstanding videography is sleek, high quality and just beautifully shot; and alongside Bill Deamer's choreography-which is astoundingly bold for happening in such a small space- the whole thing feels much more cinematic than any of the online theatrical offerings so far.
The creative team clearly have a strong vision and there's no doubt that each episode is going to be a step bigger and bolder. With themed episodes in the works including the upcoming Halloween episode, there are sure to be surprises galore. With everything from the vocals to the finished product being recorded on the premises, this really is a celebration of not only theatre and performance, but the Theatre Café itself where the arts still has the space to thrive, even when performances themselves are few and far between.
With a great team behind it, this series is a treat for those missing theatre and a gem of an online offering. Once purchased for £12 you have unlimited access to the episode so you can relive the stagey goodness time and time again. So grab your laptop and take yourself on a virtual trip to the theatre.
★★★★★
Wednesday, 5 February 2020
Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review
The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell
★★★★
Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.
With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.
What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.
Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Friday, 22 March 2019
Vision of You: Live with Rob Fowler and Sharon Sexton, Key Theatre | Review
Vision of You: Live
Key Theatre, Peterborough
Reviewed on Tuesday 19th March 2019 by Olivia Mitchell
★★★★
Since the closing of Bat Out of Hell, fans of the show have been able to keep their love and involvement alive through Rob Fowler and Sharon Sexton's album Vision of You which charts the backstory of their characters Falco and Sloane. Accompanying the album, the pair have been on a mini tour around the country where they welcomed fans into the Falco Family and provided some absolutely outstanding vocals while they did it.
The final stop on the tour (for now) took Vision of You back to where Rob first performed, Peterborough where a home crowd joined with those from out of town to create a wonderful atmosphere and a real celebration of the music and the performers. A mixture of a concert and a musical, this version of Vision of You used the basic skeleton of the previous ones and added to it to create a complete extravaganza of a show. Once again, Erin Ong (who travelled from America to be part of the final show!) provided her lovely artwork which was projected above the characters to create an almost comic book feeling and embellish the story that was being told.
Rob and Sharon performed most of the songs from their album, as well as some extras, with the heart, vocals and chemistry that they are so loved for and took the audience on a journey through the eyes of their characters very well. What made this show extra special, was the involvement of Raven and Strat aka the crazy talented Georgia Carling and Simon Gordon, who performed solos, duets and group numbers to perfection. Also joining the gang were the young KYT performers who gave spirited performances and brought The Lost to life. Accompanied by Steve Corley and his distinguished band, each number was a powerhouse moment and a true celebration of the superbly talented performers on stage.
Opening with 'Falling Slowly' and closing with 'The Show Must Go On' really sums up how versatile all the performers on stage are; from the hugely upbeat numbers to the more intimate and delicate numbers, there was never a moment which fell flat or felt under emoted. Both Rob and Sharon's voices are raw and expressive but manage to maintain complete control throughout. Especially impressive were Sharon's heartfelt renditions of 'Delight' and 'The Man with the Child in his Eyes' which brought a stillness to the room that was hauntingly beautiful. Rob gave a comedic performance of 'A Miracle Would Happen' as well as his signature rock tones in the epic 'What You Own' where he was also joined by Simon Gordon.
Simon's voice is beyond beautiful and he showcased it effortlessly with each number he was a part of. His performance of 'Bat Out of Hell' illustrated exactly why he was cast in the role of Strat and gave us a chance to hear and see him shine without the lighting and effects that were prevalent in Bat Out of Hell. If this evening was anything to go by, I'm convinced Simon could probably make a shopping list sound exquisite. Aside from Simon's performance, this semi stripped back rendition of Bat also highlighted just what a brilliant song it is.
Georgia Carling's voice complemented Simon's fantastically in their duets, 'For Crying Out Loud' and 'High Enough', as well as shining in her solo and group moments. 'Taking Chances' is a belter of a song and Georgia tackled it with ease as she gave a vocally faultless and completely first-rate performance. After gaining many fans from her performances as Raven and Valkyrie in Bat Out of Hell, there's no doubt that Georgia will continue wowing with her superb talents.
Vision of You was a night of extremely well done storytelling and singing. Seeing how much Bat Out of Hell means to Sharon and Rob is really moving and I'm sure this isn't the last we'll hear of Falco and Sloane. The stellar performances, well done lighting, outstanding band, skillful projections and great atmosphere made this a fabulous night and a perfect farewell-for-now to Vision of You.
photo credit: Bat Loaf
Thursday, 24 January 2019
Vision of You: Live with Rob Fowler and Sharon Sexton, The Space at Studio 88 | Review
Vision of You: Live
The Space at Studio 88
Reviewed on Thursday 24th January 2019 by Olivia Mitchell
★★★★
After releasing their album Vision of You, back in December, Rob Fowler and Sharon Sexton have taken their exploration of the backstories of Falco and Sloane (the pair's characters in Bat Out of Hell) to new levels with a series of concerts about how the duo came to be.
Featuring a mixture of the Vision of You album and additional songs, the evening is an entertaining and dramatic look at two well loved Bat characters and is certainly a fitting antidote for the fans still mourning the loss of the show at the Dominion Theatre. Starting from when Falco and Sloane meet with 'Falling Slowly' and ending with a bittersweet duet about the couple's life and romance, 'Always Remember Us This Way', Rob and Sharon do a brilliant job of storytelling and taking the audience on a journey.
Of course, both Rob and Sharon are vocal powerhouses and they don't fail to deliver top notch performances that are gritty but controlled. Combined with Steve Corley's magical, musical skills and the intimate but booming Space at Studio 88, the couple are able to show various sides of their voices and complement each other remarkably.
The ups and downs of the Falco Family relationship are brought to life further by Erin Ong's beautiful artwork which is projected between songs to fill in the story gaps. There are a number of aspects of the artwork, staging, lyrics and costumes that directly mirror Bat Out of Hell, and avid fans will have a great time picking out the subtle references to the show. Fans will also hear some familiar people accompanying the artwork, with Georgia Carling, Katherine Hare, Jordan Luke Gage and Patrick Sullivan lending their voices to dramatic points in the plot and bringing their Bat characters to the screen.
The love Sharon and Rob have for the characters they have created is evident through their album and live performances, and the work they have put into these concerts is so visible. It's clearly a labour of love for the duo and it's only right that all three performances at The Space have sold out. Bat fans will love this character development, but even if you're not a fan of the show, there's no way you'd be underwhelmed by the incredible talent and dedication the pair exude.
If you want vocal gymnastics, raw performances, drama, angst and romance, then Vision of You, both live in concert and recorded is for you.
photo credit: Specular and Olivia Mitchell
Monday, 22 October 2018
In The Studio with Sharon Sexton and Rob Fowler | Vision of You
Stars of Bat Out of Hell the musical Rob Fowler and Sharon Sexton are currently in the process of recording their debut duets album, Vision of You. The album is not only a celebration and showcase of their glorious vocals, but tells the back story of Sloane and Falco, the characters they play in the show.
I went along to the recording studio for a sneak peek at the process and to chat to the pair about the album and how the journey has been so far:
Alongside Sharon and Rob is pianist extraordinaire, Steve Corley who provides the beautiful accompaniments for the pieces and brings a warmth and real feel to the music. Sharon describes the album as "a box of chocolates" which has something for everyone and the pair hope it will be a treat for both fans and non-fans of Bat Out of Hell.
Vision of You features music from a number of artists, including The Civil Wars, Lady Gaga, Jim Steinman and Glenn Hansard, all artists whom Sharon and Rob have been inspired by.
From what I've seen so far of Vision of You, I know that it's going to be an incredibly raw, heartfelt and moving piece of work. For updates on the album keep an eye on Rob and Sharon's social media accounts and be sure to pick up your copy, either digitally or at the Dominion Theatre when it's released!
Full video interview and sneak peek at Poison and Wine is available here
Sunday, 5 March 2017
Swifties,Theatre N16 | Review
Swifties
Theatre N16
Reviewed on Wednesday 1st March 2017 by Esther Matthews
Reviewed on Wednesday 1st March 2017 by Esther Matthews
★★★
Swifties…To start, I didn’t hate it. Overall I could see what the script writer and director were trying to do however somewhere in the mix something went slightly wrong.
Swifties, based on the French play The Maids written by Jean Genet, follows the lives of two girls who claim to be Taylor Swifts “Biggest Fans” and how their attempt to murder the superstar doesn’t quite go the way they wanted. Isabella Niloufar and Tanya Cubric were brilliant as the plays main characters. Their portrayal of two slightly mad teens was humorous but terrifying at the same time. They are ones to watch out for in the wider theatre circle.
Theatre N16 is situated above a pub in Balham, it was the perfect setting for a play like this. The theatre itself was very small with only a handful of chairs to sit on making your experience very inclusive and intimate. The set was very minimal with simple lighting which pulled you into the scene. As an audience member sometimes big sets and props can capture your attention but the actors managed to keep you captivated throughout.
I had a problem with the script. There didn’t seem to be any structure to it. The girls did a good job at improvising but overall the script lacked good dialogue and felt slow. The Maids is rarely done in large venues or professional theatre but I think it is a very relevant story with many important themes. In the current social climate this is the kind of work that needs to be noticed. It highlights the trouble that we as a nation have with race, gender and social media/celebrities.
For such a small stage the director did a good job. Luke Davies has had rave reviews from his previous production and if this play transferred to a larger venue I can understand what his vision would be.
I would recommend seeing Swifties, there are good and bad points to make about this production. It certainly leaves you with questions.
Swifts runs at Theatre N16 until March 11th
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