Friday 15 September 2017
Deathtrap (UK Tour), Theatre Royal Brighton | Review
Deathtrap (UK Tour)
Theatre Royal, Brighton
Reviewed on Wednesday September 14th 2017 by Melodie Hornett
★★★
Deathtrap felt a little unsteady from the offset. It opened with an unnecessary and horrifically loud sound effect. There were moments when I felt unsure of the intention - comedic or serious. The play itself is interesting and able to hold an audience throughout thanks to it’s plot twists and unexpected turns but there is a certain degree of repetition when the characters recount the events just passed. Sometimes, however, there seem to be too many twists, making it a little predictable. The very final scene feels unnecessary and unlikely, however the majority of the play works well and is highly enjoyable.
I would like to have seen stronger US dialects from the two leads as this was rather distracting. Particularly from Paul Bradley, who’s performance as playwright Sidney Bruhl was stellar, yet made unconvincing at times through slipping in and out of accent. His energy combined with his dedication to the character kept his performance afloat and he remained very enjoyable. The audience could clearly connect with his character and he is well cast in the role.
This is somewhat of a mismatch with Jessie Wallace however. She made a good effort in the role of Myra and showed she is capable of moving away from the familiar typecasting, however there was little connection on-stage between her and Bradley. She also felt detached from the audience, not really allowing us an opportunity to empathise with her. I feel she could have been a little braver with her performance and created a stronger character. She wasn’t greatly missed during Act 2 when the character is absent.
Sam Phillips’ portrayal of Clifford was well acted and demonstrated appropriate naivety in places. He shows great commitment to the role and is able to flick back and forth between alter-ego’s effectively. He shone out as particularly capable in this role and was well cast.
Julien Ball as Porter is unfortunately, unmemorable. He could have made this character much more commanding even verging on sinister, yet came across as weak.
The star performance without doubt came from Beverly Klein, who’s obvious stage background showed real command of the audience and the space she worked in. Great characterisation of Helga ten Dorp, perfect comedic timing throughout, a real joy to watch. She provided light-relief from some of the heavier scenes that was much needed.
Technically, the sound effects were far too loud in several places and music/sound used for dramatic effect seemed cheap, uninventive and predictable. The set looked great, was functional with the appropriate weapons clearly on display and some clever trickery used during fight scenes. Interesting use of thriller film clips between scenes, with a slightly kitsch opening picture frame, concealing the projector. A little more care needed to be taken with masking on-stage trickery, such as hiding of the dagger thrown across the stage.
Overall I did enjoy the piece, however felt that the casting of television celebrities in the majority of roles in Deathtrap was a mistake. I would recommend watching, turn a blind eye to some of the details mentioned above and you won’t fail to enjoy.
Thursday 14 September 2017
Five Guys Named Moe, Marble Arch Theatre | Review
Five Guys Named Moe
Marble Arch Theatre
Reviewed on Wednesday September 13th 2017 by Olivia Mitchell
★★★★
Five Guys Named Moe premiered at the Theatre Royal Stratford East in 1990, ran for over four years, transferred to Broadway and won the Olivier Award for Best Entertainment. Despite this, it's a fairly unknown musical so is an exciting addition to the London scene which is currently made up of a lot of long running classics.
The rise of new and unique theatrical experiences is ever growing, with pop-up theatres and immersive events offering unusual theatrical adventures. Cameron Mackintosh has grabbed this trend by the horns in his new venture with the specially built Marble Arch Theatre. The theatre is simple on the outside but completely brilliant on the inside; as you walk in it's like entering the tardis. You're brought into a large 360 bar complete with a live band above and a wonderful selection of drinks to get your night started in the perfect way.
Written and directed by Clarke Peters, the show charts the story of Nomax, whose girlfriend Lorraine has left him. With no money and booze as his best friend, he meets Big Moe, Four-Eyed Moe, Eat Moe, No Moe and Little Moe as they emerge from his 1930s-style radio to guide and comfort him as they sing the songs of saxophonist and songwriter, Louis Jordan. Personally I found the story pretty pointless. At times it felt that the songs didn't really fit and I didn't feel emotionally attached enough to either Nomax or Lorraine to care whether they got back together or not.
Despite this not so stellar story, the music is spectacular. Each song is playful, catchy, foot-tapping and filled with warmth and affection for one another. The five Moe's are energetic and throw themselves into the fast paced, jazzy pieces and choreography by Andrew Wright with joy and exuberance. The on stage band showcase the rhythm and complexity of the music well and are particularly impressive during their solo moments.
The Moes are Four-Eyed Moe (Ian Carlyle), Little Moe (Idriss Kargbo), Know Moe (Dex Lee), Big Moe (Horace Oliver) and Eat Moe (Emile Ruddock). The Moes are banterous with one another and seem like the kind of guys you'd have an amazing night out with. They are all equal, sharing solos with one another and each having their own personalities which bounce off one another and work together seamlessly in moments of tight harmony. All five men have absolutely outstanding voices as well as sleek, sharp dance moves which are showcased in a smooth and stylish way. Similarly, Edward Baruwa is fantastic as Nomax, his effortless, strong voice soars and he manages to be emotional, funny and contemplative at times.
As previously mentioned, the venue is very cool, however, I don't feel like it's ideal for this show. The round space doesn't really add anything to the story and due to the un-raked seating there are moments missed by the audience. I was sat in the third row of the stalls which sounds fine but with three tall people in front and no varying levels it was very difficult to see and I often found myself craning my neck to try and see through the gaps- something which could've been avoided with even a slight rake between rows. The screens used around the sides of the space are a very nice touch but felt underused. It would be exciting to have them at other points, as long as they don't become gimmicky.
Overall I did enjoy this show though. The story is nothing special but I adored the music and it's certainly a brilliant, toe-tapping show with flawless performances all round and perfect for a fun, light-hearted night out. It you want catchy songs and first-rate singing in a very neat London venue then this is the show for you! So let the good times roll and hop along to the Marble Arch Theatre!
photo credit: Roy Tan
In Conversation With... Joe McElderry | Joseph and the Technicolor Dreamcoat | Interview
Joe McElderry rose to fame when he became the winner of X Factor back in 2009 and since then has had a wide and varied career. He is currently playing the lead role of Joseph in UK tour of Joseph and the Amazing Technicolor Dreamcoat. We sat down to chat about Joseph, his career and tour life...
Have you always wanted to be a performer or did you have a different dream when you were younger?
I always wanted to be a paramedic actually when I was younger, or a nurse. I was always kind of really interested and fascinated in medicine and medical stuff and hospitals so yeah I wanted to be a paramedic before a singer.
Have you got any hidden passions that you'd like to pursue?
I dunno you know? ....I mean, I love sports and I love exercising and stuff so maybe something around that? What that is I don't know but I'm passionate about work outs and exercise kind of things.
You went from being a solo performer to TV and now to musical theatre. How were those transitions for you? Did you find them easy?
I think the transition from performing like my own material to then musical theatre was kind of a big transition. A lot of the other ones have obviously stemmed from TV shows so they've been kind of different transitions if that makes sense?
Your album Saturday Night at the Movies recently came out. How was the recording process for that and how have your fans reacted?
It was great! I mean it was quite a quick process recording the album. We're doing 10 shows of Joseph a week so recording and finding the time to fit that in was pretty intense but the reaction was great! It went to the top 10 and we went on the tour and it was amazing to kind of take the album on the road and be able to see first hand the reactions. You see the reaction as people are watching the show so its brilliant.
As you say, you recently toured with the album and are now touring with Joseph, so how do you find the tour life?
I love it! It can be very intense and very tiring at times but its kind of my favourite thing to be able to perform in front of an audience and like I was saying with the album, have that first hand response. I prefer being on tour more that I do recording and being in the studio and I just kind of enjoy the routine of it as well.
What drew you to the role of Joseph in Joseph and the Amazing Technicolour Dreamboat?
Well I was asked to do it about three or four times and I said no originally... well I didn't actually say no but I didn't really have the time and it just didn't fit into the schedule of what I was doing at each moment. But I was also quite apprehensive about taking on such a big role. I didn't want to be bad at it, I wanted to be good so when I was asked for the final time they said "we'll fit it around you, lets make it work", I was really nervous cause I wanted to do a good job of it.
What do you think people will be saying as they leave the show?
I hope they leave first of all feeling great and energised and happy and I hope we explain the story well through the emotion of it all.
How do you keep your voice healthy enough to do 10 shows a week?
I don't drink a lot of alcohol, that's certainly one. I get lots of sleep. I do lots of exercise and it's just about respecting your body and no going out after the shows and shouting in clubs and things like that. You've got to be quite sensible and you've got to pace yourself over 10 shows -it's a lot!
Have you got any other dream roles?
At the minute I'm just kind of like "whatever will be, will be". I've experienced many things in my career, some things that I've never expected and some things that have given so much that I never expected. So I'm kind of of the opinion that we'll see what's round the corner and if it's something that I can have fun with and learn from and grow from then I'll be a part of it.
What's a fun fact people might not know about you?
A fun fact people might not know about me?? I don't know! I think people know a lot of things about me... one of the joys of living in the public eye!! I really don't know... I'm a bit of a wind up! I like to wind people up- a bit of a practical joker!
What is your best piece of advice for an aspiring performer?
Work hard and be respectful to people you work with and be prepared. There's many ups and downs and know that failure is probably one of the most beneficial things you could ever learn from!
Interview by Olivia Mitchell, Editor
Wednesday 13 September 2017
Hairspray (UK Tour), Bord Gais Energy Theatre | Review
Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray
★★★★
Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.
Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.
Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).
Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.
As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.
While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.
The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.
While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.
However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.
Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.
However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).
Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.
If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.
All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.
Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.
Photo Credit: Darren Bell
Joseph and the Amazing Technicolor Dreamcoat (UK Tour), New Victoria Theatre | Review
Joseph and the Amazing Technicolor Dreamcoat (UK Tour)
New Victoria Theatre
Reviewed on Tuesday September 13th 2017 by Olivia Mitchell
★★★
I think I'm probably in a theatre minority of people who actually like Joseph and the Amazing Technicolour Dreamcoat. I know it's kind of cheesy and a mishmash of things but I grew up watching the recorded version and absolutely loved it; looking back Donny Osmond was probably my first childhood crush and all I aspired to be when I grew up was Maria Friedman! I was in a school production of Joseph and I did see a touring production of it when I was about 10 but I honestly don't remember it so this was really my first experience of seeing it live.
From the outset it was exactly what I expected: cheesy but fun. There's no getting around the fact that its a childish show but what they've done really well with this production is really play on that childish humour. The usual moments which are more sexy or grown up, have been changed to suit a younger audience and it really works. This is never going to be a show aimed at adults who want a life-changing theatrical experience so why not make more kid friendly?!
Whilst the general vibe is like a children's TV programme, the cast are grown up and outstanding. Joe McElderry as Joseph is wonderful and he performs the role with conviction whilst adding his own spin. Joe's voice is stunning and rings out with emotion and power throughout, especially in the classic, 'Close Every Door'. Trina Hill plays the narrator fantastically. She is suitably animated as if telling children a bed time story and her voice is out of this world. Contrastingly to Maria Friedman, Trina belts for her life and completely wows the audience. Her technique is sensational and I was honesty blown away at how clear and strong her voice is.
The rest of the cast and ensemble work well together to create the somewhat magical and crazy world in which the story takes place. A special mention has to go to Matt Jolly (Gad) who has a beautiful solo moment during 'Those Canaan Days' which was just lovely.
Sean Canvanagh's staging is simple with just a few moving parts and mostly props brought on and off to show various changes. The children's choir who provide the backing vocals are sat either side of the stage for the majority of the show whilst joining in for some sweet choral moments. Nick Riching's lighting works well, adding warmth and drama to the action although the "flash of light" does get a little repetitive.
As I say, this show is definitely more for kids than adults and I know it won't be everyone's cup of tea but it's a great way to spend a couple of hours and the cast do an impeccable job from start to end.
Tuesday 12 September 2017
Grease (UK Tour), Edinburgh Playhouse | Review
The turn of Grease at the Edinburgh Playhouse transformed the theatre into a lively hothouse of hand jiving, bomber jackets and 50s nostalgia. With hundreds of costume changes, multiple set changes and an enviable line-up of cast and crew, including Tom Parker of The Wanted fame, this production of Grease was far from an understated affair.
The first surprise in the production came when the curtain initially lifted to reveal an exposed upper mezzanine level to the stage, where the live band was on display for all to see. With charismatic showmanship, the flamboyant conductor introduced each of his band members with the flick of the wrist, while they in turn stood up and gestured to the audience to boast their musical prowess. As far as warm-up acts go, this one was pretty spectacular.
Cut and the band are once again hidden from view (only to emerge later in a few choice scenes), with the show’s two star-crossed lovers emerging from opposite ends of the stage, raised on pedestals in a creative use of staging. Danielle Hope astounded the audience as Sandy from the very first note, captivating even the back seats with her commanding theatrical voice, with seemingly endless levels of range and depth. Tom Parker successfully portrayed the too-cool-for-school attitude of well-loved character Danny Zucko, but the powerful contrast at play between his boy-band tones and Danielle’s finely trained voice was at times, very clear to see. His “Sandy” solo was less than electrifying, whereas Danielle’s solo performances had the audience clinging onto every perfectly delivered note.
The supporting cast in this musical raised the energy levels tenfold; hand-jiving, flipping and jesting their way into the audiences hearts. Jan (Rosanna Harris) and Roger (Oliver Jacobson) were transformed from sideline characters into firm audience favourites. Each couple’s voices were paired to perfection, making for some harmonious duets. Special mention goes out to Alessia McDermott, who was standing in for ChaCha on the evening we attended; she high-kicked and smouldered her way through the show, leaving the audience clueless as to why she was only an understudy in the first place!
As far as performances go, this one was extremely physical, but the young cast kept pace the whole way through. It will come as no surprise to any viewer that the dance scenes were the brainchild of Strictly’s Arlene Phillips – the couple’s competition at the school dance featured more lifts and swings than you could shake a baton at. The razor-sharp choreography throughout was a real highlight of this performance, with not a single cast member slipping up during the lightning-speed handjiving sequences.
In a nutshell, this show was both ambitious and energetic in equal measure. The flashes, bangs, fire and sparks during the Greased Lightning song resulted in a real show-stopping moment, while Danielle’s voice reached dimensions far beyond what Olivia Newton-John could deliver in the movie version. Whether it was down to delivery or acoustics, some of the snappy tongue-in-cheek comments were unfortunately difficult to hear, and many of these jokes were as a result missed by the audience.
Overall, this was a very well-assembled production of an old school classic, delivered with such youthful energy and accompanied by great staging - viewers of any age or gender are guaranteed to get swept up by the excitement and extravagance of this show.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
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