Saturday 18 November 2017
Rachel Tucker with Stagebox Choir, Shoreditch Town Hall | Review
Rachel Tucker with Stagebox Choir (Concert)
Shoreditch Town Hall
Reviewed on Friday 17th November 2017 by Olivia Mitchell
★★★★★
If you're a regular reader of this site, you'll probably have twigged that I'm a huge fan of Wicked star, Rachel Tucker. Most recently I saw her perform as a special guest at Kristin Chenoweth's concert and previously in Wicked and her solo concerts at the Zedel; every single time she has completely blown me away with her effortless performances and last night was no exception.
Rachel is a masterful performer, both in terms of her faultless vocals and her ability to embody and live every song she sings. She is magical in the way she transports the audience into her thoughts and make us feel the emotions she's portraying as if we're experiencing them ourselves. The way she interprets songs is unique, extremely moving and I find it incredibly impressive how she is able to switch so quickly from one mood to another.
During act 2 Rachel came off the stage to perform an a capella folk song which had the audience in enraptured silence but within moments of finishing she snapped back to her larger-than-life, joyous self and had the audience laughing out loud. That ability to manipulate an audience's emotions is truly remarkable.
The set list for the night included something for everyone from theatre classics such as 'Children Will Listen' to pop songs and a personal favourite, her own composition 'I'm Falling' which always wows me. This varied programme meant the night flew by and by the time it came to her second encore we still wanted more! Other stand outs included 'The Man That Got Away' and Kris Rawlinson's stunning arrangement of 'No Good Deed' which brings new life to the Wicked classic. Kris and Rachel make the perfect duo, bouncing off one another both comedically and musically. Also great, were Jodie Steele and Amanda Coutts who doubled as stage managers and back up singers- 'Proud Mary' was brilliant and got the entire audience on their feet!
With a few ex-Elphaba's and Galinda's in attendance, it was Emma Hatton who took the stage as the special guest of the night. Dressed in a suitably emerald dress, Emma joined forces with Rachel to perform a jazzed up version of 'I'm Not That Girl' and a lively version of 'That's Life'; the two work wonderfully together and it's so enjoyable to see them having fun on stage together. Also joining Rachel were the Stagebox choir who helped out with a notably touching performance of 'You Will Be Found' from Dear Evan Hansen.
Overall it was just a joyous night of glorious music. Rachel is one of the most versatile performers I've seen; funny, relaxed and charming, her voice is like no other. Powering through every song with her own personal style- belting it out and emotionally reigning it in with equal skill and motivation. Rachel is at the top of her game- a master of her craft who continually delivers time and time again. This was billed as Rachel's 'biggest solo concert to date' but I sincerely hope things get bigger and bigger for her as she continues to charm and wow audiences around the world... but preferably mostly in London so I can be at them all!
Watch my vlog of the concert here
Watch my vlog of the concert here
Friday 17 November 2017
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Wednesday 15th November 2017 by Olivia Mitchell
★★★★
Everybody's Talking About Jamie has been one of my most highly anticipated shows of 2017 since I heard the rave reviews during it's run at the Sheffield Crucible. Based on real life events, it tells the story of 16 year old Jamie New, who's dreams are a little different to his classmates. Chronicling the struggles of growing up, issues with family and being accepted, it's the warm, British, comedic show the West End has been waiting for.
The real story was adapted for stage by composer Dan Gillespie-Sells and Tom MacRae and is their first foray into the world of musical theatre.
Dan's soundtrack is sublime with a faultless mix of upbeat, pop numbers such as 'You Don't Even Know It' as well as heart-achingly beautiful ballads, my personal favourite being 'Wall in My Head'.
Tom MacRae's book is equally fantastic; humour is perfectly balanced with drama and pain to make the show ebb and flow seamlessly. Of course the production is camp but it's not over the top or forced and the classroom scenes are just hilarious. Nothing is overdone and despite some comments falling slightly flat, every moment of dialogue is truly realistic- it feels like watching real life play out rather than performers on a stage.
On the surface this is a show about drag but the real focus is on the relationships between Jamie and his peers and specifically between him and his mum Margaret, played wonderfully by Josie Walker. It's wonderful to see a parent so supportive of their child even though they're not what people may perceive as 'normal', and it's made even more special by the fact that we know it's based on a true mother/son relationship. Whilst Margaret and Jamie's struggles may contrast to others, the story shows just how important mum's, and not just mum's but whoever your supports in life, are. We all fight with and irritate those who are close to us but that's just because we love them and it's so joyous to see this love played out so sweetly and genuinely on stage.
John McCrea is faultless as Jamie, even in his ludicrously high stilettos! He is quick witted, sarky and exudes life and joy- I want to be his friend! His voice is great and he just does the most outstanding job every second he's on stage (and he's basically on stage every second.)
His best friend and partner is crime, Pritti is performed fantastically by Lucie Storthouse. 'It Means Beautiful' is sung wonderfully by her and the extremely clever staging adds a magical element to it. It almost becomes a prayer and is a touching scene.
Katie Prince's unique choreography fits the show perfectly and adds a fresh and modern feel. The contemporary dance during 'If I Met Myself Again' is breathtaking and certainly a standout moment of the entire show.
Overall, Everybody's Talking About Jamie is the perfect injection of life, modernity and sass that the West End is craving. It's a story about being yourself no matter what and facing your fears head on. For a contemporary, spectacular piece of British theatre, get yourself along the the Apollo theatre and start talking about Jamie!
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Johan Persson
*disclaimer: this was a preview performance so elements of the show could change*
Thursday 16 November 2017
Mamma Mia (UK Tour) | New Oxford Theatre | Review
Mamma Mia (UK Tour)
New Oxford Theatre
Reviewed on Wednesday 15th November 2017 by Michelle Pont
★★★★★
You don’t have to be an ABBA fan to get caught up in this wonderful show now showing at the New Oxford Theatre. Full credit to the talented performers who, with boundless energy, dance and sing their way through the show, giving life to the music and story line.
This performance, originally from London’s West End, really shouldn’t be missed by any musical lover. Choreographed to perfection, by Anthony Van Laast, it’s a pleasure to see every movement being part of the performance. Stage sets are danced in and off with seamless effort.
The boys in the ensemble and Louis Stockil as Pepper and Brad Veitch as Eddie take the show as eye candy. They manage doing some amazing acrobatics including impossible leaping press-ups, high kicks and exceptional dance moves. The extra bonus was their display of their bare chests and muscles. Hot stuff!
Stand out performances were from Kay Milbourn, as Donna. She punched out some wonderful songs. Her performance was natural and believable. Watch out for her rendition of ‘The Winner Takes it All’, which she sings with such conviction and meaning, managing to bring a tear to my eye.
My other stand out performance was from Jamie Hogarth playing Harry Bright and singing ‘Our Last Summer'. Jamie’s performance is of course wonderfully acted and he has a lovely voice. And of course, the brilliant performance of Rosie by Gillian Hardie along with her side kick Emma Clifford as Tanya. Gillian put her soul into the performance and won the audience with her comic portrayal. Emma strutted the stage giving her character the panache it deserved and keeping the comic timing and performance well heeled.
Christopher Hollis’ portrayal of Bill Austin, an Aussie rough neck was excellent. His accent was faultless and in fact I thought he was Australian. His performance also was faultless. The whole cast are brimming with talent. The Orchestra didn’t miss a beat and were also outstanding.
A standing ovation was given at the end of the show and it was well deserved. Two encores were fabulous which saw all six main characters dressed in the iconic sparkly ABBA jump suits. I can’t help but think they all enjoyed wearing and performing in these outfits.
No matter what you think of ABBA’s music, this show puts meaning to their songs and crafts an enjoyable night of entertainment- get yourself there! The tour is performing around the country 2017/18 so there is still time to catch it. Praise to all involved in this production.
Mamma Mia runs at the New Oxford Theatre until November 25th before continuing its tour.
Photo credit: Brinkhoff M Âgenburg
Tiger Bay, Wales Millennium Centre | Review
Tiger Bay the Musical
Wales Millennium Centre
Reviewed on Wednesday 15th November 2017 by Elisha Harris
★★★★★
Tiger Bay is a prime example of ‘deeds not words’. I am a Cardiff girl myself so to be able to return to my home City and watch the most beautifully portrayed musical, about the history of my heritage was just magical.
Every cast member had exactly the right accent, whether natural or not and it was held throughout. They truly captured the Welsh essence needed to make the show as authentic as it could be. The songs are beautiful and reminded me a little of Sweeney Todd at times.
Love, passion and heartbreak are just 3 of the elements that bring this radiant story together. The storyline is quite similar to Les Miserables in the way it develops; just substitute the french with the welsh and you're half way there!
I was blown away by the voices of each and every cast member in this production but the two that stood out for me have to of been Vikki Bebb and John Owen-Jones whom play Rowena Pryddy and John (Third Marquess of Bute). John portrays a stern, powerful Marquess yet when he sings, it is tear-jerking and the contrast between the two is stunning. His emotion, and passion during each moment of his performance had me welling up in seconds. He most definitely lived up to what I expected and more.
Vikki, from the moment she started singing took my breath away. From her note perfect harmonies to her precisely timed dancing she stole the show. I couldn’t think of anyone better to bring the character of Rowena to life- she does a beautiful job.
I had the pleasure of having little Ruby Llewelyn as Ianto for last nights performance, had you not opened your eyes, you’d never believe she was merely 11 years old. Her confidence and empowering stage presence is overwhelmingly brilliant and she has the sweetest voice -worth the trip alone.
There are an additional 10 ‘waterboys’ in the cast ranging from ages 10-14, each brought such character and the harmonies were absolutely mesmirising.
Zoë George as one of the shop girls is highly impressive also, with her beautiful voice and stage presence. I have seen her in a few other productions over the years and she never disappoints! All I can say is the casting director deserves a pat on the back, as each and every role was cast to perfection.
Playing at Cardiff Millennium Centre until 25th of November. Tiger Bay is a true gem, and you’d be a fool to miss it!
photo credit: Polly Thomas
Wednesday 15 November 2017
Cabaret (UK Tour), Edinburgh Playhouse | Review
Cabaret (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 14th November 2017 by Liv Ancell
★★★★★
With the two headliners of this show – Will Young and Louise Redknapp - being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
While Louise and Will may have been the initial draw for some, they will have no doubt left the theatre feeling utterly bowled over by the timeless storyline, endearing characters, and unbeatable music of Cabaret.
What a test of stamina this show is for all involved! The frantically pulsating and contorting cast whirl around the stage at an alarming rate. The choreography was a level above anything else I’ve seen in recent times – the cast members pulled off gruelling moves which were positively acrobatic and perfectly timed.
Belting out Cabaret’s signature songs must be a challenging task; this musical feat was made even more impressive while simultaneously cartwheeling, gyrating, prancing and frolicking. Such sophisticated choreography from Javier du Frutos – especially in Wilkommen and The Money Song – really reinforced this show’s status as world-class.
Louise Redknapp gave everything to this performance, and the volumes to her voice will be sure to silence anybody who may have been skeptical about whether her popstar voice would survive a stage performance. From charming to sultry, to showgirl and seductive, her singing was a complete triumph. Charles Hagerty played Clifford Bradshaw wonderfully; embodying the morally righteous and somewhat naïve American author. His acting was second to none and he subtly conveyed an impressive range of emotions on stage.
This being said, Will Young is just in a class of his own. He wears the garb of the inimitable Emcee with utter brilliance. With incredible expression and by masterful voice control, Will gave the ultimate portrayal of the quirky and coquettish clown of the Berlin cabaret scene. His Emcee was equal parts playful and dark, and his German accent and sing-song voice was perfectly measured.
The raciness and nudity in the show was perfectly balanced by a more despairing and serious storyline. Nazi undercurrents perfectly underpinned the storyline, with the rising prejudice of the time tastefully portrayed and immortalised in this production. The ever endearing Herr Shultz – our patient and adorable Jewish man – was a stand-out character, and Linal Haft gave a commendable performance in this crucial role. His companion, Fraulein Kost (Basienka Blake) was equally commanding, and she too gave a convincing performance, not breaking her accent even during song.
The final scene – which I won’t give away – was sad and beautiful. The high tempo energy of Cabaret couldn’t keep going forever, and it left viewers with a lesson in history to remember. This show is incredible; it will invoke all sorts of emotions, including wonder, amazement and awe. I’d highly recommend going along if it comes to a theatre near you next; it’s absolutely unmissable!
Cabaret is at the Edinburgh Playhouse until November 18th before continuing its tour.
Photo credit: Pamela Raith
Monday 13 November 2017
Saint George and the Dragon, National Theatre | Review
Saint George and the Dragon
Olivier Theatre, National Theatre
Reviewed on Friday 10th November 2017 by Olivia Mitchell
★★★
The National Theatre's current production of Saint George and the Dragon is a modern and ambitious twist on the traditional folk tale of Saint George the dragon-slayer. Described as "a folk tale for an uneasy nation" this production time travels from the medieval times all the way to the current day and questions whether England is losing it's traditional values and whether change is always positive.
Rory Mullarkey's play has faults and drags a little but its interesting and humourous throughout and works extremely well in the space of the Olivier theatre.
As George himself, John Heffernan is Shakespearean, larger than life, witty and charming- perfect for the role. A particularly funny moment is when he disguises himself as 'Ian' in the 2017 world, raising the question of how much we're willing to change to fit in. The character is interesting because as those around him change, he stays the same and becomes somewhat innocent in nature. This transition from the bold hero, to almost childlike is an interesting watch and the idea that distant 'heros' aren't always what the world needs is especially relevant now when it's being revealed that many Hollywood idol's are not the people we should be looking up to at all.
Julian Bleach is the perfect contrast as the sinister but witty Dragon; his portrayal is fantastically strong and gave me major child-catcher vibes in the second act. As the feisty, voice of reason heroine, Elsa, Amaka Okafor is brilliantly cast.
This show wouldn't be what it is without Rae Smith's outstanding set design which transitions along with the characters seamlessly and adds a simple but strong dimension to the play. From the green fields of medieval England to the factory filled London during the industrial revolution, each set is instantly recognisable. Whilst extremely fitting for the time period, the sets also have a humourous aspect such as the way smoke puffs out of the factories. Accompanied by the great, atmospheric lighting by Bruno Poet we are transported through the history of England.
Overall I don't think this play will be to everyone's taste and it could certainly be trimmed down for a smoother flow but it's definitely interesting and I enjoy how it raises some important and relevant questions whilst still remaining humourous. Its genuinely funny and entertaining and Rory Mullarkey has done a great job of reinventing a traditional tale.
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