Monday 4 December 2017
Marisha Wallace: Soul Holiday, Charing Cross Theatre | Review
Marisha Wallace: Soul Holiday (Concert)
Charing Cross Theatre
Reviewed on Sunday 3rd December 2017 by Olivia Mitchell
★★★★★
There's no denying that Marisha Wallace is a powerhouse; in the short time she's been in London she's really made herself a feature of the West End and a must see star. Continuing her conquest of the West End theatre scene, Marisha recently released a Christmas album, Soul Holiday, full of festive treats to get us all in the Christmas spirit and yesterday performed these musical gems for us at the Charing Cross Theatre.
The concert included her jazzy Christmas re-imaginations, gospel songs and some musical theatre classics as well as her hilarious/motivational/all round brilliant interludes between songs. Her warm personality, outstanding vocals and ability to work a crowd had the audience in the palm of her hand within a matter of moments.
Personal highlights included 'O Come All Ye Faithful', the brilliantly upbeat 'Joyful, Joyful', and her heartfelt performance of 'I'll Be Home For Christmas' which she explained was particularly meaningful as she's been away from her family and friends for so long. 'He Chose Me' was vocally faultless and especially moving. Her stunning rendition of 'I'm Here' from The Colour Purple (she played Celie in the production at Cadogan Hall) was incredible and a testament to her vocal and acting skills.
Two fantastic guests joined the festive bliss with Tyrone Huntley showing off his smooth, glorious voice in 'Last Christmas' and 'What's Going On' and Rachel Tucker in the Christmas favourite, 'Winter Wonderland' and the hilarious, belt-tastic 'Take Me or Leave Me' from Rent. Both were great, their friendship with Marisha really shone through and contributed to the warm and cosy, festive feeling.
Marisha spoke candidly about a number of topics including her grandmother who inspired her to continue singing, food (a festive staple) and Jesus. Whilst she spoke a lot about her religion, it was not in a forceful way and she explained that "it doesn't matter who or what you believe in, just believe in you and that you can do anything". It was refreshing to hear such honesty and motivation.
Whilst the 5pm audience were not the most enthusiastic, everyone still seemed to enjoy the concert as they basked in the glory of Marisha's voice and talent. The intimate setting with the four fantastic band members, three backup singers, two gorgeous gowns and one Marisha was all there needed to be to create an evening of festive magic.
Marisha is charmismatic, charming, vocally outstanding and just a born performer. I have no doubt that Marisha's career will keep going up and up as she reaches wider audiences and shows people what a first-rate performer she is and I can't wait to see what's to come. To feel the festive vibes, be sure to grab your copy of Soul Holiday and get along to see Marisha whenever you can!
Sunday 3 December 2017
Ordinary Days, Drayton Arms Theatre | Review
Ordinary Days
Drayton Arms Theatre
Reviewed on Saturday 2nd December 2017 by Olivia Mitchell
★★★★
Christmas is approaching so spirits are high but as the days get colder we and darker we tend to crave the optimistic escape that theatre provides. Ordinary Days is just what we need- realistic, heartfelt and warm.
I saw a production of the show during my first year of university and was already a fan of the music and story but this production made me love it even more. Adam Gwon's musical tells the story of four people trying to find themselves in New York city. There's a couple: Claire (Natalie Day) and Jason (Taite-Elliot Drew) who are struggling to fill "The Space Between" them since they've moved in together. There's also a cynical graduate called Deb (Nora Perone) who meets aspiring artist, Warren (Neil Cameron) when he finds her notebook full of thesis notes. The Drayton Arms theatre provides a perfect, intimate setting for these character's stories to unfold.
The relatability of this show is really what makes it special. The characters are normal people who we can imagine in our own lives, their struggles are just like ours and the whole thing feels very genuine. The two storylines meet occasionally and highlight how our actions can affect others without us knowing. The hustle and bustle of city life is shown particularly well despite having almost no set and it really makes you think about taking a few more minutes each day to care about people you see on the tube, street or wherever!
Nora Perone as Deb is definitely the stand out performance, eliciting laugh after laugh through her humourous dialogue and hilarious facial expressions. The friendship which grows between her and Warren (played wonderfully by Neil Cameron) is touching to see as they help one another figure out what they want with life. They really bounce off one another and create some 'Beautiful' moments. Natalie Day is vulnerable but strong as Claire with some standout vocal moments such as 'Gotta Get Out' and 'I'll Be Here'. Her partner in crime, Jason, is portrayed fantastically by Taite-Elliot Drew; suitably boyish and genuine he is perfect for the role.
This show is a reminder to cherish the here and now and always remember that we write our own stories as well as having an influence on others. With catchy music and real life humour, there's really not much to dislike!
An intimate, character driven show, Ordinary Days is the ideal way to spend 75 minutes! So get along to the Drayton Arms theatre to fight those winter blues!
photo credit: Natalie Lomako
Thursday 30 November 2017
Miracle on 34th Street, Bridge House Theatre | Review
Miracle on 34th Street: A Live Musical Radio Play
Bridge House Theatre
Reviewed on Wednesday 29th November 2017 by Olivia Mitchell
★★★★★
I must admit that I had never heard of Penge until I received my invite to review the new production of Miracle on 34th Street at the Bridge House Theatre. Somehow it had slipped off my radar but I can now say that I'll definitely be visiting again and will be recommending people to take a trip to this gem of a theatre, above the Bridge House pub.
I couldn't have asked for a sweeter, more heart-warming show to welcome me to the Bridge House Theatre; Miracle on 34th Street tells the story of a young girl, Susan who doesn't believe in Father Christmas until she meets a mystical Santa Claus hired by her mother at Macy's. Her perspective and that of those around her begins to change as we follow this magical story which lights the imaginations and warms the hearts of everyone watching.
Adapted from the 1947 Lux Radio Broadcast, this production, directed by Guy Retallack, is staged as a live radio broadcast which is extremely interesting to watch. As the announcer and musical director, Jamie Ross leads Jon Lorenz's fetching score of original songs and new arrangements of Christmas classics with precision and draws the audience in from the moment he gives us the all clear to cheer and laugh to our hearts content.
Guy Retallack's direction makes the piece feel immersive but not conceited. We see the actors 'behind the scenes' when they introduce themselves and joke around with one another when they're sat down, but the performances are top notch and it feels like a well rounded theatrical piece. The various ad's about Penge and use of sounds effects are hilarious and very cleverly done.
The heart and soul of this show are of course the seven member cast. Jamie Ross is versatile and brilliant as he splits himself between being the Foley artist, accompanist, singer and actor! Amy Reitsma is extremely amusing in her various characters, from little children, to a receptionist; each role is unique, witty and she seamlessly transitions from accent to accent. Equally as versatile in his roles is Lewis Rae who gets laugh after laugh as he portrays a number of characters, including the hilariously uptight psychiatrist.
As Fred Gailey, Ellis Dackombe is charming and likeable with some stunning vocal moments. His chemistry with Lowenna Melrose as Doris is touching and they bounce off one another very well. Lowenna's transition from the straight-laced divorcee to the festive woman who loves and believes in Santa Claus is lovely to see unfold and she gives the role plenty of heart as does Emily Carewe as her daughter, Susan. Emily is suitably childlike whilst humourously grown up at the same time. As her belief grows, we see the joys Christmas really can bring to children around the world.
As our main man, Kris Kringle, Richard Albrecht is fantastically mystical and magical... I began to believe he really is Santa! The tight-knit cast work brilliantly together and its joyous to watch them perform.
I can't find a reason why you shouldn't see this show. It's festive, warm and provides the well needed break we all crave during these somewhat trying times! If you want to have your heart warmed and your imagination opened then get along to South East London and enjoy this sparkling, festive show!
Miracle on 34th Street runs at the Bridge House Theatre until December 23rd.
Wednesday 29 November 2017
Beautiful: The Carole King Musical (UK Tour), Edinburgh Playhouse | Review
Beautiful: The Carole King Musical (UK Tour)
Edinburgh Playhouse
Reviewed on Tuesday 28th November 2017 by Liv Ancell
★★★★★
Wasting no time in getting started, the Carole King musical opened with the protagonist (played by the talented Bronté Barbé) sitting behind a grand piano at the Carnegie Hall concert, a highlight of King’s solo singing career. During these first few moments of the show we see Carole at her pinnacle – a headline concert.
Some world-class singing, along with a quick comical address to the audience, and whoosh! The piano glides to the back of the stage, while the forefront is seamlessly transformed into a mid-century apartment in Brooklyn. In an astonishing demonstration of hurried backstage dressing, Carole emerges just moments later, transformed into the gawky 16-year old college student with big ambitions.
And so the show really begins, as we follow the peppy and promising teenager from the very beginnings of her musical ambitions. Throughout the show, we are to see several more versions of Carole. From naïve teenager to career-woman, mother, divorcée and reborn singer – Bronté’s unwavering Brooklyn accent and incredible acting talent carried the audience right the way through the character’s incredible journey.
From joy to dejection, every facet of emotion was expertly communicated by this veritable stage star; from gestures to posture and tone, the calibre of acting on show made the audience really get behind the character. When Carole suffered a set-back, the audience collectively mourned for her. When Carole rejoiced, the audience rejoiced. The connection between Bronté and the audience was pure and deep, emphasising the quality of talent possessed by the actress.
My favourite aspect of the show was the flashy transitions between song-writing and performance. Carole and her husband Gerry Goffin, who was her partner in a work sense, too had a believable on-stage chemistry. The very moment that our ingénues completed the writing of each song (her the melodies and him the words), the chosen artists suddenly appeared to perform Carole and Gerry’s works. These quick ‘cut-betweens’ intersected the story, providing moments of sheer joy, and often comedy, as the audience enjoyed upbeat, all-dancing, all-singing renditions by the likes of The Shirelles and The Drifters.
Carole and Jerry’s counterparts, songwriting duo Barry Mann and Cynthia Well – who were great friends of Carole and Jerry – are the subjects of a sideline love story. The ambitious go-getter Cynthia and hypochondriac musician Barry provide many moments of comedy, and are instantly likeable.
As Carole strikes out on her own in Act 2, the audience see even more of the endless talent possessed by this legendary artist. More confident, less naïve and wiser, the character doesn’t hold back and the real potential of her talent is unlocked. This show is a beautiful journey of talent and dreams, a journey who’s ending would not seem quite so special if the moments of sadness and despair had not appeared along the way.
A packed Edinburgh Playhouse rose to their feet to toast the young talents of the show. The main characters and the ensemble really seemed to understand the complexities of the relationships and the time period which the show spanned. The execution of this show was flawless; from staging to lighting, to the script and the arrangements.
I whole-heartedly recommend this show to anybody – even if the name Carole King is unknown to you prior to seeing the show, I can guarantee hits such as the Locomotion and Will You Love Me Tomorrow will jog your memory and give you a new found sense of appreciation of this song writing and singing legend.
Friday 24 November 2017
Son of a Preacher Man (UK Tour), Grand Opera House, Belfast | Review
Son of a Preacher Man (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 21st November 2017 by Damien Murray
★★★
With its combination of an all-star line-up of principals and the timeless music made famous by the late Dusty Springfield, this show looked and sounded promising as a good night out at the theatre and expectations were high.
However, incorrectly referred to by many as ‘the Dusty Springfield musical’ (totally not the fault of the producers), this show is neither the Dusty Springfield story nor a bio-musical about her, but rather a style of juke-box musical that features her many hits held together by an unnatural and most ridiculous of storylines.
The complex and convoluted plot revolves around a cross-generational trio of individuals with relationship issues, who, by coincidence, arrive at the same time at a Soho coffee shop (formerly The Preacher Man record shop) in search of an answer to their respective lonely heart problems.
The legendary record-shop owner, the long-dead Preacher Man, had been a sort of agony uncle with an ear and a solution for those with relationship problems back in the 60s and the coffee shop is now under the control of his less-confident son, Simon, played with great experience by Ian Reddington.
Representing the older generation, Michael Howe played Paul, the first of the three troubled individuals, with assurance, while Debra Stephenson’s middle-aged widowed teacher, Alison, was good, but the awkward script didn’t allow her the same opportunity to develop her character to the same extent as the others.
However, the undoubted star of this show was young Diana Vickers, as Kat from the mobile phone generation, who brought a nice balance of humour and great vocals to the show.
Indeed, due to her young age, Vickers was probably the least familiar with the music of Dusty, which makes it even more surprising that she was the one who did the greatest justice to her songs in this show.
The set’s authentic and realistic-looking Soho coffee shop, complete with scene identifying neon signs, was impressive and was, generally, well-used by the talented cast of multi-instrumentalists in the form of on-stage actor musicians, aided by other hidden musicians.
Musically, this was good, but the combination of dodgy vocals from some performers and a few new song arrangements may have disappointed die-hard Springfield fans.
However, it was the efforts of the majority of the cast and those great songs that saved this show, especially the already mentioned vocals of Vickers and the stand-out harmonies of the three Cappuccino Sisters, played by Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong.
However, despite its attractive lighting plot, good cast of principals and creative team, this production was sadly let down by its overall slow pace, its weak narrative and Craig Revel Horwood’s unsubtle choreography.
I am led to believe that on-going changes are being made to improve on its weak points … we can only hope that such improvements are in place long before the end of the scheduled tour.
Wednesday 22 November 2017
The Little Mermaid (UK Tour), New Victoria Theatre | Review
The Little Mermaid
New Victoria Theatre
Reviewed on Tuesday 21st November 2017 by Melanie Mitchell
★★★★★
Being a ballet novice, having only seen 2 before, I was a little unsure what to expect from
this production. I have to say, that in my humble opinion, The Little Mermaid is a masterful
adaptation, especially as the idea to create a completely new ballet was only borne in
September 2016. David Nixon and his team have produced a stunning piece of work in only
13 months.
Most of us know the story of The Little Mermaid from the now famous Disney film and show,
however those of us, perhaps a bit older will remember the much darker and sinister tale by
Hans Christian Anderson. This is the tale on which the production is based.
After seeing the picture of a handsome young prince in a locket, Marilla a young mermaid
falls in love. On rescuing the prince from a shipwreck she longs to be with him and sacrifices
her beautiful voice in exchange for human life. Although she is able to walk, every step
causes her unimaginable pain, yet she is unable to cry. The principle dancer made this
feeling so palpable with her agonised movement and silent screams.
Disorientated the prince awakens and mistakes a passing girl for the owner of the beautiful
voice he had previously heard, the mermaid is now unable to tell him that it was her, shattering her dreams and aspirations. This production doesn’t have the happy ever after of
the Disney story and is true to the Hans Christian Anderson original with its moral core.
The staging and costumes are stunning, with the colours and fabrics perfectly reflecting the
magical dwellers of the sea and the hard solid land. Absolutely transporting the audience to
the ethereal reflective underwater world.
The dancers especially the principles and soloists are magnificent, moving with absolute
grace and ease. The strength of the male dancers is incredible with the females looking
absolutely weightless as if under the waves at times. I wondered how it would be possible to
give the impression of the graceful movements of the mermaids. This has certainly been
achieved and it is truly mesmerising.
The music, an original score composed by Sally Beamish is hauntingly beautiful throughout,
perfectly suiting and setting the tone and mood to every scene. It is played wonderfully by
the Northern Ballet Sinfonia, with John Pryce-Jones as its musical director.
This World Premiere production makes for a truly magical evening at the theatre. If you are
already a lover of the ballet, a newcomer as I am, or have never seen one, then I urge you to
see it if you can and be immersed into the mystical, magical underwater world.
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