Friday 8 December 2017
The Barricade Boys: Christmas Cabaret, The Other Palace Studio | Review
The Barricade Boys: Christmas Cabaret (Concert)
The Other Palace Studio
Reviewed on Thursday 7th December 2017 by Olivia Mitchell
★★★★★
The Barricade Boys bring together some of the finest Lew Miserables alumni (Scott Garnham, Craig Mather, Kieran Brown, Simon Schofield) and finest male voices to create truly beautiful sounds and performances. The boys have toured extensively and appeared on a number of television programmes but this time they're back for a three week-residency of Christmas delights at The Other Palace.
I've really been getting into the Christmas spirit recently with a number of festive shows and this was certainly one of the best. Entering the studio of The Other Palace we are greeted with a beautifully adorned Christmas tree and a cosy log fire projected onto the wall which sets the mood for the relaxed, warm evening to come. The boys normally perform with a seven-piece band but this time opt for a "stripped back" performance with just them and the piano (played fantastically by musical director, Noam Galperin) which further adds to the intimate feeling of the night.
The set of 23 songs was varied and extremely well put together with a mixture of festive favourites, Les Mis hits and some more unexpected songs. Standout moments included I'll Be Home For Christmas/Bring Him Home and Man In The Mirror which both featured tight harmonies and wonderful interaction between the boys. Their rendition of Bohemian Rhapsody must get a special mention as it was done so well; with suitable emotion and humour to keep it entertaining and amusing, whilst maintaining the integrity and showing off everyone's unique voices.
When speaking about the goals of the group, Scott explained that they take the work very seriously but not themselves and this is exactly right. The music was faultless but made all the better by the brilliant on stage interactions where the boys bounced off one another and seemed to genuinely be having fun.
Each night a special West End star will join the boys on stage, this particular night we had the pleasure of seeing the supremely talented Michael Xavier. He performed a haunting, melancholy version of Have Yourself a Merry Little Christmas before the boys joined him for a side splitting, Les Mis version of the Twelve Days of Christmas. Michael was a lovely addition to the programme and the number of amazing guests set to appear, certainly makes me want to go back to another concert in the run.
This pitch perfect ensemble with stand out solo moments and smooth, natural, humourous on stage rapport is all you could ask for at Christmas time. For a festive, lighthearted evening of top notch entertainment, you can't go wrong with The Barricade Boys and I would high recommend paying them a visit during their run!
The Barricade Boys are at The Other Palace until December 23rd
The Barricade Boys are at The Other Palace until December 23rd
Rapunzel (Pantomime), Theatre Royal Stratford East | Review
Rapunzel (Pantomime)
Theatre Royal Stratford East
Reviewed on Thursday 7th December 2017 by Nicola Louise
★★★★
It’s Christmas! Which can only mean one thing ... It’s Panto time!!
‘Oh no it isn’t’
‘Oh yes it is’
...you get the point!
Last night I was lucky enough to be invited to Theatre Royal Stratford East's performance of Rapunzel, not exactly a show you’d think would work as a pantomime, but it surprisingly did. Throw in Goldilocks and the Three Bears and apparently, you’ve got yourself a story.
I have nothing bad to say about the cast, they were brilliant from beginning to end. Our story starts with a little warm up to the panto from baby bear and Witch Maddy’s aid, Egor, a bird that has a heart of gold but has fallen into the wrong crowd.
Baby Bear, Harry as he wanted to be known, does a very good job of getting the crowd going and Gemma Slater (Harry), clearly knows how to work with children. When Egor (Gary Wood) joined Harry on stage, the two created pantomime magic before the show had officially begun.
Rapunzel, the girl locked in the tower with the long luscious locks was amazing, carrying the wig of long hair on her head, she managed to run around the stage with ease. My only concern was that during her first song, Joanne Sandi, (Rapunzel) seemed to struggle to have her voice heard over the music and seemed to be having to shout. However I think the conductor realised this as the music dropped a little and she was able to be heard.
Unlike most pantomimes, this one didn’t have a hero, instead, a heroine. Goldilocks played by Australian actress Julie Yammanee, a strong-willed young girl who only wanted an adventure and got more than she bargained for. Julie’s interpretation of this fairy tale character you either love or hate, was done in such a way that you couldn’t help but love her, her upbeat rock number stole the show.
Now, no panto is complete without the Dame, or the evil witch in this case, Witch Maddy, played by Rada trained Michael Bertenshaw, a different type of Dame. While they’re usually bigger guys dressed in over the top outfits and wigs, Witch Maddy was slim and slender… and old! The story goes that Witch Maddy needs Rapunzel’s hair to create a potion to make her young. Michael brings a lot of jokes for the adults, mostly women as she makes a lot of menopause jokes, but also manages to get the men in the audience to laugh as well.
Sidekicks … every villain needs them, every villain has them, Witch Maddy’s villains went by the names of Iggy, played by Raj Bajaj and Lizzy, Juliet Okotie, two humans under Maddy’s spell who were once Lizards. As side kicks I found them quite irritating, there’s over the top and then there’s Iggy and Lizzy, but as Baby Bear’s parents, I found them hilarious and they worked as a team much better; especially when Juliet, as Mrs Bear started singing how Baby Bear should have listened to her, it went on and on but got funnier every time, the parent’s in the audience related while Mr Bear stood to stage left, leaning and rolling his eyes.
I never want to see the bad in any show I see but there’s always going to be at least one or two points. When we first see Rapunzel and her little mouse friend played by the versatile Stephen Hoo, he makes a small Brexit joke, now I agree, it was quite funny but I feel this was a little unnecessary, it didn’t get too much of a laugh and it’s a little dated now.
A couple of the scenes went on a bit too long, for example, and without giving away any spoilers, the mum and dad scene was sweet, and it did choke me up a little, however, it did lose its magic by repeating the same line from the song over and over again. It worked for Mrs Bear yes, but I think this scene should be shortened to pack in a bit more punch. I also thought the end song was a bit too long, it was about togetherness and friendship and as sweet as it was, you do start to think to yourself ‘ok great, we get it! Next!’
I’ve not seen many pantos in London where they have songs written for the show which I love because it makes it that bit more personal. Witch Maddy sang snippets of chart songs but it worked with her character, I loved that the songs in it were original and the song Goldilocks sang, in my opinion, was the best.
Overall, I was sceptical about this show but it worked, and I was happy I got to see it. I think there are a few things that could be worked on but overall, as Panto’s go, it was up there with the greats.
Rapunzel runs at the Theatre Royal Stratford East until 13th January 2018.
Photo credit: Scott Rylander
Sinners Club, Soho Theatre | Review
Sinners Club
Soho Theatre
Reviewed on Thursday 7th December 2017 by Shaun Dicks
★★★★
The Soho Theatre invites you to the Sinners Club. We find ourselves in the Upstairs space of this buzzing theatre in the heart of London’s West End. As we walk in we are welcomed by a room set in the round, decorated as an old school recording studio; many an old-fashioned rug, musical instruments and microphones, soundproofing on the wall as well as a few photographs. Scattered around the studio space are members of the band playing light Jazz music to set the mood.
The concept of the album is simple, its based on the story of the last woman to be hanged in the UK. The original songs written and performed by Lucy Rivers and the band The Bad Mothers- tailored around the story of Ruth Ellis- are an eclectic mix of genres that seem to pulsate through Rivers as they affect her own character narrative as well as the albums. As Rivers enters to start the show, she is this fierce woman in black, taking control of the room. Rivers throughout the show is energetic and intriguing as she goes through the narrative of the concept album.
However, one of her flaws was her reliance on the audience and audience interaction. The reliance on an audience is a double-edged sword dependant on the audience itself, it can be a struggle for an audience to lose inhibitions and join in. Rivers needs to pick her moments and judge the moments when she does or doesn’t interact. Another thing that needs altering within the show is the amount of dead air in-between songs. As a performer myself I appreciate the device of silence but when its long periods, it becomes a period of time for the audience to wander.
Despite these flaws of the show, the music really made it- in a world of music made by computers in the mainstream and the jazz hands of the West End - this was a refreshing use of alternative types of music. The whole band was slick, and looked like they were having fun throughout the show. Rivers’ voice soared throughout, despite her over use of falsetto. What truly impressed this writer though was the musicianship packed within the show. The sheer volume of different instruments used was brilliant and to a very high quality. I personally appreciate musicians and musicianship, having worked with a few myself, so to have a live band and for it perform so well, it really brought a smile to my face.
If you’re looking for something a little different, take up your invitation for the Sinners Club, because despite its flaws, there are many a good aspect of this show to enjoy. This show is the palate cleanser that the West End is craving. Try something different and enjoy a night of music that you will not forget in a hurry.
Sinners Club runs at the Soho Theatre until December 30th
photo credit: Kieran Cudlip
Peter Pan (Pantomime), Grand Opera House, Belfast | Review
Peter Pan (Pantomime)
Grand Opera House, Belfast
Reviewed on Tuesday 5th December 2017 by Damien Murray
★★★★
With over 70,000 tickets having been sold even before press night, Peter Pan is already set to become one of Belfast’s most successful pantomimes yet.
Staged amid visually attractive cut-out sets that transported the audience to a world of wonder in such locations as The Darlings’ nursery, Neverland, Crocodile Creek, on board a pirate ship and beneath the sea, this production had a lot to offer with a talking bra, some super soakers, a giant gorilla and jokes about a mermaid’s shell phone all proving popular with the young audience.
Boasting production values as high as its flying sequences, this impressive show was spectacular with its pyrotechnics and special effects such as a colossal crocodile that moved right out over the front seats of the stalls in the Act 1 finale and a scary 3D underwater journey on film (but, be warned, it is, perhaps, a tad too scary for smaller children as I learned from this, my grandchildren’s first pantomime visit).
With super sets, costumes, dance routines and lighting, this production had cross-generational appeal with the double entendres, political jibes and topical references keeping the adults happy, while the silly one-liners and slapstick comedy made the children laugh loudly throughout.
Celebrating 28 consecutive years as the pantomime dame at Belfast’s Grand Opera House, May McFettridge (aka John Linehan) again proved that he truly is the ‘Grande Dame’ of the local pantomime stage.
This year, playing May Smee, this seasoned dame appeared to go into auto-pilot mode each time he took to the stage as his quick-fire one-liners and audience put-downs now come as natural to him as wearing female clothing each December… they are both part and parcel of his annual residency at the prestigious theatre.
Aided by a strong support cast, his partner in crime was again local actor and regular pantomime performer, Paddy Jenkins (as Smee), who, despite his laid-back approach, always delivered with perfect timing in the comedy routines, while television soap star, Claire King, kept telly fans happy as Mimi the Magical Mermaid.
One of the stars of this production was Britain’s Got Talent impressionist, Paul Burling (as the ship’s entertainer, Starkey), who made a good impression on everyone (in more ways than one) with a wide range of voice impersonations of such famous and celebrated characters as Michael McIntyre, Harry Hill, Alan Carr, Popeye, Top Cat and The Simpsons.
However, the brightest star of this show was the multi award-winning, David Bedella, who’s demanding stage presence, precise diction and perfection of performance was such that he could play such a believable ‘baddie’ as Captain Hook, yet remain such an extremely lovable rogue to those who can appreciate his theatrical talents and skills.
All were joined by Mikey Jay-Heath as a flying Peter Pan, Hollie O’Donoghue as the rude, roller-skating Tinkerbell, Natalie Windsor as a commanding Tiger Lily and Kweeva Garvey as a likeable and popular Wendy, while talented young performers from the McMaster Stage School comprised the children’s ensemble with an amazingly good break dance from one tiny little boy.
From reworded and reworked pop songs like Ed Sheeran’s Shape Of You to show tunes like Cell Block Tango from Chicago and popular favourites like Blondie’s One Way Or Another, The Village Peoples’ In The Navy and Frank Sinatra’s My Way, the music was well-varied to suit all and, under Mark Dougherty’s musical direction, had a surprisingly big sound for such a small band.
It may be the festive season, but Christmas songs were, wisely, restricted here to a comic rendition of The Twelve Days Of Christmas (I say ‘wisely’ as I always think it must sound odd for audiences in the latter stages of a pantomime run to be singing about Christmas in a show that continues well into January).
On their first ever visit to a Grand Opera House pantomime, my grandchildren really enjoyed the experience… and there is no better test to prove that this big production is another big hit from the Grand Opera House!
Photo credit: Aaron McCracken
Tuesday 5 December 2017
La Soiree, Aldwych Theatre | Review
La Soiree
Aldwych Theatre
Reviewed on Monday 4th December 2017 by Olivia Mitchell
★★★
La Soiree is an Australian-born variety show which premiered in London in 2010. Evolved from La Clique which debuted at the Edinburgh Fringe in 2004, it features a whole roster of artists and acrobatics and definitely makes for an entertaining night.
Whilst it is entertaining, I must say this I don't feel that The Aldwych is the perfect venue to showcase it. Being too close to the front or too far back means you miss a lot of the action. I also feel that the large space of the Aldwych makes the show feel commercialised and takes away the intimate feel which is so special in variety performances; the way the round has been created also prohibits the freedom for some acts. Although the theatre is large, the way the stage has been designed means the acts have very little space in which to showcase themselves.
However, the show itself has some spectacular moments and is full of energy. Personal favourite moments included LJ Marles's aerial performance to 'Dirty Diana', Mallakhamb India's exhilarating act in which they spring up a pole with extreme ease and agility and Amy G's hilarious flamenco scene in which an audience member, Willy, was hilarious placed in the action. Her quick wit brought on side-splitting laughter!
Although I enjoyed most of the acts, I felt the pacing was a little funny and some things fell as little flat. The Daredevil Chicken act for example, was a complete 180 on what had come before and was not to my taste. Whilst throwing pieces of banana from one mouth to another is very impressive when I can't even catch one piece of popcorn, macerated food being spat into one another's mouths is not for me. Of course this is done to get a reaction but didn't feel to me like it fit with the rest of the show.
Overall however, I did enjoy the show. It's genuinely funny and extremely impressive. From Fancy Chance swirling from the ceiling by her hair to Leon and Klodi's emotive dance, there's definitely something everyone will enjoy and it's the perfect show to have a little tipple at in the build up to Christmas!
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Brinkhoff Mogenburg
Parliament Square, Bush Theatre | Review
Parliament Square
Bush Theatre
Reviewed on Monday 4th December 2017 by Shaun Dicks
★★★★★
“We get a little happiness and then we die."
The Bush Theatre, a highly respected and popular Off-West End theatre in buzzing Shephard’s Bush, is currently home to a show that’s origins take it back North to the Royal Exchange Theatre in Manchester. The Bush Theatre itself as a building looks very new and stylish; when you walk into the main performance space that theme continues. The stage is set in the round, dressed very simply but elegantly with household items. As you walk in there is serious, almost ominous music playing, setting the tone for the rest of the show.
It’s a common theme for shows from the Royal Exchange to be outstanding and Parliament Square is no different. From beginning to end this show is strong, slick and packs a powerful punch. The show sizzles as it moves from scene to scene. Cleverly using lighting, staging and sound for the piece to reach all nooks of the space and keeping every audience member gripped as the show builds towards it’s climax. The use of micro or flash scenes aides the narrative as it means that we're not bogged down with any filler scenes, this script is a triumph for James Fritz, a true masterclass on how to write an impactful script in an age where not all new work is as tight as this.
However, it is not just the script that is outstanding here, the cast are a group of individuals brimming with talent and confidence. The supporting cast was a highlight- so fluid in their use of the staging and the way they bring James Fritz’s piece to life. They are unapologetic in what they're presenting, and they make this show tragically beautiful. It's a frank and realistic representation of the world today, a true protest piece.
Joanne Howarth (Mum) and Kelly Hotten (Physio/Colleague/Ticket Woman/Friend) are particularly outstanding as the comic relief aspect of a show that is covered and littered in seriousness and real-life truths. What is interesting is Damola Adelaja (Tommy) and his pitching of the character. In a world riddled with hyper masculine characters, Tommy is presented as this sensitive and caring man- a refreshing take on the modern-day male.
As we fall into Panto Land season I find some people forget that London is still brimming with brilliant theatre. Parliament Square is part of that. This protest drama is a pivotal piece of theatre that needs to be seen by all, and needs to be taken to the West End. The show is powerful, influential and relevant. It is a show not to be missed and you have until the 6th January to catch it before its gone. In this day and age, we all need something to believe in. This show emphasises this more than ever. A masterpiece.
photo credit: Richard Davenport
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