Thursday 11 January 2018
Lobster, Theatre 503 | Review
Lobster
Theatre 503
Reviewed on Wednesday 10th January 2018 by Shaun Dicks
★★★
Theatre 503 is renowned for new writing. Its reputation precedes itself for creating fresh, innovative and thought-provoking work. Tonight, their offering was Lobster, not the food, but the new play by Lucy Foster. The thing with new work, especially previously untested work, is that it can be very hit or miss. Lobster is like an edge to first slip, it was neither a hit or a miss.
Lobster is the story of J and K, two young professional women in London. We follow them throughout this story as they narrate through their relationship history. J (Alexandra Reynolds) is the loveable geek who is almost unbelievably nice. Reynolds did a decent job playing J but it felt like it all fell on one note with her. It didn’t feel like a completely realised character and needs more work to really capture who J is as a character. Overall she felt quite bland. However, K (Louise Beresford) felt like a slightly more well-rounded character. Despite the character being very stiff, there is a dry humour about her that as an audience member you can’t help but laugh. K is a more well-rounded character because of her inability to let herself be happy, she is her own saboteur.
The story itself is a good one, it is one that needs to be told. In the modern age of technology, dating and relationships have become so much harder. It’s a minefield. But the script itself, though humorous, needs work. It needs tightening up in certain places and would benefit from a workshop or two and a fresh set of eyes. The direction from Kayla Feldman is standard but needs to be developed and worked further so that it can become special.
This show has the potential to be something special, the story is there, but there are certain aspects that need tightening or a metaphorical jolt in the arm. There is too heavy a reliance on modern culture for humour to land, the characters need development and the overall presentation of the piece needs work. If the show is to go any further, changes need to be made. The show as it is now is ok but it deserves to be better.
Lobster runs at Theatre 503 until January 20th 2018
photo credit: Ali Wright
Saturday 6 January 2018
Hanna, Arcola Theatre | Review
Hanna
Arcola Theatre
Reviewed on Friday 5th January 2018 by Shaun Dicks
★★★★
‘If I could go back in time, would I make it not happen? And I always shrug and give the same answer: Ah – Coulda, Woulda, Shoulda.’
These are the musings of Hanna, a young single mother, her life has been turned upside down. She has been told that her daughter isn’t her daughter. This is a story that tackles the idea of family. In this modern day the term ‘family’ is broader than it ever has been before. This story takes on the idea of, if you raise a child all their life but they truly aren’t your biological child, does that still make them family?
Hanna written by Sam Potter is a true modern text; its witty, dramatic, humorous and surprising. The script is well written, it intertwines the humour of the young millennial single mother, with the drama of the situation and ends in a surprising way. The direction by George Turvey is simple but effective, the staging is very minimal and leans towards more Stanislavski and his methods but the way the text is carried is very Brechtian in regard to its use of audience interaction.
Sophie Khan Levy as Hanna was humorous and endearing. She was able to create a very well rounded and thought out character in her interpretation of Hanna. She portrayed an immature maturity flawlessly; Hanna was a fully realised woman, there were no flaws in her character work. The text, despite a few stumbles, was very well paced. Levy makes you feel for Hanna, she creates an empathy for Hanna and makes the audience want to follow her story. She takes you all the way to the peak of the rollercoaster before letting you drop.
This show is raw, unrelenting and honest. Its a show that you should see. It tackles red hot issues that affect people on a regular basis and very much needs discussing more. Catch Hanna if you can, you’ll be better off for seeing it.
Hanna runs at the Arcola theatre until January 20th 2018
photo credit: Robert Workman
Friday 5 January 2018
Bananaman The Musical, Southwark Playhouse | Review
Bananaman The Musical
Southwark Playhouse
Reviewed on Thursday 8th January 2018 by Nicola Louise
★★★
Since his first appearance in 1980 Bananaman has become somewhat of a cult classic and it’s not hard to see why. A relatively geeky young kid eats a banana and he turns into a superhero known as Bananaman, a super strong, super fast, spandex dressed muscle man with not many brain cells.
With the book, music and lyrics by Leon Parris and directed by Mark Perry, the legend of Bananaman comes alive in this comic musical. From the moment you walk into the theatre you’re transported into the world of comics: Acacia Road, Beano Town where Eric Wimp and his mother live.
The show opens with the bad guys; Dr Bloom played by Mark Pickering and General Blight played by Carl Mullaney, both of whom worked well together and it felt like they had walked straight out of a comic strip into the real world; bouncing off each other perfectly. Pickering is considerably smaller then Mullaney which just adds to their evil comedy duo.
Eric Wimp is the boy who can turn into Bananaman himself, but as his original self, he’s a small skinny boy who has trouble saying hi to the girl he likes. With a cast full of adults playing 15-year-olds you’re always worried how well it’s going to turn out, are you going to believe it? Will it start to get old real quick? Luckily this was not one of those times, Mark Newnham played a very convincing 15-year-old and a strangely convincing geek, he showed real emotion when he thought everyone hated Bananaman and it got you feeling sorry for him.
Bananaman himself was completely different to Wimp and Matthew Mckenna brought the cartoon hero to life, he was tall and handsome and worked well to bring comedy to those one-liners. Seeing this show with my 9 year old nephew really got me to see it from the shows intended audiences side and although he may not have gotten all of the jokes in the show he did say; "It’s the way he said them made them funny". Kids aren’t going to get everything, we know this, but if you can make something sound funny for them and have the adults laugh, you’ve done a good job
Now every hero needs a sidekick right? Bananaman did, although most sidekicks are not necessarily talking birds, or Crows, in this case. That’s right, Bananaman’s sidekick is a talking crow and it’s not until Eric is hit with lightning that makes him able to turn into the superhero is he able to talk to him. I love that they’ve used a puppet for this with Jodie Jacobs as the puppeteer. I thought she brought the Crow to the front of the show and she became my main focus... even if she wasn't really meant to be! This is the same when it came to Jacobs singing, a wonderful voice and she hit every note perfectly, but I feel toning it down just a little would have taken the focus off of herself and her character and allowed the audience to focus more on what was happening on stage around her.
Other main characters included Wimps love interest, Fiona Mullins, played by Emma Ralston who played the non-damsel in distress perfectly, Chief of Police: Chief O’Reilly played by TJ Lloyd, Lizzii Hills who plays Mrs Wimp & Brian Gilligan who played the Mad Magician. All of whom worked well together to make you feel like the Acacia Road was a real community of people who will always look out for each other no matter what.
I would recommend this show for children 8+ and adults alike, especially those adults who remember the cartoon, the music and lyrics of this show which fit in perfectly with the comic book feel whilst the fight scenes are a perfect ode to the old style comic books.
Bananaman runs at the Southwark Playhouse until January 20th 2018
photo credit: Pamela Raith
Top Hat, Upstairs at the Gatehouse | Review
Top Hat
Upstairs at the Gatehouse
Reviewed on Wednesday 3rd January 2018 by Becca Cromwell
★★★★★
Based on the 1935 RKO Musical, Top Hat, starring Ginger Rogers and Fred Astaire and featuring music from Irving Berlin, this stage adaptation of the beloved musical brings sparkle to a tiny but beautiful fringe theatre in Highgate, London. Upstairs at the Gatehouse has built a reputation of being one of the leading fringe theatres in London, and you can see why.
The stage, or lack of it, really made this production work. You were inches away from the characters from beginning to end, which made it feel as if you were truly there with them. The show opens with Puttin’ on the Ritz and within seconds, the entire room was mesmerised. With direction from John Plews and choreography from Chris Whittaker, this adaptation of the musical was bound to be fantastic.
The set was very cleverly designed and hidden away under a raised platform at one end of the stage. With just the addition of a table or two, we were transported from London to Venice and from room to room. As the audience were seated on both sides of the stage, I was unsure as to how it would quite work, but it did. The cast very cleverly managed to play to both sides of the room at once, which takes some skill.
Jerry is a star, and he knows it. When he travels to London to open in a show in the West End, he meets Dale Tremont a model and fashion superstar, played by Joanne Clifton (Flashdance, Thoroughly Modern Millie). The two fall in love through a frustratingly good plot, in which mistaken identity, a camp Italian fashion designer, a butler turned spy and a well-known theatre producer play a big part.
Joanne Clifton wowed as Dale, tap dancing her way into the audience’s hearts. Joanne, of Strictly Come Dancing fame, put her well-known dance skills to good use and her acting and singing abilities astonished the audience, myself included. Having recently toured the UK with Flashdance, she moved quickly onto Top Hat over the Christmas period, and returns to Flashdance soon.
Joshua Lay starred as the ever-so-charming Broadway star Jerry Travers, and gave an impressive performance. His dancing was sublime, giving Fred Astaire a run for his money. Lay held his own amongst the superbly talented cast, which is to be admired.
Darren Benedict played Horace Hardwick, a popular theatre producer who enlists Jerry for his latest show. Darren provided comedic relief throughout, which was thoroughly entertaining.
Samuel Haughton played Bates, Horace’s butler. Haughton’s comedic timing was perfect and helped move the show along nicely, making us chuckle in between the more serious scenes.
Fashion designer Alberto was played by Australian born Matthew James Willis and much to the audience’s delight, gave a hilarious performance, bad jokes included.
Ellen Verenieks as the sharp-witted Madge gave a vocally impressive performance. Although only properly introduced to Madge in act 2, Ellen ensured that the character was memorable through her fantastic performance.
The ensemble consisted of Rhys Ashcroft, Marcus J Foreman, Leanne Groutage, Grant Jackson, Olivia Sinclair and Grace Usher. All of the ensemble gave outstanding performances, with each of them taking on three or four different roles.
Top Hat runs at Upstairs at the Gatehouse until Jan 28th. If you can get a ticket, I urge you to go.
photo credit: Darren Bell
The Wizard of Oz, Capitol Theatre | Review
The Wizard of Oz
Capitol Theatre, Sydney
Reviewed on Thursday 4th January 2017 by Faiza Rahman
★★★★★
Andrew Lloyd Webber would have been over the rainbow with the Sydney premier of The Wizard of Oz. From the moment the stage curtains opened, the audience were captivated. Personally, just for a moment, I forgot whether I was watching a movie or a show because of the pure essence of the way that the stage was set and the way digital media was used to give the audience a feeling of inclusion in the story and world of Oz.
Samantha Dodemaide does a whimsical job of taking us into the land of fantasy (apart from Dorothy’s red shoe coming off her foot when it was supposed to be stuck!) This slip up was ignored with grace from Samantha as the audience giggled and quickly forgot, whilst she continued to perfectly capture the golden-age naivety. Lucy Durack as Glinda won me over with her witty one-liners and effervescent outfit. Eli Cooper’s Scarecrow act was certainly not spineless – his bendy limbs wrapped us in admiration; alongside John Xintavelonis’ Cowardly Lion’s witty and ‘scary’ roar and Tin Man’s (Alex Rathgeber) heartless love and robotic movements. The Wicked Witch of the West (Jemma Rix) – well, that laugh explains why she was the perfect person to embody her character, for not one moment did I not adore her evilness, as weird as that may sound- she was brilliant!
The star of the show was the costume and set design by Robert Jones, supported by Jon Driscoll and Daniel Brodie’s engrossing video and projection work. Vorticist projections were used to evoke the Kansas cyclone that took Dorothy into the dreamworld and took us there too. The lighting and effects used on the walls of the theatre enhanced the experience and created an ethereal atmosphere that delved us straight onto the yellow brick road and at times I really felt like I was a part of the show.
The costumes were visually appeasing – what particularly impressed the audience was when Dorothy’s dress changed colour as she conducted a twirl across the stage from her regular dress to a sparkly green version as she entered Emerald City. The screens used to create the feeling of depth were perfectly controlled and used well to create the feeling of distance to emerald city. My highlight was when Dorothy, Tin Man, Cowardly Lion & Scarecrow were put in the dome by the Wizard – it looked so 3D and realistic, everyone was astounded.
I was taken back to my childhood through the music. Samantha Dodemaide’s voice projects an innocence yet heart wrenching power, like a force leading her back home to Kansas. Although since 1939, The Wizard of Oz has taken on many variations, this one stays grounded in the characters and echoes that there is no place like home, even with its modern twist.
The Wizard of Oz runs at the Capitol Theatre until 4th February 2018
photo credit: Jeff Busby
Saturday 30 December 2017
Olivia's Top 10 Shows of 2017
This year I saw 105 shows so picking my top 10 was pretty tricky! I know everyone does these posts but it's always interesting to see what peaked everyones interests so without further ado, here are the shows I loved in 2017. Grab a mince pie and settle in!
PS. They're in reverse order as always to bring that extra bit of drama!
10. Yank | Charing Cross Theatre
I saw the West End premiere of this show and completely fell in love. The storyline was gripping, the acting was outstanding and it was a highlight of my summer. Scott Hunter was a particular stand out and I can't wait to see what 2018 brings for him.
9. Follies | National Theatre
This was one of my most anticipated shows of the year and it certainly wasn't a let down. The glorious staging was spectacular and I adored hearing Sondheim's music live as well as seeing queen Imelda Staunton on stage again.
8. Mack and Mabel (LMTO) | Hackney Empire
This was such a surprising show for me. Of course I expected good things from the LMTO but I was so blown away by every performance in Mack and Mabel. Natasha J Barnes singing 'Time Heals Everything' was definitely my stand out vocal moment of the year.
7. Funny Girl | New Victoria Theatre
Natasha also gave an amazing performance as Fanny Brice in the UK Tour of Funny Girl. To date this is the best touring production I have ever seen!
6. Hamlet | Alemida Theatre
Andrew Scott was just spectacular. That's all.
5. Fiddler on the Roof | Chichester Festival Theatre
I must admit, I don't travel outside of London for theatre very often but I am so glad I made the trip to Chichester to see this production which completely blew me away. This show needs a West End transfer and I'm praying its life isn't over.
4. Angels in the America | National Theatre
How could I not mention this?! A marathon show but packed with drama, talent and grit at every moment. Truly a theatrical masterpiece- Broadway get ready!
3. Lady Day at Emerson's Bar and Grill | National Theatre
Audra is just a queen. I was mesmerised by every single moment of this show. I first saw it on press night and then went back with my parents, both times were breathtaking and it was such an honour to see a Broadway superstar on stage.
2. Romantics Anonymous | Sam Wanamaker Playhouse
My lovely friend Hayley took me to see this for my birthday and for some reason I never got round to reviewing it (hopefully I'll do it soon!) But it was honestly just brilliant. Both literally and metaphorically sweet it was the perfect way to spend an afternoon. If you want a heartwarming tale, this is the one for you!
1. Hamilton | Victoria Palace Theatre
I know this is the most typical answer and so not a surprise but Hamilton just blew me away. I still can't believe that it exceeded my expectations and if you can get a ticket, you HAVE to see it!!
I also want to give a special mention to a couple of other outstanding shows which I mentioned in last years wrap up: Rent and Dreamgirls, both of which amazed me again this year! I have a couple of concert shout outs too- Rachel Tucker, Kristin Chenoweth and Lea Michele. I saw Rachel perform 5 times and was completely astounded by her voice and stage presence every time. Kristin had me bawling from start to finish. Her concert was definitely the most memorable I've ever been too. Finally, Lea was a bucket list concert for me and I'm so honoured to have seen (and met) her this year!
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
So there we have my top shows of 2017! I can't wait to see what 2018 brings- let me know what your top shows of the year were.
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