Tuesday 1 May 2018
Chess, London Coliseum | Review
Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell
★★★
Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum.
The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.
Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming.
Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.
On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own.
Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.
The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more.
Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum.
There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short.
Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it.
Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with.
Chess runs at the London Coliseum until June 2nd.
photo credit: Brinkhoff Mögenberg
Young Frankenstein, Garrick Theatre | Review
Young Frankenstein
Garrick Theatre
Reviewed on Monday 30th April by Olivia Mitchell
★★★★
So far in 2018, Young Frankenstein is the show which has pleasantly surprised me the most. I must admit, all I knew of the show was the performance I'd seen at the Olivier Awards so I expected a cheesy, ridiculous story that I wouldn't enjoy. What I got was a cheesy, ridiculous story which I thoroughly enjoyed!
Young Frankenstein is a hilariously brilliant night at the theatre and certainly one of the funniest shows in the West End. Of course it's the work of comic genius Mel Brooks so you'd expect greatness, but the show had a less than stellar run on Broadway and despite it's huge budget, failed miserably. However, from what I've read and been told, this production is scaled down and swifter. The book by Brooks and Thomas Meehan is the most successful aspect of the show, with emphasis solidly on the comedy.
Frederick Frankenstein (pronounced "Fronkensteen") is an American professor of neurology who is drawn to Transylvania when his grandfather passes away and he is set to inherit his gothic home and all that's inside it. There, he meets a number of wacky characters and begins to toy with the idea of recreating his grandfather's famous experiment and reanimating a corpse.
Ben Cracknell's atmospheric lighting alongside, William Ivey Long's fabulous costumes and, Gareth Owen's effective and spooky sound design create a thrilling assault on the senses and add to the humour and drama of the show without becoming repetitive or sleazy. Any moments which could be cringy and cliched are cleverly avoided by onstage characters pointing out how ridiculous they are! Beowulf Borritt's set design cleverly intertwines aspects of the film and moves seamlessly from one location to another. Again, nothing is too over the top.
The cast are exceptional. Each giving spades and spades of energy whilst perfecting the comedic balance. Making it hysterical without being forced. Hadley Fraser is delightfully dynamic as Frederick and his glorious vocals ring out beautifully, especially in Frederick's Soliloquy.
Cory English scuttles round the stage humourously as the contorted, gormless Igor. He brings a warmth to the role as well as a somewhat eerie side. Lesley Joseph is gleefully devoted to the older, violent Frankenstein. Her rendition of He Vas My Boyfriend is wonderfully weird and enjoyable.
Young Frankenstein is definitely not an ode to feminism, but the political incorrectness makes it all the more funny. Summer Strallen and Emily Squibb bring their tongue-in-cheek characters to life with side-splitting humour and verve as well as giving wonderful vocal performances.
This show is funny beyond belief and a real joy to watch. If it's a feel good show you want, then Young Frankenstein is the one for you.
photo credit: Alistair Muir
Friday 27 April 2018
In Conversation With... Lizzie Winkler | Quiz | Interview
Quiz is one of the hottest plays on in the West End right now. Transferred from Chichester Festival Theatre, it is an immersive experience which examines the conviction of 'the coughing Major', Charles Ingram, following his appearance on Who Wants to be a Milionaire? Lizzie Winkler plays a variety of roles in the show and sat down to talk about that experience as well as who'd she's share a million pounds with...
Hi! You've had a varied career so far. What have some of your highlights been?
This!
Can you tell me a little about Quiz and your role in it?
I play the most characters, ranging from real people Claudia Rosencrantz (Head of light entertainment for ITV), Ruth Settle (Head of Marketing for the show) Alyn Morris (cough doctor) to characters whose names I've been allowed to make up, police officer (PC Jill Salmon) attractive assistants (Denise Body and Kirsty Sparkle) Pregnant Juror (Alison De Winter) Court Stenographer (Linda Bland) I really enjoy creating characters' back stories and histories even if they don't have lines.
What do you think people will be saying as they leave the theatre after experiencing Quiz?
"What did you vote?". "Do you think they are innocent?" and hopefully "that was amazing "
Can you sum up the play in five words?
Entertaining, interactive, thought-provoking, political, human.
What has your favourite immersive/interactive theatrical experience been?
All the Punchdrunk shows.
If you won Who Wants to Be a Millionaire? who would you share your money with?
Whoever asked the nicest.
If you had a magic wand, which show would you do next?
I write television comedy, with Emma Jerrold I would get one of our shows commissioned and be in it.
Finally, what's your number one piece of advice for aspiring performers?
Be yourself and work hard!
Thank you so much Lizzie for taking the time to do this interview. Quiz runs at the Noel Coward Theatre until 16th June.
Interview by Editor, Olivia Mitchell
Wednesday 25 April 2018
Morgan and West: Time Travelling Magicians, Wilton's Music Hall | Review
Wilton's Music Hall
Reviewed on Wednesday 25th April 2018 by Nicola Louise
★★★★★
Just when you think magic has died, in come Morgan and West the time travelling magicians armed with some spiffing looks, a couple of top hats and of course a trusty pack of cards. The two take on Wilton's Music Hall with flair and brilliance.
This is not just your average music show, Morgan and West have a theme. As the name suggests, they time travel! The pair incorporate comedy, ad libbing, suspense and the all things 1900s into a 90 minute show. With audience participation involved, this is a show that both adults and kids alike can get involved with and the magicians really they really know how to hold a crowd from the word go.
The tricks on stage are a mix of some I've seen before and some I haven't, but the child in me can't get enough and I could gladly watched them all night. They are skilled as well as witty and really capture the essence of magic.
Although the stage has quite a few props on it and is decorated in a way that implied they were going to be used more, they were used, and needed, very little.
I was lucky (or unlucky depending on how you see it!) to be called up on stage. Now, what I was part of is not one for the faint hearted but the outcome will amaze you... I won't say more to spoil the surprise...
If you've always questioned magicians I recommend you see this show. The comedy alone will leave you wanting more, and if you're like me, you'll want to back again and again to try and work out how everything is done!
Morgan and West: Time Travelling Magicians is on at the Wilton's Music Hall until the 28th April, take your mum, dad, brother, sister, aunt, uncle, nan, grandad... bring everyone! You won't want to miss out.
Son of a Preacher Man (UK Tour), New Victoria Theatre | Review
Son of a Preacher Man (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 24th April 2018 by Valerie Field
★★
Son of a Preacher Man is directed by Craig Revel Horwood. Based on the music of Dusty Springfield, I expected good things. Unfortunately the story is not very believable and times the production felt disjointed and rather amateurish.
As I have never seen any of Craig's work before it’s difficult to compare, but I wouldn’t have thought this was his best.
The three main characters are brought together because they are all looking for love. They decide to go to ‘Soho’ to find the record shop of the 60s named ‘The Preacher Man’ as they had heard the owner was someone who everyone went to for advice, especially when it came to ‘Love’. Unfortunately the owner had died and it was now a coffee shop run by his not so clever son, played by Nigel Richards.
Alison, a young widow played by Michelle Gayle had a very good singing voice. I felt she should have been more involved in the show as Alice Barlow who played Kat was definitely not such a good singer, although she came across as very confident in her acting. The reason she wanted to go to the record shop was because her gran who had just died told her the story of ‘The Preacher Man’
Paul played by Michael Howe remembers going to shop in the 60’s and was hoping to rekindle a lost love from those days.
I felt the show had been advertised around Dusty Springfield and I was disappointed that more was not mentioned about her as I thought the production was going to include some of her life. A photo of her on stage or as a backdrop I feel would have enhanced her songs and made some form of connection rather than being completely unrelated.
The singing by the ensemble was not the best and I don’t think it worked very well having the musicians on stage throughout. The girls playing the Cappuccino Sisters however, were very energetic and a gave a lively and uplifting performance throughout.
The second half of the show was so much better and more lively and ‘Dusty Springfield’ inspired although it still wasn't the best.
I do feel anyone going to see it because of Dusty Springfield could be a bit disappointed, but in saying that it was an entertaining and enjoyable evening and the audience seemed to appreciate it. Go along for fun but don't expect a masterpiece.
Son of a Preacher Man runs at the New Victoria Theatre until 28th April
Tuesday 24 April 2018
Strictly Ballroom, Piccadilly Theatre | Review
Strictly Ballroom
Piccadilly Theatre
Reviewed on Tuesday 24th April 2018 by Olivia Mitchell
★★★★
Strictly Ballroom is a chilled out, glittering celebration of dance and a refreshing show to add to the list of ones to cheer us up in these dreary times.
Based on Baz Luhrman's 1992 film, Strictly Ballroom tells the story of Scott Hastings, a young Australian man who’s been dancing and winning awards for almost his entire life. He longs to break free of what moves are ‘expected’ and 'strictly ballroom' and pave his own way in the dance world. Enter Fran, just Fran, the overlooked dancer who wants a life of love, passion and to dance with Scott. When Scott starts improvising at a dance competition again, his partner Liz leaves him and he and Fran become secret dance partners.
This show is cheesy beyond belief but it’s also extremely self-aware. The over exaggeration and somewhat cringy humour works because it doesn’t try to be anything other than fun. The characters are larger than life but work to create an embellished version of life as a competitive dancer.
This show is of course, all about the dance and Drew McOnie has done an outstanding job choreographing his West End debut. The moves are sharp, sleek and a real joy to watch. When attending this show, I wasn't aware that it's not a typical musical. In fact, I would describe it more as a play with songs. Will Young takes on the role of Wally Strand who acts as the compere, narrator and singer. His voice is beautiful and he does a fabulous job of performing Marius De Vries' arrangements of hit songs such as Dancing With Myself, Love is in The Air, I Wanna Dance with Somebody and more. This set up doesn't take away from the show at all but it would be nice to see the rest of the company getting a chance to show off their vocals. However, it's the dance that's the star of the show. Taking the place of big vocal numbers, it's stunning to see such colourful, glitzy routines on the stage. The act 2 close of the Paso Doble and Habañera is especially powerful, with Fernando Mira's flamenco routine wowing the audience and proving how emotive dance is.
There’s a running joke that the west end isn’t the west end unless a Strallen sister is in a show. Seeing Zizi Strallen perform you can understand how their talent has made them a crucial part of the London theatre scene. Zizi’s performance is dorky and heartfelt and her character arc throughout is beautiful to watch. It’s truly joyous to watch her perform and you can't help but keep your eyes on her every second she's on stage. I am definitely going to have to bring my apricot face scrub out of the cupboard if it'll make me look like Zizi! Ms Strallen's footwork is also sublime and she works in perfect synchronicity with Jonny Labey who is is dazzling on stage and clearly the perfect choice for the role. The pair of actors are a winning combo.
Anna Francolini is suitably hilarious as Scott's mother who lives vicariously through him- her comedic timing is outstanding. Eve Polycarpou is sweet and endearing as Fran's Abeula and her latin vocals really stand out amongst the rousing music. The ensemble of Strictly Ballroom are great, all with clear personalities in their dancing duos. Gabriela Garcia and Liam Marcellino really stand out as Vanessa and Wayne. The entire cast work brilliantly together to create a polished show.
It's a lovely feature to have the band live on stage and it's amazing how they become part of the action rather than being overshadowing at all. Catherine Martin's costumes are as sparkly and over the top as you could want and Soutra Gilmour's set is simplistic but emotive. This production is well thought out and it's clear to see how much care and love has gone into it from the entire cast, crew and company.
It's time to escape the grey for the colour filled dance hall of Strictly Ballroom. Bogo Pogo your way to the Piccadilly theatre for a spectacularly sparkly experience, and a fun, chilled out night that'll make you want to get out of your seat and dance.
Strictly Ballroom runs at the Piccadilly Theatre until October 20th 2018
photo credit: Johan Persson
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