Friday 22 June 2018
Daisy Pulls It Off, Charing Cross Theatre | Review
Daisy Pulls It Off
Charing Cross Theatre
Reviewed on Thursday 21st June 2018 by Shaun Dicks
★★★
With the name of Guildford School of Acting comes a vast and storied reputation. When you come across a show with GSA’s name on it, you go in with certain expectations. Their current venture is Daisy Pulls It Off, presented by it’s Actor Muso students at the Charing Cross Theatre. The show presents a story within a story based in an early 20th century private girls school where they admit their first elementary school scholarship student, Daisy. It follows her trials as she tries to integrate into a world that is far removed from her own.
The musicianship displayed on the stage is truly extraordinary, the combination of various instruments and the orchestrations by Niall Bailey was brilliant. Another top aspect of the show is the students faces. Their facial acting was so on the mark, stand outs being Katy Ellis as Trixie Martin and Gemma Evans as Monica Smithers, they stole the show for me. I also want to give a shout out to the staging/movement by Phyllida Crowley-Smith, it was all so stylised and of an era that was so pitch perfect for the piece.
The material that the students were given was nothing special but decent enough - the best moment being the Hockey Final sequence – some bits felt well-rehearsed, whereas others felt under rehearsed. There were stumbles with lines and a few technical issues. One thing that stayed with me as I watched the show was that it’s nice light entertainment, but it wasn’t anything new or special. It didn’t make me feel anything. It wasn’t quite the quality of top shows in the West End that this show is neighbouring during it’s run.
The show isn’t bad, but it also isn’t great, just somewhere in the middle. There are some wonderful moments to be proud of, but the show is inconsistent. It’s worth a watch if you want a little light entertainment on a summers evening but I wouldn’t say it should be your first choice.
Daisy Pulls If Off runs at the Charing Cross Theatre until 30th June
photo credit: Robert Workman
Thursday 21 June 2018
Kiss Me, Kate, London Coliseum | Review
Kiss Me, Kate
London Coliseum
Reviewed on Wednesday 20th June 2018 by Olivia Mitchell
★★★
Kiss Me Kate is Cole Porter's 1949 musical play in two acts which interweaves a production of The Taming of the Shrew with a number of dramatic backstage battles. After touring for a while, Opera North's production has slipped into the London Coliseum for a short run which showcases it's glorious score and stellar cast.
The book is certainly at the core of this show. We see the actors putting on a revised musical version of the Taming of the Shrew in addition to focussing on the battle between actors and ex-partners, Fred Graham and Lilli Vanessi who can't seem to budge one another. At times, especially in Act 2, the show does drag; at three hours long you certainly need to grab a coffee beforehand but there's also enough variation to keep you somewhat on your toes.
The plot is helped along by the smooth set transitions that come from Colin Richmond's minimalistic backdrop featuring painted drops and revolving slides. These cleverly transport us from on stage, to backstage, but the whole production does feel a bit small for the vast space of the Coliseum. Much of the front stage is not used which makes the show feel distanced and somewhat unwelcoming as things get lost whilst being performed at the rear of the stage. Richmond's costumes are beautiful and bring an almost modern twist to the show whilst maintaining it's traditional Shakespearean roots.
The classic orchestrations are played in all their original glory which is truly magnificent to hear. From the jazzy Too Darn Hot to Olde English melodies, the orchestra of Opera North, led by David Greed do an outstanding job of making everything buoyant and virtuosic.
You couldn't ask for a better cast to perform this monstrous show; drawn from both the opera world and the musical theatre world, they combine to create some magical moments. Baritone Quirijn De Lang and soprano Stephanie Corley are musically outstanding as Fred and Lilli. Two fiery characters, they give boisterous performances which bite and claw, with a loving undertone throughout. Corley's I Hate Men is a true powerhouse moment.
Zoë Rainey sings as if her life depends on it and completely steals the show in act two with her vast rendition of Always True To You In My Fashion. The multiple repetitions in this song and others do become somewhat draining but Rainey's performance is worth the ticket price alone as she performs with energy and vocal brilliance.
Act two provides spellbinding moment after spellbinding moment with Alan Burkitt's tap number completely dancing everyone off the stage. He gives a magnetic, faultless performance which could be watched over and over.
A the two gunmen, John Savournin and Joseph Shovelton steal the scenes they're a part of and give humourous performances throughout.
The ensemble do a wonderful job of bulking out the show but at times do feel underdeveloped, especially in terms of choreography. There could have been some really powerful group choreographic moments but unfortunately these were left out.
Kiss Me Kate has comedy, innuendos, a beautiful score and a stellar cast. It's a long show that could definitely be chopped here and there but there's no denying that it's a marvellous piece of theatre. Despite some issues, the gems of performances that are spotted around do make it a Wunderbar production.
Kiss Me Kate runs until June 30th at the London Coliseum
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Tristram Kenton
Wednesday 20 June 2018
Matthew Bourne's Cinderella (UK Tour), New Victoria Theatre | Review
Matthew Bourne's Cinderella (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 19th June 2018 by Olivia Mitchell
★★★★
Making a return to the stage after debuting 20 years ago, Matthew Bourne's Cinderella is a departure from the traditional setting we know and instead takes place in 1940's London against the backdrop of war, air raid sirens and the blitz. Sergei Prokofiev wrote the hauntingly desperate score during the Second World War so it's seems only fitting to set the ballet then.
Act One begins with the dancers appearing in grey, depressing London before transitioning to Cinderella's blacked out house. This initial darkness shows the desperation and loneliness that our lead character feels from the onset. In the house we are introduced to a number of creepy, bizarre characters who become more and more excited as they receive their invites to the ball.
Ashley Shaw's Cinderella is surprisingly comical and and exciting to watch. Her duet a dressmaking dummy was a personal stand out moment and highlighted Shaw's versatility as a dancer and an actress. As her romantic lead, Andrew Monaghan is tormented but powerful throughout. The two are wonderful together and create moments of theatrical brilliance.
The traditional 'Fairy-Godmother role is subverted in this production to be an Angel played by a man, Liam Mower. Mower does an outstanding job is his sharp white suit, of guiding Cinderella whilst also appearing to be an all seeing protector of London who at one point rushes off to seemingly intercept a bomb!
Lez Brotherston's set is a love letter to Wartime London. It is intricate but simplistic and highlights iconic London scenes such as Embankment and the Underground with flawless grace. The use of film and the train station are especially reminiscent of Brief Encounter and allow us to be transported to a painfully magical time. The Café de Paris is particularly moving as it becomes a smashed shell of war torn London.
This is a show with a modern twist that is full of enough heart and magic to make you want to watch it over and over. There is extravagance and simplicity in equal measure and this is a truly unmissable fairytale.
Matthew Bourne's Cinderella runs at the New Victoria Theatre until June 23rd
photo credit: Johan Persson
Tuesday 19 June 2018
Legally Blonde (UK Tour), New Wimbledon Theatre | Review
Legally Blonde (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 18th June 2018 by Olivia Rose Dowden
★★★
Based on the 2001 teen movie, Legally Blonde tells the story of Elle Woods, who follows her high school sweetheart all the way to Harvard Law School, finding herself along the way.
This UK touring production is led by the hugely energetic Lucie Jones as Elle Woods. Vocally, she was extremely secure and tackled Elle’s huge numbers with confidence and charisma. Her portrayal of the character was a lot more goofy than I’ve seen done before, which was refreshing and quirky. However, there were moments where Jones occasionally missed the mark with her comedic timing and some of the jokes were lost. There wasn’t as significant a transformation of character as I would have hoped; it was only really at the most serious point in the show during the song Legally Blonde, in which Elle decides to give up on Harvard and return home, that Jones began to show another layer to Elle. Despite this, she remained charming throughout and truly won over the audience, gaining a standing ovation at the end of the performance.
David Barrett was a very strong Emmett Forest, creating an endearing and likeable character. Unfortunately, as his key number Chip On My Shoulder was played so slowly by the band, the song struggled to build as much as it should. This is not something he should be personally scrutinised for, but it admittedly affected his performance. I felt the same was the case for Rita Simons’ number Ireland. Simons mastered the voice of the brassy Paulette but could have offered more in terms of character.
Act One, in particular, was paced very slowly. The songs of Legally Blonde are admittedly very “wordy”, but the slow speed at which they were played meant there was a distinct lack of energy that only really emerged in the final number of Act One with So Much Better. Act Two was much more secure, with the comedic numbers Whipped Into Shape and There! Right There! being definite crowd-pleasers. The cast also coped extremely well with one of the dogs who was rather reluctant to stay in character, ad-libbing in order to keep the piece moving.
The production is nearing the end of its tour and I hate to say it but unfortunately it shows. Some half-hearted American accents and very mechanical blocking meant the production just didn’t have that spark that makes this show so special. I also felt the addition of a Legally Blonde megamix after the bows undermined the genuine message the piece portrays at the end.
Nevertheless, after watching a show with so much wit and charm, portrayed by committed and skilled performers, it’s difficult to leave without a slight smile on your face. I want to emphasise that the cast themselves were very strong, with impressive dance numbers and secure vocals. Those seeing the show for the first time will most likely have an enjoyable evening due to the warm-hearted nature of the piece. However, the many patchy moments made me feel as if the piece had lost some of its soul somewhere along the tour.
Legally Blonde runs at the New Wimbledon Theatre until 23rd June
It's Only Life, Union Theatre | Review
It's Only Life
Union Theatre
Reviewed on Saturday 16th June 2018 by Olivia Mitchell
★★★★
American lyricist and composer John Bucchino isn't very well known in the UK but this sweet revue certainly makes me want me to delve into his backlog and discover his other gems.
John Bucchino and Daisy Prince's musical, It's Only Life features songs which wittily face the struggles of modern life, especially in terms of romance. Although the songs link together somewhat, they are more individual pieces which come together to form a narrative of people as a whole, rather than separate stories. The song cycle therefore feels universal and there's certainly an emotion, lyric or feeling for everyone to relate to.
The five person strong cast are vocally wonderful, working well both individually and when they join for glorious ensemble moments. Jordan Shaw gives vocal perfection throughout, especially with his smooth rendition of If I Ever Say I'm Over You which is a definite stand out. Recent graduates, Will Carey and Sammy Graham show off their vocals as well as comedic timing. Will's cheeky performance of On My Bedside Table is brilliant and Sammy's diction and technique are faultless from start to end. Jennifer Harding feels right at home with the music and gives a very truthful performance. Noel Sullivan shows off his strong belt whilst retaining a vulnerability and sweetness, something which is in fact embodied by the entire cast who always keep the heart of the story at the centre rather than trying to out-sing one another.
Justin Williams' set design is intriguing from the first time we lay eyes on it. A simple white background is cleverly highlighted with pastel pinks, oranges, greens and blues which allows us to move from location to location without any flashiness or clumsiness. The props that are used are used well and again, don't detract from the core of the show- the songs. Tania Azevedo has done a wonderful job of bringing the stories to life with simplicity.
It's Only Life represents both the diversity of Britain as well as the ways we're all connected. With great vocals, memorably moving songs and a fantastic cast, there's no reason not to love this show. This is an intimate piece of theatre which flows with an intensity that keeps you invested throughout.
It's Only Life runs at the Union Theatre until 7th July
photo credit: Pamela Raith
Sunday 17 June 2018
Get West End Ready With... Emily Benjamin | Bat Out Of Hell | Stagey Sunday
Welcome back to Stagey Sunday! This week is very exciting as we get to see star of Bat Out of Hell, Emily Benjamin as she transforms into her character Mordema.
Mordema is a rugged member of The Lost, known for clawing her way around and just being generally cool and rugged. Emily talks us through her amazing makeup for the character and why she decided to make it the way it is.
We'll let the video speak for itself! If you fancy creating a Mordema look, be sure to tweet it to @RewriteThisWeb with the hashtag #StageySundayBOOH and you could win a special Bat prize!
All the products Emily uses:
Foundation
-Maybelline Eraser Eye
-NYX Total Control Drop Foundation
Powder
-Benefit 'Hello Flawless' Matte Powder
-Kryolan Setting Powder
Blusher
-Bourjois Paris Number 33
-HEMA Blush Stick (for Mordema's scar)
Bronzer
-NYX Matte Bronzer
Eyes
-MAC Passionate Eyeshadow
-MAC Carbon Eyeshadow
-NYX STFU Eyeshadow
-Kat Von D Tattoo Liner
-Bourjois Volume Reveal Mascara
Lipstick
-NYX Liquid Suede Matte 'Cherry Skies' (for The Lost symbol)
-NYX Liquid Suede Matte 'Alien'
See you next Sunday for an exclusive feature on the choreography and costumes in the show!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Post by Editor, Olivia Mitchell
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