Friday 3 August 2018
Broken Wings, Theatre Royal Haymarket | Review
Broken Wings
Theatre Royal Haymarket
Reviewed on Thursday 2nd August 2018 by Olivia Mitchell
★★★
Broken Wings, the new musical based on Kahlil Gibran's bestselling poetic novel has taken over the Theatre Royal Haymarket for a limited run. It provides a swooping romance, combines Middle Eastern melodies with musical theatre influences and showcases some of the finest voices in the West End.
After a stunning orchestral prologue, the audience are thrown into the life of writer, Kahlil Gibran and his fated romance with kind hearted and beautiful Selma Karamy. The story is touching, if fairly cliched. We know from the start that the couple aren't going to have a happy ending but we still feel the emotion as they are consistently dragged apart from one another as Selma, a woman with very few rights, is destined to marry the bishop's nephew.
Personally, Joe Davison's orchestration is the star of the show. The beautifully flowing, virtuosic music evokes feelings of hot summer nights and all-encompassing romance and brings the emotion to life.
Unfortunately, I didn't feel that the lyrics had the same effect; over-dramatic phrases and simile's used on mass feel cheesy and somewhat simplistic. Instead of highlighting something which may not have been clear to the audience, they simply highlight the clear thoughts and emotions so didn't add to the intensity of the story. Of course, they are based on the original poetry the transition has not been fully successful.
The cast performing the songs however are outstanding both acting wise and vocally. As our narrator and older Khalil, Nadim Naaman is suitably brooding, whilst his younger counterpart, Rob Houchen shows a stunning transition from childish glee and positivity to a heartbroken man. Nikita Johal is vulnerable but strong as Selma and provides some moments of vocal brilliance, especially in act 2. Another stand out is Soophia Foroughi as Mother; Soophia brings a rich, emotion filled vocal to the show and leads the rousing closing number with skill and power. Nadeem Crowe also gives a humourous and memorable performance as Khalil's best friend, Karim Bawwab.
There's definitely an audience for Broken Wings and I certainly believe that after some lyrical changes it could have a much longer life in the West End. For stellar performances and outstanding orchestrations, get yourself along to the Theatre Royal Haymarket... if you can get a ticket!
photo credit: Marc Brenner
Broken Wings, the new musical based on Kahlil Gibran's bestselling poetic novel has taken over the Theatre Royal Haymarket for a limited run. It provides a swooping romance, combines Middle Eastern melodies with musical theatre influences and showcases some of the finest voices in the West End.
After a stunning orchestral prologue, the audience are thrown into the life of writer, Kahlil Gibran and his fated romance with kind hearted and beautiful Selma Karamy. The story is touching, if fairly cliched. We know from the start that the couple aren't going to have a happy ending but we still feel the emotion as they are consistently dragged apart from one another as Selma, a woman with very few rights, is destined to marry the bishop's nephew.
Personally, Joe Davison's orchestration is the star of the show. The beautifully flowing, virtuosic music evokes feelings of hot summer nights and all-encompassing romance and brings the emotion to life.
Unfortunately, I didn't feel that the lyrics had the same effect; over-dramatic phrases and simile's used on mass feel cheesy and somewhat simplistic. Instead of highlighting something which may not have been clear to the audience, they simply highlight the clear thoughts and emotions so didn't add to the intensity of the story. Of course, they are based on the original poetry the transition has not been fully successful.
The cast performing the songs however are outstanding both acting wise and vocally. As our narrator and older Khalil, Nadim Naaman is suitably brooding, whilst his younger counterpart, Rob Houchen shows a stunning transition from childish glee and positivity to a heartbroken man. Nikita Johal is vulnerable but strong as Selma and provides some moments of vocal brilliance, especially in act 2. Another stand out is Soophia Foroughi as Mother; Soophia brings a rich, emotion filled vocal to the show and leads the rousing closing number with skill and power. Nadeem Crowe also gives a humourous and memorable performance as Khalil's best friend, Karim Bawwab.
There's definitely an audience for Broken Wings and I certainly believe that after some lyrical changes it could have a much longer life in the West End. For stellar performances and outstanding orchestrations, get yourself along to the Theatre Royal Haymarket... if you can get a ticket!
photo credit: Marc Brenner
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
Sacrifice, Soho Theatre | Review
Sacrifice
Soho Theatre
Reviewed on Thursday 2nd August 2018 by Shaun Dicks
★★★★
Millennials, calling all Millennials. Take your faces out of the illumination of your phone (after reading this review) and pay attention. This is all Sacrifice asks of you. The run is limited. The length is short. But the message is powerful. Sacrifice brings to the spotlight the crisis that we as a generation face. Extortionate house prices, lack of opportunity outside university, gentrified communities and increasing debt. Using archetypal characters, you are given a cross-section of the those that make up society and presented to you is a story of a group of young millennials trying to get by while chasing their dreams in a city that is ruthless and stone cold.
Despite all the severe topics that are brought to the fore here, Sacrifice is an incredibly witty and humorous play. The jokes are well planned in the script and executed perfectly by the ensemble cast. One liners come thick and fast, the next one easily as funny as the last. The presentation of the script is outstanding as the performers are snappy and make words buzz with energy as the exchanges go on. Overall, the work the whole cast put in pays off, as their performances shine through.
What really got to me as I as watching this piece was how unrelenting this show is when it comes to the truth. This show, I believe is the beginning of opening up conversations about the crisis we face today. A crisis that gets white washed in the media. This brings the problems to our very front door. Sacrifice is a ruthless dissection of human psychology and the nature of millennials. This show urges us to challenge what we’re told and fight for more than the scraps that are being handed out. When it boils down to it, the show is about the ever-growing class and wealth divide in this country.
So please, I beg you, get off your phone, run down to the Soho Theatre, watch Sacrifice while you can. Don’t do what you do in elections and referendums; stop ignoring and start acting. Watch this show, try to tell me you don’t see and hear some familiarities. This here is art imitating life.
Sacrifice runs at the Soho Theatre until 4th August
photo credit: Mark Douet
Thursday 2 August 2018
War Horse (UK Tour), New Victoria Theatre | Review
War Horse (UK Tour)
New Victoria Theatre
Reviewed on Wednesday 1st August 2018 by Olivia Mitchell
★★★★★
Since its premiere at the National Theatre in 2007, War Horse has been enthralling audiences around the world and after seeing it, it's clear why. The play follows the deeply moving story of the relationship between a young boy, Albert Narracott, played brilliantly by Thomas Dennis, and his adored horse, Joey.
Whilst this story begins as an unflinching quest for a boy to find his horse after it has been taken as part of the World War One front, it quickly becomes a story of how horses were sacrificed on mass at the battle lines. For the men of the army, the horses lives symbolise their own and its especially affecting to see how the men measure their lives by their horses.
The reality of war is brought to life with dramatic simplicity, with sound effects and bright lights hitting us with an intensity that transports us to the battlefield. This production is alarmingly powerful and honest.
Also brought to life are the friendships of life and war. Particularly moving is a scene where the two opposing sides make peace as the unite to free Joey from barbed wire in the midst of war. The friendship between Emilie (Joëlle Brabban) and Friedrich Müller (Peter Becker) is equally touching, especially as we see the way the war really effects Müller and takes it's toll on his mental health.
The stars of the show however, have to be the impeccable puppet and Handspring Puppet Company who bring them to life. The puppets become real and it's hard to believe there are puppeteers controlling them, even when they are in full view on stage. The breathing, galloping and entire personalities come to life and we are immersed in this stunning production.
Everything about War Horse screams National Theatre and this tour does a stellar job of making us feel as though we are in the Olivier Theatre. Although vastly complex, the whole show comes off looking and feeling simplistic and effortless. Whilst moving and poignant, this production all in all is beautiful. Providing a reminder of the sacrifices those before us have made and highlighting the futility of war, this is a must see for people of all ages.
War Horse runs at the New Victoria Theatre until August 18th before continuing its tour.
photo credit: Brinkhoff and Mögenburg
Friday 27 July 2018
Fame the Musical (UK Tour), Manchester Palace Theatre | Review
Manchester Palace Theatre
Reviewed on Thursday 26th July 2018 by Roni Hughes
★★★★
Most will be familiar with one of the many iterations of the Fame franchise, be it one of the many television adaptations, the 2009 reboot film, or even simply Irene Cara’s catchy song of the same name. Originated by David De Silva with the 1980 film from Alan Parker which netted two Academy Awards and a Golden Globe, the idea sparked many spin offs, before opening as a stage musical in 1988 in Miami. The last professional production in the UK was for the 25th anniversary tour ending in 2014, and as the latest UK tour kicks off in Manchester, there is a real buzz around this classic.
Telling the tale of the New York High School for the Performing Arts and its students, the show does everything it says on the tin. It’s vibrant, sassy, fierce, and with just enough backstory for each character to allow the audience to emotionally invest in them. In an interesting move, the staging itself is kept simple, with the occasional dance barre and mirror or set of lockers, but is wonderfully complimented by the busy backdrop of ‘character’ headshots set out as a yearbook. It provides a nice nostalgic touch, and reminds us that we have been transported back to the early 80’s.
This tour features an exciting cast, headed up by former Hollyoaks actress and Dancing on Ice contestant Jorgie Porter in the role of top dance student Iris. For her first musical, Porter’s performance was lovely, and you cannot fault her beautiful ballet steps and dance sequences with love interest Tyrone, played by Jamal Kane Crawford. Iris, however, is very much a secondary character in Tyrone’s story, and, whilst not the fault of the performer, was slightly too overlooked for us to fully embrace Porter as a musical theatre actress. Crawford, however, gives a stunning insight in to what it means as a young man to be illiterate, which is emotional, yet mixed with light hearted and genuinely funny moments that makes Tyrone so relatable to today’s audiences.
Having a young and energetic cast is a breath of fresh air, and the energy was consistent and electric throughout the entire show. The choreography is slick and strong, however at times it feels a little too ambitious, and a few cast members are noticeably fighting to keep up. This doesnt detract too much from the overall fun, and the buzz is still tangible long in to the finale.
The stand out performance of the show must go to Stephanie Rojas as fiery Latina, Carmen. Her voice is second to none, with her buttery–toned riffs making it look easy. Her rendition of There She Goes/Fame is flawless, show-stopping, and leaves the audience begging for more. Notable mention too to the powerhouse that is Mica Paris for her phenomenal performance as home room teacher Miss Sherman, in particular her solo number These Are My Children. Never before have I witnessed a cast member receive a standing ovation mid-show, but my god was it deserved.
Overall, Fame is still the thrilling, joyous, slightly melodramatic story we’ve all come to know. The music is beautifully contrasted with love songs and ballads to full out dance numbers, and the audience is never bored. This is definitely one to catch for an entertaining night out that will leave you singing that song for days afterwards.
Fame runs at the Manchester Palace Theatre until 28th July before heading to the Kings Theatre Glasgow and then continuing it's tour.
photo credit: Tristram Kenton
In Conversation With... Ian Stroughair aka Velma Celli | Interview
Ian Stroughair aka Velma Celli has the voice of an angel, is as hilarious as they come and truly knows how to put on a show. After seeing Velma Celli's West End Christmas I was completely overwhelmed and have since been following Ian's career (and life) on twitter. His latest venture is Iconic- A History of Drag which will be playing at the Edinburgh fringe...
How did Velma Celli come about?
Well, I have always been a singer much to my siblings annoyance. At age 14 I auditioned for a new musical called ‘Kes’ at The York, Theatre Royal. It was a professional show which needed an ensemble of kids. Much to my surprise I was cast. It was my first time on stage. I joined a Ballet school in York just before my sixteenth birthday. 3 months later my Ballet teacher sent me for an audition for a Theatre School. I got in and started that summer.
After 2.5 years I was out into the world and working as a singer/dancer/actor. I have appeared in West End and musical productions of Cats, Fame, Chicago, Rent and also appeared on Eastenders as myself…. I know, CAMP!!!!
When I was in Chicago I was asked out for an evening of drinks by the “girls" In La Cage and Priscilla. I bought a dress and some makeup and dragged myself up and out of stage door and met them in Madame Jojo’s. Apparently I ended up on stage belting out some queen and dropping into the splits. I can’t remember this, #gin! When I was leaving the manager asked me back the following week and I have never looked back!
You've had a very varied career, what's your favourite part of performing as Velma and creating your own show?
The freedom. When you are in a West End musical it's very strict. You are directed to give the same show every night and there is little room for your own creativity and interpretation. Velma is mine and she can do whatever she wants. Sing whatever songs she like. It’s very freeing!
You're taking your show, Iconic- A Brief History of Drag to Edinburgh. What can people expect from the show?
Iconic - A Brief History of Drag is a journey through my most favourite moments in drag history, whether it be music, pop culture, film or theatre it's those Iconic unforgettable drag events that inspired me to do drag and cultivate me into the queen I am now. They can expect to laugh (a lot) cry (a bit) and learn a bit about drag, things that people may not know. The past hero’s. A blooming good night if anything else!
Can you sum up A Brief History of Drag in 5 words?
Heartfelt, funny, camp, belt and emotional
You have a stunning voice. How do you keep it strong and healthy whilst facing the strains of touring?
Thank you. Lost of water and vocal rest. Healthy food!
If you could go back to any era, when would you go to and why?
I would have to say the 1960’s. I believe I am quite the hippy!
What's your number one piece of advice for aspiring performers who would like to carve their own, unique career?
WORK HARD. Work harder then repeat. This business is not for the faint hearted. It’s tough at times and the competition is high so armour yourselves with as much knowledge and learn as many skills as possible. Bring something to the party too. The odds of getting cast are extremely slim so I encourage all my students to write their own material and / or shows.
Thank you to the incomparable Ian Stroughair/Velma Celli for your amazing advice and story. Iconic- A Brief History of Drag will be at the Edinburgh Fringe from the 1st-26th August, at Assembly Checkpoint.
Interview by Editor, Olivia Mitchell
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