Sunday 12 August 2018
TitanicDance, Waterfront Hall | Review
TitanicDance
Waterfront Hall, Belfast
Reviewed on Thursday 9th August 2018 by Damien Murray
★★★★
Having originally premiered in Belfast four years ago, before going on to tour in America and China, this successful Irish dance and music spectacular has come home again and is temporarily berthed at Belfast's Waterfront Hall.
Being staged about a quarter of a mile from where the infamous liner was built, there was always going to be something special about this run of the show, which – with a cast of world-class dancers and musicians – told the story of the fateful voyage of the Titanic using an illustrated projected narrative as the dance ensemble vividly brought the story to life.
Probably because the story is so well-known, opting for not having an audible narrator actually worked here.
As hundreds of people perished in 1912 when the ship went to its watery grave in the North Atlantic, I am always very cynical about any form of ‘celebration’ of the Titanic tragedy – be it a museum, a Hollywood film, a stage musical or, as it is here, through the medium of Irish dance.
However, this production was directed by Sean McAnaney, Ray Sweeney and Kevin Toland with such sensitivity, reverence and respect that I don’t believe anyone could be offended in any way by it.
Opening with a mournful, haunting and atmospheric lament on the uilleann pipes against the sound of water, before facts and images about the world-famous ship were projected onto the large central screen behind a symbolically gigantic porthole in the set, this retelling of the Titanic story in dance and music was successful on many levels.
Indeed, artistic symbolism was always a core part of this production throughout and Rory Harkins’ versatile lighting plot added greatly to the production’s success as did KSR Productions’ practical and symbolic set (reflecting the tall metal sides of the ship with numerous portholes) and authentic period costume designs.
Although the musical score may have lacked the impact of some of the bigger numbers in a show like Riverdance (sad to say, there will always be comparisons), it went in a different direction by using some well-known songs like The Water Is Wide (performed against a warm and stunning sunset) and I Know My Love; all beautifully performed with a natural warmth by solo singer, Orla Mullan.
Under the musical direction of Darragh Healy, the four multi-talented and multi-instrumental on-stage musicians – Pauric O’Meara, Karl Doherty, Oisin McCann and Healy himself – often adopted a vibrant Irish style and, at times, a ‘session-like’ format to their performances, which worked well with this piece.
Depicting elements of this emotional journey as a major dance drama was a great challenge for choreographers, Louise Hayden and James Keegan, but – using a varied selection of hard and soft-soled jigs and reels and other styles – they managed to capture the changing moods of the story.
Indeed, the dancing and music combined in the early scenes to perfectly capture the undoubted sense of joyous hope and excitement behind the smiling faces of the ship’s passengers and crew as the high energy ensemble dances often displayed the sheer exuberance of those on board.
The raw physicality of the male boiler room crew with shovels during their fiery hard-shoe routine in front of the hot engines contrasted so well with the gentle and dainty dancing of the first-class ladies with parasols on the bright sunny deck.
While the genial and more formal dancing in ballroom was nice, it was quickly followed by an example of the always present class distinction that existed on this fateful voyage as a tap-filled dance battle ensued between the lower and upper classes.
The more joyous first half of the show and the high spirits of the dancing passengers were cut short during the Act 1 finale when all lost balance and fell to the ground at the tragic moment of impact with the iceberg, giving way to a more sombre Act 2 where the mood dramatically changed to one of distress and ultimate tragedy.
Staged with such sensitivity, the scene set in a ghostly underwater world was both poignant and appropriate as it showed the universality of the hymn, Nearer My God To Thee, which was so beautifully merged with the equally apt song, The Parting Glass.
This touching scene was an undoubted highlight as it chillingly displayed the hierarchy of survivors that existed with 42% of first-class passengers being saved as opposed to 25% of third-class travellers.
In the aftermath of such a tragic event, the sheer joy of reunion was great for some lucky ones, including the principal boy and girl dancers, Gerard Byrne and Ruth McKenna, who – as in the film – represented the love interest of the piece, with the added appeal of a first-class girl meeting a third-class boy.
While McKenna‘s flame-haired locks flowed in some flirtatious routines and Byrne‘s hard shoe steps always hit the mark in terms of dancing ability, I did feel that the two young lovers could have developed a more romantic chemistry in terms of drama as, artistically, their relationship also represented the lovingly close bond that many others on the ship had.
Another small observation would be that, for added realism and impact, the inclusion of a few child dancers would have been welcome to reflect that there were families on board.
Despite being as hard-kicking as previous Irish dance shows, the confrontational elements and militaristic movements were not so pronounced here (even in the rebellious fight of frustration for survival between the lower class and the ship’s higher ranking officers), which gave this piece a more entertaining appeal.
Although a piece such as this can have little humour, the courting couple’s first kiss and the bodhrán player’s solo, complete with traditional out of time clapping from non-musical members of the audience, provided nice moments of light relief.
Overall, the combination of established songs, Irish music and dance, exhilarating performances and a well-known story plus the mixing of emotions with elements of hope, romance, joy and tragedy gave this show a universal appeal of ‘Titanic’ proportions.
TitanicDance runs at Waterfront Hall until August 19th
Wednesday 8 August 2018
Bring It On, Southwark Playhouse | Review
Bring It On
Southwark Playhouse
Reviewed on Tuesday 7th August 2018 by Olivia Mitchell
★★★★
If like me, you're constantly in a state of missing In The Heights then the British Theatre Academy's production of Bring It On is just the energetic, humourous, heart-felt fix you need. Based on the 2000 hit film, Bring It On follows follows cheer-royalty Campbell who's future is looking bright. She's just been named cheer captain for her senior year and is hoping to lead her team to National's glory. However, a sudden redistricting means she has to transfer to neighbouring Jackson High School where everything she knows is turned upside down...
With music by Tom Kitt and Lin-Manuel Miranda it's no surprise that the score is incredibly catchy and fast-paced; hip-hop influences are seamlessly intwined with classic musical theatre tunes. Whilst the plot line is nothing new it is suitably modern and has the overarching messages of teamwork and empowerment which are always welcome.
Once Campbell is thrown into her new school world, things really get going. Former cheer mascot Bridget finds a new lease of life and an acceptance that she's never previously experienced, whilst, Campbell begins to realise that social conformity isn't all it's cracked up to be.
The young, vibrant cast do an outstanding job of bringing the school halls and cheer routines to life. Robyn McIntyre is wonderfully emotive and vocally stellar as the front-woman who drives the story onwards. Alongside her, Kristine Kruse provides not only comic relief, but great vocals and brings the message of unity to life. Isabella Pappas is brilliantly and brutally expressive as the token mean girl Skylar, also providing some shining vocal moments.
Other standouts include Clark James, Mary Celeste and Haroun Al-Jeddal who all draw the eye throughout and add a mountain of energy to an already highly spirited production.
Ewan Jones' choreography is sharp and works well in the small space of the Southwark Playhouse, providing enough movement to keep both the audience and the cast always on their toes and with enough cheer movements to keep the theme without it becoming tacky. Tom Paris' set alongside Ben Jacobs' lighting add even more fun and brightness to the show.
Of course this isn't a groundbreaking story but performed in such a vigourous and dynamic way, you can't help but love it. The entire cast give phenomenal performances and Bring It On is the high-kicking, fun-for-all show to put a smile on your face and a pep in your step.
Bring It On runs at the Southwark Playhouse until September 1st.
photo credit: Eliza Wilmot
Tuesday 7 August 2018
Silk Road (How To Buy Drugs Online), Trafalgar Studios | Review
Silk Road
Trafalgar Studios
Reviewed on Tuesday 7th August 2018 by Shaun Dicks
★★★★
Technology. Drugs. The Silk Road. We find ourselves in an age where reliance is at an all-time high. What do we rely on? Things to change the reality of our situation. Technology, where we can hide who we really are behind a cyber persona that we create. Drugs, to take us to an altered reality so that our actual reality is suspended. Silk Road follows a young man, one that believes that there is more to be learnt than what you are told. A young man that starts as a drug user but becomes a dealer. He discovers the Silk Road and learns more than he bargains for, taking him through a line of events that shows you a world you wouldn’t believe unless you saw.
The show is led by Josh Barrow who plays Bruce, who is chaotic, immature but charmingly endearing. He has a beautiful love for his Nan (as we all do) and is a lad who just wants to belong and feel love. Barrow is an interesting performer, as he presented a nice balance of light and shade in his role.
Barrow stumbled a few times throughout the show, I would attribute that to nerves of a young performer. But the multi-rolling that he does is impeccable. The timing of jokes in various characters were great and gave quite a few hearty belly laughs. But he also counterbalanced the humour with moments of severe seriousness when required. What really impressed were the moments of tenderness. These were very endearing moments, humanising Bruce, making him the young lad that he was.
With addressing such a volatile subject like drugs, the storytelling was bashful, unapologetic and frank. Alex Oates does a terrific job in delivering a compact, effective and stellar one hour script. The through line tells a complete, complex and interesting story, culminating in an ending that is foreshadowed but has an interesting surprise for the audience.
Silk Road isn’t the best one person show I’ve ever seen, but it isn’t the worst. It’s an interesting take on a taboo subject, presented in very real circumstances. It brings up a conversation worth having and certainly feeds your curiosity. It’s well constructed and equally well presented. The show is a little different, which is a good thing. We all need something different occasionally. Follow the Silk Road to an altered reality so you don’t have to face yours for an hour.
Silk Road runs at Trafalgar Studios until
photo credit: Nick Rutter
Saturday 4 August 2018
Horrible Histories: Barmy Britain Part Four, Apollo Theatre | Review
Horrible Histories: Barmy Britain Part Four
Apollo Theatre
Reviewed on Friday 3rd August 2018 by Olivia Mitchell
★★★★★
As we exited the the Apollo theatre after spending 70 minutes with historical figures from Britain's history, a young boy exclaimed "That was soooooo exciting!", and he was correct! As with the hit television show and series of exceptionally successful books, Horrible Histories manages to turn historical lessons into hilarious, memorable events which have you howling and learning in equal measure.
Written and directed by Neal Foster, Horrible Histories: Barmy Britain Part Four takes us through some of the most well-known and random events in British history with the typical Horrible Histories style of slapstick comedy, humourous songs and a little dose of audience participation.
A man of many talents, Neal is also the manager of the Birmingham Stage Company and one half of the duo who bring this show to life. Joined by Anthony Spargo (Roger) the two bring spades of energy and enough facial expressions to last a lifetime. Bouncing off of each other and looking as though they're genuinely having a great time on stage, the pair are perfect at entertaining without being ridiculous.
Barmy Britain is what you expect it to be... but better! There's really nothing you can complain about. It provides everything you could wish for, brings a genuine smile to your face and is children's theatre of the highest degree. It's also wonderful how affordable the show is for families, with tickets from £13 and merchandise ranging between £1-£6 it's a perfect summer treat.
Whilst my mum and I are definitely not the target audience for this show, we certainly enjoyed it the same amount as the children who filled the theatre. Not only does the humour of the show have you invested but the gasps and laughter from enthralled children can't help but bring a smile to your face. Barmy Britain is definitely fun for all ages and is the ideal way to spend a summer afternoon- plus you'll learn some facts about our country which you may never have heard before!
Horrible Histories: Barmy Britain Part Four runs at the Apollo Theatre until September 1st.
photo credit: Mark Douet
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
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