Tuesday 14 August 2018
Little Shop of Horrors, Regent's Park Open Air Theatre | Review
Little Shop of Horrors
Regent's Park Open Air Theatre
Reviewed on Monday 13th August 2018 by Olivia Mitchell
★★★★
Productions at the Regent's Park Open Air Theatre are basically a summer rite of passage. The beautiful outdoor space is the perfect place to watch brilliant theatre as the sun sets over you and (as long as it's not raining) provides a perfect summer evening. Currently on offer at the venue is a re-worked version of the 1982 plant-horror (?) musical, Little Shop of Horrors.
This story of a monster plant is crazy anyway so has the tendency to turn tacky very easily, but Director, Maria Aberg embraces the weirdness with open arms and pulls of a gloriously cheesy but worth-the-ticket-price production.
As the charming, plant loving, Audrey admiring, Seymour, Marc Antolin is fantastic. He brings a real warmth to the character as well as providing sweet, smooth vocals and working well alongside Jemima Rooper as Audrey.
The Greek Chorus made up of Christina Modestou, Renée Lamb and Seyi Omooba bring a sense of realism to the show (well, as real as you can get with a man-eating, talking plant) and provide killer vocals. The trio are absolutely outstanding, commanding the stage and making all their moments on stage shine, especially the note-perfect rendition of The Meek Shall Inherit.
In an inspired piece of cast, the plant, Audrey II is played by drag queen, Vicky Vox who gives a sassy, fiery performance and brings a fresh layer to the show which makes it feel new all of a sudden.
Mention must also go to Matt Willis as Orin (among other characters) who gives a humourously versatile and sadistic performance.
Tom Scutt's bleak Skid Row set is in perfect contrast to the lush surroundings of Regent's Park and also helps heighten the pops of green and pink on stage. The costumes are camp and wonderful, especially at the end when the entire cast and ensemble are serving looks.
This production is big, bold and wonderful. Humour, prime vocals and a crazy story make this the most enjoyable way to spend an evening. Tickets are limited but if you can find a way to get to Skid Row, you won't be disappointed!
Little Shop of Horrors runs at the Regent's Park Open Air Theatre until September 22nd
photo credit: Johan Persson
This story of a monster plant is crazy anyway so has the tendency to turn tacky very easily, but Director, Maria Aberg embraces the weirdness with open arms and pulls of a gloriously cheesy but worth-the-ticket-price production.
As the charming, plant loving, Audrey admiring, Seymour, Marc Antolin is fantastic. He brings a real warmth to the character as well as providing sweet, smooth vocals and working well alongside Jemima Rooper as Audrey.
The Greek Chorus made up of Christina Modestou, Renée Lamb and Seyi Omooba bring a sense of realism to the show (well, as real as you can get with a man-eating, talking plant) and provide killer vocals. The trio are absolutely outstanding, commanding the stage and making all their moments on stage shine, especially the note-perfect rendition of The Meek Shall Inherit.
In an inspired piece of cast, the plant, Audrey II is played by drag queen, Vicky Vox who gives a sassy, fiery performance and brings a fresh layer to the show which makes it feel new all of a sudden.
Mention must also go to Matt Willis as Orin (among other characters) who gives a humourously versatile and sadistic performance.
Tom Scutt's bleak Skid Row set is in perfect contrast to the lush surroundings of Regent's Park and also helps heighten the pops of green and pink on stage. The costumes are camp and wonderful, especially at the end when the entire cast and ensemble are serving looks.
This production is big, bold and wonderful. Humour, prime vocals and a crazy story make this the most enjoyable way to spend an evening. Tickets are limited but if you can find a way to get to Skid Row, you won't be disappointed!
Little Shop of Horrors runs at the Regent's Park Open Air Theatre until September 22nd
photo credit: Johan Persson
Monday 13 August 2018
West Side Story (Prom 39), Royal Albert Hall | Review
Prom 39: West Side Story (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 11th August 2018 by Olivia Mitchell
★★★★
At 61 years old, West Side Story remains one of the most well-loved and socially relevant musicals. Following the rivalry between the Jets and the Sharks and a forbidden love between Maria and Tony, it's a beautiful and heartbreaking story about the strength of love. The score was performed by a wonderful cast and the outstanding John Wilson Orchestra, but the omission of the majority of the text did dim the impact slightly. Following the narrative was a little difficult and some of the key characters were sidelined without their text but it was still a stunning performance.
The concert provided a reminder of the phenomenal way Bernstein contrasts musical styles and completely makes his own rules as he combines classical and contemporary music with exceptional effect. Tricky time signatures, scotch-snap rhythms, syncopation and chromatic notes are just some aspects which were played so wonderfully by the John Wilson Orchestra which Wilson conducted himself. The intensity and passion which they played with transferred to the audience and created some magical moments.
Our leads, Tony and Maria were played by the exceptionally talented Ross Lekites and Mikaela Bennett. Mikaela portrayed Maria's excited, fresh love with humour and warmth before bringing her heartbreak to life with honest pain. She was also vocally stunning with her pure operatic sound providing power which drew you to the character and worked wonderfully alongside Lekites' smooth, strong voice that flowed with flawless abandon.
Louise Alder performed Somewhere in a hauntingly beautiful way and was a certain highlight of the night. Eden Espinosa was vocally and physically fiery as Anita and gave a truly memorable performance of America alongside the vocally stunning Emma Kingston. Leo Roberts' Riff was notably strong, especially during his performance of Cool.
The concert provided a reminder of the phenomenal way Bernstein contrasts musical styles and completely makes his own rules as he combines classical and contemporary music with exceptional effect. Tricky time signatures, scotch-snap rhythms, syncopation and chromatic notes are just some aspects which were played so wonderfully by the John Wilson Orchestra which Wilson conducted himself. The intensity and passion which they played with transferred to the audience and created some magical moments.
Our leads, Tony and Maria were played by the exceptionally talented Ross Lekites and Mikaela Bennett. Mikaela portrayed Maria's excited, fresh love with humour and warmth before bringing her heartbreak to life with honest pain. She was also vocally stunning with her pure operatic sound providing power which drew you to the character and worked wonderfully alongside Lekites' smooth, strong voice that flowed with flawless abandon.
Louise Alder performed Somewhere in a hauntingly beautiful way and was a certain highlight of the night. Eden Espinosa was vocally and physically fiery as Anita and gave a truly memorable performance of America alongside the vocally stunning Emma Kingston. Leo Roberts' Riff was notably strong, especially during his performance of Cool.
The ensemble brought the two gangs to life, with Alistair Brammer, Jocasta Almgill and Michael Coulbourne standing out. The ArtsEd ensemble and Mountview choir added extra oomph, especially during their brief interactions with the performers on stage.
From the rapturous applause it was clear that Bernstein's score, performed by a stellar cast is a surefire way to entertain an audience. West Side Story is a beauty and it was truly glorious to see it performed in this well-rounded Proms version.
The BBC Proms continue until 8th September 2018
photo credit: Chris Christodolou
photo credit: Chris Christodolou
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
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