Friday 31 August 2018
There is Nothing Like a Dame, Cadogan Hall | Review
There is Nothing Like a Dame (Concert)
Cadogan Hall
Reviewed on Thursday 30th August 2018 by Olivia Mitchell
★★★★
Combine four of the most talented female performers to have ever graced the West End stages and a celebration of 100 years of Women in musical theatre and you have a stellar debut show from Lambert Jackson.
West End superstars Rachel Tucker, Louise Dearman, Ria Jones and Alexia Khadime joined forces to showcase some of the most iconic female roles of the last 100 years and highlight the positive changes that are happening for women in the industry. Every song seemed to top the last and it was a truly uplifting night at Cadogan Hall.
The concert opened with all four ladies floating onto the stage accompanied by rapturous applause to perform Anything Goes which set the benchmark for the night extremely high and began our journey through a number of beautiful solo's, duets, trios and quartets.
The ladies gave all round stellar performances, with highlights including a great medley of Rodgers and Hammerstein songs; Rachel Tucker sung a hilariously drawly version of I Can't Say No, Alexia Khadime a playful I'm Gonna Wash That Man Right Out Outa My Hair, Ria Jones a graceful Shall We Dance and Louise Dearman a pin-drop perfect, You'll Never Walk Alone.
Since seeing Louise Dearman in her solo concert earlier this year, I have been continually surprised by her versatility as a performer and she once again showcased her ability to transform both her vocals and mannerisms to fit any style. Louise is truly a musical theatre chameleon; her performance of I Dreamed a Dream was certainly a stand out.
Other highlights included Ria Jones' With One Look from Sunset Boulevard which brought the audience to their feet, Alexia Khadime's heartfelt, Home from The Wiz and a lovely rendition of In His Eyes from Jekyll and Hyde from Rachel Tucker and Louise Dearman. Mention must also go to the wonderful duet from the three former Elphaba's, Louise Dearman, Alexia Khadime and Rachel Tucker who put a fresh spin on The Wizard and I.
The audience were also treated to a peek at the future of the West End with a great and powerful performance of Don't Rain on my Parade from Daisy Greenwood who won a competition to perform at the concert. Aged only 17, she commanded the stage and is sure to be seen again among the great performers.
It must also be pointed out how fantastic all four ladies looked, donning two glamourous gowns each and embodying the superstar vibes. Also joyous to watch, was the way all the women supported one another and watched each other as if in awe. Women supporting women is just as important now than it's ever been and it's wonderful to see women who could so easily see each other as competition, admire each other and celebrate talent.
If the next 100 years of musical theatre is filled with performances like the ones this night provided then it will be truly wonderful!
Photo credit: Danny Kaan
Wednesday 29 August 2018
Bat Out of Hell Sing-along, Dominion Theatre
Bat Out of Hell | Sing-along
Dominion Theatre
Reviewed on Tuesday 28th August 2018 by Olivia Mitchell
★★★★★
I'm going to start this post by saying it's not really going to be a review but more of a babbling-praise-fest for the amazing team at Bat Out of Hell and the fantastic sense of community they have created over their various runs.
It's no secret that I wasn't the biggest Bat fan when I first saw it at the Coliseum, but since then, something has changed and I just can't get enough of the show. Sure, the story is lacking but the performances and intricacies of every element just make it a complete extravaganza for all the senses and you can't help but feel energised and elated every time you see it. I certainly don't think the show is everyone's cup of tea, but if you go into it ready to be shocked, wowed and dazzled, then there's not much that can go wrong.
I've raved about them on twitter and praised them vastly in my previous posts about the show, but last night's sing-along just brought to light again, the incredible talents of the entire Bat cast. Whilst not everyone in the audience was singing along (the lady next to us told us to stop, so we just sang LOUDER) those that were, were giving it their all just like the cast do every night (minus all the dancing, quick changes and acting they do on top). My friends and I were going pretty full out in our sing-along "performances" but were giving no where near the energy and precision the cast provide night after night and we were still exhausted. This just highlights further the immense talent and stamina of the cast who perform night after night, giving it 150%; I truly believe you'd be hard-pressed to find a more well-rounded, powerful cast in the West End.
The sing-along itself was a wonderful thing to be a part of; I've been trying (and failing) to be a bit subtle about my adoration for Bat but last night I fully embraced the love and fangirling. With a small screen above the stage and a couple of others dotted round the theatre displaying lyrics, it was clearly shown which songs the audience were invited to sing along to. Much of the audience seemed to come out of their shells and start belting for their lives in Act 2, with Objects In The Rearview Mirror and I Would Do Anything For Love being clear audience/fan favourites. The microphones being turned up also meant that none of the cast's vocals were missed and we were still able to bask in the beauty of their voices. These sing-along performances not only give fans a chance to live their best lives, singing along whilst hearing their favourite songs live, but also puts the message out clearly that the normal shows are not for people to sing at. When you pay for a ticket to the theatre, you want to hear the performers sing, not someone next to you, so these special performances provide the perfect outlet and are a happy medium for everyone.
The Bat community are a wonderful family, that's for sure. I have only recently gotten into the show but have been welcomed in with open arms and have experienced the kindness and generosity of the fans several times already. The fans support not only the cast and show itself, but each other. A number of people at the singalong had met through the show and bonded over their love for it, so to see and hear them celebrate that was truly magical to be a part of. I expect the future singalongs and the upcoming last show of Patrick Sullivan and Andrew Polec will continue to highlight the fantastically dedicated community and show how music and theatre can really bring people together.
I'm aware this post really has very little content and is just me putting my post-show Bat thoughts out into the world but I felt I had to write something because the sing-along has made me feel so energised, inspired and content. The generosity of the cast with both their talent and time is fantastically motivational to see. I personally find stage-dooring very awkward but find myself drawn to it at Bat, purely to gush at the cast about how amazing they are. Despite having been rehearsing all day, performing a show a preparing for a double show day, the cast members who came out were so gracious and giving of their time. It's been discussed many times before that casts don't owe coming out and chatting/signing to any audience members, but it is great when a cast so clearly appreciate the people who support them and their show.
If you get the chance to see a normal show or a sing-along, you should grab it with open arms. If you haven't seen Bat Out of Hell before, go into it with an open mind and I am sure you'll leave feeling elated. If you have seen it before, then you know what to expect and can just relish in the pure spectacle of it all!
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
Shoutout to the cast and crew at BOOH for bringing this sing-along to life and also to the producers who have stepped up the game continually with this show by trying new things and always finding ways to include and give back to those who support the show.
I am a mixture of larynx pain and adrenaline but couldn't be happier to have been a part of this exhilarating and special show... can I say I've played Raven now I've belted out It's All Coming Back to Me Now at the Dominion!?
Further Bat Out of Hell sing-along performances are taking place on September 25th, October 31st, November 27th and December 31st and the show is booking until January 5th.
Sunday 26 August 2018
Flashdance, Grand Opera House, Belfast (UK Tour) | Review
Flashdance (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 22nd August 2018 by Damien Murray
★★★★
Book-ended by its ever popular signature song, this was a fantastic feel-good show for people who remember the popular film with its memorable big hit songs or for those who just want an entertaining night of light-hearted escapism (which, judging by public reaction, was 99% of the audience).
Although there were some dramatic moments, this rather shallow and cliché-ridden story was never going to be a platform for displaying acting skills but simply a dance-based showcase for fancy footwork and ridiculously high-energy routines that made me exhausted just watching them.
When you know not to have high dramatic expectations, then you will not be disappointed, but you will be guaranteed to be blown away by this show’s series of storming dance routines for, as a dance-based piece, it proved to be every bit as energetic as one would have expected.
Going back in time to the era of baggy blue jeans, shell suits, work-out outfits, neon leg-warmers and equally bright head-bands, it all began with the mundane and relatively colourless world of welders contrasting in so many ways with the, sometimes sleazy, but always dazzling one of the dancers with Matt Cole’s spectacular and varied routines being so well realised by the extremely fit cast and even including choreographed cyclists at one point.
For those who don’t know the story, it is basically about a tom-boyish welder, Alex (Joanne Clifton), with dreams of training to be a professional dancer at an elite dance academy and her relationship with her well-meaning and influential boyfriend, Nick (Ben Adams), who is also her boss.
The sub-plot centres on another relationship – that of her down-on-her-luck dancing friend, Gloria (Hollie-Ann Lowe) and her wannabe, but unsuccessful, comedian boyfriend, Jimmy (Colin Kiyani).
Surrounded by the symbolic brick and metal stage frame, the dual level set may have looked cumbersome at times, but it was very cleverly designed to be both mobile, functional and versatile, using its many steps, projection screens and positioning points to become everything from a ballet studio to a run-down bar and from a work canteen to a nightclub.
I particularly liked the unusual angular performance space that it created at times and the performance space height variations that it allowed and, common to a lot of shows nowadays, I thought the use of the cast moving the props and set worked well for slick and distraction-free scene changes.
Andrew Ellis’ lighting plot was varied (often pulsating to the music) but was also subtle during the more dramatic scenes and very effective at key moments, while the blue and red neon lighting helped to establish the era of the piece.
With such a poor script, director, Hannah Chissick, must have had a difficult job inspiring her cast in the non-dancing parts of the show, but she did capture the frustrating reality of the audition process.
Strictly Come Dancing champion, Joanne Clifton, was a natural on stage as she took the demanding challenges of the dance routines in her stride; totally nailing the films two iconic moments (the chair-drenching Act 1 finale and the Academy audition routine), and, surprisingly for some, coping well with her acting and singing roles.
In many ways, this piece gave former A1 star, Ben Adams, very little to do, as – not being involved in the dance scenes - he had to rely on a few acting moments to show his skills.
I felt he was very much under-used, but, thankfully, as a more romantic character, he did get to use his impressive vocals to good effect, especially in his duets with Clifton.
Both Hollie-Ann Lowe and Colin Kiyani impressed here as the less successful couple, with Lowe capturing her character’s frustration about her general bad luck and life with her failed comedian boyfriend; a role that Kiyani made his own as he realised their relationship was more important than his dreamed about comic career.
Also worthy of mention were Demmileigh Foster as dancer, Tess, who was excellent throughout with great stage presence and top dancing skills, and Carol Ball’s Hannah; a Grand Dame of dance who lives in the past reminiscing about the successes of her glory days with unrealistic hopes for more.
Musical Director, George Carter’s 5-piece band offered solid backing throughout with musical highlights including: the song of dreams and hopes, It’s All In Reach; the female ensemble showing the first signs of what was to come in terms of manic movement during Maniac; the comic routine, Put It Down; the male choral work of Justice; the energetic and almost acrobatic version of I Love Rock And Roll; the duets, Here And Now and Hang On; the Act 1 finale reprise of Maniac; and Where We Belong, which sounded like it was written and performed by Dean Friedman .
Some additional songs for the stage version worked better than others, but it was always going to be difficult to match the quality of the show’s big well-known hit songs.
Finally, What A Feeling at the end of the show was well worth the long wait to see the iconic audition piece recreated, before a long curtain call and an all-dancing finale which gave everyone a chance to throw some serious moves centre stage (even Ben Adams).
It must be said that these dancers worked harder in the finale than most performers do in an entire show … never mind What A Feeling … What A Dance Show … you would be a Maniac to miss it!
Flashdance runs at the Grand Opera House, Belfast until 25th August
On The Town (Prom 57), Royal Albert Hall | Review
Prom 57: On The Town (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 25th August 2018 by Olivia Mitchell
★★★★
What better way to celebrate what would have been Bernstein's 100th birthday, than at the Royal Albert Hall with a glorious performance of On The Town?! Written in 1944 with Adolph Green, Jerome Robbins and Betty Comden, this show is a light-hearted look at love which takes place over 24 hours in New York and is accompanied by beautifully woven music.
The plot follows three sailors who are in the Big Apple for one day only. Their time soon becomes commanded by some humourous, strong, powerful women who provide a larger than life experience. Each character is memorable and brilliantly performed by the stellar cast which celebrates some of the best the West End theatre scene has to offer.
Each cast member came at their roles with vigour and embraced both the humour and more nuanced moments, fantastically. Whilst the humour is repetitive at times, it was very well pulled off, with well timed motifs remaining humourous instead of grating, especially the entrances of Pitkin (Barnaby Rea) whilst his fiancé Claire (Celinde Schoenmaker) and Ozzie (Nadim Naaman) were getting closer and closer.
Nathaniel Hackmann's smooth vocals were especially striking as the lovestruck Gabey, whilst Siena Kelly was perfectly flirty and humourous as Miss Turnstiles, Ivy Smith. Claire Moore was equally witty as drunken singing teacher, Madame Dilly, and earned several laughs from the audience.
Whilst the entire leading cast were extremely strong, it was Come Up To My Place, a back-and-forth duet by Hildy (Louise Dearman) and Chip (Fra Fee) which provided the most memorable scene of the night.
This very simplistic concert, whilst beautifully staged by Martin Duncan, with basic projections and innovative prop usage, really just highlighted how stunning the score of On The Town is. The music has wit and sharpness embedded in it which brings the story to life without a need for dramatic sets and scene changes.
John Wilson brought the vivid score to life, conducting the London Symphony Orchestra with energy and bringing out flawless sounds. The varied musical sections showcased the adaptability and versatility of the orchestra and really evoked feelings of the golden age.
The full-house of the Royal Albert Hall were treated to a truly spectacular performance which you would be a fool to miss on BBC catch up! Full of joy and life, watching On The Town was a joyous experience.
photo credit: Mark Allan
Friday 17 August 2018
Gangsta Granny, Harold Pinter Theatre | Review
Gangsta Granny
Harold Pinter Theatre
Reviewed on Tuesday 16th August 2018 2017 by Emma Gradwell
★★★★
Old people are boring, smell like cabbage and are prone to knitting us unfashionable jumpers for Christmas. Or so we are led to believe at the start of this story. Birmingham Stage Company have brought David Walliams’ modern classic to the stage for a two-hour romp that all ages can enjoy – and they have rightfully been nominated for Best Entertainment and Best Family Olivier Awards.
Ben (played by Tom Cawte) not only has to live with shallow and celebrity-obsessed parents (played by Jenny Gayner and Jason Furnival), he also has to endure Friday evenings playing scrabble and eating cabbage soup with his Granny (played by Louise Bailey) – who happily acts a free babysitter, while Mum and Dad live out their dreams at a local Ballroom Dancing class. When Granny overhears Ben begging his parents to let him come home because of his boredom, this visibly upset old lady hatches a plan to lead Ben to believe she’s not as dull as he thinks she is.
When Ben discovers a stash of jewels in Granny’s Queen’s Jubilee biscuit tin, he learns that Granny once led another life as notorious jewel thief, The Black Cat, who liked to steal “for the buzz”. What ensues is a plot to steal The Crown Jewels from the Tower of London via the sewerage network, using Ben’s expert knowledge of plumbing.
This production is very much a family comedy: it’s a little bit rude, with lots of fart and bum jokes, but also relies on a more subtle and gentle humour at times, with some of the funniest moments involving Granny and Ben flying round the stage on her mobility scooter, complete with buggy board. Dance sequences transition scenes, as the ensemble cast move the large revolving cube boxes of the set to reveal different scenes to good effect.
Louise Bailey as Granny performs well as the frail old lady who finds her energy through her love for her grandson – and delivers the role with a twinkle. Emma Matthews plays her characters for laughs, with Matron being a clear favourite with the audience. Aosaf Afzal is fantastic as both the ridiculous Flavio – and shop owner Raj, who also engaged the audience during the interval with his special offers.
Unexpected bear dances, daring escapes, Gangsta raps and naked yoga all helped to engage the younger audience, whilst managing to deliver a poignant message at the heart of the story – a delightful realisation that behind the caravan club magazines, there may be exciting secrets. Excellent acting, slick scene changes and a very charming story of a boy and his Granny managed to captivate all ages, while reminding us to appreciate our older relatives while we still can.
Wholly enjoyable and a great way to spend some time with our families this summer!
Gangsta Granny runs at the Harold Pinter theatre until 26th August 2018
Spring Awakening, Stockwell Playhouse | Review
Spring Awakening
Stockwell Playhouse
Reviewed on Thursday 16th August 2018 by Olivia Mitchell
★★★★★
I would hazard a guess that there aren't many musical theatre fans of my age that didn't go through a Spring Awakening phase. For me it went a little like this: watched the Glee pilot episode, became obsessed with Lea Michele, watched everything related to her entire career, found the bootleg of Spring Awakening, watched said bootleg obsessively, downloaded the cast recording, sung Mama Who Bore Me on an endless loop and never looked back. For someone who went through the phase hard, it's surprising that despite a number of revivals in the past few years, I'd never seen an actual production of the show so when the opportunity arose to see the British Theatre Academy's (BTA) production, I couldn't resist.
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
The show follows a group of German teens as they find themselves and their sexuality and discover how tough growing up really is. The BTA have done an absolutely outstanding job of bringing this Tony Award winning show to life in the confined space of the Stockwell Playhouse. For a production that is only running for three days, it's truly impeccable how well staged, polished and rounded it is.
In the lead roles of Wendla and Melchior we have Charlotte Coe and Max Harwood who give truthful performances, both individually and in unison. Charlotte brings Wendla's childlike innocence to life whilst Max as the 'educated' Melchior portrays a perfect combination of knowledge and youthfulness, that's especially effective throughout the arc of his story. With Ben Platt-esque subtle riffs and fantastically subtle acting choices, it's hard to take your eyes off Max and I'm certain he has a bright acting career ahead of him.
As Moritz, James Knudsen is exceptional. His nervous energy and frenzied eyes are perfect for the character who is struggling with school, family and sexuality. Ginnie Thompson is great as Ilse, providing an almost angelic vibe which is especially effective towards the end.
This truly is an ensemble show and what's so special is that the cast seem to have genuinely created a community feel in a very short space of time. The way they move as a whole and in waves is remarkable to watch and creates a constant sense of movement and discovery. Mention must go to Dafydd Lansley as Georg/Rupert who draws the eye throughout ad he commits fully to his role with his nuanced twitches and movements throughout. James Dodd and James Heward as Ernst and Hanschen also give wonderfully subtle performances that make the characters feel real and easily relatable for anyone facing the same struggles.
Matt Nicholson's choreography is minimalistic but effective throughout. The dance in The Dark I Know Well is especially moving and well performed. Dean Johnson has done a wonderful job of directing Spring Awakening so it has a perfect balance of humour and sadness and enough subtlety to be emotive without being over dramatic. The vocals in this production are all you could wish for, Jordan Li-Smith has done a brilliant job alongside the five-piece band who accompany the action with faultless music.
With tears still filling my eyes, I left the Stockwell Playhouse feeling moved, inspired and overjoyed at the talent of this amazing production. Whether you're a Spring Awakening fan or just someone who's curious about the show, I'd throughly recommend seeing this production.
Spring Awakening runs at the Stockwell Playhouse until August 18th
photo credit: Eliza Wilmot
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