Friday 12 October 2018

Lucie Jones, Live at Zedel | Review


Lucie Jones (Concert) 
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell 
★★★★★

One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has  starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.

The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.

Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.


I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals  and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.

Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!

We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.

I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.

photo credit: Olivia Mitchell
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Thursday 11 October 2018

Mythic, Charing Cross Theatre | Review


Mythic
Charing Cross Theatre
Reviewed on Wednesday 10th October 2018 by Olivia Mitchell 
★★★★

I have to start this review by saying that I need a Mythic cast recording right this moment! The entire show is super catchy and you can bet that if/when a recording is released, it's all I will be listening to. 

Mythic is a 90 minute, humourous, dynamic and all round brilliant show which looks at the Greek Gods in a way they've not been seen before. In this reinvention, we follow Young Persephone who is trying to find herself and her talent, whilst her mother (and Mother Earth herself) Demeter, is struggling to let her little girl grow and flourish in the way she allows her plants to.

Marcus Stevens and Oran Eldor's upbeat pop/rock score is catchy beyond belief, and features song after song that will keep you entertained and on your toes. From the moment the show opens the tone is set: we are in for a 90 minute comedic show that's fully self-aware and able to subtly look at some deeper subjects.

There's no denying that this show is cheesy but that's what makes it so great; from the use of props (shrubs which are tossed around the stage) to the joke filled lyrics, Mythic manages to balance humour and integrity well. The show could easily become a mess but instead it is sleek, and emphasises its cliches to make them thoroughly entertaining rather than draining.

The re-imagined Olympia certainly feels like party central, with the music creating the perfect soundtrack for a night out. The variations in moods are also achieved well, with highly uplifting numbers, as well as darker numbers and moving ballads. For the entirety of the show, Mythic manages to remain well-connected to the myths, whilst making the entire thing feel fresh and contemporary. 


The characters are highly stereotypical, with a sleazy father (Zeus), a daughter who feels trapped (Persephone), a typical bad-boy (Hades), an overprotective mother (Demeter) and an attention-deprived daughter (Aphrodite). However, they are more than they appear on the surface and are all well-rounded enough to make us really root for them and become invested in their struggles throughout the 90 minutes.

Mythic's five principles do a wonderful job of motoring the story along whilst providing well thought out performances. Daniella Bowen is suitably hippie and genuine as protective mother, Demeter. Her performance of What Mothers Have To Do shows her power as a performer and the whole role really showcases her versatility. As her daughter Persephone, Georgie Westall is a strong female lead; perfectly embodying the headstrong aspect of the character, without making her unlikable. Vocally she is super strong, with Irreversible providing a stand out moment and showing that Georgie is sure to be a name on the London theatre scene for the foreseeable future. 

Michael Mather does a brilliant job as the leather clad bad-boy Hades. Again showing versatility through his portrayal which is both fiery and vulnerable. His killer voice and great stage presence make Michael perfect for the role and his great chemistry with Georgie make them a perfect pair to play out this crazy love story.


Genevieve McCarthy is part Regina George, part Karen Smith in her portrayal of the wannabe daddy's girl, Aphrodite. Alongside Tim Oxbrow as Zeus, the father who's focussed on power rather than his daughter (well, one of them), there is great comedic timing and the duo work well together; especially towards the end when the dynamics change. The ensemble are supremely strong, supplying us with killer vocals and witty one liners throughout. Mentions go to Eloise Davies and Ben Welch who catch the eye in their various roles and, to the fantastic diction of the overall ensemble. For a show that is almost entirely sung through, we do not miss a word due to the fantastically sharp delivery from everyone.

Everything in this show works in precise union, with Lee Newby's costumes and sets not only matching the world of the God's but also highlighting and literally being highlighted by Jamie Platt's lighting design which is precise and not at all overbearing. Sarah O'Gleby has done a fabulous job with choreography and direction and whole piece just feels like a step in the right direction for theatre in the West End. For a godlike way to spend 90 minutes, don't look any further than the Charing Cross Theatre and Mythic.

Mythic runs at the Charing Cross theatre until 24th November

photo credit: Marc Brenner
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Sunday 7 October 2018

Bat Out of Hell, Dominion Theatre | Review


Bat Out of Hell
Dominion Theatre
Reviewed on Thursday 4th October 2018 by Becca Cromwell
★★★★★

All Revved Up with somewhere to go, I was excited as I made my way to the Dominion Theatre to see one of my favourite musicals, Bat Out of Hell.

Bat Out of Hell is a jukebox musical based on the music made famous by the beloved Meatloaf, written by Jim Steinman. Featuring hits such as Two Out of Three Ain't Bad, Paradise by the Dashboard Light and its namesake Bat Out of Hell, it's a larger than life extravaganza, perfect for fans of Steinman/Meatloaf.

The electric Bat Out of Hell burst onto the theatre scene in early 2017 when it opened in Manchester. Since then it has been through a number of iterations, making its West End debut at the London Coliseum last summer, performing a run in Toronto and returning to London at its current home, the Dominion Theatre. The show is also set to take off on a US tour as well as other productions worldwide.

The story (or lack of) is set in Obsidian; a post-apocalyptic version of Manhattan, which has been ravaged by chemical wars. These caused a group of teens (the Lost) to become frozen at the age of 18. The main story focuses on Strat, the leader of the Lost and Raven, the daughter of Falco, the tyrannical leader of the city. The two fall in love a la Romeo and Juliet, and the rest is history. 

The plot is based on both Romeo and Juliet and Peter Pan, but the whole thing is very thin. If you go to this show wanting a proper story, you will be let down, but if you go into it for the spectacular aspects of amazing performances and unreal special effects then you'll love it.

Christina Bennington leads the stellar cast as the rebellious teen Raven, alongside Jordan Luke Gage who recently took over the role of the blond haired, blue eyed, black hearted, Strat. Both give wonderful performances and have great chemistry with one another. Like the entire company, Jordan and Christina both have exceptional vocal skill. On this particular performance, Zahara was played by Rhianne-Louise McCaulsky, who was astounding, and Ledoux was played by Sam Toland, who gave a fantastic performance. As Raven’s parents Falco and Sloane are Rob Fowler and Sharon Sexton, who both give outstanding performances, and add comedic elements which are highly entertaining.

The ensemble really bring the show together with pitch perfect harmonies and notes to die for. My personal favourite part of the show is Objects In The Rearview Mirror, where the ensemble bring me to tears with their heartfelt performances.

During this performance there appeared to be some microphone issues but these were only minor and did not distract much from the fantastic performances.

From start to finish this show is a hit. The vocals are flawless and Emma Portner's choreography (as wacky as some of it is) is phenomenal. Each and every person in this show is a superstar. The lack of story is certainly made up for by the intensity and emotion with which the full cast perform.

With the show remaining in London until January 2019, and a major US tour about to begin, I thoroughly recommend Bat Out of Hell for an entertaining night out.

For tickets and information about the show, visit https://www.londonboxoffice.co.uk

photo credit: Specular


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Friday 5 October 2018

Waitress, Brooks Atkinson Theatre | Review


Waitress
Brooks Atkinson Theatre
Reviewed on Thursday September 20th 2018 by Olivia Mitchell
★★★★

The musical by Sara Bareilles which chronicles the life of Jenna, a  lady who bakes her feelings into pies as she finds out she is pregnant with the child of the husband she does not love, has been receiving rave reviews on Broadway and is set to take the West End by storm in early 2019.

Waitress is based on the 2007 film of the same name which was written by late comedic legend, Adrienne Shelly and is a quirky, heartfelt show which transfers wonderfully to stage.

As you walk into the Brooks Atkinson theatre, you are greeted with the sweet smell of baking as you are transported to a small diner in rural America. What comes next is a two hour journey of heartfelt songs, beautiful performances and a reminder of how special friends and family can be.

Sara Bareilles' music is incredibly catchy, with pop, folk and country influences. There are high energy songs as well as more serene moments which work wonderfully to imitate the ups and downs of life. 


A great aspect of this show is how the ensemble are a being of their own. There aren't any step-out moments or solo performances, instead they come together to create fluid movements and at times form Jenna's mind itself. This again makes the show feel and look very connected, and mirrors the relationship Jenna has with her colleagues and loyal diner patrons.

NaTasha Yvette Williams and Katie Lowes are fantastic as Becky and Dawn, both giving humourous and vocally powerful performances. One of the most comedic characters is Ogie, played by Adam Shapiro who is making his Broadway debut alongside his wife Katie. The pair are fantastic together and Adam perfectly makes Ogie, who is essentially a stalker, a likeable character.

Original Broadway cast member, Drew Gehling has returned to the show to give a down to earth, sensitive and charmingly awkward performance as Dr Pomatter, the married gynaecologist who develops a relationship with leading lady, Jenna.


From the moment Jenna is revealed to the audience, Nicolette Robinson is magnetic. In her Broadway debut she gives an outstanding performance filled with nuance and honesty. What's refreshing is that although Jenna is facing some really tough issues, Nicolette never allows her to be a victim; instead she is resilient and inspiring. The stand out performance is by far Nicolette's spine-tingling rendition of She Used to be Mine, in which she sweeps through the entire spectrum of emotions, starting calmly and contemplative and eventually showing her anger at the situation she's in. The gradual and subtle build is masterful to watch and pure theatrical magic. 

Waitress is a pleasant detour from the big, flashy musicals that dominate much of Broadway and the West End and is instead, a warm, cosy and truthful show. With Waitress, you can have your pie and eat it, so don't miss your chance!

photo credit: Marc J Franklin
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Wednesday 3 October 2018

Mean Girls, August Wilson Theatre | Review


Mean Girls
August Wilson Theatre
Reviewed on Wednesday 19th September by Olivia Mitchell
★★★★★

It lives up to the hype. It truly lives up to the hype.

Mean Girls follows Cady Heron, who moves from the wilds of Africa to the wilds of suburban America, where instead of facing lions, malnutrition and loneliness, she faces boy drama, social issues and the struggle to stay true to herself. Shortly after joining North Shore High School, Cady is shown the various cliques that inhibit the halls. When the most popular girls at school, The Plastics, invite her to join their group, her real friends see it as a perfect way for her to go undercover and infiltrate the cool kids who rule the school.

The musical is based on the 2004 movie of the same name, written by Tina Fey who adapted her own work from screen to stage. The music is by composer of various television songs and Tina's husband, Jeff Richmond, lyrics are by Nell Benjamin who also wrote for other hit screen to stage musical, Legally Blonde. This is a super high energy musical which is perfect for all audience types (although perhaps a little mature for younger children).

There are mixtures of sounds and styles which makes this musical feel very fresh in the current theatre climate. There's pop, contemporary musical theatre, soft-rock, classic musical theatre and so much more which brings the show right up to date and keeps the audience on their toes. Each character has it's own musical feel which fits perfectly; Regina for example has slow, drawn out music which keeps us all in her web of power, whilst Gretchen has to sing everything quickly so as not to be cut off by Regina and Cady's songs are all very Disney-esque and flouncy. The songs of Mean Girls are sure to become regulars in rep folders, karaoke essentials and just earworms in general. 


Ashley Park as Gretchen Wieners is so solid and provides a masterclass in committing to your character and putting the work in to make you believe every moment. She is hilarious and vocally stunning as Gretchen but the way she embodies the character is truly what makes the performance special. Kate Rockwell is dippy to perfection as the iconic Karen Smith and she really shines during Sexy which has the audience howling. Jennifer Simard is hilarious and versatile as Mrs Heron/Ms Norbury/Mrs George. Her voice is outstanding and she again brings the memorable moments of the film to life but puts her own spin on them. 

At this performance, Cady Heron was played by understudy, Becca Petersen who is wonderful in the role both vocally and acting wise. Compared to the film, I felt much more sympathy for Cady and due to her kindness and innocence, found her a much more likeable character. Her being drawn to the allure of popularity feels natural although we still see the awful way she abandons her true friends.

Barrett Wilbert Weed as Janis is outstanding. From the first moment of Cautionary Tale she is completely natural in the role and it feels as though the real Janis has been plucked out of Illinois and placed on the August Wilson stage. Her best friend, partner is crime, Damien is played superbly by Grey Henson who is comedy on feet and it feels as though it was written in the stars that he would play the role.


The stand out of the show has to be Taylor Louderman who is everything and more as the head Plastic, Regina George. Her voice soars so effortlessly that it's like she's being auto-tuned in front of our eyes. Again, the way Taylor embodies Regina is mesmerising to watch and she is so spot on with every aspect of her performance. Someone Gets Hurt and World Burn are two of the best theatrical moments I've ever experienced.

Technically this show is sensational. The sets by Scott Pask are super simplistic but work well in a jenga-like way to transport us to the few locations of the show; with the screens not only bringing the show into the digital age, but providing constant stimulation for the audience. Modernity is also brought through Gregg Barnes' costumes which are intimately thought out. The Plastics of course, are dressed like they're constantly at an afternoon tea but the rest of the cast look like real, current students. So often with shows set in High Schools, the costumes are unrealistic or even outdated; the playbill states the the show takes place in "The Present" so it will be interesting to see whether the costumes change over time to fit with trends or whether the show becomes synonymous with 2018. Small details such as  the theatre 'geeks' wearing actual show merch and Janis letting her hair grow out (perhaps symbolising her desire to avoid conformity), make the show feel truthful and grounded.


Tina Fey's book brings all our favourite moments from the Mean Girls film to life but the addition of new witty one liners and more character development means nothing feels recycled. Mean Girls is fresh and funny as well as having a strong moral heart which highlights bullying and acceptance. If you want a grool night out, get yourself along to the August Wilson theatre... and for us in the UK, lets start a stagey prayer circle for a West End transfer!

photo credit: Joan Marcus
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Tuesday 2 October 2018

Fame the Musical (UK Tour), New Victoria Theatre | Review


Fame (UK Tour)
New Victoria Theatre 
Reviewed on Monday 1st October 2018 by Olivia Mitchell 
★★★★

Fame is the original high school musical drama. The story about a group of wannabe New York performers became an instant success with audiences after the 1980 film, and various incarnations including tv series and musical performances were spawned. Fame the Musical, developed by David De Silva, is currently touring again to celebrate it's 30th anniversary before a stint in the West End next year.

Fame the Musical follows the lives and struggles of students attending the New York High School of Performing Arts.  It is a real-life, non-sugar-coated version of being a young adult and facing issues, including substance abuse, sexuality and self worth.

From the opening number to the very last moment of toe-tapping brilliance, Nick Winston's production screams energy and vibrance. The entire show is a well choreographed, lively machine that, although being set in the 80s, feel fresh, relevant and energetic.

The energy comes from the outstanding young cast who deliver every moment with enthusiasm and precision. Molly McGuire is loveable and quirky as she falls in love with Nick (Keith Jack) the TV actor, wanting to move to more serious roles. Both performers provide beautiful vocals, especially during Let's Play a Love Scene in which Molly shines. The pair compliment each other wonderfully and present a sweet romantic arc. 

 Hayley Johnston brings humour and heart to the show, with bubbly Mabel earning laughs throughout and showing off her killer, powerful vocals in Mabel's Prayer.  

Jorgie Porter shows off her well-honed dance skills as Iris who falls for Tyrone (Jamal Crawford), an equally exquisite dancer who gave a standout performance with Dancing on the Sidewalk. Tyrone also has a storyline with teacher Miss Sherman (Mica Paris) as she realises he is illiterate and tries to inspire him to work on himself. The pair are realistically at odds with one another as their heightened tensions come to a boil with Mica Paris' effortlessly stunning rendition of These Are My Children.

 Mention must also go to the fantastic actor-musicians who are present on stage throughout and bring a natural, realistic feel to the show and transport us to a frenetic performing arts school- Alexander Zane is a standout of the group. 

 The real star of the show is undoubtedly, Stephanie Rojas who gives a fiery performance as Carmen, the Latina who longs for fame. Stephanie is everything Carmen should be with her transition from a larger than life girl in There She Goes/Fame, to a broken woman in the devastating In LA supplying a supremely moving storyline. Stellar vocals and superb acting make Stephanie's performance a must see and should be required viewing for any budding performers.



On top of the impressive performances, Prema Mehta's lighting is extremely atmospheric from the opening scene which dazzles the audience to attention and sets the tone for an exhilarating show. Particularly clever is the use of light tones, for example in Carmen's emotional climax during act 2, she is bathed in cool, stark light whilst her counterpart Schlomo (played touchingly by Simon Anthony) is lit in a warm tone. These subtle details are part of what makes this production of Fame superior.

 Whilst there are a number of stereotypes and other than a couple of the main characters, not much character development, this show is raw and pure storytelling, told by a supremely talented cast. Helped by Morgan Large's set, the focus of this production is purely on no gimmick talent, so, if you want to see skilled performers and hear highly catchy songs then Nick Winston's production of Fame is the show for you- don't miss it!

 Fame runs at the New Victoria Theatre until October 5th before continuing it's tour and heading to the Peacock Theatre next year.

 photo credit: Tristram Kenton
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