Thursday 15 November 2018
Grease, Bridewell Theatre | Review
Grease
Bridewell Theatre
Reviewed on Tuesday 13th November 2018 by Nicola Louise
★★
With its cheesy jokes, feel good songs and an array of over enthusiastic teenagers from the 50’s with a rebellious edge, it’s not hard to see why Grease has been at the forefront of musical theatre for over 30 decades.
Songs like You’re the One That I Want and Look at me I’m Sandra Dee have been played countless times, and sung by some well-known names. So when Rewrite This Story got invited to review an Am Dram revival of this well-loved musical, we jumped at the chance to take our seat.
Unfortunately, I wish I hadn’t been so quick off the bat, apart from Yvette Stiel (Cha Cha) and Charlie Smith (Danny) dancing to Born to Hand Jive at the school dance, there’s very little right with this show.
Danielle (Rizzo) had countless face movements, almost like she had a tick and put on a very strange New York/Boston accent which carried on through her singing, making it very hard to hear the words and almost painful to the ears. I was unsure why Director Stuart James had Danielle sing There are Worst Things I Could Do to Sandy (Laura), who looked just as confused as myself and a couple of people sitting next to me.
Casting Smith as Danny, in my opinion was not the best move. He had no charm and nothing about him screamed leader; Jarrod Hawn, who played Kenickie would have been a much better choice as I found him to have more stage presence, charm and wit.
Ellis as Sandy was a decent choice although I felt like she was cast due her voice, her rendition of Hopelessly Devoted to You was pitch perfect and the whole audience was captured by her and her emotion during the song. As sweet and innocent Sandy, Ellis played the role ok at first but as the show went on it looked like she was more comfortable. In the grand scheme of things this is a positive as it mirrors Sandy and her character growth but at the start just felt unsteady.
The rest of the T-Birds and Pink ladies we’re nothing special, however, I was drawn to Ashlie Kenyon-Evason who portrayed Jan, the way she bounced around stage and belted out high notes made the show watchable, as well as Kate Winney (Marty) who carried her character well and had the 'younger girl wishing to be older' scenarios down to a T.
With direction from New Zealand born Stuart James, this show is, unfortunately a massive flop, the singing was mediocre, the acting was barely there and they shoved too many people on the stage at one time making the dance scenes look messy and uncoordinated which I would have thought the choreographers, Samantha Herriot and Vanessa Forte have noticed.
Overall, the show seemed clunky and unrehearsed and this is one showing of Grease I wish to never see again.
Grease is currently playing at the Bridewell Theatre with completely sold out performances.
Wednesday 14 November 2018
Fanatical, Playground Theatre | Review
Fanatical
Playground Theatre
Reviewed on Thursday 13th November 2018 by Olivia Mitchell
★★★
Set at a sci-fi convention for fictional show, Angel8, original musical Fanatical looks at fan culture, the influence of role models and the importance of being passionate.
Originally a comic, Angel8 has been made into a tv series which has gained a cult following. OG fan Trix, wants to celebrate the show and prove the power of the fans so she puts on a convention featuring cosplay competitions, an art hall and a special guest speech by Angel8 creator, Scott Furnish. However, a no show from the creator, a journalist snooping round and some budding romances mean there's more to the convention than meets the eye.
Matt Board's music is witty and catchy from the get go, with When The Internet Was Young, reminiscing about the days of dial-up and setting the tone for this upbeat, heartfelt musical. We are quickly introduced to a number of quirky characters whose commitment to Angel8 is commendable and something I'm sure we can all relate to on some level.
As convention creator Trix, Suanne Braun is suitably caffeinated and passionate, with her act 2 solo, Any Moment Now gaining laugh after laugh. Stephen Frost is hard but worn as writer, Scott Furnish, but also hints at a softer side which makes him a likeable character who, at his core is a fan like everyone else. Eddy Payne gives a humourous performance as Baxter who's lovestruck with his former babysitter, Andra.
Sophie Powles is wonderful as Andra, with her beautiful voice and sweet performance really standing out. Andra is well rounded and goes through a nice character arc as she begins to embody the superhero she's always looked up to; mention must go to Sophie's lovely performance of Spoiler Alert. As undercover reporter and love interest for Andra, Tim Rogers does a great job as Craig.
The rest of the convention goers and staff are brought to life by the fabulous trio, Amber Sylvia Edwards (Jillian), Theodore Crosby (Bernard) and Amy Lovatt (Lizette) who sleekly bring a number of characters to life. Their act one number, Look What I Made is especially admirable and perfectly highlights what it means to be enthusiastic, and find a place where you feel like you belong. All three performers give spades of energy and bring a whole lot to the show.
P J McEvoy's set, although a little flimsy at times, creates the convention atmosphere well and the artwork for the show is so well done that it really does feel like a real comic (the subtle increase in price from £2.50 to £3.350 in the programme is a great detail).
Whilst there are still some things that need brushing up, this is a great base for a production and there's certainly potential for growth and developments to make this show something special which will touch the hearts of fans all over. Fanatical will have you laughing and wanting to celebrate being you.
Fanatical runs at the Playground Theatre until 8th December
photo credit: Scott Rylander
In Conversation With... Rachel Izen | Funny Girl | Interview
Rachel Izen has starred in a number of shows on the West End, Broadway and on tour. Recently, Rachel played Mrs Brice in the UK tour of Funny Girl, which follows Fanny Brice on her journey from wannabe actress to reknowned performer. Funny Girl was recently screened at cinemas, Rachel talked to us about the show and how a filmed version breathes new life into it...
Can you tell us a little bit about your experience playing Mrs Brice in Funny Girl?
This was a very personal experience as I identified Fanny and Rose’s relationship to that of my own.
Funny Girl is a much loved story and show, do you think this filmed version will bring new life to the show and welcome a new audience to it?
This version is heart felt and explores successful women’s turmoil trying to balance career and personal life, so very current today.
What's your favourite memory from your time in Funny Girl?
Dancing to the overture in the wings every show.
Can you sum up Funny Girl in 5 words?
Luckiest people in the world!
If you could bring any other shows which you've been a part of to screen, which would you choose?
The Witches of Eastwick
If you had a magic wand, what would you do next in your career?
I would love to tv series filmed in front of a live audience recreating my favourite musical theatre moments.
What's your top piece of advice for aspiring performers?
Be a sponge. See everything, listen to everything, be practical, take classes. Just because you may have gained a degree and acquired an agent doesn’t mean the world owes you a living.
Thanks so much to Rachel for chatting with us.
Interview by Editor, Olivia Mitchell
Saturday 10 November 2018
Monstersongs, The Other Palace | Review
Monstersongs
The Other Palace Studio
Reviewed on Tuesday 6th November 2018 by Olivia Mitchell
★★★★
The Other Palace played house for the UK premiere of Rob Rokicki's Monstersongs, a theatrical experience that combines rock music, theatre, graphic novels and technology. Taking form as part song cycle, part staged show, Monstersongs is a journey into the minds of often misunderstood 'monsters' and 'baddies'. The music flips the switch on the traditional monster narrative and welcomes us to look at the alternative side of a story and the humanity which unites us all.
This show has the potential to be performed in a number of venues and formats so it will certainly be exciting to see how it evolves and progresses. In its current iteration, we see a series of stories introduced by the young narrator, Bradley Riches who welcomes the creatures to centre stage as well as becoming the Dragon in the rousing song, Reluctantly.
Aside from the vocal performances, the live band are the stars of the show. Providing enough oomph for the rock feel but not becoming overpowering, even in the intimate space of The Other Palace Studio. David O' Neill's graphic novel artwork is also it's own character, with projections adding another layer of interest to the story and helping create the multi-sensory feel of the performance.
Sinéad Wall and Amanda Flynn give a stand out performance with Blood and Brains which is equal measures humourous and gruesome. Sinéad also performs Say Goodbye, a moving number about the pain of Medusa as she freezes another man to stone, with vocal ease and power; whilst Amanda is suitably heartbroken and wicked at the scorned witch in Hell Hath No Fury. Tyrone Huntley is a vocal powerhouse in Down and Under which tells the story of the troll under the bridge and Right Through You is performed with chilling smoothness by Cleopatra Higgins. Another stand out is certainly George Damms in both his first number, The Plans, where he is extremely witty as Igor and his second solo, I'm Sorry in which he showcases his superb vocals.
Whilst I wouldn't say Monstersongs is an immersive show right now, it certainly has the potential to be one and it could definitely do well as a musical which becomes a sort of art installation. It's a 60 minute rock musical about monsters, that provides vocal greatness and heartfelt (if at times predictable) stories- what more could you ask for?
Friday 9 November 2018
Lands, Bush Theatre | Review
Lands
Bush Theatre
Reviewed on Thursday 8th November 2018 by Shaun Dicks
★★★★
Absurd. Absurd is a multifaceted word. It’s volatile, malleable and powerful. Absurd is the word to describe Lands. Produced by the incredible company Antler, Lands is a story of two women, puzzles and a trampoline. We follow their story as one tries to finish their puzzle, while the other tries to give up their addiction. This show is very metaphorical, conceptual and symbolic. You’re in for a ride.
The shows main strength is its humour. The scripted humour throughout this entire piece is brilliant, the use of situational, physical and verbal humour is so perfectly pitched that it’ll make you snort. But not just snort, but loud and ugly snort. You’ll cry because you’re laughing so much. You’ll laugh so much it’ll hurt.
Mainly, this is because of the wonderful leads: Leah Brotherhead as Leah and Sophie Steer as Sophie. They are a wonderful duo, who are great together. They know how to play and bounce off each other and both look like they are having fun together on stage. They interact well with the audience and their stage manager Rachel Darwood throughout. My favourite thing about them was when they were silent. They use silence perfectly. They aren’t afraid to use it.
The direction of this piece by Jaz Woodcock-Stewart is very well done and evident throughout the piece. The set design by Charlotte Espiner is interesting, extremely industrial and cold. The lighting design by Rajiv Pattani is simple and subtle but well presented and constructed. And the use of sound is another highlight, specifically the song choices dotted throughout. My favourite moment in the entire show is a certain dance break. Try and make the connection.
Lands by Antler is a show where you need an open mind. It’s barmy, bonkers and brilliant. It’s just absurd on so many levels. So, you have to go watch it! Do yourself a favour and go laugh for 80 minutes, because you will at Lands.
Lands runs at the Bush Theatre until December 8th 2018
photo credit: Helen Murray
Saturday 3 November 2018
Girlfriends, Bishopsgate Institute (LMTO) | Review
Girlfriends
Bishopsgate Institute
Reviewed on Friday 2nd November 2018 by Olivia Mitchell
★★★
The London Musical Theatre Orchestra are taking a short residency at the Bishopsgate Institute whilst they perform a concert version of Howard Goodall's Girlfriends which follows a group of women as they join the Women's Auxiliary Airforce during World War Two.
Complete with new orchestrations specifically for the LMTO, Girlfriends has some beautiful virtuosic moments which are wonderfully showcased by the orchestra, led by Freddie Tapner. As always, the orchestra give a sleek performance, however, compared to previous concerts where the LMTO have had solo showcase moments playing musical interludes such as the police scene in Mack and Mabel, there weren't any moments where we could purely appreciate the orchestra. These concerts always tend to provide a platform to appreciate stripped back music which of course we could still do, but this particular production lacked some of the "wow" orchestral moments previously experienced.
Whilst the orchestrations are lovely, a lot of the music feels similar and there are a lot of songs which are repetitive. Many of the melodies are catchy but when heard time are time again, become ineffective in conveying the mood/drama they intend to and I believe the whole piece would be much more moving emotionally and technically sleek if it was cut down and smoothed out. That's not to say that there weren't some outstanding moments, especially when the women join together for tight choral moments of chromatic harmony which effectively push the pain and confusion felt by everyone during the war.
The cast are the best of the best who work well as a team and individually. As best friends leaving their "ordinary" lives to join the WAAF, Lucie Jones and Lauren Samuels show off their divine vocals and natural chemistry with effortless talent. Natasha Barnes is vocally stunning, whilst Vikki Stone gives both a humourous and heartbreaking performance and Bronté Barbé gives a memorable performance of The Chances Are. Rob Houchen and Chris McGuigan both give strong performances which showcase their talents whilst perfectly framing the women, as they should in a show focussed on female strength.
Despite the dramatic content, the show itself never reaches a boiling point and somewhat lacks intensity. During act one, I couldn't help but think the show was romanticising war with the various love affairs that formed; however, a moment of text in act two changed that view and brought the stark reality of war back to the heart. Victoria Gosling MBE explains that she was born in a free world and grew up hearing "All You Need is Love" whilst for her grandparents, "All They Had is Love". This reminds us the importance of relationships both romantic and non-romantic as well as how lucky we all are to be able to watch this show without having experienced the pain and turmoil that accompanied the women featured.
Despite this not being my favourite production form the LMTO, there is no denying that the wealth of talent on offer gave remarkable performances. The melodic, complex music does provide moments of power and if anything, this show serves as a fantastic celebration of women and the crucial roles they had in the Second World War.
photo credit: Nick Rutter
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