Thursday, 22 November 2018
La Traviata: Behind the Curtain (UK Tour), New Victoria Theatre | Review
La Traviata: Behind the Curtain
New Victoria Theatre
Reviewed on Wednesday 21st November 2018 by Olivia Mitchell
★★★★
As part of Glyndebourne's 2018 touring season, they are offering Behind The Curtain performances where "the essence of opera is revealed" and audiences get a look at La Traviata as it's cleverly dissected and put together again for a condensed version of the show.
Hosting the night is comedian and opera lover, Chris Addison who welcomes the audience with open arms, and discusses opera in a thoughtful but easily understandable way. First up is a look at the famous brindisi which in 1853 was the equivalent of Gangnam Style in a show, as shown by the stellar Glyndebourne chorus. Addison likens the song style to "a group of students who don't stop talking about getting drunk." These comments, plus other ingenious ways of educating- such as showing the difference between recits and arias through a sung version of outrage at a Greggs bakery opening- make the entire night flow whilst informing people of all ages and keeping them entertained through humour and music.
Much of Addison's commentary is underscored by the glorious Glyndebourne Tour Orchestra, led by Ben Glassberg, who play both pieces from La Traviata and pieces which inspired/were inspired by it. The talent of the orchestra is evident throughout, no more so than when their sight-reading skills are shown off when playing Glyndebourne's Balancing The Score composer, Ailie Robertson's Invocation. Other games include a quick change competition called Beat The Orchestra and an audience guess at how many operas have been composed since Jacopo Peri's first, Dafne.
This Behind the Curtain event takes on the form of part opera performance, part lecture and is a whole lot of fun for both opera fanatics and new fans. It also raises questions to keep you thinking such as "is there ever an authentic setting for Verdi?" and introducing us to the wonderful performances available from Glyndebourne. Particularly interesting for theatre fans is when the Gypsy dance is taking place on stage whilst we see the rehearsal process on the screens; giving us an insight into the backstage process of forming a show.
Original Glyndebourne Violetta, Marie McLaughlin gives wonderful insight into the vocal variations needed for Verdi compared to other composers as she discusses technique and how solid breath control comes from the feet to the top of the body. Alongside some beautiful vocal demonstrations, Marie also explains how the beauty of Verdi is that he gives everything to you in the music and text which tell you exactly how to feel like the "consumptive" Violetta.
Overall La Traviata: Behind The Curtain is just a whole lot of fun. For music students it will surely provide an invaluable and memorable operatic experience and will inspire more people to participate in and enjoy opera. Glyndebourne should be commended for providing such an accessible operatic night. Here's to many more!
photo credit: Tristram Kenton
In Conversation With... Patrick Sullivan | Doctor Dolittle | Interview
After starring as Blake in Bat Out of Hell, Patrick Sullivan has swapped a motorbike for a cycling bike and a whole load of animals, as he becomes Matthew Mugg in Doctor Dolittle. Patrick told us what we can expect from the show, what Matthew is like and what he'd love to do next...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is a beautifully charming family show. It deals with important issues like the way we treat animals and in turn the environment. It has real heart and integrity and stands up against some of the more well-known family classics like Mary Poppins and Chitty Chitty Bang Bang.
You recently starred in Bat Out of Hell which is very different from this show, what drew you to Doctor Dolittle?
It was actually that huge difference that attracted me! I had the most incredible time creating and working on Bat. As a cast we were given such freedom to develop and adapt our characters. I had never done a show like Doctor Dolittle and reading the script the character I play, Matthew Mugg, really felt like something I wanted to work on! It's a very traditional show with great song and dance numbers which I've always wanted to do!
As you mentioned, you’re playing Matthew Mugg, what’s he like as a character?
Matthew is a very sweet innocent guy, with the best of intentions. He's an Irish immigrant and so doesn't have any family of his own in Puddleby, where the show is set, so he builds his own family when Doctor Dolittle takes him in. We see Matthew repeating this gesture when he takes in a local orphan Tommy Stubbins. He is driven by a kindness and warmth of character that I find very admirable!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
It's been a very rewarding challenge! I have had zero experience with puppetry prior to this show so I was really starting from the ground up! It's fantastic to be able to create reality where animals can pack a suitcase or do a dance number! It's really magic!
Have you got a favourite puppet in the show?
I might have a soft spot for him Chee Chee the chimpanzee...
Can you sum up Doctor Dolittle in five words?
Charming
Rich
Joyous
Fun
Heartwarming
If you had a magic wand, which show would you do next?
Oh a very difficult question. I don't really have a favourite show! I would love to do A Man of No Importance or else Catch Me If You Can. I think those are two shows that have never got the attention in London they deserve.
If you could go back to any era, when would you go to and why?
I know this isn’t the question but I'd much rather go into the future a hundred years and just see how it all plays out.
What’s your top piece of advice for aspiring performers?
Perform as much as you can. I was very lucky growing up in Ireland where there was considerably less competition for shows, especially for boys, so I was given loads of opportunities to play parts and develop a stage craft before I ever went to college! I was very lucky but there are still opportunities to be had if you look in the right places!
Also just try and be nice to people! It’s easy to forget to treat people with respect.
A massive thank you to Patrick for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
photo credit: Alastair Muir
Wednesday, 21 November 2018
Glyndebourne's La Traviata (UK Tour), New Victoria Theatre | Review
La Traviata (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 20th November 2018 by Olivia Mitchell
★★★★
La Traviata, Verdi's well loved opera, has spawned various productions and inspired a number of other works, including Moulin Rouge which is set to open on Broadway in June 2019. This success is partly due to the fact that it is a passionate and moving piece which still remains fiercely relevant in terms of gender roles and male privilege.
This current Glyndebourne Tour which is celebrating its 50th year, is a beautiful showcase of Verdi's music and an emotive story about honour, honesty and love. The inbuilt drama from Violetta abandoning her life as a courtesan, living with Alfredo, having their idyll torn away by his father and facing terminal illness the entire time, of course leads to a well rounded piece. However, in this production, there is little chemistry between the struggling couple so they fail to fully capture the audiences hearts and take them on the gut wrenching journey, La Traviata should provide.
The production's most moving pieces come from Giorgio (Noel Bouley) and Violetta (Mané Galoyan) who have an unequal, but well performed bond on stage. Armenian Soprano, Galoyan is certainly the star of the show, providing vulnerability, fragility and beauty whilst also giving us emotionally intense and opulent vocals. The Glyndebourne Tour Orchestra deftly perform the intricate score, with guidance from Conductor Christoph Altstaedt who manages to highlight key moments of score and plot-line with ease and dexterity.
Hildegard Bechtler's sets and costumes are not period specific so work well to make the piece feel strangely relevant, whilst also embodying an eerie air about the whole thing. A cool colour palette of beiges, blacks and greys, punctuated with sharp hints of red, does a good job of drawing our eyes to certain places and highlighting the passion and greed throughout.
The sets and costumes, alongside Peter Mumford and Keith Benson's extremely subtle lighting, make this an engaging but not over the top piece of theatre. The transitions from warm light to cool light throughout Act 1, Scene Two, as well as the removal of the few pops of pink on stage, do a great job of mirroring the tensions which are rising. Another detail is Violetta's hair which changes fractionally throughout, from an intricate updo at the start to an untamed style as her health reaches its lowest point.
This really is a production of subtlety where everything is brought out gracefully to have a fully enchanting effect. It's a production to welcome you into opera with open arms and either reignite a passion or create a passion for the art-form and Verdi's music. Outstandingly controlled vocal performances make this a must see production.
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
photo credit: Robert Workman
Tuesday, 20 November 2018
In Conversation With... Mollie Melia-Redgrave | Doctor Dolittle | Interview
Mollie Melia-Redgrave is currently starring as the female lead, Emma Fairfax in the UK Tour of Doctor Dolittle which brings the classic film to the stage and introduces us to a host of marvellous animals. Mollie spoke to Rewrite This Story about her part in the show, what audiences can expect and her advice for aspiring performers...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is such a family show, brought to life through the pages of the book. We have 36 amazing puppets and a mesmerising Ensemble. There’s something for everyone to learn from it, and it is a story that comes from the heart.
You’re playing Emma Fairfax, what’s she like as a character? Are you alike in any ways?
Emma really knows her own mind and isn’t afraid to stick up for what she knows is right. She would go to the ends of the earth to fight for justice. Her only family mentioned is her Aunt so I don’t think she has many people supporting her and has just ended up working for her Aunt out of convenience, therefore when she meets the doctor and Matthew she sees a completely new outlook on life. But it’s a tough choice to choose between family and the heart. She really comes to life once she lets her hair down.
Emma and I have a few similarities. She is very defensive and I’m sure I can be at times, I hate feeling unjustified. I’m awful at confrontation however Emma is the first to speak up. I’d say our biggest similarity is that we are both super passionate and wear our hearts on our sleeves.
You’ve previously toured with Chitty Chitty Bang Bang, what are your favourite and least favourite parts of touring?
My favourites are the fact we can explore new cities I’ve never been to and would never have the opportunity to spend two weeks there. Also doing it with a great bunch of friends. I don’t really have a least favourite but I guess it’s organising the digs haha!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
Fascinating. Watching Jimmy, our puppet director, bring them to life is crazy. Our ensemble have worked effortlessly on making all this happen and they really are the best! When a puppeteer holds a puppet you genuinely stroke it or interact with the puppet without realising it’s not real.
Have you got a favourite puppet in the show?
My favourite at the moment are the seals. They make my heart melt. However you’ve got to love them all. Especially Jip, Chee Chee and Gub Gub.
Can you sum up Doctor Dolittle in five words?
Never seen anything like it.
If you had a magic wand, which show would you do next?
I would do anything to work for Disney. However at the moment I’d love to play Sylvia in Finding Neverland.
If you could go back to any era, when would you go to and why?
40’s for sure!!! The classic movies, the fashion, the history, the achievements, the romance!
What’s your top piece of advice for aspiring performers?
Be yourself. Everyone is equal and everyone has a life outside of this world so focus on you and don’t try to change. Also enjoy whatever it is you are striving for, life is too short.
A huge thank you to Mollie for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
Benidorm Live (UK Tour), Bristol Hippodrome | Review
Benidorm (UK Tour)
Bristol Hippodrome
Reviewed on Monday 19th November 2018 by Emma Gradwell
★★★★
After ten years on our television screens, the long running sitcom Benidorm has found a new home on stage as a national touring production. Written by Derren Litten, the result is a mix of familiar storylines and musical interludes which give us two hours of uncomplicated silliness. The show is largely driven by double entendres and the saucy seaside humour you will have come to expect.
The show is led by six familiar actors from the television cast and the audience were very pleased to see them, with huge cheers to be heard as they appeared on stage for the first time. The storyline works for both fans of the original show and new audiences.
Two middle class holidaymakers, Sophie and Ben (played by Tricia Adele-Turner and Bradley Clarkson), find themselves at the 3½ star all-inclusive hotel, The Solana, when their original hotel is overbooked – and they are not impressed. Bribery and seduction are the obvious answer when Hotel Manager Joyce Temple-Savage (Sherrie Hewson) decides they must be undercover hotel inspectors tasked with shutting them down.
Jacqueline (Janine Duvitski), a member of the Swingers Association, and her very open-minded friend, ‘Gay Derek’ (Damian Williams), baffle the newcomers with their friendly charms. Duvitski is a master comedienne – and Jacqueline’s rendition of “Rubber Ball” at Karaoke Night is one of the shows highlights. There were even a few nods to Jacqueline’s late husband, Donald, and his penchant for their alternative lifestyle, which fortunately for us, Jacqueline is still thoroughly enjoying as a singleton.
Adam Gillen’s Liam is as quirky and naïve as he is on screen, and his continued devotion to his absent father, Leslie, and his Solana family are charming. Tony Maudsley as Kenneth, owner of the on-site hair and beauty salon, ‘Blow and Go’, gives a slick comedic performance. His naughty slogan t-shirts are in full force, my favourite being ‘Mince, Wince, Repeat’.
Stellar dance moves are provided by Jake Canuso (a former dancer) as barman and lothario, Mateo, and new staff member, Ricky (Will Jennings). Shelley Longworth as Travel Rep, Sam provides cabaret at Neptune’s Nightclub alongside Neptune’s own crooner, Asa Elliott, belting out some favourite holiday tunes. What was lacking was a live band, which for a production of this size was disappointing.
The clever set design by Mark Walters took us from reception to poolside via the Salon and eventually to Neptune’s Nightclub for the second half. Director Ed Curtis pulls it all together seamlessly and at two hours, five minutes it doesn’t outstay its welcome.
Benidorm Live is cheesy, camp and refreshingly unpolitical, and I came away still chuckling about Jacqueline’s pink pussy and the sausage in cider.
Benidorm Live runs at the Bristol Hippodrome until 24th November, before continuing its tour.
photo credit: Paul Coltas
Friday, 16 November 2018
Doctor Dolittle (UK Tour), Churchill Theatre | Review
Doctor Dolittle (UK Tour)
Churchill Theatre
Reviewed on Thursday 15th November 2018 by Olivia Mitchell
★★★
He talks to the animals, sings with the animals, dances with the animals and is now in a musical with the animals. Doctor Dolittle follows the "impossible" man who understands animals better than people so with the help of his parrot Polynesia, learns their languages to help cure all their ailments. After a run-in with the local magistrate, Dolittle escapes prison to go on a mission to find the giant pink sea snail. There's also a budding romance between Dolittle's right hand man, Matthew Mugg and the magistrate's niece, Emma Fairfax.
This UK tour features book, music and lyrics by original Doctor Dolittle composer, Leslie Bricusse who, alongside Director, Christopher Renshaw, has reinvented the story to make it an entertaining show for the entire family.
Mark Williams takes on the title role and does so fairly well. Whilst he speaks most of his songs, he does so with an energy that fits the character. It would be nice to have the role sung more seeing as this is a musical, but Williams' performance does fit the show well.
It's the Doctor's friend Matthew Mugg, played by Patrick Sullivan who steals the show with his magnetic charm and personality. Matthew is an instantly likeable character who holds the show on his shoulders with charisma. Sullivan also shines vocally with his beautiful tone- it's just a shame we don't get to hear a bit more. As Matthew's love interest, Mollie Melia-Redgrave is excellent and provides great support as Emma Fairfax.
The other stars of the show have to be the intricate puppets designed by Nick Barnes and directed by Jimmy Grimes. A host of animals hop, slide and prowl around the stage, filling the space with liveliness and spirit. Especially memorable are the wonderful seal (Evonnee Bentley-Holder ) and dog, Jip (Jacob Fisher and Richard Vorster) who, like all the animals, are controlled masterfully by the ensemble. Vicky Entwistle also gives a lovely performance as Polynesia and cleverly disguises herself with the puppet to make us forget she's even there, which really brings a hint of magic.
Tom Piper's set is very simplistic and at first comes across as amateurish but as the show continues it becomes fitting and works well to create the storybook like atmosphere. However, the sets being a little larger and more vibrant would add a lot to the show, as would some more inspired lighting. At times it feels like there is an inconsistency with the show. Whilst the basic sets and beige costumes are, I assume, supposed to leave space to highlight the puppets, they instead feel too rushed and cheap compared to the puppets which are so bright and detailed.
This isn't a masterpiece of a show but it is a whole lot of fun for families. Act two is certainly aimed at children but does have some magical moments of choreography (Josh Rhodes) as well as a star feature from the giant pink snail which fills the stage and seems to wow many of the younger audience. For a fun night out and a reminder of why we should protect and love animals, go see Doctor Dolittle but don't expect a monumental show.
photo credit: Alistair Muir
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