Thursday, 7 March 2019
Waitress, Adelphi Theatre | Review
Waitress
Adelphi Theatre
Reviewed on Thursday 7th March 2019 by Olivia Mitchell
★★★★
Based on the 2007 film of the same name, Waitress is a quirky, sweet, fun show by late comedic legend, Adrienne Shelly. Having taken Broadway by storm, it has now opened in London and is a pastry wrapped parcel of theatrical sweetness.
With music and lyrics by Sara Bareilles, it's the score that's really the stand out factor of this show. The music is a magical combination of folk, pop, country and musical theatre, and gives the musical a really cinematic element. The contrast between high energy songs, calmer numbers and highly emotive pieces, cleverly matches the way the show emphasises the highs and lows of life.
As we are welcomed into the Adelphi Theatre with the smell of pie permeating the air, we instantly feel a sense of relaxation and as if we really are visiting the small diner in rural America where most of the show is set. We're introduced to the characters as if they're friends and get to see the great cast at work.
In Waitress, the ensemble act as though they are one. Of course they scatter the stage and have individual character moments (a particular stand out is Kelly Agbowu as the wonderfully sarcastic Nurse Norma as well as Charlotte Riby who is fantastic as Jenna's mum and really shines during her featured moments) but they really come into their own when they work as a team. Much of the choreography (Lorin Latarro) is ensemble based and features smooth movements as well as perfectly timed motions. The men and women combine at times to symbolise Jenna's internal thoughts, as well as keeping the show fluid and highlighting the connections between people on stage. Natural feeling movements are in reality, highly choreographed but the show still feels pretty free and spontaneous.
Whilst the show is cute and there are various witty moments, the book itself is not particularly strong as a whole. Leading lady Jenna, is pregnant with her abusive husband's child and falls in love with her gynaecologist Dr Pomatter, whilst her work colleagues also have romances of their own.
The romantic encounters are charming but the consistent cheating which runs throughout the show, feels somewhat jarring. It's not the cheating itself which feels wrong- Jenna wants someone who loves her outside of her abusive relationship, whilst Becky's husband is unwell so she feels tied to him but wants something more- but the lack of resolution to these stories feels unfulfilling. The story is clearly meant to be about female empowerment, but it doesn't seem right that the men are allowed to act in any way they like (and motivate all decisions the women make). Ogie for example, doesn't think twice about hounding Dawn when she says no to seeing him again, whilst Dr Pomatter has no qualms with seducing a vulnerable patient. Of course these things are meant to make us root for them and see it as 'forbidden love' but unfortunately it leaves a bit of a sour taste.
However, the performances throughout are pretty uniformly wonderful and the cast do all that they can with the book they've been given. Katharine McPhee as Jenna, gives a graceful but vivacious performance, which at times feels a little too understated but truly delivers in her stand out moments such as She Used to be Mine and she leads to show with a delicacy that is enviable. David Hunter is suitably geeky and charming and brings a great vocal performance to Dr Pomatter, whilst Jack McBrayer is hilarious but lacks vocal strength and technique as Ogie. Marisha Wallace is sassy as Becky and Laura Baldwin gives a standout performance both vocally and in terms of characterisation as timid, love-struck Dawn.
Waitress is a show that takes you off the beaten track and provides a more intimate, less flashy show compared to those we usually see. This nuanced musical is a sweet treat that will warm your heart, purely thanks to it's quirkiness and affectionate score.
Tickets for Waitress can be booked via www.londonboxoffice.co.uk
Tickets for Waitress can be booked via www.londonboxoffice.co.uk
photo credit: Johan Persson
Wednesday, 6 March 2019
Six, Arts Theatre | Review
Six
Arts Theatre
Reviewed on Tuesday 5th March 2019 by Olivia Mitchell
★★★★★(★)
Yesterday, the 2019 Olivier Awards nominations were announced and Six are up for five. For a show which started as a university project, its pretty amazing and inspiring that Six is reaching such levels of stardom, and rightly so. Since debuting with the Cambridge University Musical Theatre Society, showcasing at the Edinburgh Fringe, having a stint at the Arts Theatre, touring and now returning for a pretty open ended run at the Arts, Six has gone up and up, reaching stratospheric levels of brilliance and dazzle. Creators and besties, Toby Marlow and Lucy Moss have somehow managed to capture every type of audience member with their inventive and exciting pop re-telling of Henry VIII's wives. It seems impossible that this show can get better but on my fifth visit, I can confirm: it can!
The concept is that each of Henry VIII's wives sing a song about the hardships of their time with him in the hope of having the most dramatic life story, and therefore becoming the Queen of Queens and leader of the girl group. The setup is the perfect instrument to provide showcase moments for each performer and allow each story to be told with enough depth to keep it interesting and entertaining. This is really an ensemble piece of theatre as each Queen has the opportunity for a solo, as well as backing up the others, so it's only right that all six have been nominated as team for Best Supporting Actress in a Musical. Even the structure of the show, without the songs themselves, upholds the notion of women supporting women.
The Arts Theatre is transformed to a pop concert, Tudor Court with harpsichord remixes of modern songs greeting us as we take our seats. Tim Deiling's pre show lights act like a crown framing the stage and set the tone for the epic lighting that is to come. Of course the music and performances are outstanding but they are taken up several notches by Tim's well thought out and supremely effective lighting. Gabriella Slade's costumes are also spectacular. The clever use of stiff and sparkly fabrics mirror the message of femininity alongside power and are just another tick to add for this show. The sharp wit of the ladies, is matched by Carrie-Anne Ingrouille's choreography which is modern, pop inspired and oh so sharp. If the Arts Theatre paid it's bills in sass, this choreography alone would do the job.
The Arts Theatre is transformed to a pop concert, Tudor Court with harpsichord remixes of modern songs greeting us as we take our seats. Tim Deiling's pre show lights act like a crown framing the stage and set the tone for the epic lighting that is to come. Of course the music and performances are outstanding but they are taken up several notches by Tim's well thought out and supremely effective lighting. Gabriella Slade's costumes are also spectacular. The clever use of stiff and sparkly fabrics mirror the message of femininity alongside power and are just another tick to add for this show. The sharp wit of the ladies, is matched by Carrie-Anne Ingrouille's choreography which is modern, pop inspired and oh so sharp. If the Arts Theatre paid it's bills in sass, this choreography alone would do the job.
Whilst Six does follow real life people, not all the facts are historically correct and everything needs to be taken with a pinch of salt and a peep into a history textbook. However, Marlow and Moss have done an outstanding job of scattering facts here and there and allowing their own writing style, alongside influences from famous pop performers to develop the stories. The composers provide catchy tune after catchy tune as each of the queens tell their stories in their distinctly them style.
The two queens who got off the lightest (aka they were not killed and had pretty great lives post-Henry) bring fiery, energetic performances. Jarneia Richard-Noel as Catherine of Aragon is the definition of sass as she tells Henry there's No Way he can throw her out like a pheasant carcass (not a direct quote but it sounds like a Tudor insult, right?) Anna of Cleves (Alexia McIntosh) shows her success as she regales us with snippets of her life in her resplendent, Richmond Palace. Both ladies perform their upbeat songs with enough energy to power the entire West End and give their absolute all night after night.
Otherwise, Natalie May Paris gives a completely heartfelt performance as "the only one he truly loved", Jane Seymour who died young in childbirth. Her hilariously awkward one liners bring a like-ability to her character, as does her note perfect, chill-inducing rendition of Heart of Stone.
Natalie's performance beautifully and painfully highlights the exploitation of women by the men in power. Whilst she proclaims her love for Henry, she also realises that Henry only loved her because she was able to provide him with an heir. Although all the women are treated badly by men, it's Aimie Atkinson as Katherine Howard who gives the most strikingly painful display. All You Wanna Do is a slow building piece which portrays the dark way in which Katherine was essentially groomed her entire life. The way Aimie manages to show a complete character arc in this song, is truly skilful.
Millie O'Connell is utterly dazzling as the super cheeky Anne Boleyn who is equally used by men but employs her wit and sex appeal to fight back. Although this led to her head off demise, it allows for a fantastically well characterised performance which is worthy of every ounce of applause it receives.
This is an undoubtedly feminist show that inspires women to support each other and reminds us all that we're stronger together. Maiya Quansah-Breed's number towards the end I Don't Need You Love is a pinnacle of the show as it is not only performed perfectly, but wraps up the show and its message so well. The queens combined are an absolute force to be reckoned with and upon leaving the theatre, my friend exclaimed "I've never wanted to be a sassy woman more... I've never felt so empowered!" and that is absolutely true.
Whilst many deep and pretty dark themes course through the roots of this show, writers Marlow and Moss and co-director (with Moss) Jamie Armitage have done a superb job of never making anything too heavy or overwhelming. They maintain a balance which thrills and moves the audience.
Otherwise, Natalie May Paris gives a completely heartfelt performance as "the only one he truly loved", Jane Seymour who died young in childbirth. Her hilariously awkward one liners bring a like-ability to her character, as does her note perfect, chill-inducing rendition of Heart of Stone.
Natalie's performance beautifully and painfully highlights the exploitation of women by the men in power. Whilst she proclaims her love for Henry, she also realises that Henry only loved her because she was able to provide him with an heir. Although all the women are treated badly by men, it's Aimie Atkinson as Katherine Howard who gives the most strikingly painful display. All You Wanna Do is a slow building piece which portrays the dark way in which Katherine was essentially groomed her entire life. The way Aimie manages to show a complete character arc in this song, is truly skilful.
Millie O'Connell is utterly dazzling as the super cheeky Anne Boleyn who is equally used by men but employs her wit and sex appeal to fight back. Although this led to her head off demise, it allows for a fantastically well characterised performance which is worthy of every ounce of applause it receives.
This is an undoubtedly feminist show that inspires women to support each other and reminds us all that we're stronger together. Maiya Quansah-Breed's number towards the end I Don't Need You Love is a pinnacle of the show as it is not only performed perfectly, but wraps up the show and its message so well. The queens combined are an absolute force to be reckoned with and upon leaving the theatre, my friend exclaimed "I've never wanted to be a sassy woman more... I've never felt so empowered!" and that is absolutely true.
Whilst many deep and pretty dark themes course through the roots of this show, writers Marlow and Moss and co-director (with Moss) Jamie Armitage have done a superb job of never making anything too heavy or overwhelming. They maintain a balance which thrills and moves the audience.
With various international productions and tours already in the works, there's no doubt that Six will continue to receive acclaim and a posse of adoring fans around the world. This is the history lesson you'll love and want to return to over and over again. Perfectly executed (!) and superbly created, Six is the smash hit you need to see... and see again.
Read my original Six review here
photo credit: Idil Sukan
Read my original Six review here
photo credit: Idil Sukan
Tuesday, 5 March 2019
Rocky Horror Show (UK Tour), New Victoria Theatre | Review
Rocky Horror Show (UK Tour)
New Victoria Theatre
Reviewed on Monday 4th March 2019 by Louise Jordan
★★★★★
Over 30 million people have watched the Rocky Horror Picture Show live. I was one of them, thirty years ago. Would this version capture the energy, naughtiness and sheer exuberance of my previous experience, or Richard O’Brien’s cult film? The answer is abso-jolly-lutely. What a treat!
I could explain the plot in detail, but frankly it doesn’t really matter. In a nutshell Brad (Ben Adams) and Janet (Joanne Clifton), American squeaky clean and newly engaged college students, break down one night and seek shelter. They stumble across Dr Frank-N-Furter’s (Stephen Webb) castle, where he is unveiling his newest creation, Rocky (Callum Evans). A certain amount of, ahem, intimacy occurs all round (the warnings of adult themes are justified – don’t take your granny unless she’s especially broad minded). Enter stage left Dr Everett Scott (Ross Chisari) looking for his son Eddie and tada, we discover that Frank is an alien transvestite from the planet Transsexual. Are you any wiser? Thought not. But you don’t go to the Rocky Horror Picture Show for the plot. You go for the experience and the singalong joy of it – the entire audience is on their feet for ‘Sweet Transvestite’. The show is clearly held in enormous affection by its devoted audience and Dom Joly as narrator interacts brilliantly with the barrage of comments that punctuate his every appearance on stage.
The acting, singing and dancing are flawless, and the staging slick in this ensemble production of all round strong performances. The chemistry and timing between actors ensures the pace never dips from start to finish.
If you live in or near Woking, you’ve got a week to catch this show and leave behind the pressures of real life for a night. And if – man, woman or non-binary – you want to dust down your bustier and fishnets for the night, who am I to judge?
Rocky Horror runs at the New Victoria Theatre until 9th March before continuing its tour
photo credit: David Freeman
Sunday, 3 March 2019
Disney's Broadway Hits, Royal Albert Hall | Review
Disney's Broadway Hits (Concert)
Royal Albert Hall
Reviewed on Saturday 2nd March 2019 by Olivia Mitchell
★★★★★
There's no denying that we all love a bit of magic in our lives and the Royal Albert Hall's latest Disney offering provided the perfect sprinkle of fairy dust on a grey Saturday afternoon. Helmed by the BBC Concert Orchestra, led by Keith Lockhart, alongside West End stars, Ava Brennan, Shaun Escoffery, Willemijn Verkaik and Anton Zetterholm, the audience were treated to an outstandingly well performed showcase of some of the most well loved Disney songs with some hidden gems added in.
With songs from musicals such as Beauty and the Beast, Mary Poppins, The Little Mermaid and Newsies, to name just a few, there was certainly something for everyone. The four performers brought versatility and vocal prowess to each song with standouts including A Change in Me, Shadowland, Elaborate Lives and Let it Go.
With years of Disney content to use, the team have done a wonderful job of creating a programme which provides some surprises as well a the songs we'd expect. Music from King David we welcomed with open arms and gave us a glimpse of what Disney delights could be bought out of the vaults for future revivals. We also go a glimpse into the upcoming West End productions of Mary Poppins and Frozen which are sure to delight audiences when they open.
Thanks to outstanding lighting design and the elaborate setting of the Royal Albert Hall, this concert provided a dose of brilliance that captivated the audience from start to finish. You couldn't ask for a sweeter theatrical event and I can only hope we get more Disney magic in the future.
Friday, 1 March 2019
Rock of Ages (UK Tour), New Wimbledon Theatre | Review
Rock of Ages (UK Tour)
New Wimbledon Theatre
Reviewed on Thursday 28th February 2019 by Olivia Mitchell
★★★
Lets start by saying that this is not a musical masterpiece by any means, but it is a super self-aware, high intensity, fun and crazily well performed show, that'll definitely have your toes tapping to some of the most well-loved rock classics.
The story, which is highly basic, follows small town girl, Sherrie and city boy Drew, who meet on the sunset strip whilst trying to achieve their Hollywood dreams. When German developers sweep into town, they threaten to ruin the rock n roll fairytales of everyone and the gang have to fight (and sing) for the the strip.
Rock of Ages absolutely doesn't take itself seriously, and instead revels in the cliches and nostalgia of the 80s with power ballads, rockers, shoulder pads and skimpy costumes. The minimal storyline is made up for with epic performances and a whole lot of fun. You can expect cheesy backdrops and props, tongue in cheek choreography, a rocking score and sexy rock chicks peppering the stage.
The flimsy script is brought to life by animated and intense performances from the cast. As Sherrie, Jodie Steele belts out power ballads with vocal skill and ease, whilst her love interest Drew, is played incredibly well by Luke Walsh who has an outstanding voice. Zoe Birkett delivers completely stellar vocals in her small role as Justice and Kevin Kennedy brings vibrance and humour to Dennis who could easily command the stage as a bigger role. Kevin Clifton brings a surprisingly well rounded performance as the embodiment of sex and drugs and rock n roll, Stacee Jaxx.
Also keeping up the humour and energy is Rhiannon Chesterman as Regina who's voice is criminally underused but she does a great job with the script she's given. As German duo, Vas Constanti and Andrew Carthy are caricature's to the extreme but completely know how to work to the audience.
The ensemble of skimpily clad men and women add moments of interest away from the main action and make the simplistic stage feel full and vibrant. It's Lucas Rush as Lonny who really steals the show with his charismatic performance and natural audience banter. He breaks the fourth wall with ease and seems to constantly be thinking of ways to entertain, and these pay off!
Nick Winston's direction and choreography is pretty strong throughout, although at time it feels like too much is happening at once, and what little story there is, becomes even more shadowed by other movement or action spread across the stage. At the same time, that does kind of sum up the show which is essentially a wacky showcase of some hit songs that have you not sure where to look or what to think.
Rock of Ages is thick with cliches, crudeness and semi-nudity but it's certainly fun. If you want a moving, dramatic narrative and a PG show, this is absolutely not for you. But, if you want great performances and a pretty electric atmosphere and some raucous, rocking fun, then pop along and have a fun night!
Rock of Ages runs at the New Wimbledon Theatre until March 2nd before continuing it's UK Tour.
photo credit: Richard Davenport
Tuesday, 26 February 2019
Abigail's Party (UK Tour), New Victoria Theatre | Review
Abigail's Party (UK Tour)
New Victoria Theatre
Reviewed on Monday 25th February 2019 by Melanie Mitchell
★★★★
I am old enough to have seen the original televised play for today of Mike Leigh’s Abigail’s Party in 1977 and have loved it ever since. Therefore, I was really looking forward to seeing Sarah Esdaile’s adaptation of this iconic piece and I wasn’t disappointed.
As we entered the theatre we were greeted by the most amazing set where we can take a somewhat voyeuristic view through the windows of a typical suburban house of the seventies.
We watch as Beverly, played superbly by Jodie Prenger, flits in and out, preparing for her Party, switching on the fibre optic lamp, opening the drinks cabinet and laying out that most ubiquitous of party foods, the cheese and pineapple hedgehog.
Beverly has invited new neighbours Angela & Tony for drinks, also inviting Sue, as her teenage daughter Abigail is having a party. The play centres around these 5 characters and their complicated relationships. Beverly and her husband Laurence who have enormous marital problems, The mousey downtrodden Angela and her monosyllabic husband Tony and Sue the timid, socially inept divorcee.
As the drinks flow, whether the guests want them or not, the tensions rise between the partners and the group. The underlying problems begin to emerge and escalate to the 70’s sounds of Donna Summer and Demis Roussos.
The play portrays the era perfectly, tapping in to the social climbing, aspirational working class often associated with the 1970’s.
In the original show, Beverly is played by the amazing Alison Steadman, who created the voice of Beverly. I think that Anyone who has seen the original will agree that this is one of the most important and fundamental facets of this character. I was slightly apprehensive as to how another actor would carry this off. I needn’t have worried, as from the minute Jodie Prenger spoke, she was Beverly. From her flowing psychedelic dress and cleavage to her cutting and withering remarks to Laurence, fabulous performance.
The other characters were also played brilliantly, Vicky Binns is great as the mousey, impressionable and excitable Angela. Alongside Calum Callaghan as Tony her monosyllabic husband simmering with underlying aggression. Daniel Casey gives a super performance as Laurence, the socially mobile estate agent desperate to show that he does have class. Rose Keegan is perfectly cast as Sue, she was totally believable as she squirmed uncomfortably at the others behaviour.
As previously mentioned, the set, lighting and sound design are wonderful, I was immediately transported back to the 70’s, with the orange and brown décor, the party food and the music. Not a single item of detail was missing from that room.
Mike Leigh's original production has certainly stood the test of time with themes in the play as relevant today as they were 40 years ago.
This tragicomedy has laugh out loud moments tinged with both pathos and sadness. It is a wonderful evening out to the most uncomfortable party you may ever attend.
Abigail's Party runs at the New Victoria Theatre until March 2nd 2019 before continuing it's tour
photo credit: Manuel Harlan
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