Wednesday 13 March 2019
West End Live Lounge: Woman, The Other Palace | Review
West End Live Lounge (Concert)
The Other Palace
Reviewed on Friday 20th October 2017 by Olivia Mitchell
★★★½
This is the second Woman themed West End Live Lounge, but this time, the team have graduated from The Other Palace Studio, to the main space as they become bigger and better. Featuring songs from some of the most influential women in music and raising money for Samaritans, West End Live Lounge is really about the heart and soul of everyone involved.
Host for the evening was Samuel J Holmes who wittily engaged the audience and provided innuendo after innuendo and a number of anecdotes about his new home in Southend. The atmosphere remained lighthearted throughout but we were all reminded of the crucial reason for the concert. As always, the proceeds from West End Live Lounge go to charity, this time we were raising funds for Samaritans who do crucial work helping those in dark mental places. The Samaritans answer a call for help every six seconds which is truly incredible and its imperative that we help where we can. Especially in an industry where mental health is often battered, it feels very special and close to everyone's hearts that we can support the charity in this way.
Whilst the evening did flow very well, it would have been nice to hear each performer introduce themselves and their songs a little as at times they felt a little removed from the audience. Perhaps this was due to nerves but I felt that some ice breaking could have helped.
To raise funds and of course provide entertainment, founder of West End Live Lounge, Shaun McCourt pulled together some of the best West End performers to sing their hearts (and larynx's) out. Highlights were aplenty so I'll just name a few... First up, Jennifer Tierney's performance of All By Myself which was note perfect and superbly performed. With her hauntingly beautiful rendition of With Woman in the Moon, Brady Isaacs Pearce brought calm to the venue, whilst Shekinah McFarlance showed off her extreme vocal prowess with Lose To Win.
Blowing the roof off at the end of act two, Emma Lindars put her own spin on the Jessie J classic, Mama Knows Best and wowed the entire audience a second time with Stone Cold by Demi Lovato. Live Lounge regulars Divalution provided their signature riffs, belt and sass with All I Ask and Power, and Matthew Harvey put a new spin on Britney Spear's, Circus, complete with multi-coloured lighting.
Other stand outs included Kayleigh McKnight's rendition of Chandelier, Louise Dearman's take on the Celine classic, Taking Chances. And, after an understated start, Simon Gordon's performance of Shallow was utterly breathtaking and completely memorable. The 10 piece band led my MD Sam Coates did an outstanding job of backing up the performers as well as having their own chances to shine. The full band bring a real warmth to these concerts and its fantastic to, not only hear them playing brilliantly, but also see them looking like they're having a great time.
West End Live Lounge continues to provide a highly entertaining Sunday out, full of treats a surprises. There is always guaranteed to be something for everyone and you should definitely pop along, not only to hear fabulous singing, but also to support highly deserving charities.
photo credit: Nick Brittain (Brittain Photography)
9 to 5 The Musical, Savoy Theatre | Review
9 to 5 The Musical
Savoy Theatre
Reviewed on Tuesday 12th March 2019 by Olivia Mitchell
★★★★
Its almost forty years since Violet, Judy, Doralee and their misogynistic boss made their way to screens in the film 9 to 5. Musical adaptation by film creator, Patricia Resnick shows that whilst times have changed, unfortunately many of the issues are still prevalent and feel very relevant during the Trump Era and #MeToo movement.
Despite what you may think, this is not a jukebox musical and apart from the world hit 9 to 5, many of the songs are forgettable although being pleasing to listen to at the time. The arrangements by Stephen Oremus, Alex Lacamoire and Mark Crossland are pretty and Lisa Stevens' buoyant choreography keeps the momentum of the show going but the music itself is not the highlight.
However, Jeff Calhoun's West End production features a fantastic cast who perform Dolly Parton's score with vigour and drive. Natalie McQueen completely shines as Dolly's character, Doralee Rhodes. Funny, feisty and a vocal powerhouse, Natalie brings life to the role and provides a memorable moment with Backwards Barbie. Amber Davies is charming as the naive Judy Bernly who finds herself throughout the show. Whilst her acting is somewhat lacking at times, Amber retains her charisma and gives a lovely performance of Get Out and Stay Out.
Caroline Sheen brings a light to the show as the strong and capable, Violet Newstead. Together the three ladies are a real force as they take drastic measures to stop their sexist boss, Franklin Hart Jnr. (played comedically by Brian Conley) from blackmailing them. The real show stealer is Bonnie Langford as Hart's devoted assistant who is completely wonderful is her unrequited love for her CEO. Her high-kicking, leg-splitting performance of Heart to Hart is impressive beyond belief and utterly hilarious.
This is a crowd pleasing production that, with a second act of only 45 minutes, flies by with a flash of hair, power-suits and feminism. There's no denying that the principles are dated and it's more of a period piece than a modern inspirational tale to live by, but it does provide a laugh. Whilst being set in the 80s, the various nods to 2019 allow it to feel more relatable. 9 to 5 is a feel-good show, helmed by powerful performers who allow you to ignore the shortcomings and enjoy it for what it is: a load of female led fun.
photo credit: Craig Sugden
Tuesday 12 March 2019
Benidorm Live (UK Tour), New Wimbledon Theatre | Review
Benidorm Live (UK Tour)
New Wimbledon Theatre
Reviewed on Monday 11th March 2019 by Olivia Mitchell
★★★★
Camp, crude and cheesy, Benidorm Live has brought the popular TV programme to life in a fantastic way. Derren Litten's stage adaptation completely captures the feel-good essence of the programme and has the audience laughing out loud throughout.
Almost taking the form of an episode from the TV, Benidorm Live follows the staff and holidaymakers at the tattered and tacky beyond belief, Solana Resort in Benidorm. Famous faces from the series Liam (Adam Gillen), Mateo (Jake Canuso), Joyce (Sherrie Hewson), Kenneth (Tony Maudsley), Jacqueline (Janine Duvitski) and Sam (Shelley Longworth), fight to reveal and impress the undercover hotel inspectors who could lead to the shut down of the resort. The story is basic but extremely well put across; what the narrative lacks, is made up for with performance and wit.
Mark Walters' cleverly designed set, brings the hotel to life with cheer and brightness, featuring a pool side, Neptune's Bar, the hotel reception and the Blow'N'Go salon. The transitions from scene to scene are well done, especially when mini dance interludes draw the audience away from the set changes completely. By the end of the show, you almost forget you're not watching the TV, or even that you're not sitting on a Benidorm beach yourself.
Whilst the hugely enjoyable design of the show is great, it's the utterly hilarious cast who really bring it to life. Sherrie Hewson prances about barking orders to no avail. As the sleazy but adored Mateo, Jake Canuso is outstanding and he tries (and fails) to seduce the hotel's guests. Particularly impressive is the link to Canuso's past, where he shows off some of his sharp, supported dance. Janine Duvitski gives one of the wittiest, most innuendo rife performances ever. Her play on words and general larger than life persona, makes her a definite audience favourite, gaining laugh after laugh. Adam Gillen's Liam is endearing and wonderful, as is his partner in crime, Kenneth, played as camply as possible by Tony Maudsley. Asa Elliot as himself, provides some great vocals. As the middle-class holidaymakers who find themselves at the Solana when their dream hotel is overbooked, Tricia Adele-Turner and Bradley Clarkson give buoyant performances as Sophie and Ben.
Derren Litten's stage debut should be applauded as he creates a rowdy night out that is easy to follow but still highly entertaining. A saucy, seaside postcard of a show, Benidorm Live is sure to delight fans of the series and newbies alike as they take a carefree, innuendo-filled trip to sunny Spain.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Benidorm Live is at the New Wimbledon Theatre until March 16th before continuing its tour.
Saturday 9 March 2019
Mamma Mia, Novello Theatre | Review
Mamma Mia
Novello Theatre
Reviewed on Wednesday 6th March 2019 by Olivia Mitchell
★★★
It's a cult classic, it's summery fun, it's the music of ABBA and altogether it's a great night out. It's never going to be the most theatrically enthralling or deeply emotive piece of theatre but Mamma Mia is a boat load of laughs and a perfect carefree way to spend a couple of hours.
In case you've somehow missed it, Mamma Mia is set on a Greek Island where Donna Sheridan lives with her daughter Sophie, who is getting married to ex-banker Sky. Sophie is on a mission to find her dad so invites her three potential fathers to her wedding. What ensues is a journey where past emotions are brought up, and the importance of family is examined and everyone bops out to a bit of ABBA. When it opened in 1999 in London, very few would have imagined the worldwide success of the Mamma Mia franchise and it seems that this success is in safe hands with the current West End cast who are helping it celebrate it's 20th Anniversary.
Having recently taken over the role, Charlotte O'Rourke is super sweet is Sophie Sheridan. Bringing the sweet vocals we all expect as well as power in act two. Alongside Alec Porter as Sky, the pair make a nice duo and give an especially entertaining performance in Lay All Your Love on Me.
Leading lady Donna is a pretty extensive role which requires some big vocal chops. At this performance, Caroline Deverill took on the role and did so with both honesty emotion and exuberant energy. Songs such as The Winner Takes It All and Money, Money, Money were stand outs of the night. As her Dynamos, Jennifer Hepburn (Rosie) and Kate Graham (Tanya) gave spandex filled performances and delivered their witty lines with a freshness that the audience clearly loved.
Sophie's three dads were played by Mark Isherwood (Harry), Stephen Beckett (Bill) and Richard Trinder (Sam). The three get the audience on their side immediately and give wonderfully comedic and heart warming performances. Their complex relationships with each other, Donna and Sophie are well played out and extremely entertaining.
The ensemble work hard to bring the Greek island to life in terms of choreography as well as providing backing vocals to most of the show. There did seem to be come vocal imbalance throughout, with the leads often being almost silent but this was rectified by the mega-mix ending.
Mark Thompson's basic set is cleverly used with the addition of props and lighting to simplistically put the story across and compared to other shows does feel a bit dated and overly basic, but it does the job and that's all you can ask for, and expect, with a show like this.
With the Mamma Mia sequel recently being released and the ABBA love being felt more than ever, it's no surprise that this show continues to be a success. It's not a categorically 'great' musical but it's super energetic, platform filled and as much fun as you wish it would be.
Tickets for Mamma Mia can be booked via www.londonboxoffice.co.uk
photo credit: Brinkoff/Mögenburg
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
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