Wednesday 15 May 2019
American Idiot (UK Tour), New Wimbledon Theatre | Review
American Idiot (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 14th May 2019 by Olivia Mitchell
★★★★
Taking Wimbledon by storm, American Idiot is a maelstrom of epic performances, high intensity choreography, a killer score and fantastic acting. Taking the music of Greenday and combining it with a story about three men facing darkness and pain on their journeys to finding something they can believe in; it is a very well constructed show which packs all the right punches.
Sara Perks' design is simplistic but does complete justice to the theme and aesthetic of the show. Screens are cleverly used to show various emotions and flashbacks and to emphasise certain scenes. These also allow original American Idiot cast member Lucas Rush to be cleverly worked into the show as the Rock 'n' Roll Boyfriend, these little details make the show stand out and no doubt are a factor in keeping loyal fans returning time after time.
Tim Deiling's lighting is suitably in your face, but equally precise and emotive in the higher intensity moments of the show. Chris Whybrow also achieves good balance between creating blast-your-ears-off numbers and more acoustic sounding pieces. For a show which on the surface may seem a bit of a mish-mash, it's very well conceived and carried out.
The American Idiot cast are uniformly strong as they perform Racky Plews' choreography with bite and aggression, and give note-perfect vocal performances. Tom Milner is darkly captivating as Johnny who leads the show with spades of commitment. Milner's breakdown moment is act two is utterly superb. The audience can physically feel each others tension as Milner has mastered controlling a crowd with every breath. His well-acted and well-sung performance is impeccable.
Sam Lavery is a vocal powerhouse who brings a sexiness and sadness to the show. He vocals are smooth and captivating. Luke Friend give a manic and electric performance with killer vocals and a performance which crackles and fizzles throughout; and Samuel Pope plays the troubled Will with sincerity and subtlety. As Tunny, Joshua Dowen gives a striking performance with a great character arc.
Another stand out is Glenn Adamson who captures our attention whenever he's on stage and who provides particularly strong vocals in his solo moments. Alexandra Robinson, Shekinah McFarlane and Siobhan O'Driscoll are especially memorable throughout.
Musical highlights include 21 Guns, Wake Me Up When September Ends, St Jimmy and Good Riddance (Time Of Your Life), but the whole score is performed superbly well.
Whether you've grown up with Greenday, or like me just know a few of the most popular songs, you'll certainly enjoy this raucous show. The storyline itself is pretty thin but thanks to the outstanding vocal performances and incredibly emotive and shocking scenes, American Idiot provides a fun, feisty night out.
American Idiot runs at the New Wimbledon Theatre until 18th March 2019 before continuing its tour
photo credit: Mark Dawson Photography
Friday 10 May 2019
Matilda (UK Tour), Bristol Hippodrome | Review
Matilda (UK Tour)
Bristol Hippodrome
Reviewed on Thursday 9th May 2019 by Roni Hughes
★★★★
Whether you yourself were obsessed with books as a child, or if you were just more of a movie person, I can guarantee that you will know something of Matilda Wormwood.
Originally a children’s book written by Roald Dahl and released in 1988, Matilda was later adapted into a blockbuster film starring Mara Wilson and Danny DeVito, becoming a firm favourite of young and old alike. Now the well known tale is back in a musical stage adaption by Dennis Kelly, with music and lyrics from Tim Minchin. Although currently on its first UK tour, the show has been a resident in London’s West End since 2011, and having had the pleasure of seeing it there multiple times, I was intrigued to see how seamlessly such a fast paced and well staged show would transfer to a smaller stage. For many parents unable to travel to London, this is their opportunity to take children to the show for the first time, and it’s impossible not to get swept up in the excitement upon arriving at the theatre.
Right from the off, it’s clear that the transfer has taken nothing away from the production value. Even on a smaller stage, the intricacies of the sets to include many books and building block letters are still mind blowing. There is so much to look at, yet none of it distracts from the main action. A special shout out must go to the cleverly written and performed School Song, in which the older children of Trunchem Hall teach the new starters their ABC’s through the menacing school gates. Hats off to Matt Towell and Ben Davies for continuing to make this as dynamic and tricky as it should be.
Outside of the staging, there are a few standout members of the cast without whom the show would fall flat. Our Matilda for the night, Olivia Juno Cleverley, has the little girl’s feisty nature down to a T. She has to ability to have us laughing along with her karate chopping one minute, and the next be tugging on our heart strings in softer moments where we’re confronted with just how awfully the adults in her life treat Matilda. At her young age, this is no mean feat, and I’m sure there are bright things to come for her. Special mention also to Charlie Garton who played cake loving Bruce Bogtrotter. His fabulous dance moves in Revolting Children have the audience rolling in the aisles, and he has energy and stage presence in spades.
This is not forgetting the adult cast members, who do well in being the literal embodiment of their characters. Carly Thoms’ Miss Honey is perfectly meek and mild, and her rendition of My House is suitably gut-wrenching. It’s a refreshing change to have one adult in Matilda’s story for whom you root just as much as title character, and Thoms allows us to sympathise completely with this teacher with a heart of gold.
We also cannot overlook Elliot Harper, who plays the formidable Agatha Trunchbull. Harper succeeds brilliantly in providing us with the laughs throughout the entire show, right down to one final cry of ‘Maggots!’ during the last reprise. He is the fourth Trunchbull I’ve been able to watch, and he certainly does not disappoint.
One thing I must mention that took away slightly from the overall production was the sound mixing. I’m unsure on whether it was simply down to the mics or the theatre layout, but the music seemed to overpower the actors, and particularly in chorus songs, the clarity needed to hear all the lyrics was missing. The show in general was not quite as polished as you would expect for a show that’s been on tour for 14 months already, which was most obvious in some of the dance sequences. However, despite this the show was still more than enjoyable, and this may just be down to adjusting to the recent move to the Hippodrome.
This show is wonderful for children from ages 4-104 and would certainly make for a fantastic family night out. There are plenty of age appropriate gags for all generations, and there’s a great balance of poignant moments mixed with fun and hilarity. I would definitely recommend being a little bit ‘naughty’ and treating yourself to a ticket!
Matilda runs at the Bristol Hippodrome until 8th June before continuing its tour.
photo credit: Manuel Harlan
Thursday 9 May 2019
Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox, Museum of Comedy | Review
Georgia Carling and Patrick Sullivan: Surviving a Millennial Jukebox
Museum of Comedy
Reviewed on Wednesday 8th May 2019 by Olivia Mitchell
★★★★★
Bat Out of Hell may have closed at the start of the year but that doesn't mean the love for the show and its cast has dwindled. In fact, the fans may be even more supportive now as they jump at each chance to keep the memories alive. Last night that was helped by Valkyrie and Blake themselves: Georgia Carling and Patrick Sullivan who put on a concert as part of Monsteers Artistry's new series. The pair took to the stage of the intimate Museum of Comedy to bring us a night of beautiful vocal entertainment as they sung us through some of their favourite songs.
Despite both having their starring moments in Bat, it was an enthralling treat to hear both performers really sing and show the audience just how talented they are. Their various song choices allowed us to hear cutesy, lilting moments alongside huge belt numbers, each and every one of which was performed with intensity and vocal prowess.
Patrick Sullivan's gloriously smooth tone is a true delight to hear as he skilfully masters huge songs including The Streets of Dublin (revive A Man of No Importance please) and Sam Smith's Lay Me Down. Patrick's natural charm leads the audience to feel welcomed and the space of the Museum of Comedy is perfect for a semi-informal concert.
Georgia Carling's infectious personality bursts out from the stage as she provides not only killer vocals but a magnetic stage presence which enchants the audience and has them in the palm of her hand. Georgia's rendition of The Story was completely magical and Before He Cheats brought a sassy side to the night's proceedings. Georgia has a special skill of being able to capture a crowd whilst remaining natural and relaxed as she allows the audience to bask in her talents.
Alongside the natural banter of Georgia and Patrick, the pair were joined by ex-Strat and fan favourite, Benjamin Purkiss who brought spades of humour and vocals beyond belief to the nights proceedings. Stacy's Mom was a comedic standout and Matt Corby's Brother was a vocal gem of a piece which Ben performed stunningly.
In a night where every song was a delight, some other highlights included Patrick's masterfully controlled version of The First Time Ever I Saw Your Face; They Just Keep Moving The Line which Georgia performed with gusto and honesty; Dream On which was a battle of the powerhouses Patrick and Ben; and Lucky which was magically performed by Georgia and Patrick.
If you weren't at the Museum of Comedy last night then you really missed out on a fantastically performed concert with treat after treat from three of the most talented performers the West End has to offer. I can only hope this isn't the last time we see and hear this trio perform. If you want to witness truthful, magnetic performances then look no further than Georgia, Patrick and Ben!
Follow Monsteers Artistry for information on future concerts and events
photo credit: Rishi Rai
Wednesday 8 May 2019
Amour, Charing Cross Theatre | Review
Amour
Charing Cross Theatre
Reviewed on Tuesday 7th May 2019 by Olivia Mitchell
★★★
Adapted by Jeremy Sams from Didier van Cauwelaert's original French libretto which was based on Le Passe-muraille (The Man Who Walked Through Walls), Amour is a fantasy musical set in 1950's post war Paris. It tells the story of shy civil servant Dusoleil who works tirelessly whilst pining for a beautiful woman who lives near him. The woman, Isabelle, is unhappily married and treated like property by her husband, the local prosecutor.
One night, Dusoleil discovers he has the power to walk through walls. This special power allows him to secretly stand up to those who have wronged him, and to act as the French Robin Hood, stealing from the rich and giving to the poor. He becomes know as the mysterious Passepartout who captures the attention of the city and of Isabelle...
This is a sweet and bittersweet story which is delicately handled by Director Hannah Chissick. The concept of Amour is intriguing and mystical, and the style of the music is chocolate box sweet, but unfortunately the plot itself does little to keep the audience enthralled.
It's a slow build show, meaning that nothing really happens for the majority of the first act. The scene is set and the Parisian characters are introduced in a flurry of bikes and motion. The music by Michel Legrand invokes all things Paris and is performed very well by the tight knit ensemble but as a whole the show feels oddly paced and somewhat un-cohesive.
Individually the aspects are great. Rob Halliday's atmospheric lighting is divinely whimsical and warm with a hint of magic mixed in; Matt Cole's choreography is sharp and sweetly emotive and Adrian Gee's sets and costumes do transport us to 50's Paris. Mention must also go to the band, led by Jordan Li-Smith who play fantastically and Andrew Johnson who mixes the sound perfectly so each line can be heard even when various counterpoints are happening.
The cast are a superb ensemble. Gary Tushaw leads as Dusoleil, giving a vocally strong and charming performance. Anna O'Byrne is beautiful and vocally divine as Isabelle, although the character herself is a little flat. Alasdair Harvey is suitably threatening as the prosecutor and Elissa Churchill gives a wonderfully strong, stand out performance. Claire Machin brings humour and energy and Keith Ramsay is the embodiment of Parisian charm as he floats around the stage providing delightful vocal tidbits. Alistair So and (at this performance) Jack Reitman contribute well individually and to the full ensemble.
This is a well performed, well staged and well lit production but it doesn't make sparks fly. Amour is a refreshingly light production that has enough musical treats to entertain and has been well handled by the entire creative team, but overall is falls flat.
photo credit: Scott Rylander
Monday 6 May 2019
Man of La Mancha, London Coliseum | Review
Man of la Mancha
London Coliseum
Reviewed on Friday 20th October 2017 by Olivia Mitchell
★★
Man of La Mancha is considered a 'rare' revival and from this production it's pretty clear why. The story is highly dated and it's evidently a very hard piece to stage. Whilst the cast do as much as they can with what they've been given, the production feels un-engaging and insufficiently developed.
The structure of 'a show within a show' does little other than make the piece feel static. No context is given for the prison setting and the transition from the damp cell to the dreamlike play is jarring at times. The switches feel bulky and instead of moving on what little story there is, add an unnecessary layer which isn't resolved in any way.
The thin plot follows author Cervantes (Kelsey Grammer) who has been thrown into the prison. In an attempt to save his manuscript of Don Quixote and his worldly possessions, he acts out the novel and allows the other captives to take part. Grammer is good in his roles most of the time but feels unsteady, especially during the fight scenes, and doesn't bring the show's hit song 'The Impossible Dream' to life with much bravado. In general the cast are strong but there are moments of weakness, mostly due to the book itself.
Nicholas Lyndhurst plays both the sinister Governor and boozy innkeeper and is highly entertaining. The story may be strange but Lyndhurst amuses and brings his unsophisticated characters to life.
Soprano Danielle de Niese plays Aldonza, the local prostitute who Quixote sees as his princess and damsel in distress, Dulcinea. De Niese is vocally strong and brings an entertaining feistiness to the stage, but her incredibly dated role which features a brutal rape scene, again feels discordant. There seems to be a lack of balance between comedy and drama, with whimsical moments suddenly being taken over by shocking social commentaries, that do little to resonate with a modern audience.
There are brief sparkles of greatness in this production: David Seadon-Young stands out among the ensemble, Peter Polycarpou is engaging and whimsical and the gypsy dance is well choreographed. However overall Man of La Mancha feels like a show which cannot be made relevant for a contemporary audience. The bizzare characters are too far removed from anything the audience can sympathise with which makes the whole production feel empty.
If Fotini Dimou's beautifully detailed costumes and David White's superbly virtuosic orchestra are enough for you to fork out the the ticket money then by all means go to this show, but don't expect much more.
For more information and tickets, visit https://www.londonboxoffice.co.uk
photo credit: Manuel Harlan
Saturday 4 May 2019
Disney's Aladdin, Prince Edward Theatre | Review
Aladdin
Prince Edward Theatre
Reviewed on Wednesday 21st May 2019 by Olivia Mitchell
★★★★
There's always room for a little injection of Disney magic and Aladdin which is booking at the Prince Edward Theatre until July 27th 2019, is just that. It's not a life-altering, thought-provoking piece of theatre but it's a whole lot of fun, mountains of sparkle and enough magic to enthral children and adults alike.
If you're unaware of the story, Aladdin follows a street urchin who is hustling his way through life. That is, until he meets the Princess of Agrabah and his life becomes a little more wild. As the prophesied 'Diamond in the Rough', Aladdin gets his hands on a lamp which contains a magical Genie, who will grant him three wishes. Aladdin ventures to find love and escape the dark characters who are on his tail in this mystical story.
Aladdin (played by Matthew Croke) is lovable and charming in all the ways you could desire. With a beautiful voice and fantastic stage presence he leads the show perfectly. Croke's rendition of 'Proud of Your Boy' is truly moving and a wonderful moment of calm among an all-singing, all-dancing musical. His Jasmine is played by Courtney Reed who is dazzling and brings a feminist, sassy quality to the character that transfers fantastically on stage. Reed's vocal performances are equally as enchanting and when the pair join for the iconic duet 'A Whole New World' they not only do the film version justice, but put their own mystical spin on it.
The rest of the cast are highly talented, as shown by the various dance numbers which are performed with enthusiasm and precision. Similarly to the film, it's the Genie (played by Trevor Dion Nicholas) who utterly steals the show. With incredible comedic flair and dramatic prowess, Nicholas earns rapturous applause in every scene. Act One closer 'Friend Like Me' is a glistening gem in this production.
A spin of colour, created by Bob Crowley's sets and Gregg Barnes' costumes, Aladdin is a feast for the eyes as well as the ears. The sides of the stage do feel a little underused as they are completely bare, but the black box effect strangely makes the stage look like a television which works for this show.
There are times when the show does feel a bit pantomime-esque, but there's no denying that it caters to the vast audience of tourists, theatre newbies, children, theatre regulars and adults very well. Aladdin pleasantly surprises and impresses.
The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.
The mix of comedy, romance, fantastic performances and magic, mean something is provided for everyone and you can't help but feel whisked up in the wonder of it all.
Aladdin is currently booking at the Prince Edward Theatre until July 27th
For more information and tickets, visit: www.londonboxoffice.co.uk
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