Friday 24 May 2019
Amélie (UK Tour), New Wimbledon Theatre | Review
Amélie
New Wimbledon Theatre
Reviewed on Thursday 23rd May 2019 by Olivia Mitchell
★★★★
The cult French film Amélie has been on a long journey to get to the UK and it's finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully.
Audrey Brisson plays Amélie the girl who grew up unloved but came to have a heart of gold as she sweetens the lives of others among the Paris streets. A host of characters surround her as bar staff, neighbours, customers and strangers. They also double as bohemian musicians, an element which really brings the show to life and adds to the floaty feeling of it all.
Elliot Griggs' sepia toned lighting drenches the stage fantastically to create an intimate feeling. Madeleine Girling's set featuring a metro station, a photo booth and two worn pianos, doesn't change but rearranges to create the various atmospheres of the show. Amélie's bedroom is a lampshade lift up and perfectly sums up the sweet life she leads. When Amélie spot Nino (Danny Mac) at the train station, he soon becomes a focal point of romantic attention and the set almost seems to move around him at times. The combination of set, costumes, puppets and lighting all work together in a seamless fashion to bring the surreal imaginative aspects of the show to life.
Daniel Messé's music is fluent and catchy as we are transported around Paris, with Times Are Hard For Dreamers and Stay, providing the most memorable moments. Craig Lucas' book is somewhat wacky with gnomes and figs that come to life, but the fantastical element of it all is very enticing. Whilst there is a good flow to most of the show, it does feel just a tad too long, some splicing here and there would add shine to the gem it is.
Audrey Brisson's beguiling interpretation of the lead character is truly what makes this show special. Her sublime voice and outstanding characterisation make her an ideal lead who enchants from start to finish. Danny Mac is suitably enigmatic and provides some swooping vocal moments. The ensemble throughout are masterful at what they do and this team production really does warm the heart.
This effective musical uses nuance, silence and soaring sound in equal measure as it tells a heart warming tale. For a sweet, whimsical night out, Amélie is certainly one to catch. Follow the blue arrows and check it out for yourself.
photo credit: Pamela Raith
Wednesday 22 May 2019
Sunday Favourites: Marisha Wallace, The Other Palace | Review
Sunday Favourites: Marisha Wallace
The Other Palace
Reviewed on Sunday 19th May 2019 by Olivia Mitchell
★★★★
The Other Palace is playing host to a new series of intimate solo concerts, where the West End's finest get to perform their favourite songs in a laid back session called Sunday Favourites. Last Sunday Dreamgirls and Waitress superstar Marisha Wallace, took us on a soulful journey where she opened up about her life and showed off her golden pipes in a wonderful celebration of music.
Featuring an eclectic selection including an Aretha Franklin medley, My Funny Valentine, Zero to Hero and How Deep is Your Love, Marisha provided something for everyone and vocal gem after vocal gem.
As well as a fine solo repertoire, a number of guests also helped the proceedings. Nicole Raquel Dennis and Nathaniel Morrison brought some smooth, crazily tight backing vocals to a few songs, including a remixed version of Britney Spears' Lucky which was hauntingly brilliant. Jodie Steele also took to the stage for a lovely performance of the India Arie classic, Ready For Love; whilst Lucie Jones joined Marisha for a fiery rendition of Take Me or Leave Me. Both Jodie and Lucie complemented Marisha excellently and all three created a warm, natural environment that welcomed the audience in. It goes without saying that the vocals were super and it's great to know that all the performers are thriving on musical theatre stages where their talents can really shine. Competition winner Lashayah, also showed that the future of the West End is in very safe hands.
Despite having missed the concert version of The Colour Purple I was lucky enough to hear Marisha perform the powerful I'm Here at her 2017 Soul Holiday concert, and was absolutely thrilled to have another chance to hear her incredible rendition on Sunday. Marisha has a wonderful ability to word paint even the smallest of words to truly bring a piece of music to life. Her vocal skills are matched by her magnetic personality and witty rapport with the audience.
Again, Marisha spoke candidly about her life, namely the ups and downs she has experienced throughout her career and more recently as she soared in Dreamgirls but struggled in her personal life. Hearing someone be so honest on stage is refreshing and works to unite the audience through common emotions.
It's evident from the new levels Marisha has consistently been reaching since she came to our side of the pond, that she's got a long career ahead of her and a loyal fanbase over here. It just goes to show that talent really is appreciated and alongside being a kind, genuine person, will get get you everywhere. Of course there are negatives and lows, but Marisha is proof that with perseverance, hard work and real skill, you can succeed.
photo credit: Danny Kaan
Elegies for Angels, Punks and Raging Queens, Union Theatre | Review
Elegies for Angels, Punks and Raging Queens
Union Theatre
Reviewed on Tuesday 21st May 2019 by Shaun Dicks
★★
An elegy by definition is ‘a poem of serious reflection, typically a lament for the dead’. An elegy is there to express feelings of something or someone you have lost. So, here we follow the elegies of those who have passed due to HIV/AIDS, all those Angels, Punks and Raging Queens.
The show, with book and lyrics by Bill Russell and music by Janet Hood is fantastic. Russell’s speech is so poetic and lyrical. The colour within phrases and sentences is just magical. There is so much juicy dialogue to enjoy. And Hood’s music is just so beautiful, the amount of emotion within her score is tear jerking alone. The music, book and lyrics deliver stellar material about a very delicate subject.
However, in this production of Angels Punks and Raging Queens, the material is mismanaged. First, the cast is simply too large. With sixteen cast members, the stage was cluttered and honestly half of them didn’t make their mark and faded into the background. The show would’ve been effective with half the cast. There were some standouts like Marcus Ayton as Lamar/Miles, Calum Gulvin as Nick/Paul, Jackie Pulford as Rebecca/Joanne, Fraser Leigh Green as Ray/Joe and Rhys Taylor as Dwight/Roscoe. These five actors truly understood the lyrical essence of the material they we given and delivered it well.
Despite its potential to be great, what let this show down was Bryan Hodgson’s staging. It felt clunky and disjointed, almost like a bad drama school showcase. However, one saving grace for this show was the vocals. The harmonies were well rehearsed and well done, a credit to musical director Henry Brennan. The light design by Alex Musgrave was another positive.
What made up for all the bad within the show was the striking final image. The emotion that you feel and that I felt at the end of the show made sure that the show was better than disappointing. However, one moment doesn’t make a show. It’s a shame because this show had all the potential to be fantastic, but the material was, in my opinion, interpreted wrongly and overall missed the mark.
Elegies for Angels, Punks and Raging Queens runs at the Union Theatre until 8th June 2019
photo credit: Mark Senior
Vincent River, Trafalgar Studios | Review
Vincent River
Trafalgar Studios
Reviewed on Tuesday 21st May 2019 by Olivia Mitchell
★★★★
Vincent River written by Philip Ridley is a thought-provoking, highly-moving play which focusses on hate crime in the LGBTQ+ community whilst delicately and truthfully studying grief. Premiering almost 20 years ago, it's striking how relevant this play remains.
A teenage boy dressed in all black with an eye the colour of coal to match it turns up at a grieving mother's flat. Davey has been following Anita for weeks from a distance. But she's spotted him. He's the boy who discovered her son's dead body. She welcomes him in and it's clear the pair have a lot to discuss.
Ridley's fast-paced text allows both actors to bounce off one another, whilst embodying their own sense of ambivalence. Louise Jameson is a master of nuance. The wrenching emotions within her are delicately contrasted by her motherly figure as she supports Davey and his own struggle. Her raw grief and guilt is portrayed in an utterly truthful way which makes this already devastating story, even more traumatic.
With his South London accent, Thomas Mahy is both commanding and vulnerable. His evident denial is portrayed in a very different way to Jameson which makes the pair's discussions even more striking as the balance tips between them.
Robert Chevara directs a supremely subtle show which emphasises humour as well as horror. Ridley's writing moves from poetic to brutal as if they're entwined together and creates a play which enthralls throughout.
This is a devastatingly beautiful play which is performed so well by two nuanced actors. Fast paced, aggressive sections are perfectly contrasted by moments of unspoken emotion which cut to the core and evoke feelings of heart-break but also glimmers of hope.
Vincent River runs at Trafalgar Studios until June 22nd
photo credit: Scott Rylander
Monday 20 May 2019
School of Rock, Gillian Lynne Theatre | Review
School of Rock
Gillian Lynne Theatre
Reviewed on Wednesday 15th May 2019 by Olivia Mitchell
★★★
School of Rock is one of those cult films that are genuinely wonderful. Funny, sweet and a crowd pleaser, the 2003 Jack Black hit transfers well to stage and provides and entertaining night out for all ages.
The musical follows Dewey Finn (Craig Gallivan) a wannabe rockstar, who's been kicked out of his band and somewhat accidentally becomes a substitute teacher for a prestigious prep school. Struggling to teach anything, he soon realises he can connect with the children through music and opens their eyes to the one subject he's well versed in- Rock!
From here on in music making and mischief ensue with the children sneaking around behind their prim principle Rosalie Mullins (Laura Tebbutt) and covering their tracks from their parents as they attempt to win the Battle of the Bands contest.
As Dewey, Craig Gallivan fantastically helms the somewhat formulaic musical; with an undeniable magnetism that does Jack Black proud whilst bringing his own spin on the larger than life rocker. Barely leaving the stage, Gallivan's portrayal is energetic and hugely memorable and he provides face-melting singing as well as a marvellously humourous performance.
As cliched as the character is, Laura Tebbutt brings Mozart singing Rosalie Mullins to life in a delightfully charming and comic way. Her characterisation is very well developed and her vocal performance is a diamond moment in the show. Tebbutt's solo number Where Did the Rock Go? is a plaintive ballad performed with pipes of steel and a real oomph.
Though well performed, the prologue of the show before the children begin performing does feel over extended and it takes some time for the musical to really perk up. However, when the young actor-musicians take the stage, the Gillian Lynne theatre comes alive with unrivalled talents. Ensemble numbers School of Rock and Stick It to the Man are particular stand outs.
The Horace Green students are a live in person advert for talent as they rock out on stage with the skill you'd expect of those much their senior. Will Tarpey is a complete stand out as the band's stylist Billy. Emoting every second and earning laughs from the audience left, right and centre he is a real superstar who knows how to own and work a stage. Amelie Green is witty as stuck-up Summer and Caspar Lloyd is wonderful as Lawrence. Nayan Gupta is completely fantastic when he showcases his superb musical talents as Freddy. Special mention must go to Jasper Bew who is out of this world as Zack, giving a performance to rival most adults and completely rocking the stage.
There are lulling moments in this production but it does manage to capture the heartwarming nature and humour that we all love from the film. As well as being a fun night out, School of Rock highlights the importance and power of music and is sure to bring a smile to your face and a tap to your toes.
Book tickets from School of Rock from www.londonboxoffice.co.uk
Friday 17 May 2019
Summer Street, Waterloo East | Review
Summer Street
Waterloo East
Reviewed on Thursday 16th May 2019 by Shaun Dicks
★★★★
Everything is a little brighter on Summer Street, or in this case Waterloo East Theatre. Summer Street takes us back to the hayday of the 1990’s to 00’s Australian soap opera or ‘Soapys’ where Jason Donovan and Kylie Minogue were making their marks on television and British pantomimes always starred a Soapy star.
In Summer Street the Aussie Soap Opera Musical we follow one of the biggest Soapy shows, Summer Street. After a few years of the show being cancelled, the stars of the show are brought back together for a one off spectacular, with a live broadcast at the end.
Summer Street as a show is hilarious. It is pure spoof comedy in its material and the cast does well to carry that over. However, at some points it feels that the cast are almost trying too hard to bring the comedy and some spots aren’t allowed to breathe. But nine times out of ten, the comedy works.
The cast is four persons strong, with Simon Snashall as Bruce/Mick/Dr Marl and Myke Cotton as Paul/Brock/Butch putting in good performances. They landed jokes and hit their harmonies well. But the women stole this show. Julie Clare as Steph/Mrs Mingle/Marlene was an absolute powerhouse and Sarah-Louise Young as Angie/Bobbi/Sheila was complete comedy gold. These two women had fully fleshed out characters, all three diverse from each other. Their comedic timing was brilliant, especially in song with Marlene’s boppy Lucky Plucky Me and Bobbi’s Chains Around My Heart. And overall the shows harmonies are good, this is a testament to Musical Director Sarah Morrison.
The man whose fingerprints you can see all over the show is Andrew Norris. His script and lyrics with all the gags and obvious spoof is very funny. The music is kitschy, catchy, very much of the 90’s/00’s era and you can hear all the different influences in his score. The direction generally is good. Like I’ve previously said, there are moments when the show need to breath and maybe go for the less obvious comedic choice. The choreography by Lauren Chinery is stylised and of the era but the set design by Amy Mitchell is limited.
Summer Street is fun, silly, spoofy and full of gags. It’s exactly what all of us need at the moment. It takes us back to an era from the not so distant past. The show makes you feel good, smile and gut-bustingly laugh. So, hop on down to Summer Street for a ripper. Bonzer mate!
Summer Street runs at the Waterloo East theatre until 2nd June 2019
photo credit: Simon Snashall
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