Wednesday 5 February 2020
Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review
The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell
★★★★
Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.
With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.
What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.
Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Monday 3 February 2020
Stephanie Billers on starring in Matthew Bourne's The Red Shoes
Matthew Bourne's New Adventures company continually wows audiences around the world with their intricate, unique and entertaining ballets. Currently touring the UK after a stint at Sadler's Wells is The Red Shoes. Having previously starred in Swan Lake and Cinderella for New Adventures, we sat down with Stephanie Billers a dancer from the company as she told us all about herself and her roles within the ballet.
The Red Shoes is a tale of obsession, possession and one girl's dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.
Set to the achingly romantic music of golden-age Hollywood composer Bernard Herrmann, The Red Shoes is orchestrated by Terry Davis and played by the New Adventures Orchestra, with cinematic designs by Lez Brotherson, lighting by Paule Constable, sound by Paul Groothuis and projection from Duncan McLean.
Watch Stephanie discuss her characters in the ballet and get a sneak peek backstage here
Get to know more about Stephanie and her life outside of dance here
The Red Shoes next plays at the New Victoria Theatre, Woking from 4th-8th March and then continues it's tour around the UK
Thursday 23 January 2020
Sex/Crime, Soho Theatre | Review
Sex/Crime
Soho Theatre
Reviewed on Wednesday 22nd January 2020 by Jake C Macpherson
★★★
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
The show opens to a simplistic set draped in plastic sheets and not much else but a single sofa – so many questions were initially made as an audience member as to what was going to happen throughout the next 60 minutes. This added to the complete suspense that was felt from the get go.
The production opens with the sudden entrance of ‘A’ and ‘B’. ‘A’ offers a service to recreate the killings of famous serial killers for the pleasure of random men. Enter ‘B’ who has booked himself in for an ‘authentic experience’ this doesn’t quite turn out to be what he has paid for…
Alexis Gregory, who plays ‘B’ in the production also wrote the show. Combined with the direction of Robert Chevara they have created this dark, new piece of theatre, which at moments is so relatable and humorous for a London audience. Names of well-known London locations are scattered liberally throughout the piece, giving the audience a real sense of place and time. This generally gives an immersive feeling. Gregory has a very unique style of writing and is very straight to the point in what he wants the audience to hear. The cut-throat reality of what is being said is jarring, but at moments feels almost poetic.
Multiple themes are explored throughout the show: the age of social media, violence, sexual fantasies and queerness to name a few. I don’t particularly feel as though all of the themes are easily translated and it is left to the audience to make personal conclusions throughout. But I do feel as though this adds to the performance. The sharp-witted humour often carries the piece and is well received by the entire audience.
Jonny Woo (‘A’), and Alexis Gregory (‘B’) play the two polar opposite characters in acting style and personality. During the show it's clear their relationship grows closer together and finds a balance between their emotional states. Both Woo and Gregory work well to hold an entire audiences’ engagement and towards the end, the audience do begin to connect with both characters. The chemistry between them was clear from the moment they entered the stage, and they both remain strong throughout.
It's hard to imagine this show re-staged in a bigger venue, as the Soho Theatre really offers a sense of intimacy and the tension of the piece really translates well in a black box studio Theatre. In essence Sex/Crime is a vulnerable and intimate piece of theatre which tackles the fetish of sexual violence in a modern society.
SEX/CRIME runs at the SOHO Theatre until 1st February 2020
photo credit: Matt Spike
Wednesday 22 January 2020
Everybody's Talking About Jamie, Apollo Theatre | Review
Everybody's Talking About Jamie
Apollo Theatre
Reviewed on Tuesday 21st January 2020 by Olivia Mitchell
★★★★
Flying into its third year in the West End, Everybody's Talking About Jamie retains its giant heart and remains an inspiring, colourful, hilarious and all round joyous musical. Dan Gillespie Sells and Tom MacRae's show tells the story of an extroverted 15 year old who dreams of being a drag queen. Despite being sure of himself and his abilities, young Jamie New has to face those who oppose him and try to pull him down, so he can achieve his dreams and show the people around him that being true to yourself can get you far. It's a show which delights and inspires in equal measure, and is sure to retain its spot in theatre lovers hearts for the foreseeable future.
In his West End and indeed, professional debut, Noah Thomas brings every aspect of leading man, Jamie New, to life with an ease that is truthful to the story but feels just polished enough. Opening with the incredibly catchy 'And You Don't Even Know It', Noah immediately shows us who Jamie is as he transforms the stage into a world of colour and begins the journey which will shape his life. From there on in his entire performance is joyous to experience. With charm in spades and glorious vocals, Noah continually exudes life and never falters throughout his time on stage.
As Jamie's mum, Melissa Jacques is beautifully vulnerable, and draws huge amounts of empathy from the audience as she does all she can to be the best mum to her beloved son. Jacques' vocal performance is that of a powerhouse, with 'He's My Boy' providing an emotional high-point that wows the audience. The chemistry between Jamie and his mum is lovely to see, as is the truthful friendship of Jamie and and his best friend, Pritti.
Both misunderstood and outsiders in their own ways, the pair continually find common ground and support one another. It's wonderful to see such a supportive and non-toxic friendship played out on stage. As Pritti, Hiba Elchikhe is delightfully moving and vocally exceptional, especially in the act two ballad, 'It Means Beautiful'. Just as Pritti's bedroom sparkles, Hiba gives a glittering performance and makes a sensational West End debut.
Roy Haylock/Bianca Del Rio as Hugo/Loco Chanelle is highly entertaining. Compared to the rest of the cast, his vocals are not consistently top notch but the energy and commitment he performs with mostly make up for that and it's a real treat to see such a widely recognised drag star on a West End stage.
As the rapping teacher Miss Hedge, Preeya Kalidas is vocally strong. The character herself is a little jarring at times as she flits between being an enforcer of reality and a restricter of freedom. It's sometimes confusing as it's unclear whether she's a villain or just someone trying to help. Perhaps that's the whole point!
Sejal Keshwala is completely ballsy in her performance as Ray and wins over the audience in a matter of moments. Also giving a hugely strong and highly assured performance is Jordan Ricketts as the school bully and Jamie's tormentor Dean Paxton. The entire cast are the embodiment of joy and perfectly evoke the feelings of school life. Katie Prince's choreography excellently brings to life the often frenetic atmosphere of Jamie's life and is fresh and exciting to watch.
This is a musical which inspires us all to own what makes us 'different' and is just a lovely portrayal of family, friendship and acceptance. Contemporary, sassy and so very British, lets keep talking about Jamie!
photo credit: Matt Crockett
Thursday 16 January 2020
Rags, Park Theatre | Review
Rags
Park Theatre
Reviewed on Wednesday 15th January 2020 by Olivia Mitchell
★★★★
Originally developed by Fiddler on the Roof writer, Joseph Stein as somewhat of a sequel, Rags has been reworked many times since the original Broadway production closed after only four performances. Lucky for us, the Hope Mill Theatre production was rather more a success and has transferred to London's Park Theatre.
David Thompson's rewrites have made this a sleek production that ebbs and flows well, whilst retaining an gitty side. With four onstage musicians and wonderful performances from the cast, Rags is certainly successful in its ambition.
Opening with a solitary violinist who is extremely reminiscent of Fiddler, the musical follows two Jewish girls as they make port in New York and try to create a new life for themselves and their families. There are various subplots about worker's rights, the Jewish contribution to art and culture, conformity and of course, romance. Most of the time the musical is paced well but there are still times which feel a little slow, or confusing as too much is happening at once.
However, overall this musical isn't about the plot, but rather the human experience and genuine struggles faced by people trying to live the American Dream that was promised to them. Its a clear window to the vile anti-semitic views held and the trials which are unfortunately still faced today. It's quite shocking that a musical written in the eighties, still has so much relevance today.
Whilst the songs (music by Charles Strouse, lyrics by Stephen Schwartz) are not individually particularly memorable, the overall moods created are very moving and do the job to tell the story, even if you won't leave the theatre humming the tunes. Nick Barstow's arrangements are beautiful and the cast give exceptional performances.
Carolyn Maitland gives a sensational performance as Rebecca. Her solo moments are complete vocal treats and she leads the show with a delightful nuance. Alex Gibson-Giorgio is instantly likeable and vocally exemplary as the Italian immigrant, Sal. As bright eyed Bella, Martha Kirby is an absolute vocal star who brings the youth and vulnerability of the character to life excellently, and is certainly one to watch! Oisin Nolan-Power as Ben and Rachel Izen as Rachel also give stand out performances.
photo credit: Pamela Raith
Tuesday 14 January 2020
Peter Pan Goes Wrong (UK Tour), New Victoria Theatre | Review
Peter Pan Goes Wrong (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 14th January 2020 by Olivia Mitchell
★★★★
The masters of laughter, Mischief Theatre are back at it again with a gut wrenchingly funny touring version of Peter Pan Goes Wrong, which takes everything theatrical and jumbles it into a mess of impassioned, choreographed mayhem.
The Goes Wrong franchise has achieved an astounding amount of success. From a Fringe company, they have taken over the West End, with new productions regularly being released and a series recently beginning on BBC One. Their timeless form of physical comedy, provides excellent entertainment, as well as a celebration of the intricacies of theatre.
Previously televised, this raucous version of Peter Pan, performed by the most bumbling amateur dramatic group ever, is as amusing as ever as it journey's around the UK. It's slapstick of course, but more than that, it is a precisely executed piece of theatre, full of well thought-out characters and exuberant joy. From the pre-show that audience are involved in the mayhem and it's quite excellent how the cast are able to mould us to laugh both at and with them.
During the show, there are missed cues, comedy falls, props malfunctioning, wires crossing and many, many casualties. Mischief Theatre wonderfully balance physical and visual gags, and never cross the line of overdoing their jokes. That's not to say all the gags are highly original, but they're pulled off so seamlessly that this farce is almost comedic perfection.
Tonight's performance was a real testament to understudies, as they really saved the day for the show. Amongst the host of theatrical parodies are Katy Daghorn as Wendy who boastfully struts around the stage and gives a completely stellar performance. Chris, the grandiose director who also plays Hook and Mr Darling, is expertly portrayed by Tom Babbage who bounces back and forth with the audience as he insists the show is not a pantomime. Stepping in as Trevor, Ava Pickett is a complete joy to watch and Christian James' Peter is likeable and dynamic as he dizzily flies around the stage.
This is clearly a physically demanding piece of theatre, which is expertly performed by the entire cast, of which there are zero weak links. A genuinely entertaining show, this is a definite family pleaser and a great night out at the theatre. The company may get everything wrong, but in the end it all seems so right.
Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour
photo credit: Alistair Muir
Peter Pan Goes Wrong runs at the New Victoria Theatre until 18th January before continuing its tour
photo credit: Alistair Muir
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