Tuesday 14 April 2020
Keep Up Your Craft in Lockdown | Online Theatre Classes
We may be confined to our homes but thankfully the theatre community are coming together to create an abundance of online resources and classes to keep us entertained, fit and ready for our return to the real world... whenever that may be.
I've complied a list of some of these classes and activities which may peak your interest…
Musical Theatre
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
Pros From The Shows, directed by Layton Williams, are giving daily 30 minute workshops with 15 minute Q&As at the end. The workshops are run on a pay-what-you-can basis and have so far featured Marisha Wallace, Lucie Jones, Liam Mower and many more. To book, email info@prosfromtheshows.com (Insta: @prosfromtheshows)
London Singer Studio have free classes at 11am each day, focussing on all aspects of singing and vocal health. (Insta: @londonsingerstudio)
Kreate Academy are providing dance classes, challenges, live q and a’s and so much more. All their classes are free and there’s a whole variety to choose from. (Insta: @kreateacademyofperformingarts)
The Sing Space have a mixture of paid and free regular classes with industry professionals. These include breathing workshops and West End Fit classes. They also have free daily singing warm ups with West End vocal coach, Rachel Lynes, each morning at 10.30. Many of the classes take place on Zoom or Facebook at The Sing Space Singer’s Hub (Insta: @thesingspace)
MT Livestreamers is a group of musical theatre students who are teaching a variety of Instagram live classes, from tap to relaxation, MT and Bollywood. (Insta: @mt_livestreamers)
Live Stream Arts Fitness are providing a vast timetable of fitness and MT classes which are all free. Most take place on Instagram live, with some on YouTube, Facebook and Zoom. (Insta: @livestreamartsfitness)
Lockdown Live London hosts a daily 6pm workout with a West End star; these have include the Queens of Six, Kelly Mathieson, Sarah O Connor and Jonathan Bailey. They take place on instagram live and stay up for 24 hours. (@lockdownlivelondon)
Broadway Weekends at Home is a hub for all things MT and all the classes are free. All classes are taught by Broadway and West End Performers and there are ones for all ages. (Facebook: Broadway Weekends at Home)
Dance
Magnetic Movement are offering a whole timetable of weekly classes from industry professionals. From beginners tap to pilates and advanced jazz there's something for everyone. The classes take part live on Facebook and Instagram and there are also tutorials on the Instagram page. (Insta: @mageneticmovement_1)
LaDuca Shoes have a host of classes and Q&As, including musical theatre jazz, contemporary and ballet. (Insta: @laducashoesuk)
Sharpe Academy have daily instagram live routines, fitness classes and audition workshops with industry professionals. These have included a Six routine with Vicki Manser and a ballet barre masterclass with Bradley Shelver. (Insta: @sharpeacademy)
MXM have dance classes every Monday, Wednesday and Friday night and some children’s morning classes. They are 1 hour technique and routine classes which take place on instagram. (Insta: @mxmasterclass)
CLI Studios have regular live class events with renowned choreographers. Most classes are Intermediate/Advanced and are mainly Hip-Hop and contemporary. For any fans of The Ellen Show, this Sunday (19th) features a class with Twitch! (Insta: @clistudios)
Debbie Allen (Fame, Greys Anatomy) is holding weekly dance classes on Wednesdays and Saturdays (Insta: @therealdebbieallen) as well as offering Zoom classes through her dance academy, more information is available on www.debbieallendanceacademy.com
Capezio are offering a big timetable of instagram classes, with Body Conditioning, Locking and Tapping and Commercial just some of what’s available. (Insta: @capezio)
Ballet Specific
Tierney Heap is a current member of the Royal Ballet and a Bloch influencer, she is holding Instagram live classes on Tuesday and Thursday mornings at 10.30. (Insta: @tierneyheap)
Sander Blommaert is a former Royal Ballet dancer and is holding classes at 11am each morning on Instagram live. (Insta: @sanderblommaert)
Charise Logan (Renouf) is running barre focussed classes on Monday, Wednesday and Friday mornings at 10.30. (Insta: @charise_renouf_)
Sarah Du-Feu is running a whopping 18 Instagram live classes a week suitable for all ages with a mixture of basic and intermediate classes. (Insta: @theballetcoach)
Russian Pointe Brand are running classes for all levels on their instagram, including flexibility and pilates classes. (Insta: @russianpointebrand)
Q&As/Masterclasses
Beyond the Boards is a new theatre podcast which is holding weekly Q&As with performers about their advice for thriving and surviving during lockdown. Previous guests have included Arun Blair-Mangat, Richard Carson and Genesis Lynea. (Insta: @beyondtheboardspod)
SingEasy have launched the SingEasy Diaries where they chats to special guests each Monday, Wednesday and Friday at 8pm. Guests include Jodie Steele, Amy Hart and Jai McDowall. (Insta: @singeasywestend)
London Theatre Direct are hosting Q&As, takeovers, bake-alongs and more, with stars of the West End in their Stagey Lockdown. (Instagram: @londontheatredirect)
The Showbiz Clinic run by dancer and choreographer Xena Gusthart is currently doing a series called Pivot Through a Pandemic which is £5 a session and takes place Monday's at 10am. There are also free one to one's available as well as live instagram Q&As. (Insta: @theshowbizclinic)
Stage One have begun a series on online webinars with industry professionals. They take place on Zoom and participants have the chance to ask questions as well as hear stories and advice. (Insta: @stageonenewprod)
There are so many more classes than this but these are just some of the ones on my radar. If you know of anymore, please let me know and I’ll keep this list as updated and comprehensive as possible.
Stay safe and stay stagey!
Olivia x
Thursday 12 March 2020
Identity, Turbine Theatre | Review
Identity
Turbine Theatre
Reviewed on Wednesday 11th March 2020 by Olivia Mitchell
★★★★
Described as a "controversial and captivating masterpiece", Identity endeavours to showcase "society's negative perceptions" and highlight that being true to yourself and owning your insecurities is a way to thrive. With the constant pressures perpetually hurled at us via social media, as well as those around us, it's always important to be reminded that we're not alone in our struggles. This show certainly does that, and it's exciting and innovative in its approach.
Caitlin Elizabeth Taylor opens the piece by battling with a Polaroid camera, continually reaching and then drawing herself away from it. It's from this moment that her battle between hiding and owning her identity begins. Having composed some of the music and spoken word, it's clear from Caitlin's fierce performance that this piece is special to her. She boldly throws herself around and strikes a great balance between aggressive stress and introspective peace.
Whilst Caitlin does an excellent job of leading the show, it's during the ensemble (made up of Callum Sterling, Tinovimbanashe Sibanda, Marina Climent and Luke Cartwright) moments when it really comes to life. The interpretive and super sharp dance numbers are effective and emotive, even if they are a little aloof at times. Visually the way they pulse and leap around stage is exciting, but the use of sound adds another layer. It isn't just the movement that's synchronised but every breath feels as though it's coming from one entity. Equally, this unison makes the moments where the ensemble fall out, even more effective. Christopher Tendai has done a great job of incorporating contemporary dance, with Afro beats to create something which looks and feels stirring.
As well as Caitlin's music, the motion is also accompanied by the incredibly soulful sounds of Sam.G (aka Shekinah Mcfarlane). Her beautifully expressive music is evocative by itself, but when combined with the choreography, a really strong narrative is created.
Over an hour, we are taken on a journey of discovery. This piece finds a solid middle-ground between in your face expression and pared back simplicity. This is in part, thanks to Charlotte McAdam's lighting which is effective throughout; especially during striking strobe light moments where Caitlin's character contorts against the black backdrop.
Thanks to the killer cast and evident love for the work which is engrained in every moment, this is a great show to experience purely to start up a new conversation about being you. A very promising production, Identity is sure to fire up anyone who watches it and would be a great piece to showcase in schools as a subtle reminder to be a little kinder.
Sunday 8 March 2020
Christopher Tendai on Taking Off The Mask | Identity, Turbine Theatre | Interview
Christoper Tendai is an established performer, having starred in many West End musicals, UK tours, television specials and various commercial projects. His most recent and perhaps most daunting endeavour is launching his own dance company: CTC. The company are soon showcasing a new show at the Turbine Theatre, which looks at what makes us individual through the mediums of dance, spoken word, art and more...
Tell us a little about CTC Dance Company and how it came about...
CTC Dance Company is an upcoming company renowned for its versatility and uniqueness through movement.
The company has been running for 2 years now and started from a short film I created called Imperfections (which can be found on my YouTube channel). Creating CTC was probably one of the best decisions I’ve ever made. It’s my pride and joy and I hope that one day it will be recognised like the McOnie and Mathew Bourne Companies.
You're broaching a whole host of important topics in just 60 minutes, what's included?
Yes we are and I think these subjects are so relevant to create a discussion in the time we live in. We speak about Mental Health, LGBTQ, Feminism and Social Media Through Society. Within the show we see our main character; Caitlin, go on a journey of self discovery and to explore and embrace her own unique identity.
Our identities are formed from what people think of us, the laws we follow that have been placed by society and the biggest one of all: social media.
We always have to be the perfect version of ourselves. But what is perfect? Shouldn’t our own self be enough? Through Identity, we want to inspire people to embrace who they really are. There’s only 1 you in this world.
Mental health awareness is a big part of this show. Dance and creativity is a great outlet to centre yourself and improve your mental health so what would you tell people wanting to get into dance?
I would tell any aspiring dancer/performer that anything is possible. If you put your mind to it, you can achieve your dreams. I started dancing when I was 18yrs old and I made sure I lived and breathed it so I could be as good as the dancers that had been dancing since they were 3.
Since graduating I have danced in various musicals from the West End (Hamilton, In The Heights, Matilda, Jesus Christ Superstar) to UK Tours (Hairspray), Commercial work (Strictly Come Dancing, Fleur East, Rita Ora, Hugh Jackman) to Television (Episodes, The Golden Circle). And now I am choreographing and producing my own production by my company which has transferred Off Westend from Edinburgh Fringe 2019.
So I would say: Stay Focussed. Stay inspired. Work Hard. It all pays off!
Social media can be both a blessing and a curse, how are you incorporating it into Identity?
We touch on social media within the show and I feel it couldn’t be more relevant right now, especially with the recent awful tragedy of Caroline Flack.
Social media is great in ways of course, but somehow it has become a platform to cause harm to people’s mental health. We showcase a section of our show about the way that we are perceived on social media. The show always goes back to a Polaroid picture which has many different meanings. We want to begin an open and positive conversation about it.
What would you like people to feel as they leave Identity?
We want people to leave feeling inspired to be their own version of themselves. We want to show people that no matter what you’ve been through, you are still here today and can change your future path to whatever you want it to be. We want to start the conversation of mental health and remind people that they are important within this world.
Why should people come and see Identity?
People should come and see the show because it’s something completely different which hasn’t been done before. We are not just dance but dance theatre, incorporating different elements to the show such as; Spoken Word, Live Music and Physical Theatre. Come and support and start the conversation on Mental Health Awareness!
Identity plays at the Turbine Theatre from 10th-14th March. £12.50 discount tickets are available by using the code: CTCDANCE1
Interview by Editor, Olivia Mitchell
Friday 6 March 2020
Swan Lake, Royal Opera House | Review
Swan Lake
Royal Opera House
Reviewed on Thursday 5th March 2020 by Olivia Mitchell
★★★★
Liam Scarlett's Swan Lake is impressively grand, impeccably danced and a joy to experience. From a dark, misty lakeside to a glittering palace, this is a ballet that balances storytelling and spectacle perfectly. The entire company dance exquisitely, with Marianela Nuñez and Vadim Muntagirov completely shining in the lead roles.
With John Macfarlane's lush designs, this is a highly confident production which keeps pace throughout and allows the dancing to shine. Based in the 1890s the sets and costumes are sumptuous and evocative. Even the park outside the palace gates feels magical. The more abstract lake is ragged and bleak but provides a perfect, (almost) blank canvas to showcase the many swans. The palace is astounding, with a sweeping staircase, marble walls, golden decoration and a crimson curtain. It's a gasp worthy set that really does stun. Macfarlane's costumes are structured but wonderfully airy. The white tutu's of the swans are delicate and almost snow-like as they pepper the stage. Alongside them, David Finn's lighting keeps everything gleaming and makes sure not a step is missed by the enraptured audience.
Scarlett has kept Petipa and Ivanov's original choreography as well as seamlessly adding his own sequences. The new Act One Waltz is divine, with Marcelino Sambé's Benno bringing excellent lighthearted and sprightly moments. Act Three features a series of national dances, with Itziar Mendizabal's sultry Spanish princess really shining. The newly updated Neapolitan Dance feels modern and uplifting thanks to the addition of tambourines which are deftly used.
The Act Four pas de deux is one of the most magical ballet moments I have ever witnessed. The gentleness with which Siegfried and Odette interact is mesmirising and crushing to watch; and the almost broken choreography from Odette is immensely effective and makes the lack of reunion at the end even more devastating.
Nuñez's dancing is as floaty and measured as you could dream of. The control with which every step is taken is a testament to the hours of work which have clearly been put into perfecting her craft. Extremely evident in the seemingly endless series of fouettés which really astound. Even in the seductive Black Swan moments, there is a delicacy to her dancing which draws you in and manages to make the vast Opera House feel intimate. Muntagirov is the prince of dreams as he combines romance and aristocratic grace. His elevations and soft as anything landings are magnificent to watch and his entire performance is a treat.
This is a hugely moving production which must be the definitive version of Swan Lake. The stellar cast and orchestra under the baton of Koen Kessels provide treats for all the senses and a truly magical night out. Everything really is beautiful at the ballet.
Thursday 5 March 2020
The Last Five Years, Southwark Playhouse | Review
The Last Five Years
Southwark Playhouse
Reviewed on Wednesday 4th March 2020 by Olivia Mitchell
★★★★
Originally premiering in Chicago in 2001 and then transferring to off-Broadway, Jason Robert Brown's song cycle musical was last seen in London in 2016 at the St James theatre. Chronicling a couple's passionate but ultimately doomed relationship, it is a brilliant exploration of life and cleverly plays with time; having one partner starting at the end of their story and the other at the start. They only overlap during their proposal and marriage mid way through.
This Southwark Playhouse production is a completely transfixing showcase of a spectacular musical. Jonathan O'Boyle's production is wonderfully staged and feels completely fresh in it's approach to the score and story.
Lee Newby's set provides a fantastic canvas for the emotional drama to evolve, with small props effectively emphasising moments but always leaving the focus on the characters and their story. At times these props do feel a little too literal but they are so briefly used that it's barely an issue. There's always a sense of momentum in this piece thanks to the varying styles of Jason Robert Brown's music which keep the pace up. Additionally in this production, there is the use of a revolve which physically adds drive as it often seems to move clockwise for Jamie's plot and anti-clockwise for Cathy's- a very clever touch.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Jamie Platt's lighting is an especially enjoyable element of this musical, with contrast and darkness being used extremely well. A particularly effective moment is when the sun rises and the space is gradually transformed from a blue tinge to a warm orange.
Oli Higginson brings a great sense of journey to the up and coming writer, Jamie. Genuinely loving Cathy at the start, his self-absorbed personality and wandering eye soon become his, and the relationship's downfall. There's often an argument as to who was really in the wrong in this pairing and of course, both are to blame, but in the end Jamie really is a jerk and Oli does a great job of showing it. The contrast between the whimsy and elation in The Schmuel Song and the downright aggression in If I Didn't Believe in You, is highly effective. Higginson's accent does falter at times and occasionally the theatrical facade is broken, but overall his performance is joyous and enraging to watch.
As Cathy, Molly Lynch is just radiant. Rewinding from the bitter breakup to the jubilant start, Molly is consistently magnificent to watch. Vocally her performance is as clear as glass and beautifully controlled in her strong mix, but it's her acting which really brings her character to life. A mixture of nuanced and grand moments showcase the skills Molly possesses, and completely wrap you up in her journey.
Plus, both actors bring their musician skills to the table, deftly swapping places at the piano. Their incompatibility is even highlighted as they aggressively accompany one another and often give particular attention to the discordant parts of the music, or the melodies which are repeated throughout but are continually out of sync with each other.
With humourous sequences (Jamie on facetime during A Summer in Ohio) and devastating moments of relationship failure, this really is a roller coaster gem of a piece. Brown's music gives so much to work with and the team on this production have really done an excellent job. The two leads are esteemed in their performances as they give a masterclass in acting through song that will break you and build you at once.
The Last Five Years plays at the Southwark Playhouse until 28th March
photo credit: Pamela Raith
Thursday 27 February 2020
The Prince of Egypt, Dominion Theatre | Review
The Prince of Egypt
Dominion Theatre
Reviewed on Wednesday 27th February 2020 by Olivia Mitchell
★★★
In 1998, The Prince of Egypt became an animated sensation, bagging an Oscar and much critical acclaim. Since then it's been on a long journey to the London stage. Originally beginning in California in 2017, many changes have been made across the world to bring this current, reimagined production to life.
The plot is made up of the Exodus story, following the child of a Hebrew slave, Moses, who is found in the river and adopted by Pharaoh's family. All grown up, Moses discovers his real heritage and flees the palace to discover his true purpose in life. It's in the vast desert that a case of divine visitation via a burning bush, shows Moses his true mission to free the enslaved Hebrews and take them to the promised land.
Musically Stephen Schwartz's score is beautiful, with sweeping melodies and evocative patterns, but frequently, the lyrics don't match up in terms of power; often just pointing out the action, rather than developing it. However, it's the choral moments which really soar, with Deliver Us providing so much power. Almost operatic at times the ensemble do an outstanding job of coming together to perform tight harmonies that fill the cavernous Dominion Theatre.
It's the 'telling' aspect of this musical which makes it fall somewhat flat. Philip LaZebnik's dialogue is cumbersome, with very little character or narrative development. There are many moments, which although wonderfully performed, do not develop the plot or characters and feel unnecessary, and whilst some moments are over explained by the dialogue or music, others feel undeveloped. Namely the plagues which are projected in rapid succession but are unclear.
It's safe to say subtlety does not feature in this show and the first act especially feels considerably pantomimic, with the one liners from the film not transferring to stage as effectively. There are also pacing issues, which are resolved a little in act two but do make the musical drag.
However, aside from these issues, there's no denying that this is a spectacularly well performed musical. Amongst the main plot, there's a huge focus on the rivalry of Moses and Pharaoh's birth son, Ramses, which is brought to life excellently by Luke Brady and Liam Tamne. Both actors give their everything to the limited dialogue and create characters which we feel for and are both vocal powerhouses. Christine Allado and Alexia Khadime are accomplished in their performances and perform the Oscar winning song When You Believe brilliantly. With Allado giving a particularly strong performance as the headstrong Tzipporah; it's wonderful to see a woman on stage motivated not only by the man in her life.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
As Jethro, Gary Wilmot is underused but excellent in the time he's given. Credit must also be given to Debbie Kurup, Mercedesz Csampai, Simbi Akande and Jessica Lee who stand out throughout. Mia Lakha is also brilliant in her various young roles and is certainly an up and coming star of stage.
Visually this show is a treat. Kevin Depinet's hanging set wraps around the auditorium and cleverly makes the vast space feels more enclosed and welcoming. The simplistic design makes use of many projections by Jon Driscoll which are effective at transforming the space feeling grand, lavish and imposing despite not physically being there. The money moments, such as the parting of the red sea and the building of the pyramids are extremely well done.
It's Sean Cheesman's choreography which is the real star of The Prince of Egypt. Sharp and so so energetic it's amazing to watch. The ensemble come together to create various scenes, materials and emotions which tire you out just watching. Even in tableau moments, the precision is clear to see and this has got to be one of the strongest and most energetic ensembles around.
For spectacle and energy, The Prince of Egypt is worth a visit. It's not going to change your life but it'll provide a fun few hours of superfluous theatricality that looks and sounds very pretty.
The Prince of Egypt is currently booking at the Dominion Theatre until 31 October 2020
photo credit: Tristram Kenton
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