Tuesday, 12 December 2017
Jayde Adams is Jayded, Soho Theatre | Review
Jayde Adams is Jayded
Soho Theatre
Reviewed on Monday 11th December 2017 by Shaun Dicks
★★★★★
Open on the West End, Soho Theatre. A hotbed of theatre and comedic excellence. We find ourselves in the Downstairs space, the set up is of a comedy club. The bar, a scattering of tables and chairs, and an elevated stage that’s dressed with a park bench and a piano. We are welcomed with music from Musical Theatre and Pop Culture. As I wrote before the show, we are in for a hell of a night.
A hell of a night was had by all. Jayde Adams is a beautifully voluptuous woman who takes us on a journey full of laughs. She takes us through a wonderfully crafted set all about popularity and success. Through various devices like mime, song, best friend tests and audience interaction Adams made me cry laughing. Her timing was so perfect, so on point that despite a few word stumbles, everything landed.
One of the highlights of the show was Adams’ use of song, her original songs were Tim Minchin esque and her not so original songs were executed perfectly. The musical aspect of the show was truly satisfying. Another highlight was Adams’ use of the best friend test. This involved using a member of the audience, which by nature is a tricky thing, but Adams navigated it perfectly. This writer was buying what she was selling when Adams broke out the wigs and fan, giving the audience a Beyoncé moment that we will never forget. She was willing to improvise and play with the audience as the show went along. She had the audience in the palm of her hands.
As Adams said during the show, she smashed it. Adams reminded me of my Aunt, with her warm Bristolian accent shewas crass, boisterous and unapologetic in the best way. It is a show that deserves to be seen, it’ll be the best decision you’ve ever made. You will cry with laughter. A sprinkle of happiness in the holiday season.
Saturday, 9 December 2017
Evita (UK Tour), Palace Theatre Manchester | Review
Evita (UK Tour)
Palace Theatre, Manchester
Reviewed on Thursday 7th December 2017 by Jeni Skirrow
★★★★
Tim Rice and Andrew Lloyd-Webber have written some truly captivating, catchy musicals and Evita is of course iconic and no exception to this. An ever popular rags-to-riches type of story based on the life and demise of Eva Peron, wife of Argentine president, Juan Peron. The plot follows her rise to iconic status heralding her as the ‘spiritual leader of the nation’, heroine of the Argentine people, and of course her untimely premature demise.
Straight from the West End, Manchester was privileged to be the first stop in the new twelve month tour of Bill Kenwright’s production. Eva Peron’s role is a demanding performance and Madalena Alberto is mesmerisingly magnificent, with not just unfalteringly consistent vocals, but how beautifully she captures the fledgling radio star’s glamour, seduction, hope and steely desperation. 'Don’t Cry For Me Argentina' is undoubtedly the most highly anticipated song in the show and Madalena’s performance did not fail to give me goose bumps- exquisite. “As for fortune and for fame, I never invited them in”... until the final curtain there’s something very dubious about this statement.
The narrator Che deserves a mention, heroic Gian Marco Schiaretti’s presence (and biceps) were suitably foreshadowing- he is perfect for the role. His strong and versatile performance was a joy to watch.
Each scene was beautifully realised through expert choreography, cleverly slick staging and continual costume changes for Eva, telling a story within itself. This production was everything I hoped it would be and more. Emotional, beautiful and inspiring it was an ideal theatrical experience.
Evita is a moving story, with a mixture of up-beat, high intensity numbers as well as slower, more emotionally moving pieces. This balance and contrast makes it flow smoothly and provides a wonderful night out at the theatre. With beautiful music, great staging and fabulous performances all round, I implore you to get along to this show if you can.
Photo credit: Keith Pattison
Callisto: A Queer Epic, Arcola Theatre | Review
Callisto: A Queer Epic
Arcola Theatre
Reviewed on Friday 8th December 2017 by Shaun Dicks
★★★★
“To be patient is to suffer.”
Arcola Theatre. London’s East End. Four stories all about a community that knows suffering all too well. The LGBT community. The theatre is bare – no props or furniture set – just the harsh concrete floor and the bare brick walls. We are set in the thrust and are welcomed by edgy, East End music. The music and lights drop, the show begins.
The show follows four different LGBT stories all in different time periods. They have their own narratives and different characters but they all fall on to two similar topics; suffering and love. The script of this show is a gem. Hal Coase has created a rich and full script that is a wonder to see being brought to life by the actors. There was a richness to the dialogue that was natural but moving. Credit should also be given to director Thomas Bailey, the way that the show moves - scene to scene, time period to time period - was well executed for the most part.
However, there are two downfalls to this show. The first, is the story set in space; these scenes were basic, under rehearsed and ultimately lacklustre. It felt like this story had been given less time and care in its rehearsals. It’s one saving grace was Cal (Nicholas Finerty), this character was endearing, innocent and charming. Unfortunately, the second downfall of this show – excluding the character Cal – was the performance of the male cast. The men within the show were one-dimensional, simple and lacking any type of edge. There was so much to work with story wise, it was disappointing that the men didn’t capitalise.
Thankfully for this show and its audience, the women of this show, stole it. These women created well rounded, fully realised characters. They made us feel, laugh and gasp. Whether it was a cheesy 70’s porn scene, locked up in a tower or in the comfort of home; the scenes were intriguing, captivating and hilarious. The woman who really stole the show for me was Phoebe Hames (Isobel, Nurse, Aunty), her performance was simply outstanding. Hames’ comedic timing was something to be savoured and enjoyed.
The script is scintillating, the direction is clever and the acting on the female side is exquisite. If that were replicated by the other half of the cast, we would have one hell of a show on our hands. In its current form the show is good, and is well worth a watch. The stories deserve to be heard and there are some performances that needs to be seen.
Callisto runs at the Arcola Theatre until December 23rd
Photo credit: Lidia Crisafulli
Friday, 8 December 2017
The Barricade Boys: Christmas Cabaret, The Other Palace Studio | Review
The Barricade Boys: Christmas Cabaret (Concert)
The Other Palace Studio
Reviewed on Thursday 7th December 2017 by Olivia Mitchell
★★★★★
The Barricade Boys bring together some of the finest Lew Miserables alumni (Scott Garnham, Craig Mather, Kieran Brown, Simon Schofield) and finest male voices to create truly beautiful sounds and performances. The boys have toured extensively and appeared on a number of television programmes but this time they're back for a three week-residency of Christmas delights at The Other Palace.
I've really been getting into the Christmas spirit recently with a number of festive shows and this was certainly one of the best. Entering the studio of The Other Palace we are greeted with a beautifully adorned Christmas tree and a cosy log fire projected onto the wall which sets the mood for the relaxed, warm evening to come. The boys normally perform with a seven-piece band but this time opt for a "stripped back" performance with just them and the piano (played fantastically by musical director, Noam Galperin) which further adds to the intimate feeling of the night.
The set of 23 songs was varied and extremely well put together with a mixture of festive favourites, Les Mis hits and some more unexpected songs. Standout moments included I'll Be Home For Christmas/Bring Him Home and Man In The Mirror which both featured tight harmonies and wonderful interaction between the boys. Their rendition of Bohemian Rhapsody must get a special mention as it was done so well; with suitable emotion and humour to keep it entertaining and amusing, whilst maintaining the integrity and showing off everyone's unique voices.
When speaking about the goals of the group, Scott explained that they take the work very seriously but not themselves and this is exactly right. The music was faultless but made all the better by the brilliant on stage interactions where the boys bounced off one another and seemed to genuinely be having fun.
Each night a special West End star will join the boys on stage, this particular night we had the pleasure of seeing the supremely talented Michael Xavier. He performed a haunting, melancholy version of Have Yourself a Merry Little Christmas before the boys joined him for a side splitting, Les Mis version of the Twelve Days of Christmas. Michael was a lovely addition to the programme and the number of amazing guests set to appear, certainly makes me want to go back to another concert in the run.
This pitch perfect ensemble with stand out solo moments and smooth, natural, humourous on stage rapport is all you could ask for at Christmas time. For a festive, lighthearted evening of top notch entertainment, you can't go wrong with The Barricade Boys and I would high recommend paying them a visit during their run!
The Barricade Boys are at The Other Palace until December 23rd
The Barricade Boys are at The Other Palace until December 23rd
Rapunzel (Pantomime), Theatre Royal Stratford East | Review
Rapunzel (Pantomime)
Theatre Royal Stratford East
Reviewed on Thursday 7th December 2017 by Nicola Louise
★★★★
It’s Christmas! Which can only mean one thing ... It’s Panto time!!
‘Oh no it isn’t’
‘Oh yes it is’
...you get the point!
Last night I was lucky enough to be invited to Theatre Royal Stratford East's performance of Rapunzel, not exactly a show you’d think would work as a pantomime, but it surprisingly did. Throw in Goldilocks and the Three Bears and apparently, you’ve got yourself a story.
I have nothing bad to say about the cast, they were brilliant from beginning to end. Our story starts with a little warm up to the panto from baby bear and Witch Maddy’s aid, Egor, a bird that has a heart of gold but has fallen into the wrong crowd.
Baby Bear, Harry as he wanted to be known, does a very good job of getting the crowd going and Gemma Slater (Harry), clearly knows how to work with children. When Egor (Gary Wood) joined Harry on stage, the two created pantomime magic before the show had officially begun.
Rapunzel, the girl locked in the tower with the long luscious locks was amazing, carrying the wig of long hair on her head, she managed to run around the stage with ease. My only concern was that during her first song, Joanne Sandi, (Rapunzel) seemed to struggle to have her voice heard over the music and seemed to be having to shout. However I think the conductor realised this as the music dropped a little and she was able to be heard.
Unlike most pantomimes, this one didn’t have a hero, instead, a heroine. Goldilocks played by Australian actress Julie Yammanee, a strong-willed young girl who only wanted an adventure and got more than she bargained for. Julie’s interpretation of this fairy tale character you either love or hate, was done in such a way that you couldn’t help but love her, her upbeat rock number stole the show.
Now, no panto is complete without the Dame, or the evil witch in this case, Witch Maddy, played by Rada trained Michael Bertenshaw, a different type of Dame. While they’re usually bigger guys dressed in over the top outfits and wigs, Witch Maddy was slim and slender… and old! The story goes that Witch Maddy needs Rapunzel’s hair to create a potion to make her young. Michael brings a lot of jokes for the adults, mostly women as she makes a lot of menopause jokes, but also manages to get the men in the audience to laugh as well.
Sidekicks … every villain needs them, every villain has them, Witch Maddy’s villains went by the names of Iggy, played by Raj Bajaj and Lizzy, Juliet Okotie, two humans under Maddy’s spell who were once Lizards. As side kicks I found them quite irritating, there’s over the top and then there’s Iggy and Lizzy, but as Baby Bear’s parents, I found them hilarious and they worked as a team much better; especially when Juliet, as Mrs Bear started singing how Baby Bear should have listened to her, it went on and on but got funnier every time, the parent’s in the audience related while Mr Bear stood to stage left, leaning and rolling his eyes.
I never want to see the bad in any show I see but there’s always going to be at least one or two points. When we first see Rapunzel and her little mouse friend played by the versatile Stephen Hoo, he makes a small Brexit joke, now I agree, it was quite funny but I feel this was a little unnecessary, it didn’t get too much of a laugh and it’s a little dated now.
A couple of the scenes went on a bit too long, for example, and without giving away any spoilers, the mum and dad scene was sweet, and it did choke me up a little, however, it did lose its magic by repeating the same line from the song over and over again. It worked for Mrs Bear yes, but I think this scene should be shortened to pack in a bit more punch. I also thought the end song was a bit too long, it was about togetherness and friendship and as sweet as it was, you do start to think to yourself ‘ok great, we get it! Next!’
I’ve not seen many pantos in London where they have songs written for the show which I love because it makes it that bit more personal. Witch Maddy sang snippets of chart songs but it worked with her character, I loved that the songs in it were original and the song Goldilocks sang, in my opinion, was the best.
Overall, I was sceptical about this show but it worked, and I was happy I got to see it. I think there are a few things that could be worked on but overall, as Panto’s go, it was up there with the greats.
Rapunzel runs at the Theatre Royal Stratford East until 13th January 2018.
Photo credit: Scott Rylander
Sinners Club, Soho Theatre | Review
Sinners Club
Soho Theatre
Reviewed on Thursday 7th December 2017 by Shaun Dicks
★★★★
The Soho Theatre invites you to the Sinners Club. We find ourselves in the Upstairs space of this buzzing theatre in the heart of London’s West End. As we walk in we are welcomed by a room set in the round, decorated as an old school recording studio; many an old-fashioned rug, musical instruments and microphones, soundproofing on the wall as well as a few photographs. Scattered around the studio space are members of the band playing light Jazz music to set the mood.
The concept of the album is simple, its based on the story of the last woman to be hanged in the UK. The original songs written and performed by Lucy Rivers and the band The Bad Mothers- tailored around the story of Ruth Ellis- are an eclectic mix of genres that seem to pulsate through Rivers as they affect her own character narrative as well as the albums. As Rivers enters to start the show, she is this fierce woman in black, taking control of the room. Rivers throughout the show is energetic and intriguing as she goes through the narrative of the concept album.
However, one of her flaws was her reliance on the audience and audience interaction. The reliance on an audience is a double-edged sword dependant on the audience itself, it can be a struggle for an audience to lose inhibitions and join in. Rivers needs to pick her moments and judge the moments when she does or doesn’t interact. Another thing that needs altering within the show is the amount of dead air in-between songs. As a performer myself I appreciate the device of silence but when its long periods, it becomes a period of time for the audience to wander.
Despite these flaws of the show, the music really made it- in a world of music made by computers in the mainstream and the jazz hands of the West End - this was a refreshing use of alternative types of music. The whole band was slick, and looked like they were having fun throughout the show. Rivers’ voice soared throughout, despite her over use of falsetto. What truly impressed this writer though was the musicianship packed within the show. The sheer volume of different instruments used was brilliant and to a very high quality. I personally appreciate musicians and musicianship, having worked with a few myself, so to have a live band and for it perform so well, it really brought a smile to my face.
If you’re looking for something a little different, take up your invitation for the Sinners Club, because despite its flaws, there are many a good aspect of this show to enjoy. This show is the palate cleanser that the West End is craving. Try something different and enjoy a night of music that you will not forget in a hurry.
Sinners Club runs at the Soho Theatre until December 30th
photo credit: Kieran Cudlip
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