Friday, 16 November 2018
The Band (UK Tour), Grand Opera House, Belfast | Review
The Band (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 13th November 2018 by Damien Murray
★★★★
Take the story of 5 teenage boyband fans from 1993
Take the women they turn out to be some 25 years later
Take the boyband they adore
… oh, and Take That – or at least a selection of their greatest hits – and you are getting close to some of the magical ingredients of this most enjoyable evening of musical theatre.
Superbly directed by Kim Gavin and Jack Ryder, aided by a strong team of equally imaginative creatives (particularly Jon Bausor’s Design and Patrick Woodroffe’s Lighting Design), there is so much more to the success of this intriguing musical than one would imagine.
Of course, it is not the first time that the music of one of the world’s most popular boybands has been brought to the theatrical stage, but this production demonstrates how it should be done.
Cleverly written by Our House writer, Tim Firth, who again captures the mood and nuances of a particular community (this time, working class Northerners) in the same way that the great Willy Russell highlighted the highs and lows of a Liverpool family as they grew up in the classic musical, Blood Brothers, this show also uses comedy and tragedy to bring life’s dark and shade to us in an evening of emotional ups and downs.
Rather than opting for the easier and more commonly used concert-format to give a platform for the popular music, this production is unique in that it is not a traditional jukebox musical, nor is it a tribute act to Take That, but rather an engaging and believable story-based show with many surprises about a group of female fans who grow older and grow apart, before reuniting, like their beloved boyband, many years later.
Apart from some impressive production numbers of the type Take That are famous for and the perfect vocals and harmonies of ‘The Band’ themselves –AJ Bentley, Nick Carsberg, Curtis T Jones, Yazdan Qafouri and Sario Solomon– in re-workings of the well-loved hits, the key to the success here lies in the fact that the songs are all so cleverly integrated within the story without sounding overtly contrived.
Musical director, John Donovan, and his, mostly hidden, on-stage 5-piece band of musicians is always sympathetic to the story, while providing solid support to the spot-on vocals of The Band and to its enthusiastic dancing as Kim Gavin’s energetic take on Take That’s choreography is brought to life, complete with iconic positioning and poses.
As if the boys in The Band don’t work hard enough performing all 18 songs and their associated dance moves, they also have to deal with numerous quick changes and the playing of many extras throughout.
Having always been known for respecting their fans, it is not surprising that this show is not about Take That (they are not even mentioned in the show), but – like a present to their loyal fans – they opted to make the show about a group of fans and the fun and friendship that ensued through the shared experience of fandom.
We follow them from their hormone-filled teenage years (when they are played by Faye Christall, Katy Clayton, Rachelle Diedericks, Sarah Kate Howarth and Lauren Jacobs) to an unexpected reunion when they are all forty-something (and played by Rachel Lumberg, Alison Fitzjohn, Emily Joyce and Jayne McKenna).
Providing universally great performances throughout, the members of this precious sisterhood reveal many stories, secrets and surprises … not least the fact that life did not turn out as expected for any of them.
This is a clever plot as many Take That fans in the audience can readily identify with some of the circumstances, characters, problems and stories being portrayed on stage.
In contrast to the complicated lives of the ladies, Martin Miller gives a nice understated performance of the simple life led by Jeff, while Andy Williams is outstanding in a series of comic cameos.
While musical highlights include the moving rendition of A Million Love Songs, the production number, Greatest Day, and the poignant Back For Good, other songs like Could It Be Magic, Patience, Relight My Fire and Rule The World all stand out.
This fast-paced production also provides some memorable moments like the Roman Chariot scene, the breakable statues in Prague, the aeroplane that becomes a giant glitter ball, the use of a large time-related teletext projection at the start, which progressed to a large digital billboard for the start of Act 2, and the Act 1 finale scene when the aeroplane takes-off over the audience with believable noise and wind effects for those in the front stalls.
Overall, it is easy to see why this is such a great girlie night out for fans of Take That, but it is so much more for, even if you are neither female nor a fan, you will still enjoy this as it is essentially a great night out for anyone.
This engaging, endearing and entertaining production may provide a night of harmonies, hormones and hilarity… but, more than anything, it has heart!
The Band runs at the Grand Opera House until Sat 24 Nov, 2018
Photo credit: Matt Crockett
Thursday, 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Grease, Bridewell Theatre | Review
Grease
Bridewell Theatre
Reviewed on Tuesday 13th November 2018 by Nicola Louise
★★
With its cheesy jokes, feel good songs and an array of over enthusiastic teenagers from the 50’s with a rebellious edge, it’s not hard to see why Grease has been at the forefront of musical theatre for over 30 decades.
Songs like You’re the One That I Want and Look at me I’m Sandra Dee have been played countless times, and sung by some well-known names. So when Rewrite This Story got invited to review an Am Dram revival of this well-loved musical, we jumped at the chance to take our seat.
Unfortunately, I wish I hadn’t been so quick off the bat, apart from Yvette Stiel (Cha Cha) and Charlie Smith (Danny) dancing to Born to Hand Jive at the school dance, there’s very little right with this show.
Danielle (Rizzo) had countless face movements, almost like she had a tick and put on a very strange New York/Boston accent which carried on through her singing, making it very hard to hear the words and almost painful to the ears. I was unsure why Director Stuart James had Danielle sing There are Worst Things I Could Do to Sandy (Laura), who looked just as confused as myself and a couple of people sitting next to me.
Casting Smith as Danny, in my opinion was not the best move. He had no charm and nothing about him screamed leader; Jarrod Hawn, who played Kenickie would have been a much better choice as I found him to have more stage presence, charm and wit.
Ellis as Sandy was a decent choice although I felt like she was cast due her voice, her rendition of Hopelessly Devoted to You was pitch perfect and the whole audience was captured by her and her emotion during the song. As sweet and innocent Sandy, Ellis played the role ok at first but as the show went on it looked like she was more comfortable. In the grand scheme of things this is a positive as it mirrors Sandy and her character growth but at the start just felt unsteady.
The rest of the T-Birds and Pink ladies we’re nothing special, however, I was drawn to Ashlie Kenyon-Evason who portrayed Jan, the way she bounced around stage and belted out high notes made the show watchable, as well as Kate Winney (Marty) who carried her character well and had the 'younger girl wishing to be older' scenarios down to a T.
With direction from New Zealand born Stuart James, this show is, unfortunately a massive flop, the singing was mediocre, the acting was barely there and they shoved too many people on the stage at one time making the dance scenes look messy and uncoordinated which I would have thought the choreographers, Samantha Herriot and Vanessa Forte have noticed.
Overall, the show seemed clunky and unrehearsed and this is one showing of Grease I wish to never see again.
Grease is currently playing at the Bridewell Theatre with completely sold out performances.
Wednesday, 14 November 2018
Fanatical, Playground Theatre | Review
Fanatical
Playground Theatre
Reviewed on Thursday 13th November 2018 by Olivia Mitchell
★★★
Set at a sci-fi convention for fictional show, Angel8, original musical Fanatical looks at fan culture, the influence of role models and the importance of being passionate.
Originally a comic, Angel8 has been made into a tv series which has gained a cult following. OG fan Trix, wants to celebrate the show and prove the power of the fans so she puts on a convention featuring cosplay competitions, an art hall and a special guest speech by Angel8 creator, Scott Furnish. However, a no show from the creator, a journalist snooping round and some budding romances mean there's more to the convention than meets the eye.
Matt Board's music is witty and catchy from the get go, with When The Internet Was Young, reminiscing about the days of dial-up and setting the tone for this upbeat, heartfelt musical. We are quickly introduced to a number of quirky characters whose commitment to Angel8 is commendable and something I'm sure we can all relate to on some level.
As convention creator Trix, Suanne Braun is suitably caffeinated and passionate, with her act 2 solo, Any Moment Now gaining laugh after laugh. Stephen Frost is hard but worn as writer, Scott Furnish, but also hints at a softer side which makes him a likeable character who, at his core is a fan like everyone else. Eddy Payne gives a humourous performance as Baxter who's lovestruck with his former babysitter, Andra.
Sophie Powles is wonderful as Andra, with her beautiful voice and sweet performance really standing out. Andra is well rounded and goes through a nice character arc as she begins to embody the superhero she's always looked up to; mention must go to Sophie's lovely performance of Spoiler Alert. As undercover reporter and love interest for Andra, Tim Rogers does a great job as Craig.
The rest of the convention goers and staff are brought to life by the fabulous trio, Amber Sylvia Edwards (Jillian), Theodore Crosby (Bernard) and Amy Lovatt (Lizette) who sleekly bring a number of characters to life. Their act one number, Look What I Made is especially admirable and perfectly highlights what it means to be enthusiastic, and find a place where you feel like you belong. All three performers give spades of energy and bring a whole lot to the show.
P J McEvoy's set, although a little flimsy at times, creates the convention atmosphere well and the artwork for the show is so well done that it really does feel like a real comic (the subtle increase in price from £2.50 to £3.350 in the programme is a great detail).
Whilst there are still some things that need brushing up, this is a great base for a production and there's certainly potential for growth and developments to make this show something special which will touch the hearts of fans all over. Fanatical will have you laughing and wanting to celebrate being you.
Fanatical runs at the Playground Theatre until 8th December
photo credit: Scott Rylander
In Conversation With... Rachel Izen | Funny Girl | Interview
Rachel Izen has starred in a number of shows on the West End, Broadway and on tour. Recently, Rachel played Mrs Brice in the UK tour of Funny Girl, which follows Fanny Brice on her journey from wannabe actress to reknowned performer. Funny Girl was recently screened at cinemas, Rachel talked to us about the show and how a filmed version breathes new life into it...
Can you tell us a little bit about your experience playing Mrs Brice in Funny Girl?
This was a very personal experience as I identified Fanny and Rose’s relationship to that of my own.
Funny Girl is a much loved story and show, do you think this filmed version will bring new life to the show and welcome a new audience to it?
This version is heart felt and explores successful women’s turmoil trying to balance career and personal life, so very current today.
What's your favourite memory from your time in Funny Girl?
Dancing to the overture in the wings every show.
Can you sum up Funny Girl in 5 words?
Luckiest people in the world!
If you could bring any other shows which you've been a part of to screen, which would you choose?
The Witches of Eastwick
If you had a magic wand, what would you do next in your career?
I would love to tv series filmed in front of a live audience recreating my favourite musical theatre moments.
What's your top piece of advice for aspiring performers?
Be a sponge. See everything, listen to everything, be practical, take classes. Just because you may have gained a degree and acquired an agent doesn’t mean the world owes you a living.
Thanks so much to Rachel for chatting with us.
Interview by Editor, Olivia Mitchell
Saturday, 10 November 2018
Monstersongs, The Other Palace | Review
Monstersongs
The Other Palace Studio
Reviewed on Tuesday 6th November 2018 by Olivia Mitchell
★★★★
The Other Palace played house for the UK premiere of Rob Rokicki's Monstersongs, a theatrical experience that combines rock music, theatre, graphic novels and technology. Taking form as part song cycle, part staged show, Monstersongs is a journey into the minds of often misunderstood 'monsters' and 'baddies'. The music flips the switch on the traditional monster narrative and welcomes us to look at the alternative side of a story and the humanity which unites us all.
This show has the potential to be performed in a number of venues and formats so it will certainly be exciting to see how it evolves and progresses. In its current iteration, we see a series of stories introduced by the young narrator, Bradley Riches who welcomes the creatures to centre stage as well as becoming the Dragon in the rousing song, Reluctantly.
Aside from the vocal performances, the live band are the stars of the show. Providing enough oomph for the rock feel but not becoming overpowering, even in the intimate space of The Other Palace Studio. David O' Neill's graphic novel artwork is also it's own character, with projections adding another layer of interest to the story and helping create the multi-sensory feel of the performance.
Sinéad Wall and Amanda Flynn give a stand out performance with Blood and Brains which is equal measures humourous and gruesome. Sinéad also performs Say Goodbye, a moving number about the pain of Medusa as she freezes another man to stone, with vocal ease and power; whilst Amanda is suitably heartbroken and wicked at the scorned witch in Hell Hath No Fury. Tyrone Huntley is a vocal powerhouse in Down and Under which tells the story of the troll under the bridge and Right Through You is performed with chilling smoothness by Cleopatra Higgins. Another stand out is certainly George Damms in both his first number, The Plans, where he is extremely witty as Igor and his second solo, I'm Sorry in which he showcases his superb vocals.
Whilst I wouldn't say Monstersongs is an immersive show right now, it certainly has the potential to be one and it could definitely do well as a musical which becomes a sort of art installation. It's a 60 minute rock musical about monsters, that provides vocal greatness and heartfelt (if at times predictable) stories- what more could you ask for?
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