Showing posts sorted by relevance for query Cat Simmons. Sort by date Show all posts
Showing posts sorted by relevance for query Cat Simmons. Sort by date Show all posts
Sunday, 23 December 2018
Come From Away, Abbey Theatre, Dublin | Review
Come From Away (European Premiere)
Abbey Theatre, Dublin
Reviewed on Wed 19 December 2018 by Damien Murray
★★★★
As a former refuelling stop for trans-Atlantic flights, the remote town of Gander in Newfoundland was once well used to having many visitors on board passing planes.
In 2001, due to its position and facilities, it unexpectedly found itself playing host to 38 international flights filled with 7,000 passengers of many nationalities during the horrific attacks of 9/11 on the North-Eastern region of the United States.
This is not a show about those atrocities, but rather a true story of generosity, gratitude and ultimate hope performed as a theatrical documentation of the unfolding events at Gander as a result of the attacks and the efforts of a small island population to help their fellow man in exceptional and demanding circumstances.
Ahead of its transfer to London at the end of January, it is, perhaps, appropriate that the European premiere of Irene Sankoff and David Hein’s relatively new, but highly-acclaimed, award-winning musical, is being staged in Dublin as Newfoundland owes much of its music, language and culture to Ireland.
This fact is reflected in the show’s accents, humour and music, with a distinctly ‘celtic’ approach to the score, instrumentation and underscoring in this Abbey Theatre co-production with Junkyard Dog Productions and Smith & Brant Theatricals.
Playing a multitude of roles with a quick-fire change of accent, hat, shirt or jacket to convey each character, the hard-working and 12-strong cast - Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and, returning to the city where she made her professional debut, Ireland’s own West End and Broadway star, Rachel Tucker - prove the perfect team for this exceptional ensemble piece.
Indeed, the captivating cast takes ensemble performance to a whole new and higher level in this factual, intense and heart-warming drama.
Performances here are of such a uniformly impressive standard, it is almost impossible to single anyone out for special praise, but it must be said that, with her commanding stage presence, quality vocals and passionate performance, it is no accident that one of Rachel Tucker’s main characters is, appropriately, that of the Captain.
By necessity, the casting is diverse to reflect the wide cross section of some of those who were caught up in the Gander situation with people of various shapes, colours and creeds being represented; each with their own story and circumstances and each dealing with the situation in their own way.
With Beowulf Boritt’s simple, sparse and static (apart from a stage revolve, which, thankfully, is not overused) set representing the remoteness of the forested island being cleverly lit by Howell Binkley’s mood-inspiring lighting, this production is greatly helped by Christopher Ashley’s no thrills direction and Tara Overfield-Wilkinson’s relentless choreography and movement to advance the evolving story in its 100-minute performance time, without ever losing the attention of its audience.
Because of the nature of its unfolding story, this unconventional musical benefits greatly by the absence on an interval to ensure no loss of momentum or continuity.
The show is also unusual in terms of the musical score, which mixes Celtic with folk and rock with the addition of a few ballads and, with tongue firmly in cheek, gives a musical nod to Titanic to add humour to the piece.
Apart from when they take centre stage for a bit of an international hoe-down during Screech In (highlighting the importance of music as an international language), the eight accomplished musicians, under Alan Berry’s musical direction, are discretely positioned at the side of the stage.
Musical highlights are dominated by the ensemble’s excellent choral work throughout, particularly in songs like Darkness And Trees, while the beautiful rendition of Prayer reinforces the commonality of music in religion.
Other highlights include Rachel Tucker’s moving showcase song, Me And The Sky, and the tender love song, Stop The World.
In the midst of mixed emotions, fear, confusion, panic, terror and tragedy, we find that camaraderie, friendship, tolerance, respect and humour are universal and all shine through in this story of interaction between strangers when they are thrown together in the most unusual of circumstances and when relationships survive and grow with random acts of kindness.
Human resourcefulness becomes second nature as all rally round to provide such practical essentials as food, clothing, accommodation, language interpreters, counselling, medical and spiritual care, money and special care needed for babies and animals that were on any of the grounded flights.
In addition to the positive feelings when they are all pulling together as one, a painful feeling of loneliness and emptiness descends on everyone immediately after they eventually leave to go home similar to that experienced at the end of an Irish wake.
This story of ordinary people doing extraordinary things in a time of need is truly inspirational and this intense, gripping, emotional and heart-warming production perfectly captures the generosity of the human spirit and the hope that has been born out of tragedy to create an oasis of harmony in a world of confusion.
Come From Away runs at the Abbey Theatre until Sat 19th January 2019
Photo credit: Matthew Murphy
Sunday, 9 July 2017
Wig Out: Rehearsed Reading, National Theatre | Review
Wig Out: Rehearsed Reading
Lyttleton Theatre, National Theatre
Reviewed on Friday July 7th 2017 by Jessica Harris-King
★★★★
As part of National Theatre's Queer Theatre month, a rehearsed reading of Tarrell Alvin-MCcraney's, Wig Out was performed in the Lyttleton Theatre. Having attended on the strength of being a huge fan of Tarrell's oscar-winning film Moonlight, I was unaware of what to expect and ultimately more than pleasantly surprised. The play centres around the house ball culture mostly based in the US, and takes place over the course of 24 hours. We follow the journey of the House of Light *snaps* as they get ready for a ball thrown by their rivals, House of Diabolique.
The residents of the House of Light include the colourful characters of 'mother' Rey-Rey (Tarrell Alvin-McCraney), 'father' Lucian (Ukweli Roach) daughters, Venus, gay drag queen (Craig Stein), Ms Nina/Wilson (Kadiff Kirwan), a gay person who presents as feminine and identifies as gender non-conforming, Deity (Kobna Holbrook-Smith) a gay man, who is Venus' love interest and DJ to the House of Light and the three fates (Alexia Khadime, Abiona Omonua and Cat Simmons), a trio of women who often act as narrators for the show, telling the story through humour and singing throughout.
The opening line of the show, as said by Venus "By the time this play makes its way to you, most of the language will have been antiquated" sets the tone of the piece as time (or lack of it) is very much a theme in the piece. It’s presented obviously to us through the fact that the house only has until midnight to prepare for the ball, but also more subtly later in the show, as Rey-Rey’s struggle as an aging member of her house is clearly seen to be getting to her.
The theme of gender is also presented to us when we, along with Nina, meet Eric (Tunji Kasim) a gay man who although likes Nina, is uncomfortable with her presenting as feminine, resulting in her going as ‘Wilson’ during their time together. Kirwan’s performance is truly one of the highlights of the show and his on-stage presence is mesmerising, he brings both equal parts humour and vulnerability to the role, making Ms. Nina one of the stand-out characters of the show.
Venus comes a close second, especially during the second act when she and Deity do a hilarious lip-sync to a Beyonce and Jay-Z song. Craig Stein and Kobna Holbrook-Smith have great chemistry and in this scene it really shows. Throughout the piece, there a various modern pop culture references, reminding us of the fact that the culture being portrayed on stage and the issues, are happening right now in the present day. Jonjo O’Neill and Tom Rhys-Harries also perform expertly as, House of Light rivals, Serena and Loki, their performances in the second act being particularly entertaining.
Overall this performance was a treat to watch and one can only imagine how incredible it would have been, seeing it in all its glory.
Monday, 18 February 2019
Come From Away, Phoenix Theatre | Review
Come From Away
Phoenix Theatre
Reviewed on Tuesday 12th February 2019 by Olivia Mitchell
★★★★★
Come From Away is a giant hug in a musical which even the most icy of people will be moved by, as it portrays a time of amazing and heroic hospitality under immense pain and pressure.
Discussed as a 9/12 musical, Come From Away is set on and after the horrific events of September 11th 2001, but instead of leaving you downtrodden, it will leave you inspired and probably feeling a little sentimental. Written by Irene Sankoff and David Hein, it is an incredibly well rounded and fluent piece of theatre which provides catharsis whist becoming a celebration of goodness.
The show is set in the small town of Gander in ,Newfoundland Canada, which homes just over 11,000 people. On September 11th 2001, 38 planes were diverted to Gander airport, with 7,000 passengers and crew plus several pets and a pair of chimpanzees who were headed for a zoo. The people of Gander came together to provide shelter, food and friendship to the 'plane people'; and all who were there have incredible stories, bonds and live changing experiences from their time. They may have left Gander, but Gander never left them.
After interviewing many Plane People and Ganderites, David and Irene condensed these stories into a 100 minute show that features sleek role-swapping, musical theatre numbers and catchy Celtic tunes. Christopher Ashley's direction is crisp and to the point but also leaves room for us to study the story further, and of course allows us to look at ourselves and wonder what we would do in the same situation. This is further helped by Tara Overfield-Wilkinson's relentless and sharp choreography and Howell Binkley's striking and mood-evoking lighting. These aspects married with Beowulf Borritt's well thought out space, keep up momentum and evolve the story as simply but effectively as possible.
The heart of this show is community, and like the stories themselves, it is built around ensemble and teamwork. The typically Newfoundland scenes such as the 'Screech In', feel like we've stepped into a pub and are really experiencing a group of people enjoying life. In such a group led piece, with smooth character changes, amazing use of simple props/set, it is unfair to name standout performances. The cast as a whole bring these people and stories to life and it's truly moving to witness such a wonderful and transformative piece of theatre.
The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End.
The cast is comprised of Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and Rachel Tucker with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. All of whom, alongside the distinguished on stage band (led by Alan Berry) and all the crew, who are unseen during the 100 minutes, should be equally applauded for their work on the must-see show in the West End.
Concise and well-rounded, Come From Away is a stunning and poignant reminder of human kindness, which will surely leave you standing a little taller and smiling a little more.
Come From Away runs at the Phoenix Theatre and is currently booking until September 2019
photo credit: Matthew Murphy
Thursday, 17 October 2024
Complete Cast Announced for UK Premiere of Dave Malloy’s Natasha, Pierre & The Great Comet of 1812 at Donmar Warehouse
The highly anticipated UK premiere of Natasha, Pierre & The Great Comet of 1812, Dave Malloy’s celebrated musical inspired by Tolstoy’s War and Peace, has officially announced its full casting. The production will run at the Donmar Warehouse from December 9, 2024, through February 8, 2025, under the direction of Tim Sheader.
This groundbreaking musical, which garnered 12 Tony Award nominations during its 2017 Broadway run, is set in 19th-century Russia and tells the story of Natasha Rostova, a young aristocrat who falls in love with the dashing Anatole while awaiting her fiancé’s return from war. The tale weaves together passion, scandal, and redemption, with the character of Pierre stepping in as an unlikely hero to restore Natasha’s honour.
The role of Pierre will be played by Jesus Christ Superstar star Declan Bennett, while Chumisa Dornford-May takes on the role of Natasha Rostova. The rest of the cast includes a mix of acclaimed stage performers: Daniel Krikler (Oklahoma!) as Fedya Dolokhov, Eugene McCoy (Only Fools and Horses) as Prince Bolkonsky/Andrey, Annette McLaughlin (Strictly Ballroom) as Marya Dimitriyevna, Maimuna Memon (Standing at the Sky’s Edge) as Sonya Rostova, Jamie Muscato (Heathers) as Anatole, Cedric Neal (Back to the Future) as Balaga, Chloe Saracco (Pride and Prejudice) as Mary, and Cat Simmons (Aladdin) as Helene Kuragina Bezukhova.
Rounding out the ensemble are Andrew Berlin, Kimberly Blake, Ali Goldsmith, Chihiro Kawasaki, Nitai Levi, and Annie Majin, all of whom will add to the show’s immersive, multi-sensory experience.
The Donmar Warehouse production of Natasha, Pierre & The Great Comet of 1812 is helmed by a top-tier creative team. Tim Sheader directs, with Ellen Kane (Matilda the Musical) providing choreography. Nicholas Skilbeck (Follies) will serve as musical supervisor, and Sam Young will conduct the show’s vibrant, eclectic score.
Leslie Travers handles the set design, bringing 19th-century Russia to life, while Evie Gurney designs the period costumes. Lighting design is by Howard Hudson, with sound design by Nick Lidster and Gareth Tucker for Autograph, ensuring an immersive atmosphere throughout the performance. Additional creative support comes from associate director Fiona Dunn, associate choreographer Nuno Silva, associate casting director Richard Johnston, and resident assistant director Grace Duggan.
Casting is directed by industry veterans Pippa Ailion and Natalie Gallacher.
This UK premiere marks a significant moment for British audiences as they get the chance to witness one of Broadway's most unique musical theatre experiences. With a compelling score that blends folk, classical, and modern influences.
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