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Tuesday 18 December 2018
Alice: The Musical, Lyric Theatre, Belfast | Review
Alice: The Musical
Lyric Theatre, Belfast
Reviewed on Saturday 15th December 2018 by Damien Murray
★★★★
20 years after I first reviewed its premiere production at the venue, Paul Boyd’s is back at Belfast’s Lyric Theatre with a reworked and updated version of his successful and inventive musical adaptation of the Lewis Carroll classic about Alice’s dream-like journey into the wild and wacky world of Wonderland.
While the zany characters of Wonderland with their impressive costumes (thanks to designers, Gillian Lennox and Erin Charteris) combine with Boyd’s predominately pop-orientated and catchy score to please the children, there is plenty here to engage adults too; not least the topicality of the piece with many character and scenario parallels to the on-going, and equally bewildering, Brexit situation.
Since its premiere, this acclaimed show has performed throughout the UK and in theatres as far away as America and Japan… and it is easy to see why.
Offering an alternative to pantomime, it is a perfect family treat for the Festive period, but – not having any seasonal restrictions – remains an equally relevant retelling of a classic at any time of the year.
Played out on Stuart Marshall’s relatively open set, with lots of attractive graphics from the story, and under Paul Keogan’s deceptively simple, but highly effective, lighting plot, this seamless, energetic and fast-paced production allows no respite for the hard-working cast.
Indeed, it is hard to believe that such a complex show can be staged so effortlessly by such a small cast (only seven in number!) and they deserve full credit for, even on a double show day, there was no cutting of corners or lack of commitment from anyone at the matinee performance I attended.
In the role of a narrator, Charlotte McCurry’s ever-watching Cheshire Cat guides us through the dream-like adventures with a high degree of vocal clarity, while Christina Nelson’s suitably scatty White Rabbit adds to the wonderful sense of confusion in Wonderland throughout.
As the soft-spoken and gentle Alice, Ruby Campbell is aptly confused and bewildered and deservedly wins the affections of the younger audience members from an early stage, while Allison Harding’s pompous and impatient Queen of Hearts represents the opposite end of the personality spectrum.
In multiple roles, the trio of male actors, Mark Dugdale (The Caterpillar and Mad Hatter), Adam Dougal (Tweedledee, The March Hare and The White Knight) and Rea Campbell-Hill (Tweedledum, Dormouse and The King Of Hearts) are all equally talented.
Dugdale excels both as the flamboyantly dressed Mad Hatter and as the popular Caterpillar who, as a butterfly in waiting, is at a disadvantage because of his fear of heights and his air sickness.
While Dougal is superb as the eccentric and not so inventive White Knight, a stand-out moment of the show is when he teams up with Campbell-Hill, as the theatrical and entertainment duo, Tweedledum and Tweedledee, to deliver a great two-man routine.
Other highlights here include the theatricality of the ‘shrinking’ scene and the highly entertaining Tea Party scene.
With no ensemble or dancers to help them, the seven cast members are not only uniformly good actors but are also, by necessity, all exceptionally strong singers and dancers and they all do justice to Deborah Maguire’s decisive choreography and to Boyd’s knowing direction and musical direction of his varied and pre-recorded score.
As a perfect alternative to pantomime, this inventive, colourful, entertaining and story-based production will engage the entire family (except, perhaps, those under 3) with its well-known and well-loved characters and dream-like adventures.
Nothing makes sense in the wacky world of Wonderland, but it would be equally senseless if you were to miss this magical musical … and they will welcome you, even if your name is not Alice!
Alice: The Musical runs at the Lyric Theatre, Belfast until Saturday 5th January, 2019
Photo credit: Melissa Gordon
Wednesday 9 October 2024
A Life-Affirming Musical: Come From Away on Tour REVIEW | New Wimbledon Theatre
Come From Away
New Wimbledon Theatre
Come From Away is an extraordinary and heartwarming celebration of humanity, compassion, and community spirit. This remarkable musical, based on the true events following the tragic events of September 11th, 2001, chronicles the story of a small town that welcomed over 7,000 stranded passengers when 38 planes were unexpectedly diverted to Gander, Newfoundland. The 100-minute production, performed without an interval, captivates audiences from the first note to the final bow, leaving you inspired and deeply moved by the resilience and kindness of strangers.
The show, created by the brilliant team of Irene Sankoff and David Hein, debuted in 2013 before premiering on Broadway in 2017 to critical acclaim. It went on to win a Tony Award for Best Direction and has become a worldwide phenomenon; after (devastatingly) closing in the West End, the show is currently touring the UK and touching the hearts of countless theatergoers. What makes Come From Away unique is that it doesn’t dwell on the tragedy itself; rather, it highlights the powerful goodness that arose in response. It’s a story that everyone needs to see- a true testament to the strength of human spirit and the way communities can come together in times of need.
The cast of Come From Away is a masterclass in ensemble performance, with each of the twelve actors seamlessly taking on multiple roles, transitioning between characters with just a subtle change in voice, posture, or costume. Sara Poyzer is great as Captain Beverly Bass, commanding the stage with poise and delivering a stirring rendition of 'Me and the Sky,' a poignant ode to the barriers women face in aviation and beyond. Jamal Zulfiqar’s dual roles as Kevin and Ali are portrayed with depth and sincerity, while Nicholas Pound brings a steady warmth to Mayor Claude Elliott. Bree Smith, as Hannah, delivers an emotionally charged performance that resonates deeply, and Rosie Glossop’s Bonnie has an endearing authenticity that reflects the compassionate spirit of Gander’s residents. Daniel Crowder and Kirsty Hoiles, as Nick and Diane, exude heartfelt chemistry, and Amanda Henderson’s portrayal of Beulah is both humorous and touching, embodying the very essence of Newfoundland hospitality. Natasha J. Barnes is wonderfully endearing as newbie news-reporter Janice, while Mark Dugdale brings great light and vocals to Kevin T. Oliver Jacobson and Dale Mathurin provide some of the most humourous moments of the show and complete the universally perfect cast.
Howell Binkley’s brilliant lighting design transforms the relatively simple set into myriad locations, evoking a sense of intimacy and immediacy that brings the story to life. The lighting shifts subtly to reflect both the tension and warmth of each scene, helping audiences feel every moment of hope, uncertainty, and joy. Kelly Devine’s choreography is equally impressive- fluid and organic, it mirrors the natural rhythms of life in Gander and the mingling of so many lives, capturing the bustling energy of the community while maintaining a focus on small, authentic human interactions.
The music, with its Celtic-inspired score composed by Sankoff and Hein, is the heartbeat of the production. From the powerful opening number, 'Welcome to the Rock,' to the joyful 'Screech In,' the songs are infused with East Coast flair, featuring lively fiddles, bodhrans, and an ensemble that sings and plays with palpable passion. Under the direction of Andrew Corcoran, the music beautifully conveys both the emotional highs and lows, transporting audiences to Newfoundland with its driving rhythms and haunting melodies.
More than just a musical, Come From Away is an experience that reminds us of the inherent goodness within people. The uplifting message is amplified by the Pay It Forward initiatives that the production actively supports. These activities, organised by Lydia Greatrix, in honour of her friend and Come From Away superfan Laura Townsend, which include partnerships with local charities and community outreach, bring the show’s message of kindness off the stage and into the real world. By championing causes that encourage generosity and connection, Come From Away continues to “pay forward” the generosity of Gander, ensuring that its legacy of compassion extends far beyond the theatre.
In the end, Come From Away is not just a must-see show- it’s a life-affirming testament to the power of people and the enduring strength of community. It’s a reminder that, even in the face of unimaginable darkness, human decency shines through, and strangers can become friends. This is a show that will leave you laughing, crying, and wanting to be a better person- a story that every single person should experience, especially in today’s world.
If you would like to donate to future pay it forward events, check the Just Giving page here.
★★★★★
Reviewed on Tuesday 8th October 2024 by Olivia
Photo Credit: Craig Sugden
{AD PR Invite- tickets gifted in exchange for honest review}
Friday 1 July 2022
Come From Away to Play Final Performance in West End on 7 January 2023
The multi award-winning London production of global hit musical Come From Away will extend in the West End from September until the end of the year before holding its final performance at the Phoenix Theatre on Saturday 7 January 2023.
By the time the West End company take their final bow, this critically acclaimed production will have played 1048 performances in London, 47 performances in Dublin and won many major UK theatre Awards including the Olivier, Critics’ Circle and What’s On Stage Awards for ‘Best Musical’.
The current London cast of Come From Away includes Jenna Boyd (Beulah and others), James Doherty (Claude and others), Mark Dugdale (Kevin T/Garth and others), Alice Fearn (Beverley/Annette and others), Kate Graham (Diane and others), Robert Hands (Nick/Doug and others), Jonathan Andrew Hume (Kevin J/Ali and others), Gemma Knight Jones (Hannah and others), Kirsty Malpass (Bonnie and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others), Lejaun Sheppard (Bob and others), with Chiara Baronti, Ricardo Castro, Stuart Hickey, Alexander McMorran, Sarah Morrison, Lucy Park, Jennifer Tierney and Matthew Whennell-Clark.
The Come From Away band includes Alan Berry (Musical Director/UK Musical Supervisor), Matt Bashford (Whistles/Irish Flute/Uillean Pipes), Aoife Mairead Ní Bhriain (Fiddle), Oli Briant (Electric/Acoustic Guitar), Justin Quinn (Acoustic Guitars/Mandolins/Bouzouki), Joey Grant (Electric and Acoustic Bass), Ray Fean (Bodhrán/Percussion), Ian Whitehead (Drums/Percussion), Huw Evans (Associate Musical Director), Andrew Barrett for Lionella Music, LLC (Electronic Music Design), Phij Adams (Associate Keyboard Programmer), Ryan Driscoll (Music Preparation), and David Gallagher (Orchestral Management).
Come From Away shares the incredible real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that invited these ‘come from aways’ into their lives.
Experience the joy, heartache and soaring music as the spirited locals and global passengers overcome their fears and a world of cultural differences to come together and forge friendships that will stay with them forever. The first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter are among the many real characters caught at the start of the moment that changed the course of history, and whose stories became a true celebration of hope, humanity and unity.
The international hit musical has celebrated sold-out, record-breaking engagements on Broadway, in Canada, throughout Australia, and on a 60-city North American Tour.
The Come From Away creative team includes Irene Sankoff and David Hein (Book, Music and Lyrics), Christopher Ashley (Director), Kelly Devine (Musical Staging), Ian Eisendrath (Music Supervision and Arrangements), Beowulf Boritt (Scenic Design), Toni-Leslie James (Costume Design), Howell Binkley (Lighting Design), Gareth Owen (Sound Design), David Brian Brown (Hair Design), August Eriksmoen (Orchestrations), Pippa Ailion CDG and Natalie Gallacher CDG (Casting), Joel Goldes (Dialect Coach), Michael Rubinoff (Creative Consultant), Bob Hallett (Newfoundland Music Consultant), Shirley Fishman (Dramaturg) and Tara Overfield (Associate Director and Choreographer UK).
Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.
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
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