Showing posts sorted by relevance for query Nathan Amzi. Sort by date Show all posts

Monday, 17 April 2017

The Musical Marathon, The Other Palace | Review

The Musical Marathon
The Other Palace

Reviewed on Sunday April 16th 2017 by Grace English

★★★★

The Musical Marathon at The Other Palace was held in support of Orchid a cause close to the hearts of far too many of us; that of fighting male cancer. Even at its most light-hearted and celebratory points neither the performers nor the audience lost sight of what we were there for, and this is what marks it as a truly spectacular and important evening.

Paul Taylor-Mills and Caroline Flack carried us through a maelstrom of powerhouse performers singing songs of their choosing, most of which are in some way anthems of ambition and resilience. Nathan Amzi opened the show with a heartfelt rendition of 'Titanium', and from there, not a single performer gave anything less than their absolute best, each one truly holding the audience completely in the moment. A special mention has to go to Kim Criswell's 'Look to the Rainbow/Over the Rainbow', as well as Emma Kingston's 'Listen' and Marisha Wallace's heart-wrenching 'Stay With Me' as the standout performances of the night, even amongst a group with no weak links whatsoever. In addition, Aimie Atkinson, Genesis Lynea and Stephanie Rojas closing Act One with an energised rendition of 'Lady Marmalade' was a true testament to girl power and their boundless talents as individuals.

Between the performances, Paul Taylor-Mills and Caroline Flack kept us entertained with jokes and anecdotes from their time working with the performers, and even hosted a form of 'karaoke bingo' that resulted in a hilarious improvisation of 'Don't Stop Believing' in the style of Meatloaf and Britney Spears. This allowed the night to easily overcome an issue facing any concert-esque shows; that of failing to engage the audience and thus loosing their attention about an hour in. In overcoming this, we get a sometimes hilarious, sometimes emotional, and constantly enjoyable night showcasing some of the best talent on the West End.

In spite of the fun, it should be remembered that this night was held in the interest of raising money for a serious and important cause which you can learn more about here: https://orchid-cancer.org.uk/

Photo credit: Claire Bilyard

Read post

Tuesday, 6 February 2024

Tom Holland to Play Romeo in Jamie Lloyd's Romeo and Juliet

The Jamie Lloyd Company today announces its new West End production of Shakespeare’s Romeo & Juliet, starring Tom Holland as Romeo, and directed by Jamie Lloyd. Romeo & Juliet runs at the Duke of York’s Theatre, Saturday 11 May – Saturday 3 August 2024.

Further casting to be announced. Tickets go on sale to those signed up for priority booking and ATG+ members on Tuesday 13 February at 8am; general booking opens on Tuesday 13 February at 12pm.

The Jamie Lloyd Company also continues its commitment to accessibility, offering 10,000 tickets priced at £25 and under, with 5,000 of these exclusively for under 30s, key workers and those receiving government benefits. Further information to be announced.

Jamie Lloyd said today:

“Tom Holland is one of the greatest, most exciting young actors in the world. It is an honour to welcome him back to the West End.”

Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham; Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael 'Mikey J’ Asante; Casting Director: Stuart Burt CDG; Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate

Violent delights have violent ends.

Photo Credit: Isaac Anthony / AUGUST

Read post

Tuesday, 9 July 2019

Jesus Christ Superstar, Barbican Theatre | Review

Jesus Christ Superstar

Barbican Theatre

Reviewed on Thursday 4th July 2019 by Olivia Mitchell

★★★★

Back for its third triumphant year, the Regent's Park Open Air production of Jesus Christ Superstar is exciting, vibrant fresh and thrilling. Originally released as a concept album, Timothy Sheader's production strips Superstar back and puts on a glittering and compelling performance which lets every aspect of the show shine.

Of course Andrew Lloyd Webber and Tim Rice's rock score is the heart of this production, with huge belters from the two Js: Jesus and Judas, and more soothing, lighter numbers from Mary Magdalene. However, it's Drew McOnie's choreography that really elevates everything about this version of Superstar. Each riveting moment is sharp but free and grungy at once. The frenetic energy flits between excitement, fury, trance and sadness and creates a pulse which sizzles and entertains throughout.

What's particularly striking about this show is the mob mentality of the followers and apostles of Jesus. Turning on a dime to support and then attack Jesus, there are very few loyalties when peer pressure gets overwhelming. Emphasised even further through Lee Curran's lighting, it's equal measures devastating and thrilling.

Robert Tripolino's Jesus is charismatic and obviously troubled as he pours everything he has into his preaching, but is exhausted and alone as he privately questions his destiny on earth. His storming vocals are the perfect balance of sincere and shocking and his hugely dramatic death, manages, in a strange way, to resonate; and his heartbreakingly truthful performance of Gethsemane in act two enthrals the audience. Ricardo Afonso is a complete superstar as Judas, played with a ferocity which is electrifying. Again he shows off the versatility of his voice but is most vibrant in his bold, angry moments. A real masterclass performance.

Matt Cardle comes to life in act two whilst Nathan Amzi and Cavin Cornwall provide entertaining vocals throughout. Samuel Buttery brings a comic relief which suddenly turns brutish in his excellent portrayal of King Herod. The ensemble are a body of their own as they pulse across the stage with an energy and intensity that jumps off the stage. Without a weak link, the performances are consistently full-out and electrifying. This team work as one throughout and give a continually flowing show.

This is a thrillingly furious, highly millennial production, in which miraculous performances are given and striking images resonate long after the curtain falls.

photo credit: Johan Persson

Read post