Showing posts sorted by relevance for query Tim Rice. Sort by date Show all posts
Showing posts sorted by relevance for query Tim Rice. Sort by date Show all posts
Tuesday, 7 June 2022
Tim Rice and Stuart Brayson’s Epic Musical From Here To Eternity Returns to London
Tim Rice and Stuart Brayson’s epic musical From Here To Eternity is to get its first London revival in a newly revised production at Charing Cross Theatre.
‘From Here To Eternity’ will run from 29 October - 17 December.
Set in the two weeks leading up to the Japanese attack on Pearl Harbor, ‘From Here To Eternity’ is a compelling portrait of humanity, love, duty and redemption set against the backdrop of a beautiful and conflicted paradise.
Adapted from the classic novel by James Jones this breathtaking musical unites the writing talents of Tim Rice (lyrics), Stuart Brayson (music) and Donald Rice and Bill Oakes (book), and is directed by Brett Smock (Producing Artistic Director / The Rev Theatre Company).
From Here To Eternity marked Tim Rice’s first new stage musical for over 10 years. His extraordinary career includes winning 12 Ivor Novello awards, 4 Tonys and 3 Oscars, with smash-hit musicals including Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, Chess and The Lion King.
Director Brett Smock said: “After extensive development work on ‘From Here To Eternity’ in the US at The REV Theatre Company in New York and The Ogunquit Playhouse in Maine, we are thrilled to join forces with UK producer Katy Lipson/Aria Entertainment to present a powerful new production designed specifically for the intimacy of Charing Cross Theatre. Framed by a world on the brink of war, at a time when we are losing the last of the ‘Greatest Generation’, and with the 80th anniversary of Pearl Harbor just last year, it feels timely to revisit this fascinating series of events.”
Lyricist Tim Rice said: “It’s wonderful to have ‘From Here To Eternity back in London. Since its world premiere in the West End in 2013, there have been two excellent productions in North America, both directed by Brett Smock, and I’m delighted he’s bringing the latest iteration of the show back across The Pond. Katy Lipson and her team are the perfect partners: young, dynamic and energetic - like the fighting men of G Company. It’s been a treat to get back to the writing desk with Stuart, too.If you like your musicals soft and fluffy, this show is not for you. We have nothing to offer but danger, betrayal, heart-break, hope, blood, sweat and tears!”
Composer Stuart Brayson said: “Since my tiny acorn of an idea that the classic James Jones novel would make a good musical - and everyone thought I was mad - I’ve been fortunate to experience its remarkable journey from early workshops at the Bridewell Theatre to a West End run, a wonderful film of the production, a successful cast album and two terrific American productions. That’s not too shabby for a self-taught musician and working class lad from Gateshead!”
“Gentlemen rankers out on a spree
Damned from here to Eternity”
(Rudyard Kipling)
Cast to be announced.
Friday, 3 August 2018
Evita (UK Tour), Grand Opera House, Belfast | Review
Evita (UK Tour)
Grand Opera House, Belfast
Reviewed on Wednesday 1st August 2018 by Damien Murray
★★★★
When the idea of a musical based on the life of Eva Peron was first suggested back in the 1970s, many people were dubious about its chances of success… fast forward to today and it has become a modern classic with major theatres like Belfast’s Grand Opera House playing host to an extended run of Bill Kenwright’s 40th Anniversary Touring production of the show.
As last week marked the 66th anniversary of her untimely death from cancer at the age of 33, the show has not only been a success, but has already outlived the real Evita by quite a few years.
A sung-through musical story of her short life, the show takes us from her humble beginnings through to a life of wealth and power, dubbed as the ‘spiritual chief of the nation’ by the Argentine people.
From its dramatic opening with Eva’s funeral juxtaposed with Che’s angry and cynically mocking song, Oh What A Circus, and going full circle through her eventful life back to her lying in state, this must be one of Bill Kenwright’s best ever productions.
Jointly directed by Kenwright and Bob Tomson, this excellent touring revival of Andrew Lloyd Webber & Tim Rice’s relatively early musical about the former Argentine dictator’s wife – which, like Jesus Christ Superstar, originated as a concept album – may be slightly scaled down from the original… but, you would never realise it.
For this was a classy staging boasting basic, practical, but opulent, settings in a well-dressed and extremely well-lit production, which also included some child performers for added realism.
Strong tango rhythms encouraged fiery and passionate performances, especially in choreographed ensemble pieces like Buenos Aires as the hard-working ensemble brought the ideas of Choreographer, Bill Deamer – ranging from passion-filled tango to militaristic movement – to life.
Thanks to Musical Director, Tim Whiting, and his 10-piece orchestra, Webber’s sung-through format threw up many memorable musical highlights, including: great vocal clarity from young Cristina Hoey as the teenage Mistress in Another Suitcase In Another Hall; and from Oscar Balmaseda as the nightclub tango singer, Magaldi, during On This Night Of A Thousand Stars, while the rousing chorus of A New Argentina also stood out, as did the young girl’s beautiful singing of Santa Evita; Che’s expressive interpretation of High Flying Adored and the ailing Eva’s heartfelt and moving rendition of You Must Love Me.
Mike Sterling provided a commanding Peron, while Glenn Carter really impressed in the demanding role of the ever-present Che, the self-styled narrator of the story.
Carter’s diction, clarity and, at times, almost patter-style of delivery were vital to this show, as – being sung-through – those new to the story or with any hearing difficulty needed such clarity to put everything in context, especially during songs like Oh What A Circus and High Flying Adored.
In addition to her beautiful singing voice (particularly in the show-stopper, Don’t Cry For Me Argentina), The Voice finalist and musical theatre songstress, Lucy O’Byrne, turned in a very confident performance as the ambitious backstreet actress whose ascendancy was unstoppable, because she was so loved and adored by so many that she almost rose to the dizzy heights of sainthood.
My only small criticism was that, as Eva Peron was enigmatic, manipulative and charismatic; I would have liked to have seen a little more charisma throughout, as it did take a little longer than usual to warm to the character of Eva.
This may have been because O’Byrne was more operatic in style than some others I have come across in this role, although her display of humanity during You Must Love Me at a time of critical physical weakness was heart-breaking and probably the best and most moving ever, as was the touching death scene.
All dressed and decorated in a rich tapestry of sumptuous sets, authentic costumes and wigs, and attractive, mood-inspiring lighting, this production was a visual treat with some beautiful theatrical pictures at the end of most songs.
Forty years after its West-End premiere, this fast-moving production is a high standard revival of a passionate and powerful piece of musical theatre.
Evita runs at the Grand Opera House, Belfast until 11th August before continuing it's tour.
photo credit: Keith Pattison
Wednesday, 15 July 2020
Regent's Park Open Air Theatre to present Jesus Christ Superstar: The Concert
Regent’s Park Open Air Theatre is the first London theatre to welcome back audiences with 70 live performances in August and September, with venue capacity reduced to 390 seats, 30% of its usual capacity, together with new safety protocols
From 14 August, Regent’s Park Open Air Theatre will produce a special concert staging of their production of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar.
William Village, Executive Director said: “Following the government’s announcement last week that outdoor theatres may re-open, we have been working around the clock to find a way to open in August and September this year. With social distancing, seating capacity has been dramatically reduced to 390 seats (down from 1,256). This makes producing any large-scale show economically extremely challenging, particularly as we are an unfunded organisation. Nevertheless, both for us as a venue, and the industry as a whole, we believe it is incumbent upon us to do everything possible to re-open this year, and we’re delighted to announce this special concert staging of our award-winning production of Jesus Christ Superstar.
Of course, the safety of our audience, performers and staff remains of paramount importance to us. We will follow government guidance meticulously; measures to be introduced at the entirely open air venue include: reduced capacity, distanced performers, enhanced cleaning, one-way systems, mandatory face coverings, temperature checks, paperless and cashless systems and multiple hand sanitiser stations. All information will be set out clearly on our website and communicated with audiences in advance of their arrival.”
Running for six weeks from Friday 14 August until Sunday 27 September 2020, the concert will run for 90 minutes with no interval.
The creative team is: Will Burton CDG and David Grindrod CDG (casting); Lee Curran (lighting design); Tom Deering (musical supervisor); Barbara Houseman (associate director, voice and text); Drew McOnie (choreography); Nick Lidster for Autograph (sound design); Tom Scutt (design); Timothy Sheader (director); Kate Waters (fight director) and Denzel Westley-Sanderson (co-director). Full casting information will be announced in due course.
A series of one-off MOREoutdoor Mondays will also play throughout the run with comedy from Rob Beckett, Russell Brand, Jimmy Carr, Kerry Godliman, Judi Love and Russell Kane.
Timothy Sheader, Artistic Director said: “It has been, and continues to be, an incredibly challenging time for everyone working in the theatre industry. Whilst the arts sector awaits details of how the government’s support package will be disseminated, I’m heartened that we have been able to start work again with a number of our colleagues and to employ over 140 people including 70 performers and freelancers, at least for a brief period this summer.
However, a clear and specific timeframe for the re-opening of the rest of our industry, together with the complete and safe removal of social distancing measures in all venues, remains critical to secure the future of the arts in the UK.”
Public Booking for Jesus Christ Superstar: The Concert, opens 11am, Tuesday 21 July 2020; Public booking for MOREoutdoor Mondays opens 11am, Thursday 23 July 2020
Friday, 21 January 2022
Beauty and the Beast to Play at the London Palladium
Disney’s beloved Olivier Award-winning stage musical Beauty and the Beast - re-imagined and re-designed in a completely new production staged by members of the original award-winning creative team - will come to London in Summer 2022, as part of its UK & Ireland Tour.
Performances will begin at the London Palladium from Friday 24 June 2022, for a strictly limited season until Saturday 17 September.
Tickets will go on-sale for London at 10am on Friday 28 January. Customers can sign up to be amongst the first to access tickets and can find all tour dates and information at BeautyAndTheBeastMusical.co.uk
The UK tour opened at Bristol Hippodrome on 25 August 2021 and is currently playing at the Sunderland Empire.
Spectacular new designs and state-of-the-art technology fuse with the classic story, as the timeless romantic tale is brought to life on stage like never before, with all the charm and elegance audiences expect from Belle and her Beast.
Courtney Stapleton and Shaq Taylor will play the iconic lead roles. Courtney’s credits include Dear Evan Hansen, Six, Les Misérables and Bat Out of Hell, and Shaq is best known for performing in Girl from the North Country, Hadestown and Hex.
Gavin Lee (Mary Poppins, SpongeBob SquarePants, the Broadway Musical, Les Misérables) plays Lumiere and Tom Senior (The Pirates of Penzance, Eugenius!) is Gaston.
Sam Bailey (The X-Factor winner 2013, Blood Brothers) plays the legendary role of Mrs Potts, with Nigel Richards (The Phantom of the Opera, Les Misérables) as Cogsworth.
Martin Ball (Les Misérables, Wicked, Top Hat) takes the role of Maurice, Samantha Bingley (Martha In The Secret Garden) is Wardrobe, Emma Caffrey (Curtains, 42nd Street, Funny Girl) is Babette and Louis Stockil (Miss Saigon, Mamma Mia!) plays Le Fou.
The full company is completed with Richard Astbury, Sarah Benbelaid, Jake Bishop, Pamela Blair, Liam Buckland, Jasmine Davis, Matthew Dawkins, Autumn Draper, Daisy Edwards, Alyn Hawke, George Hinson, Jennifer Louise Jones, Brontë Lavine, Thomas-Lee Kidd, David McIntosh, Aimee Moore, Sam Murphy, Ashley-Jordon Packer, Emily Squibb, Grace Swaby, India Thornton and Rhys West.
Beauty and the Beast is reimagined in startling new designs which use the latest theatrical innovations. Among the many new features is an exuberant tap dance within the legendary production number Be Our Guest, created expressly for Gavin Lee, recognised as one of the great tappers on either side of the Atlantic.
Olivier Award nominee Matt West directs and choreographs this new production, leading a team that includes composer Alan Menken, lyricist Tim Rice, bookwriter Linda Woolverton, scenic designer Stan Meyer, costume designer Ann Hould-Ward and lighting designer Natasha Katz. The team collectively received five Tony® nominations and a win for Hould-Ward’s costume design, when Disney first debuted Beauty and the Beast on Broadway 28 years ago.
The structure and tone of the story and score – as conceived for the 1991 film by its executive producer and lyricist Howard Ashman with a continued evolution for the Broadway adaptation three years later – made Disney history. Only once before – in Menken and Ashman’s previous film musical The Little Mermaid – had a Disney film been structured like a stage musical where the songs are integral to plot and characterisation rather than only ornamental or digressions. This Menken/Ashman innovation is credited with the 1990’s Disney animation renaissance that went on to create such film classics as Aladdin, The Lion King and Hunchback of Notre Dame and helped re-introduce the book musical form to popular culture.
This new Beauty, while retaining the lush period sound of the Oscar-winning and Tony®-nominated score - which brought classics including Be Our Guest and Beauty and the Beast, as well as Change in Me, added to the musical production in 1998 and retained thereafter - has new dance arrangements by David Chase, allowing original choreographer Matt West to re-visit his work. Longtime Menken collaborators Michael Kosarin and Danny Troob are musical supervisor/vocal arranger and orchestrator, respectively.
Completing the design team, Tony®-winner John Shivers is sound designer, Darryl Maloney is the video and projections designer, and David H. Lawrence is hair designer. Jim Steinmeyer is the illusions designer, as he was on the original 1994 production. Casting for the production is by Pippa Ailion Casting.
The original West End production of Beauty and the Beast opened at the Dominion Theatre in April 1997, playing over 1100 performances to more than two million people. It won the 1998 Olivier Award for Best Musical and enjoyed a hugely successful UK & Ireland tour in 2001.
Based on the 1991 film – the first animated feature ever nominated for an Oscar for Best Picture – Beauty and the Beast opened on Broadway in April 1994 and garnered nine Tony nominations and one win. It played for more than 13 years on Broadway, closing in 2007. It remains to this day – 28 years after it opened – among the top 10 longest running shows in Broadway history. The 2017 live-action retelling of the animated classic quickly became the highest grossing live action film musical of all time, a record only beaten by The Lion King live-action release in 2019.
Beauty and the Beast is produced by Disney Theatrical Productions, under the supervision of Thomas Schumacher.
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
Thursday, 10 November 2022
From Here To Eternity, Charing Cross Theatre | Review
From Here To Eternity
Charing Cross Theatre
Reviewed on Wednesday 9th November 2022
★★★
Based on the novel by James Jones and the classic film adaptation, From Here to Eternity follows the soldiers of G Company in the days leading up to the Pearl Harbour attack. There are dramas, romance and social commentary galore, and this production at the Charing Cross Theatre showcases it all with stunning performances, but a mishmashmed plot.
There have been a number of musical changes from the previous London production with songs being cut and some new additions made; the first act is very plot heavy and almost feels like a play with songs as opposed to a full blown musical. However, the score (lyrics by Tim Rice, music by Stuart Brayson) definitely has some stand out moments and the consistently strong cast give their all and provide absolutely divine harmonic moments throughout.
As Prewitt the leading man, Jonathon Bentley is astounding. In a vocally and physically demanding role, he completely excels and exudes star power. As Maggio, Jonny Aimes is incredibly enjoyable to watch, showcasing his versatility, beginning as the cheeky comedian before becoming beaten down by army life and what it entails. The entire male cast are strong and this is certainly a show which thrives in its ensemble moments where everything comes together in harmony and synchronicity. The female cast is small but mighty. Desmonda Cathabel as Lorene, Eve Polycarpou as Mrs Kipfer and Carley Stenson as Karen are uniformly formidable and give some great solo and trio moments. However, as with most of the characters there's limited development to their storylines so it's difficult to really root for them. Also, most of their action is just in reaction to the men and they aren't given much agency of their own which is a shame.
This is a show which pack a lot in but it's not all successful. With such a vast number of stories going on throughout and not enough time for their background exposition, there's a distinct lack of connection which means the drama never fully hits. That being said, this is a real powerhouse of a show vocally and is worth seeing for the sheer talent on display.
Another great aspect is the combination of Adam King's lighting and Stewart J Charlesworth's set design which work in unison to create a very cinematic feeling production. There are some visually striking moments and the small space of the theatre is used to its full potential. Cressida Carré's choreography also fits well and is perfectly sharp and clean.
From Here to Eternity has some faults but is ultimately a show which delivers oomph thanks to its completely committed cast. The story is a bit all over the place but the moments which hit, really do so well and it's great to see a much loved British musical back on stage.
photo credit: Mark Senior
Thursday, 17 October 2024
Full Cast Revealed for 2025 Tour of Joseph and the Amazing Technicolour Dreamcoat
Michael Harrison has announced additional casting for the highly anticipated second UK tour of the London Palladium production of Joseph and the Amazing Technicolour Dreamcoat. The show, which kicks off on December 3, 2024, at Edinburgh Playhouse, features two iconic Pharaohs- Donny Osmond and Joe McElderry- and introduces Christina Bianco as the Narrator and Adam Filipe as Joseph.
Tickets are on sale now at uktour.josephthemusical.com.
Global entertainment legend Donny Osmond will return to the stage in the UK for the first time in years, playing Pharaoh in this celebrated production. Having performed as Joseph in over 2,000 shows and starring in the 1999 filmed version with Joan Collins, Richard Attenborough, and Maria Friedman, Osmond brings his signature charisma to the role for a limited run. His UK dates will be exclusive to the Edinburgh Playhouse Christmas season.
Joining Osmond on tour is pop sensation and former Joseph star Joe McElderry, who takes over the role of Pharaoh across several UK locations. After his popular turn as Joseph in the 2017–2018 tour, McElderry is set to captivate audiences in venues like Sunderland’s Empire Theatre, Nottingham’s Theatre Royal, and Leicester’s Curve, among many others.
Christina Bianco, a two-time Drama Desk Award nominee and viral YouTube sensation known for her diva impressions and recent West End role as Glinda in The Wizard of Oz, will narrate the 2025 tour. She is joined by Adam Filipe as Joseph, whose credits include Titanic The Musical, The Prince of Egypt, and Les Misérables. Together, they will perform at all tour dates, promising show-stopping performances.
The ensemble features Hugh Cotton as Reuben and Will Haswell as Simeon. The full cast also includes Aaron Archer, Bella Baldock, Daniel Bowskill, Imogen Bowtell, Taylor Bridges, Joseph Browlie-Johnson, Joseph Craig, Davide Fienauri, Ellie Greenway, Oliver Hawes, Kiera Haynes, Siobhan James, Ben Lancaster, Nicole Lupino, Bradley Perret, Harvey Shulver, Jessica Sutton, Charley Warburton, Jenna Warne, and Alex Woodward. The children’s company will feature an array of talented young performers from across the UK.
The 2025 tour is directed by Laurence Connor, whose previous work includes School of Rock, Miss Saigon, and Les Misérables. Choreography is by JoAnn M Hunter, who has worked on 20 Broadway shows, including On A Clear Day You Can See Forever. Set and costume design is by Morgan Large, with lighting design by Ben Cracknell and sound design by Gareth Owen. The musical direction is led by John Rigby, with John Cameron as orchestrator.
Joseph and the Amazing Technicolour Dreamcoat remains one of the world’s most beloved musicals, with its pop-infused score by Andrew Lloyd Webber and lyrics by Tim Rice. The show has been performed globally since its 1969 debut and features timeless hits like "Any Dream Will Do" and "Close Every Door."
With an incredible cast and spectacular production values, the 2025 tour of Joseph promises to be a dazzling celebration of one of musical theatre’s greatest shows. Whether you’re a longtime fan or new to the musical, this tour is not to be missed!
Tuesday, 17 July 2018
Evita (UK Tour), New Victoria Theatre | Review
Evita (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 17th July 2018 by Olivia Mitchell
★★★★
Classic musical, Evita has been thrilling audiences in the UK and around the world since it opened in 1978, winning the Olivier Award for Best Musical. Multiple re-incarnations have allowed various portrayals of the iconic characters and different takes on the tale of Eva Perón. Despite not having a huge amount to compare to, having only seen the 1996 movie and 2006 West End production, I don't hesitate saying that this current tour helmed by Lucy O'Byrne, Glenn Carter and Mike Sterling has created an almost perfect production and showcases the music and story of Evita wonderfully.
Not only was tonight Evita's opening night at the New Victoria Theatre but was also the opening night for the three leads who each do an outstanding job. Mike Sterling commands the role of Juan Perón with power and fight whilst also showing off a softer side with his wife. He is vocally wonderful and complements Lucy's voice well. As Che (in some productions based on Che Guevara, and others as working class Everyman base of Peronism) Glenn Carter is versatile. A strong voice and all-knowing-rock-god-vibe means he brings a unique but perfectly suitable strength to the role.
As the leading lady, Lucy O'Byrne grows and blazes as Eva Perón. Starting out as a 16 year old who knows what she wants to a dying politicians wife, O'Byrne's transition is breathtaking to watch. Stand out moments include Rainbow High and You Must Love Me which show the drastic differences between Eva's character. Lucy performs the role with passion and drive whilst maintaining brief innocent moments. Her vocals grow as the character does and her stellar diction means we don't miss a word of the fast-paced passages.
Bill Dreamer's choreography brings to life the world of Argentina and cleverly moves us from one moment of action to another, whilst, Matthew Wright's sets and costumes create a vibrant world which draws you in from the opening. The fairly simplistic sets echo the world of the Perón's and at times provide a stark contrast to the glamour of Eva.
It's hard to pick fault with such a strong production but one thing in particular strikes me as odd: the decision to give the entire cast English accents. This doesn't take away from the performances at all but feels like a bit of a cop out, and makes us forget the show is set in Argentina at times.
However, overall this production is well thought out and does a brilliant job of bringing Tim Rice and Andrew Lloyd Webber's music and lyrics to life once more. This show is not glitz and glam happiness, but it is a raw and moving story which should certainly be seen. Stellar music is brought to life by a magnificent cast who make Evita a must see!
Evita runs at the New Victoria Theatre until July 21st before continuing it's tour.
photo credit: Keith pattison
Wednesday, 5 June 2024
Jesus Christ Superstar on Tour is an Electrifying Experience | New Victoria Theatre Woking | Review
Jesus Christ Superstar (Tour)
New Victoria Theatre
Last night, I had the pleasure of attending the current UK tour of Jesus Christ Superstar, and it was a nearly perfect theatrical experience. From the moment the curtain rose, I could tell this production was something special. Having seen it previously at the Barbican Centre, I knew what to expect but I was really pleasantly surprised with how well the production has translated for touring.
Andrew Lloyd Webber's show, a rock-opera-musical has one of the most intricate and powerful scores I've personally experienced in the theatre. The vocal demands from every performer, whether the high as mountains soprano tracks or the booming bass of Caiaphas, every role requires strength, integrity and control which this cast deliver in spades. Alternate in the role, Charlie McCullagh's portrayal of Jesus is astounding. Taking on the role with the quiet swagger of a popstar, it's evident why he'd garner a following and his kind, charismatic persona, makes his eventual crucifixion incredibly moving and powerful. Vocally, you cannot fault his performance, (his Gethsemane is firmly in my top performances of 2024) every single note is supported and intentionally performed and the emotion imbued into each moment is magnetic to watch. Shem Omari James' Judas is equally compelling, delivering a nuanced and passionate performance that adds layers to the character and leave you questioning his motives long after the curtain goes down. The chemistry between the two leads is palpable, making their dynamic and relationship both riveting and heartbreaking. Hannah Richardson completes the trio perfectly, bringing a tenderness to Mary almost acting as a mediator throughout. Her voice is soulful and she really made the iconic songs feel new and refreshed.
Musically, the production is outstanding. The orchestra deliver Andrew Lloyd Webber's iconic score with vibrant intensity. The contemporary rock-infused arrangements breathe new life into the familiar tunes while still honouring the original spirit of the musical. This is an incredibly well-oiled machine of a show that seems to have paid meticulous attention to making every single moment hit with astounding intensity.
Visually, the show is a feast for the eyes. Tom Scutt's set design is innovative, using modern elements to create a versatile and dynamic stage, without the need for any huge set changes. Equally, his costumes, blending traditional and modern styles, are simplistically striking and allow for some really interesting moments, especially towards the end when some characters literally get Jesus' blood on their hands and bodies. One of my favourite elements of the musical is Lee Curran's lighting which is continually awe inspiring as it enhances dramatic moments and add a layer of symbolism that beautifully complements the narrative. Whilst I don't always understand the meaning of Drew McOnie's choreography, I find it incredibly arresting and love the frenetic energy that it brings to the stage.
The only minor drawback for me, is the occasionally overpowering sound mix. At times, the balance between the orchestra and the vocalists is off, making it difficult to catch all of Tim Rice's intense and often witty lyrics. However, this was a small blemish on an otherwise stellar production.
In my opinion, this touring version of the classic show is a must-see. It’s a masterful revival that pays homage to the original while bringing a fresh and contemporary twist. Whether you're a long-time fan of the musical or experiencing it for the first time, this production is sure to leave a lasting impression. Impeccably performed, it's one of the most moving and powerful shows I've seen this year and I wouldn't hesitate to recommend it.
★★★★
Reviewed on Tuesday 4th June 2024 by Olivia
Photo Credit: Paul Coltas
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday, 3 August 2022
Chess the Musical in Concert, Theatre Royal Drury Lane | Review
Chess the Musical in Concert
Theatre Royal Drury Lane
Reviewed on Tuesday 2nd August 2022 by Olivia Mitchell
★★★★
After the success earlier in the year of Bonnie and Clyde in Concert, the bar has been set rather high for what concert productions at the Theatre Royal Drury Lane can provide, and this most recent one certainly hits the mark.
Chess, last seen in London in 2018 at the Coliseum, is set in the 1970s/80s amid the Cold War. Two chess masters meet in Bangkok to fight it out for the world championship title, but also end up in political and romantic competitions.
By Tim Rice's own admission in the programme notes, the music is the heart of this show, with many finding fault with the book that is sometimes all over the place. Thankfully in this production everything is fairly sleek and issues with the book can be overlooked thanks to the sumptuous cast, choir and orchestra.
Director Nick Winston put on the show in a previous iteration in Japan and has superbly brought it to the London stage with a version that puts the focus strongly on storytelling, both through the music and the buoyant choreography by Alexzandra Sarmiento and Tara Young.
This is further helped in no small way by the outstanding LMTO Orchestra, directed expertly by Freddie Tapner. The sumptuous, melodically complex, beautifully syncopated score is showcased to the highest degree. There's a sensitivity given to the more pared back moments whilst the rousing, dramatic pieces of score are stretched to their full extent to provide real wow moments. The LMTO Chorus also bring add excellent power and oomph to the proceedings.
There were some songs which were cut from the show, namely the song Talking Chess between Anatoly and Freddie and Commie Newspapers which I think would have helped the plot be a bit clearer, especially for those seeing the show for the first time. But of course given the short turnaround and runtime for the concerts, I can certainly understand why some pieces had to be cut and shifted and what was still included was excellent. Any plot issues really fly under the radar when you have such a wonderful team on stage and offstage making everything else so enjoyable.
This onstage team is made up of some musical theatre heavyweights and there are standout performances throughout. Samantha Barks' rendition of Nobody's Side and the Anthem Reprise are definitely at the top. Joel Harper-Jackson's Pity The Child, Hadley Fraser's Anthem also bring the house down, and Frances Mayli McCann and Barks also compliment one another beautifully in the classic I Know Him So Well.
Having first seen Chess in concert version at the Royal Albert Hall in 2008 and falling in love with it at age 10, seeing this production of equal strength was an absolute treat to witness. Here's hoping we see more of this outstanding adaptation and the stellar cast who brought it to life!
photo credit: Mark Senior
Tuesday, 31 December 2019
Olivia's Top Shows of 2019
This year I saw 150 shows, from glitzy West End productions to smaller fringe pieces and many UK tours. Before we step into the new decade, I want to feature some of my favourite pieces of the year and those which have stuck with me in some way.
Dolly Parton has been a family favourite growing up so this musical ticks all the boxes for me. 9 to 5 is a catchy, colourful celebration of girl power. With another tour planned for next year, this show is sure to delight audiences in 2020 and beyond.
Six featured in last year's Top 10 list, but having seen it a few times this year, I thought it warranted a place once again. The fantastically, feminist musical is pure joy on stage and a complete treat. Enthralling audiences around the world with its pop/musical theatre crossover sound and the heart which is retained in all its incarnations, Six's world domination is only just beginning.
I mentioned the Broadway production of Come From Away last year, but 2019 saw the triumphant West End transfer of this show which is completely spectacular and special beyond compare. Telling the heartfelt story of the unity formed in a small village in Canada during the traumas of 9/11, the Celtic sounds and complete ensemble feel of the piece make it effective and oh so powerful.
Performed by members of the British Theatre Academy (BTA), the young cast transported audiences on a mystical journey of love and magic. Lee Proud and Harrison Clark created a production worthy of much acclaim and showcased some of the future stars of UK theatre.
Having missed the Open Air production of Jesus Christ Superstar, I was thrilled to get the chance to see it at the Barbican and it did not disappoint. Andrew Lloyd Webber and Tim Rice's score soared thanks to the ingenious staging which made the space feel as though it was outside, and Lee Curran's lighting which made the atmosphere both electric and intimate. Amazing performances all round made this a production not to be forgotten.
Not only was it a treat to see this enchanting song cycle by Dave Malloy brought to life by such talented actor-musos, but getting to experience the new space of the Boulevard Theatre was a delight in itself. The whole space feels fresh, welcoming, modern and all in all a wonderful addition to the London theatre scene. Ghost Quartet was a wacky mish-mash, but there's something about it that was truly enchanting.
The Cher Show | Neil Simon Theatre
If you'd told me at the beginning of the year that The Cher Show would be in my top shows, not just of 2019 but ever, I doubt I would've believed you. The cast were amazing but as someone unfamiliar with Cher's music and kind of bewildered by the whole idea, I didn't expect to come out beaming after one of the best night's ever at the theatre. The biopic musical tells the story of the superstar's rise to fame via three Cher's representing different times in her life. The performances are other worldly and the humour hits all the right spots. This is the embodiment of a grand musical and I can only hope it comes to the West End sometime soon!
The Jungle | St Ann's Warehouse
This is another show I missed in London but was lucky enough to catch in New York at the incredible setting of St Ann's Warehouse in Brooklyn. This is the most striking piece of theatre I have ever witnessed, and I can't even explain how spectacular the entire production was. The community feel that was created within moments of entering the theatre is like nothing I've ever experienced and every element of theatricality was so perfectly used to highlight the stories of those on stage.
The Adam Guettal musical was on my 'To See' bucket list, so it was a complete joy to experience the sumptuous score performed by such a stellar cast this year. The story about young Clara falling in love with Fabrizio on a trip to Italy is beautiful and made me want to go to and have my own romantic holiday accompanied by a beautiful classical soundtrack.
Fiver played a brief run at the Southwark Playhouse and earned itself much praise and many fans. With a fantastic score by Alex James Ellison, the musical follows the story of a £5 note and how it's value changes in the hands of various people. This was a completely unexpected treat of a show which completely enraptured me and left me feeling joyous, thanks to the wonderful mix of musical styles and fantastic array of stories involved. The superb cast of five gave everything and made it a real gem of a piece. A delightful musical, lets hope we see more of Fiver in the future.
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