Review - On Your Feet! (London Coliseum)

After an impressive run on Broadway and a lengthy US tour, director Jerry Mitchell's production of On Your Feet! has arrived at the London Coliseum, featuring a fantastic cast, lively band, and zazzy choreography by Sergio Trujillo.

The cast of On Your Feet!

Photo credit - Johan Persson

Following Cuban-American singer and former  Miami Sound Machine frontwoman Gloria Estefan and her musician turned producer husband Emilio as they come up against barriers in the form of Gloria's overprotective mother, as well as closed-minded record producers, before eventually beating the odds to become the international superstar power couple they are today, On Your Feet! is a hot new arrival which pulses with rhythm from start to finish. Featuring plenty of fantastic tunes including Dr. Beat, Rhythm Is Gonna Get You, and of course Conga, it's bound to have have audiences dancing in their seats. Especially with breakout stars Christie Prades and George Ioannides at the helm. The duo at the heart of the musical may not be as instantly recognisable to UK audiences as they are to those in the US, but that doesn't dampen the musical's vivaciousness, and neither does its admittedly shaky book, which utilises every trope in the musical biography toolkit. 

Christie Prades and George Ioannides in On Your Feet!
Photo credit - Johan Persson

Of course, Estefan's life story is an inspirational one without a doubt, and the musical does cover some surprising territory; exploring the after-effects of the Cuban revolution, and touching on the prejudices faced by immigrants in America. But the bare bones of the story too-closely resemble so many other biographical musicals which have hit the West End in the last couple of years. Beautiful: The Carole King Musical, and Sunny Afternoon did it first. And so, as strange as it is to say, although Estefan is easy to root for, On Your Feet! is at its best when the story melts away and the musical numbers take front and centre.

Estefan's eclectic songbook overflows with irresistible dance hits and pop ballads which are interspersed with lesser known numbers, and even one new song written specially for the show by Gloria and her daughter Emily Estefan. Conga is the big act 1 closer, and it does and excellent job of getting everyone up out of their seats, meanwhile act 2 culminates at the 1991 American Music Awards with heart-rending soul ballad with Coming Out Of the Dark. And of course, a finale megamix sends everyone home with a smile on their face. EsteFAN or not, sit back and enjoy the show, because the rhythm is going to get you either way! 

TheatreCraft 2016

The free annual TheatreCraft careers event is the biggest non-performance careers event in London. Taking place in the beautiful Waldorf Hotel and with workshops going on in a number of nearby West End theatres, there is no doubt that all those who attend leave feeling inspired by the electric atmosphere of theatreland, as well as the unbridled enthusiasm exuded by the theatre professionals who give up their time to come and talk to young arts enthusiasts. 

This year's TheatreCraft was bigger and better than ever, with loads to be getting on with throughout the day. 2016 TheatreCraft ambassador Adam Kenwright from ATG launched the event at 10am with a passionate speech wherein which he outlined his own career history and touched upon the importance of young people in the industry. He urged everyone to ask 5 questions every day, before sending us on our way. 

The TheatreCraft marketplace was bustling with hundreds of young and excitable theatre enthusiasts making the most of the sheer variety of theatres and education providers exhibiting in the hall. I spoke to many different companies and organisations throughout the day, and picked up loads of different flyers and information sheets too. It was particularly useful to be able to ask the people manning the stalls about their own jobs and how they got to be where they are now, and as a result I was also able to gather lots of information about a variety of work experience opportunities and internships too. All in all a very productive perusal! 

The wealth and variety of different workshops was also someone overwhelming. No matter which area of theatre was of interest, there was a relevant workshop for it. I personally attended two workshops, the first of which was entitled Learn How To Market A Show From Scratch with Dewynters, a world leading arts and live entertainment marketing company. The workshop began with a tour around the different departments at Dewynters. We got a glimpse into the inner workings of the company, and saw loads of different examples of marketing materials produced by Dewynters for a myriad of past and current West End shows! We were then taken through the creation of a logo/poster for a West End show, using the upcoming 42nd Street revival as an example. It was exciting to see each step in the process, from mood board to finished product, and what a beautiful finished product the 42nd Street logo is! Who else is excited for that show to hit London next March? After the talk was over, we were split into smaller groups and invited to plan a marketing campaign for a fictional upcoming musical named Downton The Musical! My group was in charge of the Audience element, and so we mind mapped ideas about which demographic would be most likely to book tickets to Downton The Musical, and how we could entice different audiences in too. The activity was brilliant fun, and by the end of the session we'd managed to plan the beginnings of what looked like a pretty brilliant marketing campaign! Honestly, I didn't want to leave the session at the end. The Dewynters office was very swanky and the staff who led our workshop were so knowledgeable that I'd have liked to pick their brains some more, but we had to leave because there was so much more to explore at TheatreCraft, and I personally had another workshop to attend. 

The second workshop I attended was called Critical Condition - Is There A Future In Theatre Reviewing? This workshop was led by freelance theatre critic Tom Wicker, whose writing has featured in many different publications both in print and online. He had lots to say about the future of theatre criticism, and the way in which it must change and evolve in order to keep up with today's shift towards digital as the norm. He spoke in praise of the younger writers at publications like The Stage, and also expressed a wish to see more reviews written by non white, male, middle class critics. I was also thankful to hear him encourage young aspiring critics to start their own blogs, contribute to pre-existing theatre review sites or write for their school or university newspapers, as in the past some professional critics have been rather scathing about the criticism produced by bloggers. I came away from the session feeling refreshingly positive about the state of theatre criticism and its future. It's certainly got a lot of updating to do, but there's no way good quality criticism is going to die out anytime soon. If nothing else, the amount of people in attendance at the workshop proved that a hunger for quality criticism is very much alive within younger theatregoers. 

However, perhaps the most valuable part of TheatreCraft was the one to one Ask The Experts sessions, which took place throughout the day. Demand for spaces was high, and for good reason. TheatreCraft attendees were given to opportunity to have their CV checked over by a theatre professional from within their chosen section of the industry, an invaluable opportunity, especially for those about to graduate from college or university. My Ask The Experts session was arts marketing and PR expert Ryan Grimshaw, the marketing coordinator for Pavilion Dance South West. I was given loads of brilliant advice about what else I could do to make my CV stand out, as well as suggestions of further training opportunities and work experience advice. I was thankful for the opportunity to be able to pinpoint exactly which skills I needed to develop. Having a CV looked over by a careers adviser at school or university is useful of course, but having it critiqued by an expert in the field I hope to work in is an unparallelled opportunity. 

Evidently TheatreCraft is an unmissable event for anyone thinking about a career in the arts. The chance to get stuck into a wide array of workshops as well as chat and network with theatre industry professionals is an opportunity like no other. Follow TheatreCraft on twitter (@theatrecraft) for more information about the event, as well as a heads up when the 2017 event is announced. Many thanks to Theatre Bloggers for securing me a press pass so that I could cover the event in more detail.

Interview: Sarah Naudi (In The Heights)

Sarah Naudi was part of the original cast of In The Heights at the Southwark Playhouse, where she played the role of Carla. She has recently taken over the role of Vanessa.

You started off in the role of Carla, how did you end up playing Vanessa?

Basically when I first auditioned, I auditioned for Vanessa and thankfully got cast in the show, but got Carla. And it was amazing actually. Especially working with Victoria Hamilton-Barritt (who originated the role of Daniela in the London cast of In The Heights). I was obsessed with her already and I thought 'great, I get to be your sidekick!' it was amazing! And then we moved here (to the King's Cross Theatre) and I was still playing Carla which was such a fun role. I was understudying all of the other girls, so I got to play all of them too. But there was something inside me that was like 'I really want to play Vanessa'. I just get her. And then at the cast change it happened! It was a dream come true!

What was the transition like?

The transition was... it's weird because I feel like coming from the ensemble to then playing the lead role, which blows my mind, I can appreciate how much work the ensemble have to do. We come on and sing a few songs and get lovely praise, but actually people are dancing and give their hearts, you know? I love that I now get to do this but have experienced that as well. And Drew McOnie's choreography! I don't get to do a lot of that now, but I can't complain!

The choreography in the show is amazing, a real highlight! 

Yes! And that's the core. I feel like the whole show is run by that.

Absolutely! It's a shame that your new role doesn't require as much dancing, but what's your favourite thing about playing Vanessa? 

I think she is quite different from me. One thing we have in common is that I'm from a tiny island, and Vanessa has a goal of getting out of the Barrio and doing something with her life, well I was exactly like that. Growing up I always said 'I'm going to be someone, I'm going somewhere', so I moved here on my own when I was a teenager. And I guess it's fun, you know, when everyone in the show is shouting 'Vanessa, Vanessa'. They kind of give you that status when you walk on (during The club scene)!

What is your favourite song to perform in the show? 

Definitely Champagne. She has a moment when she realises she's too late and goes 'oh my god, I've known Usnavi for so long, and I get it now'. And he's leaving. I find it so sad that he doesn't stay for her. He stays when he sees the graffiti on the grate. So it's sad. But I think my favourite song in the show is 96000. I used to get to dance in it a lot more and I love the pounding music. I could listen to it forever.

It's interesting that you talk about how the end of the show is a little bit sad for Vanessa. Where do you see her character going after the show has ended? 

That's a really good question actually! I feel like she probably does get out but I think she'll go back every now and then. I don't know what will happen with the romance, but I think she'll always have a sense of home there and that's what makes the finale so beautiful. I'm exactly the same. Yes I wanted to leave, but my home will always be my home. Every time I go back I feel... well, Benny has one of my favourite lines in the show, he says 'the street's a little kinder when you're home', and it's true. I think that everything's a bit easier and a bit more safe when you're home, and I think Vanessa probably needs that.

Thank you to Sarah for answering these questions. Be sure to catch her as Vanessa in In The Heights at the King's Cross Theatre!

In The Heights has extended its London run at the King’s Cross Theatre for the third and final time and is now booking until Sunday 8 January 2017. Tickets start at £22.50, with a selection of best seats available for Under 25s at a special rate of £15 at every performance. Visit www.intheheightslondon.com for more information and to purchase tickets.

Interview: Arun Blair-Mangat (In The Heights)

Having appeared in the original London cast of Kinky Boots (playing one of the Angels and covering the role of Lola), Arun Blair-Mangat talks about joining the cast of In The Heights and playing the role of Benny. 

You joined the cast a few weeks ago, what's it been like performing in the show so far?

They had a cast change at the beginning of September. I left Kinky Boots and joined this company. It's been a lot of fun. A very quick turn around, but I think it's better that way. You get to know the show really quickly and you can fill in the details afterwards.

Benny is such a great character. How are you enjoying playing the role? 

I love Benny's journey! I love being able to fall in love every night. It's a really great role to play actually.

In The Heights is full of amazing music. What's your favourite song in the show? 

Ooh, the music's so good! It's so rich and there are some beautiful motifs throughout the piece. I think my favourite song is actually a song that Gabby (Gabriela Garcia) sings as Nina. It's the second song in the show and it's called Breathe. It's so well written and she performs it incredibly. It's quite an intense song to happen so early in the show, but it instantly connects you and you understand her journey, and where she's going to go. It really establishes quite a lot.

The show has been compared to Rent on several occasions...

Yeah definitely. I think that the creators were very much inspired by it. There are definitely a couple of parallels.

Usnavi could be considered the main character but all of the characters have their own individual journeys...

Yes, there's lots of different arcs, all interlinking, but I think the main character is probably the Barrio. It's very much about the people and the community of Washington Heights. They're all interconnected and that's what makes the show seem more real, I think.

Many thanks to Arun for answering these questions. Be sure to catch him as Benny in In The Heights at the King's Cross Theatre!

In The Heights has extended its London run at the King’s Cross Theatre for the third and final time and is now booking until Sunday 8 January 2017. Tickets start at £22.50, with a selection of best seats available for Under 25s at a special rate of £15 at every performance. Visit www.intheheightslondon.com for more information and to purchase tickets.

In The Heights Celebrates 1 Year at the King's Cross Theatre

On Friday 30th September 2016 In The Heights celebrated its first birthday at London's Kings Cross Theatre. Lin Manuel Miranda's Tony and Olivier Award winning show opened at the Southwark Playhouse in 2014, where it received rave reviews. As a result it transferred to the King's Cross Theatre in October 2015, and has been running there ever since. At the 2016 Olivier Awards In The Heights was nominated for 4 Olivier Awards and won 3 for Outstanding Achievement in Music, Best Choreographer and Best Supporting Actor for David Bedella.

Photo credit - Johan Persson

The show is a personal favourite of mine, and so I was excited to be invited to its 1st birthday party. The evening began with drinks in the King's Cross Theatre foyer. It was nice to mingle with other theatre bloggers and reviewers, and also just enjoy the vibe of the room. 

The foyer is decorated with New York inspired signage, which is taken down and replaced with archaic Victorian signage before every performance of The Railway Children, which runs in rep with In The Heights. This attention to detail is important, as it means that the audience is already immersed in the atmosphere of Washington Heights before the show even begins. 

Having chatted to the other guests for a while it was time to move into the auditorium, where we were greeted by cast members Raffaella Covino and Johnny Bishop. The pair informed us all that we would be learning some of choreographer Drew McOnie's choreography, specifically a move called 'The Arm Breaker' which features in the show during the club scene at the end of act 1. As someone with a notorious pair of left feet, I was a little bit apprehensive to say the least. However, we were taken through the choreography step by step and shockingly Emily (my sister, dance partner and plus one for the evening) and I actually nailed the steps in the end. So much so that Raffaella gave us some advice on how to finesse our performance! Once everyone was fairly confident in what we were doing, some more of the show's cast members joined us on stage, and we all performed the dance together! Learning a little bit of salsa dance was fantastic fun, and getting to dance with some of the amazingly talented cast was brilliant too. We all tried our best but they made every step look effortless!

Once we'd all caught our breath we made our way back into the foyer to enjoy a buffet of lovely food (there was hummus, there were tortilla chips... I was in heaven!) and have a little chat to some of the cast members. I was fortunate enough to have the opportunity to interview Arun Blair-Mangat, who recently joined the show as Benny, as well as Sarah Naudi who is currently playing Vanessa, but had been with the production since its Southwark run, where she played Carla.

Finally the rest of the audience began to arrive and we took our seats. The theatre was buzzing with excitement. In The Heights is a show with a very dedicated and vocal fanbase, and it was clear that many of those fans were in the audience, which only made the atmosphere of the show more enjoyable. In The Heights is a story about family, community, hopes and dreams, themes which resonate universally. Perhaps that is why it is received so positively night after night!

In The Heights has extended its London run at the King’s Cross Theatre for the third and final time and is now booking until Sunday 8 January 2017. Tickets start at £22.50, with a selection of best seats available for Under 25s at a special rate of £15 at every performance. Visit www.intheheightslondon.com for more information and to purchase tickets.

Review - Groundhog Day (Old Vic)

Groundhog Day is an exciting new musical based on the 1993 film of the same same. It stars Andy Karl as narcissistic weatherman Phil Connors, who begrudgingly travels to the tiny rural town of Punxsutawney, Pennsylvania to report on a story about its most famous resident Punxsutawney Phil, a Groundhog who can allegedly predict the weather. However, Phil finds himself stuck in time loop and is forced to live out the same day again and again...and again, in a seemingly endless cycle. Groundhog Day is directed by the Old Vic's artistic director Matthew Warchus, with a book by Danny Rubin and music and lyrics by Tim Minchin. 

Photo credit - Manuel Harlan

This is Tim Minchin's first musical theatre offering since Matilda, one of the most successful musicals of recent years, and as such the anticipation for this show has been huge. Therefore, what is immediately obvious is how markedly different Groundhog Day is in terms of musical styling. The songs are fast paced and feature the witty, wordy lyrics that Minchin is famous for, but are less instantly memorable this time around. That being said, the show features a number of thrilling rock inspired tunes, as well as several sweet ballads. It'd be unwise to equate catchiness to quality, as that certainly isn't applicable in the case of Groundhog Day. 

The show almost solely focuses on Andy Karl, whose voice is perfectly suited to the score and whose magnetic stage presence and easy charm almost make Phil a likable protagonist. However, particularly in the first act, when his sole drive seems to be bullying and mistreating those around him and trying to seduce every girl he meets, Phil is a decidedly difficult character to warm to.

Interestingly, at the top of act two Groundhog Day temporarily refocuses on Nancy, an everywoman from Punxsutawney who catches Phil's eye and is temporarily the object of his affections. Georgina Hagen sings the touching opening song with power and gravitas, but it is hard to have an emotional response to a song sung by a character which the audience is almost entirely unfamiliar with. Perhaps this is the point though? Groundhog Day is Phil's personal purgatory, and yet his actions affect everyone around him (albeit just for one day), a fact which he gives very little thought to initially. 

After accepting that he is fated to repeat the same day forever, Phil naturally begins to reconsider his life and what he wants from it, and his attentions are turned to his news producer acquaintance Rita, played by Carlyss Peer. Rita is an interesting character who has her own relatable problems and motivations. Clearly a foil for Phil, she is plighted by her treatment at work and her longing to find a perfect partner and yet maintains an easy going, kindhearted persona nonetheless. Carlyss Peer is warm and affable in the role, and portrays Rita's depth remarkably well, considering the fact that she has only one day's worth of character development. 

Photo credit - Manuel Harlan

It could very easily be argued that Phil's character arc is driven by his need to finally get the girl by whatever means necessary, which is a slightly outdated motive. However, Phil's learnt selflessness and humility are really what drives the story in the end, and offers a much more rewarding resolution to his character flaws. The story is intriguing and surprising, and by the end it truly feels like a journey has been had by all. A hard feat to accomplish in a musical where the sole premise is that a day repeats over and over again. Many of Phil's Groundhog Days are presented in a series of montages, executed slickly with the help of several revolves. This format ensures that the audience gets a sense of Phil's exasperation and entrapment, but also safeguards against the possibility of the repetitiveness becoming sluggish. 

The revolves are frankly mind boggling, and in fact it seems that the whole show relies on them. Designer Rob Howell's sets are simplistic yet effective, and lighting design is wonderfully atmospheric. The small town aesthetic of Groundhog Day is perfectly encapsulated in of all of the props and sets, from a bar to a diner, to a bed and breakfast, and everywhere else in between. Despite the need for simplicity due to the fast paced set changes throughout the show, the attention to detail is still delightful. 

Groundhog Day is an exciting new musical which exceeds all expectations. It is a shame that as of yet there is no news of a cast album, as repeat listening would no doubt uncover dozens of witty lyrics which are easily missed in the relentlessness of the musical on stage. All in all though, the show is a dark yet delightful romp, which takes full advantage of its repetitiveness, and makes sure that every moment is engaging and unpredictable. Don't miss it at the Old Vic until September 17th.

Jeremy Jordan at the Hippodrome Casino

For many musical theatre fan, listening to cast albums is often to only way to get a taste of certain broadway shows. Although many shows which originate in New York end up transferring to the West End eventually, there are many others which fall by the wayside. An example of the latter is the 2012 Disney theatrical production, Newsies. There was a time a few years ago when Newsies was all I would listen to, and as such I became a huge fan of show's star Jeremy Jordan. 

After leaving Newsies (but not before bagging a Tony nomination for Best Actor in a Musical) Jordan went on to appear in a number of high profile musicals, TV shows and movies, and secured a name for himself as one of Broadway's most reliable and versatile leading men. 

When the Broadway superstar announced a series of 3 concerts at London's Hippodrome Casino, it was obvious that demand for tickets would be huge. After all, Jeremy Jordan had amassed a vast and varied fan base throughout his career, having starred in Broadway shows such as the aforementioned Newsies as well as Bonnie and Clyde and West Side Story, films such as Joyful Noise and The Last 5 Years, as well as TV shows such as Smash and Supergirl. When tickets went on sale, over 5000 people tried to purchase them, and the venue's ticket website experienced so much traffic that it literally crashed. Thankfully though, against all the odds my friend and I managed to bag two tickets for the Thursday 8pm show, and so all that was left was to wait and wait for that day to arrive!

From the moment he stepped on stage (to rapturous applause, naturally!) Jeremy Jordan seemed totally at ease and immediately likeable. In addition to treating the audience to a number of his 'greatest hits' such as Broadway Here I Come, a song from the fictional musical Hit List, which his character Jimmy wrote on the TV show Smash, and Bonnie from the short lived but hugely popular Broadway musical Bonnie and Clyde, he also took time to tell the audience about his life and career in his own words, as well as treating us to a couple of songs which he himself had written. I actually really enjoyed these original songs and will definitely be buying Jeremy Jordan's upcoming debut album when it is released. 

Jeremy Jordan is such a talented performer, and just being at the concert had me grinning from ear to ear throughout, but a few moments really stood out. Firstly, it was a treat to hear him sing Moving Too Fast from Jason Robert Brown's musical The Last 5 Years. The musical itself is one of my favorites, and hearing Jeremy Jordan (who starred in the musical's 2012 film adaptation opposite Anna Kendrick) sing the song with such flair and enthusiasm was a real highlight. Equally, when Jordan invited his wife Ashley Spencer to join him on stage and duet the musical theatre staple Take Me Or Leave Me it was clear how much fun the pair were having, and that enthusiasm was shared by the audience, who went wild for the no holds barred performance. However, perhaps the most magical part of the evening came right at the end, when the audience was treated to a breathtaking rendition of Santa Fe, from Newsies. For me, at least, Newsies was my first introduction to Jeremy Jordan's talent and so hearing him perform such a powerful song live was just spectacular. 

Sadly, Jeremy Jordan has now played all of his UK concerts, and has returned to America where he will next be seen as Tony in the Hollywood Bowl concert of West Side Story. It was such a delight to experience such a high profile Broadway actor give such an enjoyable and intimate concert here in London, and I really hope this isn't the last time he crosses the pond. It is clear, judging by the demand for tickets, that he has thousands of fans here in the UK, and I know that I would certainly jump at the chance to see him perform again! 

Review - Show Boat (New London Theatre)

The West End transfer of Daniel Evans' production of Show Boat has sadly had a shorter life than originally planned. The production, which was previously booking until January, is now set to close on 27th August. However, it seems that Show Boat's somewhat brief run is less of a representation of the show's quality, more of an indication of the changing demographic of West End audiences. The production itself is slick, lavish and rather magnificent. 

Photo credit - Johan Persson

What is immediately apparent is the fact that Show Boat is a gloriously designed show. From the gorgeous costumes to the beautifully understated lighting and wonderfully intricate, versatile set, everything about it looks sumptuous, yet suitably archaic.

Similarly, Alistair David's choreography is both exciting and time period appropriate, and elevates several numbers, such as Goodbye My Lady Love, which was performed excellently by understudies Dale Evans and Georgie Ashford as Frank and Ellie at the performance I saw. 

The  show's book is arguably one of this production's more flawed elements. Several storylines fizzle away between acts, and an abrupt and rather jarring time jump at the end of act two makes the shows ending seem a little disjointed. However, the plot itself has some wonderful, classic musical theatre moments, and is supported well by Jerome Kern and Oscar Hammerstein's music and lyrics. 

Emmanuel Kojo sings a moving rendition of the timeless musical theatre classic Ol' Man River, and Rebecca Trehearn performs both Bill and Can't Help Lovin Dat Man impeccably. Despite playing the relatively minor role of the show boat's leading lady Julie La Verne, she is mesmerizing and gives a memorable performance. 

It's nice to see a classic musical back on the West End. Especially one with such an exemplary cast. Show Boat is a must-see for any musical theatre lover, but sadly that this production hasn't managed to make waves with audiences in London.

Show Boat is playing at the New London Theatre until 27th August 2016. You can find out more information about this production, and book tickets, by visiting the show's official site, here. 

Review - The Maids (Trafalgar Studios)

At the Trafalgar Studios Jamie Lloyd's revival of Jean Genet's 1947 The Maids is currently playing. Updated, and with a focus on racial as well as economic subjugation, The Maids is a striking and unsettling play about two maids who plot to murder their wealthy employer.

The text itself addresses issues of power, identity, servitude and hatred in a way which feels fresh and relevant today, partly thanks to Benedict Andrews and Andrew Upton's 2013 translation of the script. Laura Carmichael made the most of her single scene, and played the brattish Mistress excellently. Uzo Aduba was excellent as scheming masochistic maid Solange, and spat each of her lines vehemently. But Zawe Ashton gave perhaps the most compelling yet understated performance as Claire, a sultry yet skittish maid who relishes in impersonating her mistress, mimicking her voice and mannerisms, as well as her hair and makeup, before fantasising about her violent murder. However, despite the intriguing concept and gripping performances, the plot seemed to lose momentum in the middle, and the characters motivations were never clarified. Additionally, some of the later monologues served to do little more than add padding to the already overblown and repetitive script, and as such the play built towards an affecting yet rather low key final scene.

Lighting design and sound design created a suitably claustrophobic atmosphere, and the set (a four poster bed showered with flowers which the maids sweep away futilely for a large portion of the play) which helped to establish a perturbing if rather overt juxtaposition between the penurious maids and their wealthy, opulent Mistress. 

However, while the production looked and sounded fantastic, and was acted brilliantly, the production felt overt, and despite the text's violent and masochistic scenes this production of The Maids lacked substance and punch, and therefore despite the unfalteringly excellent performances of all three actresses, it was hard to understand the behaviours of the characters, let alone sympathise with them.

Photo credit - Mark Brenner

In Lloyd's revival of The Maids, the roles were cast perfectly and the set design was simple and yet gorgeously stylised. However, long overblown monologues and odd tonal shifts meant that The Maids sadly lacked the pace needed for a memorable ending. This production will surely polarise audiences, but there can be doubt that The Maids is one of the most stylish, well-acted productions in London right now. 

Review - Billy Elliot (Victoria Palace Theatre, London)

Billy Elliot has been entertaining audiences on the West End since 2005, and yet until its closure was announced a few months ago, it had never really been on my radar. Probably because as it had been running for 11 years, I didn't really anticipate it closing any time soon, and expected that one day I'd just finally get around to it! However, as Billy Elliot's final performance will take place on April 9th, I took a trip up to London with a few friends in order to finally cross it off my list. 

Based on the classic british 2000 film of the same name, Billy Elliot the story of a young boy who discovers a passion for dancing when he stumbles into a ballet class which takes place right after his usual boxing lessons. However, while Billy's dance teacher Mrs Wilkinson encourages him to strive for success, his father and brother are more preoccupied with the coal miners strike, which, if unsuccessful, threatens to destroy life as they know it. 

In as show which is predominantly about dance, it is unsurprising that Billy Elliot features some really fantastic choreography, from Solidarity, where the bitter clash between miners and policemen is juxtaposed with the innocence of Mrs Wilkinson's dance class' rehearsals, to the Swan Lake sequence, in which Billy dreams of his life as a dancer and dances a stunning pas de deux with his older self. 

With regards to the music of the show, while a couple of numbers are perhaps a little bit repetitive, for the most part Billy Elliot is packed with brilliant songs. There were several standout numbers too, such as Shine (sung by rapturously by Ruthie Henshall's Mrs Wilkinson) and The Letter, a heartbreaking exchange between Billy and his deceased mother. 

Set and lighting design is striking, with muted colours and an intentional drabness which symbolises the bleakness of life in a coal mining town in 1984. 

But really the whole show rests on the young actor playing Billy. The role requires a performer with exceptional dance skills, brilliant comic timing and a fantastic grasp of the emotional moments in the show. Happily, Brodie Donougher (one of the four young actors who currently share the role) gives a faultless performance. His dancing skills in particular are enviable and he will no doubt go on to join the ranks of other past Billys who have made a names themselves after leaving the show (such as George Maguire and Layton Williams). Particularly entertaining are scenes which take place in the Elliot household, as Gillian Elisa, Deka Walmsley and Matthew Seadon-Young as Billy's grandma, father and older brother respectively all have absolutely brilliant chemistry, and offer a glimpse into the hardships of their family, thus making their individual conflicts and prejudices with Billy's dancing aspirations more understandable. 

Billy Elliot is clearly a benchmark for other British musicals which draw their inspiration from real life events, such as Made In Dagenham and (to a lesser extent perhaps) Kinky Boots, which were both adapted from films too. But both pale in comparison to the gritty realism presented on stage in Billy Elliot. 

If like me you took it for granted that Billy Elliot would be on the West End indefinitely, and as a result, you've not seen it yet, then there's still time. The West End production closes on April 9th, but the UK tour visiting venues up and down the country in 2016/17. Make sure you see it somehow! 

The Day Seat Survival Checklist

If you've walked around London in the early hours of the morning, then you've probably seen a line of people snaking around the outside of most West End theatres. These people, often seen sitting in camp chairs or (in more extreme cases) sleeping bags, clutching travel mugs with determination in their eyes are probably queueing for day seats!

Day seating is one of the easiest ways to secure great tickets for popular shows at cheap prices. If a theatre is offering day seats (check the website of the show you want to see to make sure that they are, and if they are, then make sure you check how expensive each ticket is (usually around £20-£30), and how many each person is allowed to buy (usually it's 2 per person)), then all you need to do is arrive at the theatre early in the morning and wait for the box office to open.

Yes, the queueing can be tedious, and if it's cold (and this is England, so it will be!) or rainy then you might not be too comfortable, but for a couple of hours of sitting you could end up with front row tickets to one of the hottest shows in town!

Sounds like a good deal, right? Then here's what you'll need to survive the day seat queue...

• A friend! Sitting alone outside a theatre for hours on end can get very tedious, very fast, so bring a friend along to help you pass the time. Plus, don't forget that usually each person can purchase up to 2 day seats (but make sure you check the website because this isn't always the case!) so if you are planning on bringing friends with you, you'll need to make sure that it's possible to buy all the tickets you need.
• A hot drink (preferably caffeinated to the max as you'll have probably been up since the early hours of the morning, frozen to the spot on a street corner in soho. If you're queuing for tickets to an evening show and you don't live close enough to central London that you can just go home and sleep then drinking excessive amounts of caffeine is going to be the only way to make it through the day, and don't end up snoozing in the front row at 7:30!). If you've brought a friend along to queue with you then you take it in turns to nip to Caffe Nero and replenish your coffee stores.
• Some breakfast! You'll probably join the queue at 7 o'clock, and as most box offices open at around 10-10:30am, you're going to want to bring at least a cereal bar or an apple with you!
• A watch (or some other way of telling the time) so you can keep track of how long you've been waiting, and reassure your bladder of how little time there is left to wait when it gets to 9:30ish. (N.B. you will always need to toilet at 9:30, but hold on, you're almost there!)
• A warm (preferably waterproof) coat. The last thing you want is to be sat in one spot for hours on end, shivering to death.
• Your phone. If you live in the 21st century then this is probably already with you 24/7, but it is imperative that you take your phone with you when you go day seating. If nothing else it'll provide you with an almost endless source of entertainment. Not only can you use it to listen to music, check the time etc., but if you're day seating a show because you want to see a specific lead or understudy, you can check for any twitter announcements that they might make. (You may also want to think about bringing a powerpack charger with you. You're going to be out in London all day and your phone might not have enough power to make it through the day without a bit of extra charge.
• Your purse! Imagine how crushed you'd be if you queued from 5am for tickets and when the box office finally opened you realised that you didn't have any way of paying for the tickets. It's also a good idea to check the website of the show you want to see, and make sure you've taken note of all of the details, because often day seats can only be paid for in cash, and not with a credit or debit card.
• A map. If you're not familiar with the area then a map is essential, especially if you're arriving in London while it's still dark! Make sure you know which tube station is closest to where you need to go, and which direction you need to walk in once you're out of the station. The last thing you want if to get lost and end up miles back in the queue, worrying about whether or not you'll get tickets.
• A backup plan! This is very important. Day seating can be a pretty risky way of getting tickets, depending on the popularity of the show you're queuing for. If you arrive at the theatre and the queue is already miles long, then you're going to have to make a decision; queue anyway, and risk having to pay extra for non day seat tickets, or quickly run to another theatre and try your luck in quieter day seat queue. 

So there we have it, a complete list of what to bring with you in order to survive the day seat queue. I hope this was useful for any first time queuers. 

TheatreBoard.com - a place to discuss absolutely anything theatre related!

As someone whose life revolves around the theatre quite a bit, I'm lucky enough to have surrounded myself with close friends who almost all share the same interests as me. There's nothing I enjoy more than discussing what shows people have booked to see, how many times the second understudy Elphaba has performed this year or how early to start queuing in order to get a good seat at the Southwark Playhouse. However, I've slowly come to the realisation that not everyone outside of my close circle of friends is actually interested in talking about the theatre 24/7.

I know, I know! Shocking, right? It turns out that my grandma actually doesn't really care about who is going to be the new Elder Price in The Book of Mormon, my housemates aren't that interested in speculating about which musical Beverley Knight might star in next, and no one at my friend's flatmate's surprise birthday house-party is really that bothered by how long I had to wait in the Miss Saigon dayseat queue last weekend. Hmph!

Thankfully though, there is a new online forum filled with people who want to discuss all of these things and more on a daily basis, and that forum is called TheatreBoard. 

TheatreBoard features sections discussing Musicals; Plays; Performers and following member demand, a new area dedicated to Opera and Dance. Conversations already cover dozens of productions including West End, fringe and touring; alongside topics as diverse as badly behaved audiences to theatre technology and a live chat planned for the upcoming Olivier awards. 

Following the announced closure date of the old whatsonstage theatre discussion board (a board which I had been a member of for more that 3 years) a number of board members volunteered their time, expertise and even their own money in order to ensure that theatre fans new and old had a place to discuss theatre and keep up to date with theatre news. It was really heartening to see such a passionate display from the theatre loving community, and the resulting TheatreBoard forum is absolutely brilliant,

All year round the UK delivers an exceptional wealth of live theatre in venues ranging in size from over two thousand seats down to the most intimate studio spaces. TheatreBoard aims to support informed, varied and vigorous debate among those who love theatre.

So if you're like me, and you find yourself boring your workmates to death with weepy stories about how your favourite show is closing soon, or killing every party you are invited to by only requesting tracks from the Hamilton OBCR then sign up to TheatreBoard for free today and join over 600 other theatre fans who are all just as annoyed about the scourge of people talking through overtures and unwrapping sweets noisily as you are!

Review - Mrs Henderson Presents (Noel Coward Theatre, London)

When the recently widowed Laura Henderson purchases The Windmill Theatre, she comes up with an idea to pull audiences in... create an act in which women pose as nude statues stage. Based on the 2005 film of the same name, Mrs Henderson Presents is a brand new musical, which tells the story of Mrs Henderson and follows the lives of several of her theatre's employees, during the years leading up to World War 2. 

I must admit, before seeing this show I'd never seen the film before, and had tried to stay away from almost everything to do with this show, as I wanted to go in completely blind. This is a decision I am very pleased that I made, as while there were some moments of predictability in the plot, there were also a lot of surprises. One of the biggest surprises for me (which might sound astonishing given the plot outlined in the official synopsis of the show) was just how much nudity the piece featured. But I am happy to report that every nude scene was presented very tastefully. I was also happy to note the undertones of body positivity which ran throughout this show. 

However, despite the extent to which the formation of the nude statue acts appeared to be the main storyline, thus prompting several emotional moments (such as a particularly striking scene at the end of act 1) centered around it, the biggest downfall of Mrs Henderson Presents was that it never really decided what story it wanted to tell. The plot revolved around around so many characters that I never really formed much of a connection with any of them, and this meant that all of the moments which should have been gutwrenchingly emotional ended up feeling a little bit flat. 

But what about the music? Well, there were a few standout numbers, such as the title number and Emma Williams' breathtaking If Mountains Were Easy To Climb, but there were also a good number of songs that all sounded very similar, and quite a few occasions were several songs seemed to blur into one. I also felt as if some of the vocal skills of the cast were not utilised to their fullest effect, as several of the songs were rather pedestrian. That being said, the performances of the stoic yet ostentatious Tracie Bennett as Mrs Henderson, and the captivating Emma Williams as the reluctant star of The Windmill Theatre were an absolute joy to watch.

Photo credit - Tristram Kenton

All in all, Mrs Henderson Presents was a lovely musical with a fabulous cast. Even though it had its faults, it was wonderful to see a new British musical on the West End. 

Review - Kinky Boots (Adelphi Theatre, London)

Having taken Broadway by storm and transferring to the West End to rapturous praise, Kinky Boots was very much on my radar, but until this weekend I just hadn't found the time to see it. I finally decided to queue for dayseats (£25 for front row tickets) to see what all of the praise was about, but sadly, I'm afraid that Kinky Boots just didn't quite do it for me. 

When Charlie Price's father, the owner of Price and Son's shoe factory, dies suddenly, young Charlie Price must step up and save the factory from bankruptcy. When a chance meeting with drag performer Lola inspires Charlie to create a line of specially designed boots, it looks like his father's factory might be saved, but only if Lola, Charlie and the factory workers can put aside their differences and work towards a common goal. 

Now, I must start by saying that there is a lot to love about Kinky Boots' glossy West End transfer. Gregg Barnes' costume design is striking (there is certainly no scrimping on sequins), some of Cyndi Lauper's songs are quite fun if a little bit too pop-y and American for a show set in the midlands, and the actors and musicians are top class. I was also quite fond of some of the choreography, and at the end of act 2 a feel good finale was certainly delivered. 

Despite not loving Matt Henry's acting performance as Lola, there is no denying that his voice is marvelous. Amy Lennox is also brilliant as Lauren, a brassy but lovable factory worker with a thing for the new Mr Price, whose solo History of Wrong Guys was funny and relatable. Other reviews have praised West End performer Killian Donnelly (last seen leading the cast of my favourite show in recent history, Memphis) for his performance as Charlie Price, but at the performance I saw the role was played by understudy Paul Ayres, who gave the most notable performance without a doubt. A charismatic performer with impeccable comic timing, who sung the score effortlessly, and shone in standout numbers such as Step One and Soul of a Man, I was shocked that I'd never seen Paul Ayres in anything before, despite his impressive list of credits. Needless to say I'll be looking out for whatever he does next. 

However, despite all of this, for me Kinky Boots lacked a compelling storyline and felt a bit too predictable and fluffy.There were a couple of punchy moments, but they just missed the mark and failed to make me truly care about much of the conflict. It's hard for me to put my finger on exactly what is was that I didn't connect with, but for some reason, Kinky Boots left me feeling a bit flat. 

I'm glad I saw it, and I'm almost certain it'll bag countless more awards in the future, but for me Kinky Boots just didn't quite hit the spot. 

Review - Hand To God (Vaudeville Theatre, London)

When Jason, a teenager grieving the passing of his father, makes himself a sock puppet companion named Tyrone, he only intends to use his new friend as a prop at a church group organised by his mother.  But all hell breaks look as Tyrone quickly develops a demonic mind of his own, and seems hell bent on turning his Jason's quiet, subordinate personality upside down. 

The comparisons with Avenue Q and The Book of Mormon which Hand To God garnered during it's award winning run on Broadway are understandable. The show features several hand and rod puppets doing very un-family friendly deeds a la Avenue Q, and raises important questions about our relationship with religion in much the same vein as The Book of Mormon. However, Hand To God feels totally different to both of these shows, and this is partly due to the fact that the emphasis is not placed on the puppets or the incessant blasphemy, but on the human relationships within the story. For a play with so many absurd moments of comedy, there were also several really strikingly touching moments, particularly in act 2. 

As Hand To God's central character(s), Harry Melling (who has well and truly shed the 'Harry Potter star' label, a feat which many of the show's other actors have yet to achieve) gives a wonderfully convincing performance. He is instantly personable as bumbling pushover teen protagonist Jason, but the vocal and physical performance presented when he brings satanic sock puppet Tyrone to life is really the most engrossing part of the show. In fact, some of the most impressive scenes are those in which Jason and Tyrone are alone on stage, and Melling showcases a skillful mastery of puppetry and physical comedy, frequently single handedly carrying the performance for several scenes at a time and effortlessly portraying both characters simultaneously. His performance is so affecting and multi-layered that it is impossible to tell whether Tyrone is really a possessed sock puppet at all, or really just an externalisation of Jason's grief and frustration. This is perhaps the most interesting idea posed to the audience in playwright Robert Askins' delightfully wicked dramedy. Janie Dee and Kevin Mains also share some brilliant scenes together as Jason's mother Margery and her trouble-making puppetry class student, and Neil Parson is hilarious as the exasperated Pastor Greg. Meanwhile, Jemima Rooper is endearing as Jason's classmate Jessica, but sadly she is slightly underused throughout the play.  

What I found most appealing about Hand To God was the fact that it featured consistent moments of comedic brilliance, and yet still felt like a slow burn, building towards a totally unpredictable finale. The plot itself raises so many meaningful and relevant questions that is impossible to write it off as just another raucous and gimmicky play designed purely to shock. Yes, it is completely outrageous, and also surprisingly a tiny bit terrifying, but every single absurd moment felt totally justified. In fact, given it's reputation, I was actually expecting Hand To God to be a bit more of a laugh-a-minute type play, but while the jokes came slightly less frequently that I was expecting, this in no way took away from my overall enjoyment of it. 

While it's certainly not for the easily offended, Hand To God really is an unmissable play. If your experience is anything like mine then you'll leave the theatre with your heart racing and a huge grin on your face! Startling and hysterically funny and yet surprisingly touching, it is one of the cleverest plays I've seen in a long time. 

Thanks to Stagedoor for organising a fantastic blogger event and being lovely enough to provide me with a ticket to see the show. I had a fantastic time! Find out more about the Stagedoor app here. 

Review - Grey Gardens (Southwark Playhouse)

Despite it's huge cult following, until about a week ago I had never seen the 1975 Maysles brothers documentary Grey Gardens, nor did I know much at all about the story of the people it followed, however, when it was announced that the tony award winning musical based on the documentary would be playing at the Southwark Playhouse, my interest was piqued, and when a further announcement listed Sheila Hancock and Jenna Russell as the show's stars, I quickly realised that this show would be one to catch!

"Based on the iconic film, Grey Gardens tells the spectacular real life rise and fall of Jacqueline Kennedy Onassis’s aunt and cousin, Edith and Edie Bouvier Beale.

Starting in 1941 at an engagement party at Grey Gardens, the Bouvier’s mansion in East Hampton, Long Island, the musical tracks the progression of the two women’s lives from American aristocrats to reclusive social outcasts living in such squalid conditions, in a home overrun by cats, that the Health Department deemed the mansion ‘unfit for human habitation’."

-Quote from the Southwalk Playhouse website

Firstly, I must say that what immediately struck me about this production, was the amazing intricacy of Tom Rogers' set design. Old, disheveled props lay scattered around the stage throughout the whole performance. It act 1 as the scenes were so brightly lit and the costumes by Jonathan Lipman were so beautifully vintage the dishevelment was downplayed and yet obviously foreshadowed the character's futures, while in the more gloomy atmosphere of act 2, it became rather glaring and repulsive, and perfectly set the tone for the act. Overall, the set was definitely the most striking element of the production, especially given how much semiotic detail was included in such a small set.

However, despite the production's impressive design elements, overall I didn't enjoy Grey Gardens as much as I had hoped I would, and this is mostly down to how flat the show fell in the second act. Fortunately, The first act (a large portion of which I later discovered was fabricated for the show) was enjoyable for the most part, as it gave the audience a glimpse into Edith and Edie Bouvier Beale's pasts. The act was filled with colourful supporting characters such as Edith's charismatic live-in accompanist friend Gould (Jeremy Legat), and Edie's fiance Joseph Kennedy, played charmingly by Aaron Sidwell, whose crooning voice perfectly suited the show's time setting. However, Rachel Anne Rayham and Jenna Russell gave the stand out performances of act 1 as Young Edie and Edith Bouvier Beale respectively. The pair's dynamic was unique and they shared fantastic chemistry as the bickering mother and daughter duo. In short, act 1 was a treat to watch. 

Unfortunately, the same cannot be said for act two, which takes place 32 years later in the now dilapidated wreck of Grey Gardens. The plot was disappointingly uneventful, and the story tonally uneven. Sheila Hancock did a good job of conveying the shrunken yet strong physicality of Edith Beale, but due partly to her constantly wistful line delivery, and her seemingly unwillingness to acknowledge the audience the way Jenna Russell did as Edie, her characterisation felt a little off. 

Thankfully, Jenna Russell shone again in act 2, this time as Edie, a slightly delusional yet engaging character. Clad in a a makeshift mini-dress, a headscarf fashioned from a cardigan, and not much else, she dominated the stage and captivated the audience, conveying warmth and humanising the rather outlandish character. Additionally, she was given possibly the best songs in the show, including the hilarious act 2 opener The Revolutionary Costume For Today. All in all though, the music was rather unmemorable for the most part, which is perhaps another reason why I never really warmed to the show. 

Despite the fact that the story was tragic and thought provoking and the cast was fantastic, I sadly felt myself let down by Grey Gardens. It'll be interesting to see if it has a life beyond the Southwark Playhouse, as the current run is completely sold out, but honestly I think that this musical may really only appeal to those who were already fans of the documentary. 

Visit the Southwalk Playhouse website for more information

Review - Funny Girl at the Menier Chocolate Factory

When it was announced that Olivier and BAFTA award winning star Sheridan Smith would be taking on the role of Fanny Brice in Funny Girl at the Menier Chocolate factory, it seemed that pretty much every theatre fan in the UK set their sights on securing tickets for the limited run. As a result, when booking opened on the 17^th of August 2015, Funny Girl became the fastest ever show to sell out at the Menier Chocolate factory, with the very last tickets having been snapped up by 10:30 in the morning of the same day! You can therefore imagine my exhilaration when I managed to book myself a premium seat for one of the show’s last previews… and then my utter dismay when, after 3 months of waiting eagerly for the day to come, thanks to a series of train delays I was unable to make it! 

Thankfully, during the preview period a few more seats at the far ends on some rows were made available, and my friend quickly snapped a pair up for us...

For anyone unfamiliar with Funny Girl, the plot follows real life stage star Fanny Brice’s transformation from anomalous wannabe chorus girl to full-blown stage sensation, and tells the story of her doomed relationship with notorious gambler Nick Arnstein. It’s a tale which spans dozens of years and countless locations, from the streets of Brooklyn to the bright lights of Broadway, and because of this, I was sceptical about how the show would play in a small space like the Menier. However, while watching the show I found that the relatively small stage allowed the audience to get up close and personal with the story and its protagonist Fanny, played by the dazzling Sheridan Smith. This is part of the reason why, although I’m ecstatic that Funny Girl will be transferring to the Savoy Theatre in April 2016, I’m glad I saw it at the Menier first. It was truly sensational to be sat just meters away from Smith as she brought Fanny Brice to life before us, and really allowed for all of the actors to give more nuanced, delicate performances. 

Sheridan Smith charmed the audience with ease from the moment she stepped on stage. Her performance as Fanny Brice was both engaging and hugely affecting. Prior to seeing Smith in the role, it was hard to imagine anyone matching the showstopping performance of Barbra Streisand, who originated the role both in the film and onstage, and while Streisand is definitely more of a divaesque powerhouse performer, Smith's voice is much more similar to the real Fanny Brice's both when singing and talking, and I personally saw a lot Baby Snooks (one of the characters which Fanny Brice famously portrayed) in Smith's portrayal of Brice, which was very exciting.

Of course, the moment everyone was waiting for was 'Don’t Rain On My Parade' which ended act 1 and was met with unanimous rapturous applause, however, 'People Who Need People' was an absolutely heartbreaking number too, while the audience laughed through the entirety of 'You Are Woman (I Am Man)' thanks to Sheridan Smith’s faultless comic timing and physical comedy prowess. Smith truly gave a masterful musical theatre performance and made it impossible to pinpoint on standout moment.

While Smith undoubtedly gave the standout performance, there was not a weak link in the whole company. The charming and silky voiced Darius Campbell cut a dashing figure as Nick Arnstein, Joel Montague was endearing as Fanny’s friend Eddie, and Marilyn Cutts was fantastically droll as Fanny’s Mother. With such an outstanding level of talent it’s no wonder that the Menier’s Christmas musicals are celebrated year after year.

All in all, I am thrilled that I got the chance to see Funny Girl at the Menier Chocolate Factory this Christmas, and while its run at the Menier Chocolate Factory is completely sold out, I’d definitely recommend checking the website if you are interested in seeing it before it transfers, as occasionally some seats do get returned and become available online. Failing that, tickets are already on sale for the West End transfer, so go and book yours as soon as possible because this show is not one to be missed! 

Review - Cats (for cheaptheatretickets.com)

Having been left bewildered by the peculiarity of Cats when I saw the UK tour last year, I struggled to put my finger on what it was that meant I didn't enjoy the show as much as I felt like I should have done. After all, I had found the dancing absolutely incredible, the singing was top notch, and the set design had really impressed me, but despite this I found myself leaving the theatre a little despondent. However, given that Cats is such an iconic music, loved by so many, I was really keen to watch it again and see if a second viewing would change my opinion, and so a few days ago that's just what I did, and lo and behold, this time I absolutely loved it! 

You can read my 4 star review of Cats at the London Palladium here if you fancy it! 

Review - Singular Sensations (Jon Robyns)

When Jon Robyns, a performer whom I really admire, announced that he would be appearing as part of the Singular Sensations series, I was very curious and I decided to grab myself a ticket. As well as appearing in several of my favourite shows in the past, most recently he was the alternate for the lead male role in Memphis, a show which I like quite a lot (okay, this is probably the biggest understatement ever! I’ll have seen the show 11 times by the time it closes next week!) And I had also meant to go along to several Singular Sensations concerts in the past, but for one reason or another I never quite made it.

Running for just over an hour and a half, it made for a thoroughly entertaining afternoon. Edward Seckerson hosted brilliantly, asking some interesting questions and sharing some fascinating theatre trivia. Meanwhile Jon Robyns was captivating. He shared some brilliant stories (and some very impressive namedrops!) and performed a great variety of songs throughout the course of the afternoon. At the very beginning it was a treat to hear Jon sing, accompanied by one of his Avenue Q puppet counterparts, Princeton. Later we heard some familiar songs such as ‘Moving Too Fast’ from The Last 5 Years (one of my all-time favourite musicals! For that reason this was probably my favourite song of the afternoon) which were interwoven with some songs which I was less familiar with (i.e. ‘Ink’ from Dessa Rose). He also performed ‘Left Behind’ from Spring Awakening, which features on his album. Incidentally I had intended to buy a physical copy of the album of the day, but they had all sold out, so I’ll have to make do with my digital version for now…definitely worth checking out in my opinion though.

Along with the songs and anecdotes, Jon also shared a lot of invaluable advice for young and aspiring performers, which I found genuinely helpful and motivating (I now know where to look during a singing audition, something I’d always wondered about but, at this point in my life, felt too foolish to ask!).

So all in all, I had an absolutely fabulous afternoon. A while back Mark Shenton wrote an article for The Stage about current West End leading men, and it comes as no surprise that Jon Robyns’ name appeared on the list. As well as having a fantastic voice, he also has a genuinely warm and congenial persona. I’m so glad I attended his show and am looking forward to seeing him in Chitty Chitty Bang Bang over the Christmas period.

I’m sure I’ll also be returning to the charmingly cosy Charing Cross Theatre again soon, to catch another Singular Sensations show. I really enjoyed myself and for that reason I really recommend checking out this season’s other guests too, because I’d say that an afternoon like this is a must-see for any musical theatre fan!