Review - The Woman in Black (Fortune Theatre)

The Woman in Black is now celebrating 30 bone-chilling years on the West End. Based on Susan Hill’s novel of the same name, The Woman in Black sees an elderly former lawyer named Arthur Kipps recounting a fateful trip he made many years earlier, during which time he encountered the titular woman in the derelict Eel Marsh House and fell victim to her curse. Kipps enlists the help of an actor to assist him in putting his story down in a play, but as the two men work to bring the haunting tale to life, a dark prescience lurks in the wings. 

 

Stuart Fox and Matthew Spencer in The woman in Black
Photo credit - Tristram Kenton

Stuart Fox and Matthew Spencer star as Kipps and The Actor, and do a miraculous job of bringing all of the play’s various eclectic characters to life. Within the intimate auditorium of the Fortune Theatre, which stands in for a cosy Victorian stage, the play is utterly engrossing from beginning to end.

Every tiny bump in the dark rings out across the audience and sends shivers down the spine, with Stephen Mallatratt's script amping up the unease as the story builds towards its chilling conclusion. Matthew Spencer’s portrayal of fear and confusion as he re-enacts the younger Kipps’ encounters at Eel Marsh House are so focused and animated that the entire audience can’t help but be pulled in to the world of the play. Yelps of fear from theatregoers are unsurprisingly common, and only help to stoke the energy in audience.

With 30 year reputation for inducing nightmares in audiences of all ages, and a place on the GCSE Drama curriculum, it’s no surprise that The Woman in Black remains as frighteningly fresh as ever.

Review - Ruthless! The Musical (Arts Theatre)

26 years after its first performance off-Broadway, Joel Paley’s spoofy musical comedy transfers to London’s Arts Theatre. Telling the story of tiny stage sensation Tina Denmark, an 8 year old girl who’ll do anything to achieve her Broadway dreams, Ruthless! The Musical twists and turns through murders and mysteries, as Tina, her ditzy housewife mother Judy, and her flashy talent agent Sylvia St Croix, pursue the rocky path to fame.



Kim Maresca, Lucy Simmonds, and Jason Gardiner in Ruthless! The Musical 

Photo credit - Alastair Muir

First and foremost is has got to be said that Tina, a precocious adolescent murderess, is an absolute scream and actor Anya Evans (who shares the role with 3 other actors) makes the most of every moment she is on stage. With bags of talent and a death glare to be reckoned with, she sells the musical's premise from the moment she utters her first treacly line right up until her final blood soaked  bow.

 

With a purposefully absurd number of twists and turns, the plot keeps everyone guessing as they giggle along. Ruthless! The Musical is most definitely a musical written for eager musical theatre fans. Despite a strong derogating of the genre by Tina's drunken grandmother, theatre critic Lita Encore, the book features a few stagey gags and parodic moments, referencing musicals such as Gypsy and Sunset Boulevard.

However, all of Ruthless! The Musical's melodramatic reveals could do with more energetic build-ups to really elevate the jokes to belly laugh territory, and the smattering of musical theatre references dropped in don’t occur regularly enough for the ongoing joke to gather much momentum. That being said, Jason Gardiner’s Sylvia St Croix making a spotlight stealing entrance in a long coat and turban, declaring 'I’m still here' is a fun little moment. It has to be said though, that for all its attempts to be outrageous and irreverent, Ruthless! The Musical seems to lack the bite that other similarly cheeky musicals possess.

 

Gaudy 50s inspired sets feature heavily in act 1 and epitomise the sweet and uncomplicated lives of Tina and her mother at the beginning of the story. However, in act 2 once Tina’s despicable deed has been completed and her mother has abandoned her to chase her own showbiz dreams, a sleek and glamorous New York apartment becomes the musical's main location. However, the piece maintains its earlier cartoonish vibe in other ways, for example Lara Denning is hilarious as coked up and maniacal Eve, a wannabe stage star desperate to crawl her way up the food chain. In fact, act 2 is where Ruthless! The Musical’s jokes flourish. It’s just a shame that Tina is incarcerated off stage in the Daisy Clover School for Psychopathic Ingénues for quite a lot of the time, as when she does appear, dressed up in a black and white striped hoop skirt of course, she’s an inimitable bright spot.  

All in all though, what’s prevalent throughout the musical is its relative tameness. Ruthless! The Musical feels like it wants to be outrageous but doesn’t ever really go far enough to truly shock. It may have seen surprising to hear a young child swear on stage back in 1993, but it’s much less impactful today, in a world of Spelling Bees and Spring Awakenings. Sure, it’s a fun romp, but Ruthless! The Musical misses more marks than it hits where the gags are concerned. 

That being said, there's still plenty to enjoy, especially for those who are fans of broad humour, and  even broader characters. There's some face shredding belting, a plot going at 200 miles per hour, and countless surprise turns which will keep audience members on their toes. It may attract a slightly niche audience, but there's definitely an appetite for this kind of digestible musical comedy fare.

Interview - Orlando Seale (Manhattan Parisienne)

Actor Orlando Seale is currently appearing in a work in progress production of Alain Boublil's Manhattan Parisienne at The Other Palace. Following on from its world premier in 59E59 theatres, New York, in December 2015, this piece, featuring songs from the classic French and American songbooks, tells the story of a French actress and an American musician, both of whom have a connection to Paris. 

The importance of music within the piece is paramount, and with that in mind, cast member Orlando Seale, who is currently playing Gerard in the play, took a little bit of time out of his schedule of rehearsals and performances, to talk about his own relationship to music, the experience of working on a work-in-progress, and his affinity for Paris. 

'I think the audience reactions have been really positive' Seale says of the work-in-progress nature of the piece. 'It’s not supposed to be a performance, in a sense, it more just showing 5 or 6 days' worth of rehearsals.' Fascinatingly, because of the ever changing nature of the piece, it's very likely that what audiences who come later in the run see will be very different to what audiences saw at the beginning of it. Seale explains that he does what he can to explore the piece, and revels in the evolution of the show, explaining that 'they’re taking things out, putting new things in, trying different things out, and Bruce [Guthrie] the director has been really clear with the audience about that, so the audience has been very supportive. They’ve been coming in with a spirit of understanding that this is very much a work-in-progress, and it might change radically.'

That approach very much reflects Seale's attitude towards his own musical creations, which he described as 'post punk DIY stuff'. It's refreshing to hear the actor's views on how creating music should be accessible to everyone, with him expressing that 'I like the idea of everyone making music. You don’t have to qualified in some special way to do it. Of course it helps, but it’s nice the idea that everyone can get up and sing a song.'

And Seale's musical beginnings are a result of just that, as he describes how he didn't study a musical instrument in school, but was lucky enough to be invited to join the school band nevertheless. However, his obsessions with creating music didn't start until much later, when he was living in Los Angeles, and his then-girlfriend introduced him to a whole host of amazing music. He recalls driving around L.A in his car, his own personal soundbooth, 'I’d always written poetry and things, and I started wanting to see if I could sing songs. It partly came out of feeling like I wanted to make things of my own, that weren't just dependent on being cast. I became completely obsessed and I couldn’t stop'.

Seale recalls enjoying working on music projects, and finding himself searching for a way to combine his love of music and of theatre, having never done a musical before. Whilst teaching at the Associate Studios performing arts academy he was impressed with the hard work and talent of the musical theatre students, and says that curiosity led to him seeking out more opportunities to perform in music heavy pieces. 

'When this opportunity came up I thought it’d be really fascinating to go and spend a few weeks with people who were unbelievably talented, who were at the top of their game, and see how they did things.' As a show which relies so heavily on the use of music, Manhattan Parisienne, sd you would expect, has assembled a great team for its performances at The Other Palace. Seale is quick to praise the musical talent of everyone involved, stating that he is 'really impressed by the level of musicianship of all of the players and singers who play multiple instruments, and sing, and dance', whilst also marvelling at the skills of the director, choreographer, and band.

Given the name of the piece, asking about Orlando Seale's personal relationship with the titular boroughs, and of course his answers are extremely interesting. 'I’ve not only been to Paris, I lived in Paris, and I loved it so much. I’m a massive Francophile, and I have a lot of French friends, and I was actually at drama school in Paris at The Conservatoire National Supérieur D’Art Dramatique, so I go back as often as I can. The first time I went to New York was with the RSC years ago when we were on tour, and I absolutely love it. I haven’t spent as much time there, but I’d jump on any opportunity to go back!'

Unfortunately Seale doesn't know what the future holds for Manhattan Parisienne, but suggests that the creative team are taking audience comments on board and are eager to know what works and what doesn't. He is also full of praise for the play in its current iteration, stating 'I think it’s got a lot of charm, and it’s an opportunity to enjoy the American and the French song books, in a really charming way that brings the two together. I love the subtitle that Alain [Boublil] gave it; the songs he wished he’d written. I think that’s really beautiful, and for someone who’s been involved with such enormous hits, that's a really charming and humble thing to say.'

Edinburgh Fringe Review - Adventures of a Redheaded Coffeeshop Girl

In the a followup to her much lauded one woman show Confessions of a Redheaded Coffeeshop Girl, which played during the Fringe last year, Rebecca Perry returns to the role of sweet and likable coffeeshop girl Joanie as she heads to Africa to work with primatologist Jane Goodall in Tanzania. Perry's enthusiastic energy and endearingly gawky protagonist is an engaging lead who keeps the audience entertained and charmed throughout.

Adventures of a Redheaded Coffeeshop Girl is a fun romp, with plenty of atmosphere, and Joanie addresses the audience as if she is writing in her diary, and that intimacy and personal connection with the audience is what really sweetens the show. While the story feels a little inconsequential in the end, Perry's performance is never anything less than delightful to watch and the show's clever melding of dialogue and music makes for a captivating and whimsical hour long show, and Perry is personable as the red headed protagonist.

The show's cliffhanger ending is slightly unusual, but it leaves the audience wanting more. Hopefully Edinburgh Fringe fans will be treated to another instalment of Joanie's adventures at next year's Fringe. But until then catch Adventures of a Redheaded Coffeeshop Girl at the Gilded Balloon Teviot until the 29th of August.

Edinburgh Fringe Review - The Inevitable Heartbreak of Gavin Plimsole

The Inevitable Heartbreak of Gavin Plimsole is about a young man coming to terms with the fact that he could die at any minute due to a recently diagnosed heart disease. The audience is fitted with Activio heart rate monitors, and invited into Gavin's shed to meet the bumbling antagonist, played by Richard Lawton. He addresses the audience for the majority of the show, sprouting interesting facts on a myriad of different topics, with the help of his two assistants (Richard Hay and Sarah Griffin) who are dressed in catsuits decorated with a scale version of the human nervous system. From time to time the factoid sharing is interspersed with snippets from Gavin's life, mainly moments featuring ex girlfriend Wren, who he is still in love with. When Gavin has to make any hard decisions about his life he reaches out to the audience for advice on what to do next, selecting his helpers based on who can raise or lower their bpm to his desired number.

Photo Credit - Sharklegs

Unfortunately, although the premise of the show is fascinating, and the main character is likable and endearing for the most part, there is often so much going on that the overarching narrative becomes muddled.  Swapping between reminiscences and lectures to the audience doesn't always work, the love story on which a lot of the show hangs doesn't feel developed enough, and audience members are invited to make suggestions about what Gavin should do next in his life without understanding the poignancy of either decision. 

That being said, the show works best when the audience is involved in the story. The use of heart rate monitors is admittedly interesting too, but unfortunately they are severely underused, and some people's numbers can't easily be read due to the fact that they are projected on the uneven interior of Gavin's shed. 

The relevance of the shed is yet another odd incongruity. Gavin is introduced as a toymaker, and yet spends most of his time in a shed at the bottom of his garden doing science experiments. Plus he wears a blue boilersuit for the duration of the show. These elements seem underdeveloped and make the whole story seem less believable. As such, the show never reaches the emotional depths it is aiming for.

The actors do give it their all though, and there's no denying that the production is full of creativity, from a really brilliant wire puppet, to a contraption which drops a marble down a series of metal tracks and into a box every time the room collectively reaches 500 heart beats. It is clear that The Inevitable Heartbreak of Gavin Plimsole is a play with lots of potential to be a stunning and poignant piece of multimodal theatre. However, the plot's many strands need reigning in, and the use of audience participation needs to be implemented much more frequently.

The Inevitable Heartbreak of Gavin Plimsole is on every day at 1:40pm at the Pleasance Dome, until August 29th.

Edinburgh Fringe Review - Verge of Strife

As one of the most famous war poets of his time, WW1 poet Rupert Brooke seems like an interesting subject for a play. However, despite touching upon several interesting themes, and showing Brooke's inner restlessness well, Verge of Strife seems somewhat directionless.

Photo Credit - Arsalan Sattari

The audience longs for a dramatic moment, but all such moments occur in between scenes and are merely discussed in passing before the play moves on. As such the plot saunters along without much clear sense of direction or urgency for most of its running time. 

The story also relies on its audience having a fairly in depth prior knowledge of not only Brooke's life and works, but also the lives of his friends, lovers, and other prominent societal figures at the time, and those who are not equipped with this may find themselves getting lost rather quickly. Especially because the play is structured so choppily. Admittedly the fast paced scene changes facilitated by just a snappy lighting change or prop rearrangement, do make for some admirably slick storytelling. But there are altogether too many scenes of Brooke pontificating in front of swooning admirers, and not enough exploration of his inner workings or the inspirations for his famous works. Nor is enough time spent exploring Brooke's transition from breezy young man to hardened naval sub-lieutenant. In fact, for a play about a famous war poet, very minimal scenes are dedicated to showing Brooke's actually experiencing war itself. 

However, with a wild glimmer in his eyes, and a easy swagger to his step, Jonny Labey makes the most of Brooke's vulnerable moments, and is subsequently excellent as the tumultuous poet, especially when he shares scenes with Emma Barkley who plays Brooke's earnest lover Ka Cox. 

Production designer Emeline Beroud's work is also more than just serviceable. The simplistic, summer-y set is wonderfully archaic, and compliments the production's undeniable overall finesse.

Verge of Strife is an elegantly designed production with a strong cast . Unfortunately though, despite beautifully incorporating Brooke's works into the script, the who things seems a bit underpowered and the choppy scenes and unceremonious ending leave the audience feeling deflated. 

Verge of Strife is playing at Assembly George Square every day at 2:15pm until the 29th.

Edinburgh Fringe Review - Katie Brennan's Quarter Life Crisis

Actress and blogger Katie Brennan is sharing her quarter life crisis with audiences every night in the intimate Wee Coo studio at the Underbelly George Square. She cuts a whimsical figure in a sparkly jumpsuit and heels, and with even sparklier eyelids to boot she'll remind you of your kooky best friend from Year 7, except grown up and talking about unemployment and bad sex AS WELL as tamagotchis and 90s pop music! Her musical cabaret show documents the universal truths of all young women today, from inevitable bad Tinder dates to brutal bouts of unemployment, and everything else in between! 

From from the get go it is clear that no holds will be barred in Brennan's hour long confession session, and armed with a can of G&T and a megawatt smile she opens up to her audience completely. Over the duration of the show she shares tons of hilarious, wince inducing anecdotes which sound too unbelievable to be true, and yet are totally relatable at the same time. As such her audience is with her every step of the way. 

The instantly likable Brennan peppers her cabaret show with plenty of hilarious tunes, co-written and played by MD Joseph Atkins. Songs like Why I'm Not Carrie Bradshaw and and excellent tweaked cover of Somewhere That's Green are particularly memorable numbers, but every pop and / or musical theatre inspired song is charming and brutally honest, and excellently sung too, it must be said!

Katie Brennan's Quarter Life Crisis is a love letter to struggling 90s kids everywhere. It will make you cringe, grin, laugh and cry, and is a must see for any young Londoner struggling to make their dreams a reality. Catch it every night at 10:50 at the Underbelly George Square.

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.

Review - Murder on the Terrace ((Heartbreak Productions) UK Tour)

Is there anything more enjoyable than lounging outside on a summer evening, watching an excellent play and enjoying a picnic at the same time? Well, that is exactly what Heartbreak Productions Open Air Theatre audiences can enjoy this summer at many venues up and down the country. 

At a garden party hosted by Lord Cava, his nephew Charles, the heir to Cava's Sparkling Wines, is found dead under mysterious circumstances. Enter Inspector Back (of the Yard) an imposing yet exasperated detective who enlists the audience to help solve the case. 

Murder on the Terrace is a farcical whodunit, packed with an array of kooky characters, shocking plot twists and frankly criminal jokes! The original script by David Kerby-Kendall features countless pop culture references, as well as one or two obligatory song and dance numbers, and audience participation throughout. 

The audience participation element in particular is a big hit, with audience members being called up on stage to take part in murder mystery themed quizzes and games, as well as being encouraged to take on the role of detective and interrogate characters in order to try and uncover the truth. 

The cast is razor sharp and have great rapport with one another as well as with the audience. Their multi-roling is impressive, and is also used to great comedic effect within the plot. James Edwards is brilliant as Lord Cava, a despicable toff who isn't afraid to incriminate himself in order to show his disdain for his dead socialist nephew, meanwhile Amy Gardyne has some excellent one liners as Ellie, the Cava's hapless maid, and also impresses as Lady Caroline, Lord Cava's daughter. The whole cast works together as an excellent comedic ensemble, and is led by Benjamin Thorn as Inspector Back, whose sighs and exasperated glances to the audience bring about some of the show's biggest laughs.

Pedantically, there are several glaringly anachronistic plot elements, some rather provocative stereotypes, and a rather inordinate disregard for the fourth wall (even for a tongue-in-cheek comedy!), which may throw off a few audience members who are unfamiliar with the genre of farce. Similarly, the absence of political correctness may initially elicit a few uncomfortable chortles. However, once the tongue in cheek nature of the script is fully established the audience is able to relax and engage with the piece more comfortably.

All in all, Murder on the Terrace is excellent fun, particularly for those who would consider themselves Agatha Christie or Poirot aficionados. The jokes come thick and fast, there is innuendo to spare, but wrapped up in all of the comedy is a rather neat and genuinely intriguing murder mystery story. 

Visit  www.heartbreakproductions.co.uk to find the full tour schedule, book tickets, and read about 3 other plays also being toured by Heartbreak Productions this summer.

Thanks to TheatreBloggers for the invite!

Introduction to my Edinburgh Fringe adventure (Network of Independent Critics)

I am so excited!

From 17th-22nd August 2016 I will visiting the Edinburgh Fringe Festival, not as a performer, but as a critic! I was fortunate enough to be selected to join the Network of Independent Critics, whose goal is to champion quality arts writing outside the mainstream press. It was such an honour to be selected and I couldn't be more excited.

Let me tell you a bit more about why it is so vital that independent arts critics are given the opportunity to review productions at the Edinburgh Fringe...

Due to the quantity of shows put on at the Edinburgh Fringe every year, it is unsurprising that most don't benefit from critical coverage. This is unfortunate, as not only does it play an important role in ticket sales, it is also incredibly useful for both the performers and the creatives involved.

That's where the Network of Independent Critics comes in. This summer 24 independant critics will descend upon the Edinburgh Fringe, each writing about their niche specialism. Children's theatre, drag and cabaret, new writing, stand-up, opera, and work by young people are just some of the areas which will be covered.

I myself will be writing about new musical theatre and small cast/ two hander shows, two areas which I am very passionate about championing.

However, funding a weeklong stay in Edinburgh is not an easy feat. Online critics who write for their own websites and blogs, or create vlogs or podcasts, do so because they are passionate about theatre. Ordinarily, they receive no financial assistance, and therefore a weeklong visit to the fringe is a huge financial commitment, which deters countless critics each year.

So how can you help?

If you're passionate about the arts then please consider supporting the Network of Independent Critics via their Fringefunder crowdfunding campaign. Not only will you be helping to support the online arts critics whose work is becoming more and more vital as arts criticism decreases in mainstream media, you'll also be helping to ensure that performers and performing arts companies get the critical recognition they deserve.

If you're not 100% convinced yet then you might also be interested to know that there are tons of perks for backers, such as a postcard from the Edinburgh Fringe, the chance to get your hands on a complete bundle of 1 critic's work from the festival, and the opportunity to choose a production which a critic will review for you! More information about these perks, and more, make sure you visit the Network of Independent Critics Fringefunder page. 

Even if can't give to the crowdfunding campaign if you'd like to help out in another way then please consider sharing this post on social media.

Thanks so much for your support! If you'd like to know more about the Network of Independent Critics then give them a follow on twitter, or like their facebook page.  

Additionally, if you are interested in having a show reviewed then please don't hesitate to get in touch.

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 - An Inspector Calls (UK Tour)

An Inspector Calls was one of the first plays I ever really studied, and yet still to this day I find it as interesting and multi-faceted as I always did.

The story seems simple enough; a family sitting down to dinner receive a visit from a mysterious police inspector named Goole, investigating the suicide of a young girl, who mysteriously seems to be connected to every party member. However, as the play goes on, it becomes clear that the Inspector may not be who he says he is, and his inspection of the family may not be happening for the reason they think it is. The brilliantly gripping plot, and interesting social commentary presented by playwright J.B. Priestly is surely the reason behind why An Inspector Calls is considered a classic today. 

Therefore when the UK tour of Stephen Daldry's staging of An Inspector Calls visited my local theatre, I was excited to see it. Especially given the countless 4 and 5 star reviews I had read before I attended. However, while the plot was just as shocking as always, I sadly found myself a little let down by the production as a whole. 

Firstly, the set seemed unfit for a theatre with a curved seating area. For the first 10 minutes approximately, the family scenes took place inside what looked like a large dolls house dining room, with all four walls intact. I think the idea was that the audience is supposed to only catch glimpses of the action from through the windows, however, from my side view seat I could see nothing almost nothing. Additionally, the walls muffled the actor's voices, meaning that throughout the whole of the first establishing scene I could neither see or hear much of anything. 

Unfortunately, when the house finally opened up (a very clunky moment in the plays opening third) my issue with the visibility of characters didn't improve very much, as it seemed that no character's monologue was deemed perfect unless they ran to the back of the stage and then ran forwards again to exaggerate their point. This direction got tiring and repetitive very quickly and also made many of the moments much more melodramatic that they needed to be. 

In fact, I think the main issue I had with this production overall was its lack of subtlety. Of course the play is full of clever hints and allusions, but in this production all of symbolism etc. seemed heavy handed. It almost seemed like the whole production was designed with GCSE English students in mind (the play is still on the syllabus). Some of the elements were admittedly quite clever, and as a 16 year old wannabe A* student I would be having a field day. But sadly I'm a bit older than 16 now and so was quite a lot of the audience, and therefore this symbolism just didn't seem subtle enough. 

Not even the spot on performances of Liam Brennan as the abrasive inspector, or Caroline Wildi's humorous take on the detestable Sybil Birling could detract from the larger faults in this production. As one of my favourite plays, I was really hoping to love An Inspect Calls, but sadly I personally found it unsubtle and by-the-numbers.  

My favourite shows of 2015

Happy new year! 

Wow, is it just me or has 2015 flown by? It doesn't seem that long ago that I was looking back on 2014 and reflecting on the wonderful shows I'd seen that year, and now here we are in 2016, and wow do we have some exciting shows to look forward too! 

2016 looks like it's going to be an amazing year for theatre, but as this post's title suggests, rather that looking to the future, I'm going to be reflecting on some of what I consider to be the best shows of 2015 (I know I unfortunately never got to see dozens of hugely successful and well reviewed shows this year, but I've also been lucky enough to catch some absolute gems). I've loved reading loads of #LDNtheatrebloggers' picks and so I hope you enjoy mine...

5) Peter Pan Goes Wrong

I'm no stranger to shedding a tear or two in the theatre, but normally I'm weeping tears of sadness, not hilarity. However, when I saw Peter Pan Goes Wrong on its UK tour in January 2015 for the first time in my theatregoing life I found myself laughing so hard I couldn't breathe!

In Peter Pan Goes Wrong the jokes came thick and fast and the mishaps were ingenious and largely unpredictable. I enjoyed every single second of Peter Pan Goes Wrong and would return to see it in a heartbeat, which is fortunate as it playing at the Apollo Theatre in London until the 31st of January 2016.

4) Gypsy 

I didn't actually write a review of Gypsy for this blog, because I saw it in its very final week on the West End and by then everything that needed to be said had been said. As I expected, Gypsy STUNNED me! Imelda Staunton's performance as bullish stage mom Madame Rose was dynamic, inimitable, and frankly more than a little bit terrifying.

Although the BBC recording of Gypsy which aired during the Christmas holidays was fabulous, nothing could replicate the electric atmosphere which I experienced while watching it live. I am incredibly grateful to have experienced this show, which I'm sure will be remembered for years to come!

3) Sweeney Todd (at Harrington's Pie and Mash Shop on Shaftesbury Avenue)

This creepy immersive production of Sweeney Todd was just as dark and terrifying as I'd hoped it would be. In other productions of Sweeney Todd, Todd's throat slitting has been gory and grotesque and perfectly grizzly, but of course, in the intimate pie shop setting of this production the use of fake blood would've looked unauthentic, so instead most of the murders happened offstage, and were signified by the sound of a piercing whistle being blown. A far cry from the norm, but chillingly effective nonetheless. Some of the grizzly murder moments still haunt me to this day!

This show was a dream. The cast was superb, the set and costume design was gorgeously gritty and the concept in general is so calculable but so, so unique! After all, I can't see myself getting threatened by an actor wielding a cutthroat razor inches from my face again any time soon.

2) In The Heights 

Given how much everyone raved about In The Heights when it first arrived in London, I deeply regretted missing this show at the Southwalk playhouse, and so when it transferred to the Kings Cross Theatre earlier this year I booked a ticket immediately, despite being completely unfamiliar with the story or music.... but I am so glad that I did! The energy and enthusiasm of the cast was infectious, the set and lighting design was gloriously evocative and the choreography was just sizzling!

I had such an incredible time watching this show, which can best be described as joyous. And it's still running at the moment! I'll absolutely be returning to the Kings Cross Theatre see In The Heights again in 2016, and if you've not yet experienced it then I recommend you pay it a visit too!

1) The Car Man

I've seen some absolutely incredible shows this year, but without doubt the most enthralling, visceral, and spectacular one was Matthew Bourne's The Car Man. This may come as a surprise given that I mostly review musicals (it certainly came as a surprise to me!), but honestly, The Car Man was just about as slick and perfect as you could hope for! Mathew Bourne's choreography completely reinvented the characters I thought I was familiar with from the Carmen opera, but did it with such ingenuousness that now I can't imagine seeing Carmen performed differently.

The Car Man also featured a cast of truly phenomenal performers. Zizi Strallen was extraordinary as the conniving Lana, while Dominic North was both endearing and unnerving as Angelo, the man who Lana frames for the murder of her husband, so that she can be with her new lover, Luca. The role of Luca was played by the incomparable Jonathan Olliver, whose jaw dropping dance virtuosity, incredible acting and irresistible charisma fit together to form an utterly flawless performance. This show was so good that the moment I got home after my first trip, I logged on to my computer and purchased a ticket for the next days performance. Utterly, utterly stunning!

  *  *  *  

So there we have it! It was honestly so difficult to pick just 5 shows, as there have been so many brilliant ones. I was wowed by the choreography in the Top Hat UK tour, Funny Girl at the Menier Chocolate Factory totally lived up to my high expectations, Katie Brayben's performance in Beautiful: The Carole King Musical was remarkable, and Di and Viv and Rose totally took me by surprise as one of the most emotional, relatable plays I've ever seen. I thought long and hard though, and I'm very happy with my list. It just goes to show what a brilliant 2015 I've had. I'm looking forward to finding out whether 2016 can top it! 

Thanks for reading and have a wonderful new year!

Charlotte xx

(Tragically, as you may know, dancer and star of The Car Man Jonathan Olliver lost his life earlier this year in a motorbike accident. A sold out event celebrating his achievements, which is entitled Mr Wonderful, is happening in January, with profits being placed in charitable trust funds for his two sons Lucas, 6 and Issac, 12 months. If you didn't manage to obtain a ticket to the show but would still like to make a contribution then you can visit this page) 

Review - Blood Brothers (UK Tour)

Blood Brothers, Willy Russell's iconic tearjerker of a musical, is currently touring the UK, and being the massive musical theatre fan I am, naturally I returned to university a week early to catch it when it visited Canterbury's Marlowe Theatre a few weeks ago. Although I did find some elements a bit dry, there wasn't a dry eye in the house by the finale! 

Set in Liverpool, Blood Brothers tells the story of twins Eddie and Mickey, who are separated at birth, but are somehow bought together again by fate and form a strong bond which spans decades (although neither of them knows that they are actually brothers). Despite the challenges of suspending the audience's belief when adults play children's roles, both Sean Jones and Joel Benedict played their character's younger counterparts charmingly. Their boundless energy and wide eyed expressions meant that it was easy to forget the parts were being played by grown men. It was by their brilliant on stage chemistry that the audience becomes emotionally invested in the story. 

While I did find that the first act felt a little bit too long, and a little static, it helped to show the audience in detail just how great the twins bond was . The second act was definitely worth the wait though!  It was jarring, and more than a little bit heartbreaking to watch the carefree, fun loving children of act 1 grow up into the stern faced adults of act 2. In this section in particular Sean Jones shone. His portrayal of older Mickey was heart wrenching and very memorable! 

For me though, it was the music that stopped me from enjoying Blood Brothers to the fullest. The show has been so popular for so many years that I feel that this is definitely just personal preference, but I found all of the music to be quite similar, and no song really stood out for me. 

Overall I really enjoyed Blood Brothers, and I'm glad I finally saw it. While usually for me it's the music that really makes a musical special, and the songs of Blood Brothers were sadly not my cup of tea, the emotional pay off at the end though was definitely worth the wait, and the characters journeys were so enthralling that I would absolutely recommend this tour to anyone who hasn't yet seen it! 

Verdict - 3 Stars

Find ticket information for the current Blood Brothers tour here! 

Review - King Charles III (UK Tour)

Hi guys! 

The award for worst blogger ever goes toooooooo... me! (*applause* *screams from the audience* *my mom faints!*) 

Eugh! It seems every one of my posts starts with an apology recently, but at last (!) all of that is about to change! I've moved into my new house, bought a new computer and actually organised my life. Now all there is left to do is get the wifi up and running and normal service should return! In the meantime, I've got a huuuuge backlog of shows to write up about, starting with King Charles III, which started it's UK tour a few weeks ago...

What will happen when our Queen dies? It's a question that I'd not really considered until I saw King Charles III. This is probably because for all my life, Queen Elizabeth has been a constant, unvarying element of my national identity, and one which I never really paid that much attention to. However, Mike Bartlett's award winning play deals with a what if situation unlike any that I'd ever considered. What if Prince Charles became King? Would he be just a new face on our currency, or would he defy conventions and try to take a more active role in the running of the country? Bartlett's play asks these questions and many more, in a surprising satirical play which had me gripped from start to finish.

What immediately stuck me about this play was how eery the atmosphere created onstage was. You could almost feel the unease in the air, hear the yells of the angry and disorientated public just outside, see the sweat on the brow of our new monarch (played authoritatively by Robert Powell). This was created by a clever use of lighting, sound and semiotics. Very often the lights remained dim, and only two large, archaic candles lit the area. 

I also enjoyed the range of characters encountered. Although Mike Bartlett's use of almost Shakespearean language, characters and tropes seemed unusual at first, a few clever moments of masterful writing meant that everything clicked into place. The way modern day slang and colloquialisms were interspersed seamlessly was nothing short of masterful! 

Although at times some of the characters and situations tended to go a little bit over-the-top and became unrealistic, for the most part the play sustained a tension which build into a shocking conclusion! 

Verdict - 4 Stars

King Charles III is currently touring the UK ahead of it's Broadway transfer. Follow this link for ticket information.

Review - The 39 Steps

Having opened in 2006, The 39 Steps is not exactly a show that screams 'review me', and yet given that it sadly closes on the 5th of September and I myself have only just seen it, I wouldn't want anyone else to miss out on seeing this hilarious show like I almost did!

 

 

Based on Alfred Hitchcock's brilliant spy drama of the same name, The 39 Steps may connote drama and intrigue, but in this stage adaptation the story in given a comedic spin which really helps to bring the perhaps outdated elements of the plot into the 21st century. It's also given a relatively short running time of just 1 hour 45 minutes, meaning that far from dragging, or trying to translate every scene from film to stage, The 39 Steps moves along at a brisk pace, which really ramps up the excitement and urgency which the spy drama element of the plot creates.

 

The play's hero Richard Hannay (played with gusto by the charismatic Daniel Llewelyn-Williams) is inadvertently pulled into the middle of a top secret mission, which the fate of the nation depends upon. He is joined by a whole host of characters ranging from a German secret agent to hapless Scottish Policemen. Impressively, all 150 characters within the show are played by just 4 (very versatile and energetic) cast members! As a result the audience in treated to a multitude of hilarious moments where more characters are required on stage than there are actors to fill the roles, and subsequently there are man moments where multirole-ing comes into play in the most ingenious and hilarious ways!

 

As a comedy, there is no doubt that this Olivier Award winning play succeeds. There are moments of genuine laugh-out-loud humour, and plenty of giggles throughout the show too. It's definitely a play I'd take visiting family or friends too, as it's pretty safe and family friendly, but still features a little bit of adult humour which would no doubt go over younger children's heads.

 

There are jokes, sight gags, some slapstick comedy and an exciting, fast paced storyline, laced with love and drama. Don't miss out!

 

Verdict - 4 stars

 

The 39 Steps closes on September 5th. If you've not seen it yet then you can book tickets here.

Theatregoing on a budget - The antidote to my blog break

Hi guys!

I can't believe how long it's been since my last post! I've just been so busy, and frankly too hard up to afford, well, anything recently. My housemates and I are moving house and so I've had to dole out so much money in the last few weeks.

SO. MUCH. MONEY.

Deposits, insurance and summer rent certainly aren't cheap.

For this reason, when I read a blog post entitled 'Do You Go To The Theatre?' on ThoroughlyModernMaisie's blog, it really resonated with me. As a theatre blogger, it's easy to feel left out and inadequate if you're not going to the theatre 3 or more times a week  and reviewing every single show. Especially when your twitter timeline seems to consist of new blog posts every time you check in.

Blog envy gets to us all. It's understandable.

But really, if you can't afford to go then you can't afford to go. Especially if, like me, you're not based in London and have to commute in on the train in order to see the shows which everyone is raving about.

That being said, London is not the be all and end all with regards to seeing fantastic theatre, and certainly by looking for ways to see more in my local area I've been able to fill that West End shaped gap when things have gotten a little tighter moneywise.

Consequently, I've decided to put together a list of hints and tips about how to see amazing theatre without having to sell a limb or forsake a weeks food shop. To regular theatregoers some of the points on this list may seem a bit obvious, but hopefully some of the information on here is helpful to someone. And so, without further ado, here it is...

1) Explore the power of the Student I.D.
I am very fortunate in that I currently live and study in a city which has not one but two brilliant local theatres, and both of them offer some form of student ticket deal. Theatres offering a percentage off the price of tickets for students is not uncommon, but my local theatre (The Marlowe in Canterbury) has a fantastic programme which enables young people aged 16-26 to access brilliant seats (often in the front stalls or first few rows of the upper circle) for prices starting at just £8!!! I've seen countless tours and fantastic one off performances at The Marlowe Theatre for the price of a night out or a cake and a coffee in Costa. This is an AMAZING example of a student ticket deal that actually makes theatre affordable for students, and as such I hope more theatres around the UK adopt a similar scheme. It may be worth investigating whether theatres near you offer a similar sort of deal because honestly it has opened so many doors for me and allowed me to see shows which I may have otherwise been hesitant to take a chance on.

2) Never underestimate a drama student.
If you go to uni or really live anywhere near a university, then you'll probably have at least been made aware of the student productions which are produced, directed and star drama students (or members of a drama society). Often these student productions will be very well acted, high quality shows, and are always fairly cheap to attend! Not to mention you may have the opportunity to witness new writing or experience a play which is staged more infrequently. I think by now every student theatre group has done Romeo and Juliet and Hedda Gabler to death and have had to dig a bit deeper! Fantastic for everyone involved!

3) Investigate unconventional venues
Pubs, clubs, forests, parks, even public toilets! Often local companies stage the most innovative, exciting productions simply out of necessity. It's worth checking out local notice boards/twitter pages etc. and exploring theatrical experiences that you perhaps weren't aware actually existed.

4) National. Theatre. LIVE.
Need I say more. See the show completely unobstructed.... from the comfort of your local cinema!


5) The cheapest options are not always the terrible ones
In fact, they're almost always not terrible.

Okay for regular theatregoers this is probably the most obvious point on the list, but I remember a time not that long ago when I bought massively overpriced seats, miles away from the stage, and was just willing to accept that when seeing a West End show, that was the way it was.
When I take a trip down to the West End, I ALWAYS sit in the cheapest seats possible. I'm a student, there's no way around it. But as strange as it may sound to some people, the cheap seats are very rarely terrible... I mean ... REALLY terrible. If you really want to see a show but you're not sure about taking a risk when ticket prices are so steep, sitting in the cheap seats is your best option. Again, this might sound obvious, however, I am always shocked by the amount of people who splash out of £70 seats when three seats along or one row behind you can get a ticket for a third of the price. You could always check out Seatplan for honest seat reviews in London venues if you want to be certain you're not going to be staring at a pillar for 2 and a half hours.
Aside from this, there's the option to get dayseats for a number of West End shows (very often these are in the front row and are normally around £20-25 so if queuing in the morning is doable for you then I'd fully recommend it.). Not to mention a load of student ticket schemes that operate in London theatres, such as the RSC Key, National Theatre Entry Pass and Menier Chocolate Factory Golden Tickets to name but a few. Yes, theatre in London is expensive, but there are nearly always ways to cut costs while maintaining an enjoyable theatregoing experience.

I'll be honest, I do find this post a bit sad. It may be a fact of life, and has been ever since I began going to the theatre, but unfortunately, there is no way to avoid the fact that theatregoing IS an expensive hobby. While I hope I've helped to prove that ways to see great theatre locally, and avoid unnecessary expenses, it is rather unfortunate that as far as the masses are concerned, the epicentre of all buzz-inducing theatre is still London.

However, I hope that this post has helped to prove that there are ways to see theatre without breaking the bank. There is only so much that we as audience members can do though, and I do feel that in order to attract younger audiences, theatres need to radically adjust their accessibility, and tailor themselves towards a younger audience. Otherwise I fear young people may be further deterred from attending the theatre full stop.

How horrendous!

But what do you think? Is theatre in London more well regarded by the masses? Do you find the theatre inaccessible because of price, or because of any other reason actually? Let me know here or on Twitter if you'd like.

*  *  *

Right, that was long but fun. If you're still reading them I really hope you've enjoyed this post. Yes, it was a bit different my usual stuff, but hopefully I'll be posting regularly again soon. I've got some really exciting shows coming up in August / September, and then I'll be back at uni at which time business will resume as usual! Finally!

Thanks for sticking with me this long though guys,

Charlotte xx

Star For A Day - Elphaba

Hotel Direct are currently running a fabulous competition which allows theatre bloggers to envision themselves as a character from a West End play or musical, and design their perfect day out in London. For me, a character who I not only adore but also think deserves a lovely relaxing daytrip is Wicked's Elphaba, the green witch who is often cruelly labelled 'Wicked Witch Of The West'. She lives a pretty humble life normally, and dedicates a lot of her time to the protection of animals, which, while an admirable feat, is surely a bit draining after a while. Therefore, If I were to live as Elphaba for a day I'd want to experience things I've NEVER felt tried before!

Itinerary

Protecting animals is something that Elphaba feels very strongly about, and so the first stop of the day would be ZSL London Zoo, who envision 'A world where animals are valued, and their conservation assured'. I'd call in on the Lions and Monkeys and watch the eagles and hawks defy gravity in the Bird Safari, however I'd probably avoid the aquarium, as getting wet is the last thing I'd want!

After visiting the animals, I'd pop over to Lady Dinah's Cat Emporium and indulge in some pre-theatre tea and savoury treats, whilst surrounded by cats (!!!), before whisking myself off to the Cambridge theatre to see Matilda the Musical. The story of a bookish young girl who discovers that she has magical powers and uses them to bring down a tyrant isn't dissimilar to Elphaba's own life story, and so I think she'd find Matilda's tale a truly inspirational one!

My last stop before bed would be at the Zenna Bar where I'd indulge in a truly magical cocktail. After enjoying a classic cocktail with a unique and unexpected twist, in the twinkling, candlelit and palatial cocktail bar (whose azure walls are reminiscent of Oz's own Emerald City!) I'd make my way back to my hotel to reflect on the day and read for a little while, before drifting off to sleep.

What about you? If you were a star for a day who would you be and where would you want to go? Why not write up your own itinerary and enter Hotel Direct's competition too! I'd love to read about where some of the West End's other biggest and brightest characters would spend their down time!

 

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