Review - Che Malambo (Peacock Theatre)

After touring the US and Europe, Che Malambo has arrived in the UK. The all-male Argentinian percussive dance and music group is ruled by a performative macho energy, which sees various company members take part in dance based standoffs, drawing inspiration from the traditions and duelling culture of Argentinian gaucho cowboys.

 

Che Malambo
Photo credit - Robert Torres photography

There’s drumming, rhythmic stomping, body percussion, and perhaps most impressively, the hair raising boleadoras, a throwing weapon made of twine weighed down with a stone, which is whirled about over the heads of various company members in an arresting display.

 

The immense skill of the company is plain to see from start to finish. From the perfectly synchronised Argentinian bombos which opens the show accompanied by simplistic but striking lighting, all the way through to sizzling finale where all of the elements previous displayed come together, Che Malambo keeps the eye trained to the stage at all times. Astonishingly, at times the dancers move their feel with such speed and precision that everything becomes a bit of a blur, and the sheer pounding energy and meticulousness of the whole company is one of the most impressive aspects of the entire show.

 

Che Malambo
Photo credit - Diane Smithers

That being said, running at a relentless 80 minutes and full of almost uninterrupted stomping, fighting and singing, Che Malambo does occasionally start to feel a bit repetitive. Thankfully, there’s a fair amount of variety which keeps everything moving forward, with one lovely understated moment featuring a single vocalist accompanied by a guitar. More moments like this would help to diffuse some of the unyielding intensity of the production.

Che Malambo presents a completely unique entertainment experience which combines several impressive traditional Argentinian dance and music elements to staggering effect.

Review - Matthew Bourne's The Car Man

I never know how to write about dance shows. I don't know enough dance terminology to accurately write about the performances, and so in the past I've tweeted enthusiastically and left the more in depth reviewing to others more knowledgeable than me. However, having just seen one of the most exciting, engaging shows I think I've ever had the fortune to witness live, a review on this blog is a must! 

I've been a big fan of Matthew Bourne since I saw his Sleeping Beauty televised at Christmas a few years ago. Since then, I've bought all the DVDs and caught every tour that's come through my city (I'm still gutted that I missed Edward Scissorhands! My sister dragged my mom to see it and they adored it!) and naturally when it was announced that Matthew Bournes 'sexy' dance thriller, The Car Man, which follows the jealousy and violence surrounding a mysterious new worker in a 1960s American garage, had been revived as a tour and would be passing through, I immediately bought myself a ticket. 

Finally, after 5 months of waiting, and having finished my 1st year of uni just the day before, the day came...

Aaaand, thank you again Matthew Bourne and New Adventures for providing me with a dynamic night of jaw dropping dance that was nothing short of electrifying. 

Sat in my seat (in the 3rd row, thanks to my local theatre's incredible 16-25 discovery ticket programme), what immediately struck me was the set design. The Car Man's first act took place in a hot, sticky 1960s american garage-diner. The set comprised of a large billboard, the front halves of several cars, a large metal structure which formed a two story office/apartment, and the diner itself. The whole thing looked and felt very fitting, and it seemed as greasy and gritty as you would imagine a place like that would be. Even before the show started I couldn't stop staring and noticing all the little details.

When the show finally began, however, and the audience was confronted by every single worker in the cafe-diner, suddenly there was so much more to look at that it took me a while to decide how to actually watch the show. I felt as if while I was watching one or two characters, three or four others were also doing something. The bustling atmosphere was brilliantly effective. The music used throughout the piece was Bizet's much loved Carmen, but the choreography was entirely new and hugely entertaining. Matthew Bourne's choreography always wows me as he manages to perfectly capture the very essence of the mindsets and emotions of his characters, and translate them into balletic form in the clearest yet most gripping, engrossing ways. The scenes are full of nonstop tension and excitement and I was so enthralled that at points I literally forgot to breath. 

As far as the cast is concerned, as always, every single cast member was absolutely outstanding. Zizi Strallen as Lana Alfano was impossible to take your eyes off. She's an exceptionally talented actress who really commands the stage, and her dancing is obviously fantastic too! She brought just the right amount of passion, cunning and convalescence to the role, and as a result her Lana was a joy to watch. Liam Mower's Angelo also had a fascinating journey, from young innocent to scarred and bloodied malefactor. I definitely found myself rooting for him, and clearly the audience is supposed to. Meanwhile Jonathan Olliver whose character Luca was the mysterious newcomer mechanic at the garage was such a huge presence on stage that frankly I was a little bit scared by how charismatic he was. He seemed to have every single character wrapped around his little finger, and I can totally understand why. His piecing stare and imposing figure demanded attention and both the audience and the characters he shared the stage with were more than happy to oblige him! I was also impressed by the cast members who played the mechanics, as each one had such a clearly defined personality and each brought something different to their roles. For me, cast members Layton Williams, Tom Clark and Danny Reubens gave particularly stand-out performances, although the cast as a whole was totally flawless. 

I feel like I've raved enough at this point, that it's clear I was hugely impressed by this show! So much so, in fact, that as soon as I got home I booked to see it again. What more can I say? With a unique concept, fabulous story (if any show deserves to be described as 'sexy', this one does.) and outstanding cast, The Car Man is guaranteed to drive audiences wild! 

Verdict - 5 Stars

Twitter: @OddJazzShoes

Bloglovin: Talkstageytome

Review - Top Hat (UK Tour)

If you're longing for a musical that provides the whole package (great acting, terrific singing and outstanding dancing) then the Top Hat UK tour is not to be missed. Although when I booked my seats (and ended up in the front row thanks to the Marlowe Theatre's discovery ticket scheme) I was really only looking for a way to fill a couple of spare evenings which I'd otherwise have spent refreshing twitter all night and trying (and probably failing) to resist the call of Dominos, Top Hat completely blew me away and I would say that it is currently one of the most enjoyable shows I've seen this year! 

Following the classic tale of mistaken identity seen in the 1935 RKO picture of the same name which starred Fred Astaire and Ginger Rodgers, Top Hat's UK Tour is filled with enough hilarity, glitz and glamour to keep you thoroughly entertained throughout.

The cast are all hugely energetic, but special mention must go to Alan Burkitt, who stars as Jerry Travers. The charismatic Burkitt's broad smile is infectious, his facial and physical Astaireisms are incredible and his dancing seemed effortless! He stars opposite Charlotte Gooch as Dale Tremont. The pair have incredible chemistry, and their showstopping duet 'Cheek To Cheek' is a standout performance in a show which brims with showstopping numbers! 

In fact, the dancing in Top Hat is first rate all round. My personal favourite song, 'Puttin' on the ritz' featured flawlessly synchronized tapping (I'm a total tapoholic to this show was a dream come true all round) and irresistibly catchy lyrics that'll definitely have you tapping your toes in your seat. Meanwhile, in act 2 'The Piccolino' was an atmospheric and entertaining number that had me wishing I'd not given up my dance lessons so early. The entire cast are fully committed and incredibly talented. Not to mention the rich orchestra, which provide gloriously jaunty music throughout. 

Top Hat's tour also features an incredibly elaborate set and possibly some of the most beautiful costumes I have ever seen. In fact, attention to detail is what really sets this tour apart from some of the others which I've seen this year. While I mentioned that Jersey Boys and Shrek, although wonderful, felt stripped back (as is the case with many tours, understandably), when watching Top Hat you could easily believe that you'd been transported to the West End! 

I very rarely return to shows multiple times (with exceptions made for my absolute favourite shows), but I can honestly say that if I had not already booked my train home, I would have seen Top Hat again the very next day without hesitation. If you're longing to be dazzled in the theatre this year, then look no further than Top Hat, which is touring the UK until 25th July. 

Verdict - 5 stars

Twitter: @OddJazzShoes

Bloglovin: Talkstageytome