Review - Doctor Zhivago the Musical in Concert (Cadogan Hall)

Based on a Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago tells an epic and ultimately heartbreaking tale of love and duty, which descends into chaos as the Russian Empire begins to fall. The musical, with music by Lucy Simon, and lyrics by Michael Korie and Amy Powers, has been produced around the world, but had yet to make it to the UK until Lambert Jackson Productions announced a high profile concert, featuring an impressively starry cast.

Ramin Karimloo and Celinde Schoenmaker in Doctor Zhivago

The concert provided an excellent opportunity for UK audiences to experience a rarely performed gem, presented at its best, with an extraordinarily talented cohort of performers and musicians highlighting the strength of the score. 

In the title role, Ramin Karimloo utilised the easy stage presence and impressive vocals which have earned him international acclaim to great effect, giving the doctor turned poet a quiet and compelling intensity. 

Admittedly, the plot’s focus on Zhivago’s extramarital romantic relations with the musical's guarded heroine Lara make him a difficult character to love at times (perhaps in a fully staged production the doctor’s guilt and conflict would be elaborated on further?), but ultimately he’s the sort of epic romantic hero that audiences have come to expect from musicals with the operatic tone and scale of Doctor Zhivago. 

The cast of Doctor Zhivago

Another notable performance came from Charlie McCullagh, whose commanding presence made his Pasha, an angry student revolutionary and rival to Zhivago in pursuit of Lara’s affections, a worthy adversary. 

However, despite the musical’s title, the story unquestionably belonged to Lara. Radiant and assured, Celinde Schoenmaker’s performance transcended the concert format, bringing the fiery and resilient heroine to life. Karimloo and Schoenmaker's performance of the haunting duet Now, in which they quietly admit their love, was a musical highlight which exemplified the lush and emotive musical heart of Doctor Zhivago. 

Celinde Schoenmaker in Doctor Zhivago

Admittedly, without the benefit of familiarity with the musical, the exclusion of the majority of Michael Weller’s book did make the concert feel slightly choppy and detached at times, despite the helpful narration offered by presenter Lucy Drever. However, the music provided plenty of atmosphere, and helped to adequately translate the emotions of certain scenes to the audience.  

Concerts such as this provide an excellent opportunity to introduce lesser known musicals to UK audiences, and if the standing ovation at the end of the performance is anything to go by, they're exactly what musical theatre fanatics desire. 

Edinburgh Fringe Review - Vulvarine: A New Musical

If you’re heading up to Edinburgh this summer then the number one company not to miss is Fat Rascal Theatre. Founded in 2016, the mischievous new musical theatre heroes have produced one hit after the other, and their Vulvarine: A New Musical is no exception. It returns to the Fringe this year alongside brand new musical parody Unfortunate: The Untold Story of Ursula the Sea Witch, and if you want to call yourself a musical theatre fan you'd better buy a ticket to both shows ASAP.

The cast of Vulvarine: A New Musical
Photo credit - Lidia Crisafulli 

Set in the painfully ordinary town of High Wickham, Vulvarine: A New Musical tells the story of overqualified and disaffected desk jockey Bryony Buckle, whose life is turned upside down when a mysterious vaccination and a shock from a rogue lightning bolt transform her into a kick-ass super powered action hero. 

With the fate of the world at risk thanks to her new found nemesis The Mansplainer, Bryony must join forces with her best friend Poppy and workplace sweetheart Orson Bloom, to do something extraordinary and save all of womankind.

Katie Wells and Allie Munro in Vulvarine: A New Musical
Photo credit - Lidia Crisafulli 

As with all of Fat Rascal Theatre’s productions, Vulvarine: A New Musical is hysterically funny, and the entire cast have their whizzbang line delivery down to a tee. Allie Munro exudes Bridget Jones-esque charisma as the musical’s endearing protagonist, meanwhile Robyn Grant displays bucketfuls of roguish irreverence as Vulvarine’s mortal enemy, whilst also multi-roling as Bryony’s foulmouthed cat Elton.

The cast of Vulvarine: A New Musical
Photo credit - Lidia Crisafulli 

The musical fizzes over with brilliant musical numbers, courtesy of Grant, co-writer Daniel Foxx, and James Ringer-Beck. By now they’ve mastered their own unique sound; bubbly, toe tapping contemporary musical theatre fare. The songs drive the production from start to finish, and the musical’s 75 minute run time zips along nicely as a result.

Smart, wickedly funny, and completely unique, Vulvarine: A New Musical is an Edinburgh Fringe must-see.

Review - Captain Corelli's Mandolin (Harold Pinter Theatre)

This summer, if you're not planning a holiday abroad then why not immerse yourself in the stage adaptation of Rona Munro’s adaptation of Louis de Bernières’s classic 1994 poolside read Captain Corelli’s Mandolin, which has transferred to the West End after a well received UK tour. 

Alex Mugnaioni and Madison Clare in Captain Corelli's Mandolin

Photo credit - Marc Brenner

The emotionally charged story, set in idyllic Cephalonia during the Italian and German Occupation, sees a cheery Italian army captain with a love for music form an uneasy bond with headstrong and understandably hostile local woman. In spite of the forces threaten their budding romance, the pair find solace in each other’s company, not knowing what the audience gets a sense of from the play’s very beginning; that their time together is limited, and that eventually fate will tear them apart.

Director Melly Still has created a soft focused, halcyon world for the characters to inhabit, which feels almost dreamlike in contrast to the chaos and violence of the war which threatens to encroach them. Tranquil lighting, set design and sound elements create a beautifully serene atmosphere, which washes over the production in waves.

The cast of Captain Corelli's Mandolin

Photo credit - Marc Brenner

Yes, aesthetically Captain Corelli’s Mandolin is quite beautiful, and the cast of actor-musicians tasked with bringing the tale to life is uniformly excellent. However, where the production falters is in its pacing. With so much content provided by the source material, the play feels fragmented and unfocussed at times. In fact, the titular character doesn’t even appear until the curtain is ready to come down on act one. Much of the time spent before the interval focuses on Pelagia’s small-town life and how she dreams of greater things for herself, all which being courted by the ill-fated local Mandras.

Starkly interspersing Pelagia’s relatively carefree days, are the harsh wartime memories of Italian soldier Carlo and his close friend turned lover Francesco, the former of which is stationed alongside Captain Corelli in act 2.

Alex Mugnaioni and the cast of Captain Corelli's Mandolin

Photo credit - Marc Brenner

Both storylines offer useful insights into the life of ordinary people during the war, but feel long winded and slightly aimless. Not to mention that by shunting the relationship of Captain Corelli and Pelagia to act 2, there is significantly less time to solidify the bond between them. Actors Alex Mugnaioni and Madison Clare give touching performances, and their chemistry is completely tangible, but what should be a slow burning journey from hate to adoration feels far too rushed.

Nevertheless, when the full force of the war arrives on the shores of Cephalonia, the play switches gears and becomes surprisingly brutal and engrossing. The aftermath is equally emotionally exhausting, as the survivors come to terms with the agony they have lived through, and try their best to move on.

The play's languorous first act may tread water for a bit too long, but there are moments of beauty, horror, romance, and terror throughout which totally mesmerise.

I was invited to review Captain Corelli's Mandolin thanks to London Box Office 

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! 

Review - Bare: A Pop Opera (The Vaults)

Jon Hartmere and Damon Intrabartolo’s Bare: A Pop Opera is something of a cult favourite amongst musical theatre aficionados. Set in St Cecilia's Boarding School, a close-knit Catholic school in America, a pulsing score accompanies the complex and ultimately tragic story of two closeted students whose relationship is strained when they are cast in a school production of Romeo and Juliet.


Darragh Cowley and Daniel Mack Shand in Bare: A Pop Opera
Photo credit - Tom Grace

First performed in 2000, Bare: A Pop Opera could almost be described as a period piece in 2019 (and certainly one or two scenes and songs feel dated in a pleasantly nostalgic way, despite attempts to modernise – mostly down to the inclusion of mobile phones). Sadly, director Julie Atherton’s new production at The Vaults highlights the fact that themes of homophobia, body image, and bullying are just as pertinent now as they ever were.

Darragh Cowley and Daniel Mack Shand star as Jason and Peter, the schoolboys at the centre of the Bare: A Pop Opera’s main drama. Both actors are believable in their roles, and sell the pain of their joint and individual struggles, although the romantic spark between the pair doesn't fully flare up until they share the show’s titular duet as the story nears its end. The book doesn't offer much of a glimpse into their relationship during happier times, and so as the plot evolves rapidly, its sudden jolt into high drama feels a little disjointed, and as a result the Shakespearian tragedy of the ending falls slightly flat. That being said, watching the couple steal secret kisses between classes as they dodge the ever watchful eyes of their gossipy school friends offers a sobering look at the reality of their relationship.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The production is bolstered by an almighty supporting cast, with the cohort who make up the St Cecilia's student body being excellent without exception. Lizzie Emery is sympathetic as Ivy, the misunderstood school beauty who turns Jason’s head and offers him a chance at (what he perceives to be) normalcy. And she sings the hell out of All Grown Up, an electrifying musical gut punch which stands out as a musical highlight in the show. Meanwhile as Jason’s sister Nadia, who also happens to be Ivy’s reluctant roommate, Georgie Lovatt brings humour and pathos in spades.

However, the most compelling supporting performance comes from Tom Hier, who brings an extra dimension to Matt, a classmate who becomes the Jason’s rival both in theatre (he is usurped of the lead role in the school play despite well-rehearsed audition) and in romance (his unrequited feelings for Ivy transition from sweet to malicious at a terrifying pace). Hier shows how Matt’s rocky relationship with religion conflicts with his own internal moral compass impressively throughout, and shines vocally during Are You There?, an angst and alcohol fuelled duet with Daniel Mack Shand’s Peter.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The onstage band, led by MD Alasdair Brown, rocks the electric pop score throughout, but at times vocals are drowned out almost entirely by the sound of moving scenery in addition to the unavoidable rumble of trains from train station above. This is unfortunate, as the pop opera is sung-through with very little spoken dialogue, and therefore occasionally vital dramatic moments are diluted. Happily though, the enthusiasm of all involved shines through, and No Voice, one of Bare: A Pop Opera’s most chilling musical moments, is an incredibly affective send-off. As haunting harmonies ring out around The Vaults, the audience is left with plenty to think on.

Review - Our Town (Regent's Park Open Air Theatre)

This summer, director Ellen McDougall has brought a bit of olde worlde Americana to the Regent’s Park Open Air Theatre with Our Town, Thornton Wilder’s 1938 Pulitzer Prize winning drama about birth, life, and death in the fictional New Hampshire town of Grover’s Corners.

 

The cast of  Our Town
Photo credit - Johan Persson

The play is a thought provoking one, although it begins rather slowly. Using meta theatrical techniques which were undoubtedly rather innovative when the play first premiered, a twinkly eyed Stage Manager talks directly to the audience, introducing them to several key personalities within the town. There are plenty of characters to get to know, but at the heart of the story are childhood sweethearts George and Emily, whose rocky courtship marks the beginning of a much more focused and streamlined tale. Actors Arthur Hughes and Francesca Henry make a sweet couple, and their awkward first date over ice-cream sodas is an endearing scene which encapsulates the play’s fly-on-the-wall set-up extremely well.

However, the production doesn’t really ramp up until the final act, running at a brisk 30 minutes compared to 1 hour and 20 minutes in the first half. Taking place after the untimely demise of one of the town’s beloved residents, the play delves into the ephemerality of life, dishing out a didactic message about making the most of every second of every day. It’s rather profound, and excellently acted all round, especially when aided by the eerie silence of the outdoor setting post-sunset.

Ellen McDougall’s production of Our Town fits perfectly into the Regent’s Park Open Air Theatre, with its messages about life and themes of introspection reflected in Rosie Elnile’s homespun set design, which mirrors the auditorium’s tiered bleachers, placing the audience well and truly within Grover’s Corners. Structurally Our Town may be a bit of a slow burn, but those who persevere as the story stretches into the chilly summer evening will be rewarded with a conclusion to leave a lump in anyone’s throat.

I was invited to review Our Town thanks to London Box Office

Review - American Idiot (UK Tour)

I can still remember hearing the iconic opening bars of American Idiot for the first time. Looking back the moment feels life changing, in a way. At age 9 I was way too young to understand the meaning behind the song’s subversive lyrics, denouncing the way the Iraq war was being turned into a spectator sport for rabid public onlookers thousands of miles away, but even at age 9 I knew a great song when I heard one. A great song which would go be Grammy nominated, become the band’s signature song, and eventually, share its name with a Tony Award winning rock musical.

The cast of American Idiot
Photo credit - Mark Dawson Photography

Of course, the fact is, when Green Day dropped their 7th studio album back in 2004, the world was in chaos. The Iraq War was making headlines every night, a global recession was affecting billions, and the USA was still reeling from the September 11th terrorist attacks which had shaken the world just 3 short years earlier. American Idiot was a direct response to this chaos – a punk rock opera telling the story of the Jesus of Suburbia; a restless kid coming of age in a harsh and hostile world. That storyline became the basis of the album’s 2009 stage adaptation, with the central character Johnny, the self-proclaimed Jesus of Suburbia, and his friends Will and Tunny setting out to escape the mundanity of their hometown, each coming up against barriers as they discover that the world is a pretty hostile and unforgiving place.

 

It’s a pretty profound and often uncomfortable watch, and in the 10th Anniversary UK tour director Racky Plews has done something extraordinary with it. The grandiose fist pumping Green Day anthems (the musical comprises of the entire American Idiot album, plus additional songs from 2009's 21st Century Breakdown, and one original song)  are just as hair raising as they’ve always been, but each feels surprisingly intimate and internal, and the book by Green Day frontman Billie Joe Armstrong and Broadway director Michael Mayer, although undeniably thin on the ground, ties the whole thing together and elevates it. Designer Sara Perks’ squalid sets bring the grim and hopeless world into even clearer view, casting a grimy haze over the production.

The cast of American Idiot
Photo credit - Mark Dawson Photography

The musical’s anti-hero Johnny documents his year in defiant letters; to his parents, his friends, himself. At times he’s funny, even charming in an odd way, possibly thanks to Tom Milner’s astute performance, but he’s also teetering on the edge of terrifying. He’s our narrator, yes, but far from taking us by the hand and leading us through the story, he’s constantly chomping at the bit, pulling away, losing himself on the Boulevard of Broken Dreams. Especially once he meets the swaggering rocker St Jimmy, who (spoiler alert) is later revealed to be nothing more than Johnny’s drug laden alter ego.

Johnny’s desperation to escape the claustrophobia of his small town is a familiar one. Especially to today’s millennials, promised the world by their parents, who find themselves instead inheriting a bleak, violent, hostile planet, which also happens to be dying at an alarming rate. With that in mind, plus the context of Bush-era America, is it any wonder that all we can do is watch in horror as Johnny’s dream decays, and he’s pulled into a self-destructive spiral of festering nihilism?

The cast of American Idiot
Photo credit - Mark Dawson Photography

Similarly horrifying is the ease with which Tunny is seduced into enlisting in the army. Ross William Wild’s Favourite Son, appearing via TV to advertise the military as a glamourous and glorious pursuit, is more akin to a rock star than a military recruiter. Joshua Dowen sings the heck out of the role throughout, making a standout moment out of Are We The Waiting; a rare slow, reflective moment in the musical, which shows Tunny and his fellow recruits, stumbling uncertainly into a route march.

The third member of the trio, Will, doesn’t even make it out of town. His girlfriend Heather tells him that she is pregnant and he decides to do the right thing and stay with her. Will and Heather’s storyline is an interesting one, showing the struggle young people experience when they’re forced by circumstance to mature before they’re ready. Heather handles the situation significantly better than Will to begin with, but in the end they make up for the sake of their child. It’s a slightly more uplifting story on the outside, but of course it’s seeped it sadness, because it represents a cycle. Another generation destined to be raised, as the doctrine of the Jesus of Suburbia foretells, ‘on a steady diet of soda pop and Ritalin’.

The cast of American Idiot
Photo credit - Mark Dawson Photography

There’s a reason Green Day’s American Idiot resonated with so many when it was released. Beyond the fact that every song is a killer, the album encapsulates the anger, frustration, and loss that kicked off the 21st century. And to be honest we’re still living in the shadow of that time now. Which is probably why the musical continues to feel relevant, and why it affected me so deeply. American Idiot is a high octane musical middle finger, and in today’s rocky political climate when it seems as if the world is destined to repeat its past mistakes all over again in addition to making a tonne of new ones, it’s never been more necessary!

Review - Matilda the Musical (Cambridge Theatre)

Oliver, Annie… Matilda?

 

The cast of Matilda the Musical
Photo credit - Manuel Harlan

 Almost 10 years after its premiere in Stratford-upon-Avon, Matilda the Musical is still as fresh and fun as ever, and with a film adaptation rumoured to be in the works, it surely won’t be long until the Royal Shakespeare Company’s golden goose becomes as ubiquitous as the likes of family favourite musicals Annie and Oliver.

Adapted from Roald Dahl’s 1988 children’s book, Matilda the Musical tells the story of a 5 year old genius named Matilda Wormwood, who seeks refuge from her TV and microwave dinner loving parents with the kindly Miss Honey, and rallies her classmates to help take down the school’s bullish head teacher Miss Trunchbull.

Before the show even begins, the world of Matilda the Musical is already apparent, thanks to Rob Howell’s sprawling set design, which covers the proscenium arch with scrabble tiles which spell out little Matilda the Musical themed clues. The whole stage is a pop-up book come to life – kooky, primary coloured, and well matched by some pretty zany costume designs. Matilda’s mum, an amateur ballroom dancer and box-dye enthusiast, is kitted out in an eye-popping pink and purple number, whilst Miss Trunchbull’s drill sergeant-chic blazer and culottes cast a foreboding shadow over the otherwise vivid world.

And the musical isn’t all style over substance (contrary to the doctrine of Matilda's appearance-obsessed mum, who isn't afraid to assert that 'looks are more important than books!). Dennis Kelly’s book is endearing, with some moments of excellent comedy alongside the standard child friendly toilet humour. And the vibrant music by Tim Minchin solidifies Matilda the Musical as a cut above the rest. From Matilda’s synonymous solo Naughty, to the fist pumping heck-yes war cry of Revolting Children, when Matilda and her classmates finally stand up to the tyrannical Trunchbull, there’s not a song in the show that doesn’t jump out off the stage.

There may be plenty of family shows to entertain audiences in London right now, but few radiate the megawatts of joy that Matilda the Musical produces night after night. It's well and truly a must-see musical!

 

I was invited to review Matilda the Musical thanks to seatplan.com

Review - Mamma Mia! (Novello Theatre)

If the grey London evenings are getting you down, head down to the Novello Theatre and take a trip to sunny Greece with Mamma Mia! Catherine Johnson, Benny Andersson and Björn Ulvaeus’ irresistible jukebox musical hit.



The cast of Mamma Mia!
Photo credit - Brinkhoff & Mögenburg

The sunny West End staple, which has been running for 20 years on the West End, has most definitely reached icon status, inspiring two movies, and countless international productions around the world. And it’s easy to see why.

Mamma Mia! is an easy musical to love. The fun and fairly lightweight plot is bursting with ABBA bangers, and the cast certainly revels in the musical’s over the top energy and zest. From wetsuit clad groomsmen dancing in synchronicity to Lay All Your Love On Me, to a neon hazed dream sequence accompanied by the cool synthy Under Attack, Mamma Mia! is certainly not short on zany musical numbers, choreographed for peak dancefloor copycattery by Anthony Van Laast. Does Your Mother Know That You’re Out is a vivacious highlight, and the musical’s concert-like finale seals the deal, ensuring that the audience leaves on a high.


The cast of Mamma Mia!
Photo credit - Brinkhoff & Mögenburg

At 20 years old, Mamma Mia! is one of the oldest musicals on the West End, and at times it does show its age. Mark Thompson’s Ionian blue and white set design perfectly evokes Grecian summer on the fictional island of Kalokairi but looks a bit washed out. The glaringly 90s costumes however are delightful and add massively to the musical’s overall nostalgia factor.

This is a musical which shows no sign of slowing down. At this point it’s basically part of the fabric of London’s West End; a delight from start to finish. Seen it before? (Here we) go again!

I was invited to review Mamma Mia! thanks to London Box Office 

Review - [title of show] (Above The Stag Theatre)

First produced off-Broadway in 2006, [title of show] is a post-modern musical with music and lyrics by Jeff Bowen and a book by Hunter Bell, which documents its own creation in preparation for entry into the 2004 New York Musical Theatre Festival.

 

The cast of [title of show]
Photo credit - PBG Studios

One interesting aspect of [title of show] is that its four central characters are based entirely upon the musical's original cast; creators Jeff Bowen and Hunter Bell, and their collaborators, actors Susan Blackwell and Heidi Blickenstaff. In Director Robert McWhir’s production, actors Jordan Fox, Michael Vinsen, Kirby Hughes, and Natalie Williams take on the roles of Jeff, Hunter, Heidi and Susan. Uniformly charming and extremely funny the quartet of actors bring the autobiographical musical to life remarkably well, transporting the audience back to 2004. Their onstage chemistry as an ensemble is pitch perfect, rooting the unusual and at times rather unstructured material in reality, and giving the audience something to latch on to as the events of the musical unfold.

 

The cast of [title of show]
Photo credit - PBG Studios

[title of show] revels in its parred down, stripped back nature, placing its actors centre stage at all times and demanding a constant air of spontaneity from them. Happily, the performers bring it in spades. Fox and Vinsen make a snappy duo as the bickering yet brotherly leading men, whilst Hughes and Williams are equally entertaining as self-professed secondary characters Heidi and Susan, whose self-aware second act duet is a musical highlight. A special mention must also go to Associate Musical Director Oli George Rew, as [title of show]’s long suffering musician.

This is a meta musical which musical theatre aficionados will love. As well as delivering plenty of laughs, it also offers an insightful glimpse into the process of creating a new musical, from its inception all the way through to opening night… and beyond.

Review - Come From Away (Phoenix Theatre)

On September 11th 2001, one harrowing terrorist attack changed the course of history irreversibly, sending shock waves across the world and ushering in a new era of suspicion, anxiety and insularity. It's in the shadow of that unforgettable day 18 years ago that Irene Sankoff and David Hein's surprisingly jolly musical sensation Come From Away flourishes, proving that even in moments of unimaginable horror, human kindness will prevail.

The cast of Come From Away
Photo credit - Matthew Murphy

Rarely do such infectiously heart-warming musicals arrive on the West End, drawing audiences in with genuine warmth and heart, and leaving them feeling utterly fulfilled. 

Come From Away explores what happened when 38 planes from all over the world were forced to land in the small town of Gander, Newfoundland, during the shut down of American airspace following the 9/11 attack. Telling the true stories of the almost 7000 displaced and overwhelmed ‘plane people’ and the Gander natives who welcomed them with open arms, Come From Away is a heartening musical which exemplifies the absolute best of humanity, from its infectiously catchy opening number Welcome To The Rock, right up until the spirited on-stage band plays the audience out at the end. 

The cast of Come From Away
Photo credit - Matthew Murphy

Stitched together by an earthy folk rock score, Come From Away is a patchwork of different stories, told by an incredible ensemble cast. Every character bursts with life, from Gander's gruff yet amicable mayor Claude Elliott, to budding romancers Nick and Diane; a Brit and a Texan who meet whilst trapped on the tarmac at Gander International Airport. Rachel Tucker shines as Beverley Bass, American Airlines’ first female captain, who gives the audience a glimpse into the work of the heroic airline crew rallying together to get people home. Bass' gutsy solo Me and the Sky is just one of the musical's many heart stopping moments. 

The remarkably frank and human script demonstrates the mushrooming dread felt by Gander’s permanent and temporary dwellers, of course, but the friendships and romances formed in the small town in the days after the 9/11 attack take precedence, and so there’s no shortage of roistering song-and-dance numbers to drive the musical’s message of love and kindness home. 

Review - Kinky Boots (UK and Ireland Tour)

Kinky Boots, Cyndi Lauper and Harvey Fierstein's bubbly, big-hearted musical hit, has been entertaining audiences in London since 2015, and after a massively successful West End run, it’s now heading out on tour to bring its timeless story of love and acceptance to the masses.

 

The cast of Kinky Boots
Photo credit - Helen Maybanks

Inspired by a true story, Kinky Boots follows the exploits of Charlie Price who, after a chance encounter with a vivacious drag queen named Lola, sets out to save his family’s shoemaking factory from ruin.

From start to finish, Kinky Boots is a complete delight. Led by the remarkably talented Joel Harper Jackson and Kayi Ushe as Charlie and Lola, the entire cast brim with effervescence. Jackson brings boyish charm to the musical’s everyman role, and Ushe is a pillar of magnetism as Lola, the metaphorical sun around which the rest of the characters orbit.

 

The cast of Kinky Boots
Photo credit - Helen Maybanks

Radiating an infectiously joyful energy, Kinky Boots is both a tantalising musical hit and a glitzy catwalk, which parades Gregg Barnes' bedazzled costumes remarkably. Lola is constantly kitted out in eyepoppingly vibrant designs, as are the Angels, Lola’s troupe of bubbly drag queens.

The touring production more than stands up to its recently departed West End counterpart, filling every inch of the stage with life. Sure, the plot is pure cotton candy fluff, but combined with Cyndi Lauper’s sparkling tunes, the resulting cocktail is simply irresistible.

If there’s one musical which is guaranteed to bring a smile to anyone’s face, it’s Kinky Boots.

Review - True West (Vaudeville Theatre)

It’s the 80s, and somewhere in the oppressively hot suburbs of SoCal, Ivy League educated screenwriter Austin sits hunched over a typewriter, penning his latest screenplay and periodically stopping to give the potted plants surrounding him an obligatory spritz of water.

Kit Harington and Johnny Flynn in True West
Photo credit - Marc Brenner

It’s in this environment of simmering pressure, where life (and livelihoods) balance precariously on the precipice, ready to give in at any moment, that True West blooms and wilts. Sam Shepard’s family drama, a 1983 Pulitzer Prize finalist, explores the rocky reconnection of two estranged brothers. The aforementioned Austin is a mousy type, dressed in variations on beige, he’s nervy and dweeby, and thoroughly intimidated by Lee, his older brother. Lee has a prickly feline quality to him, like an alley cat on the prowl. And he’s got an idea for a screenplay too.

Harkening back to the time of the pioneers, who headed West in search for land and gold, the play’s title acts as a metaphor for the dilemma each character faces. Austin is financially stable but craves freedom, whilst Lee is a roaming criminal who seems to harbour a secret desire for financial security and normalcy. Austin’s screenplay is a romance, described as a period piece. It’s leagues away from the wild adventure of the blockbuster Western Lee pitches, and leagues away from the sort of life Austin comes to realise he wants.

Johnny Flynn in True West
Photo credit - Marc Brenner

As the warring brothers Austin and Lee, Kit Harington and Johnny Flynn respectively hold the piece together with strong, charismatic performances, but both characters feel rather two dimensional, as does the force which drives them. Shephard’s script suggests that the brothers are on the verge of trading places, as Austin discovers a vicious reckless side to himself, but the idea never fully forms.

As a result, the play ambles towards its finale, with no clear sense of where it is going. Although each individual scene is entertaining enough, they all connect rather disjointedly, and beyond the surface levels of humour and angst, haphazardly stitched together, there’s not much to latch on to in True West.

Review - Caroline, Or Change (Playhouse Theatre)

It's 1963 and revolution is in the air in Lake Charles, Louisiana. Outside the courthouse in the middle of town, a plinth sits newly empty. Someone stole the Confederate Soldier statue which used to live there. But whilst the world changes and grows, Caroline stays just the same. A black maid and divorced mother of 4 who works for the barely-functioning clarinettist Stuart Gellman and his new wife Rose Stopnick Gellman, she spends her days in the family's basement, with only the washing machine, dryer, and radio to keep her company until Mr Gellman's young son Noah returns home from school and lights Caroline's daily cigarette.

Sharon D. Clarke in Caroline, Or Change
Photo credit - Helen Maybanks

 The heat and the moisture in the thick Louisiana air is tangible as Caroline sweats away. She is statuesque, imposing, and yet she sings about drowning 16 feet below the sea, as the washroom appliances come to life and serenade her, bother her, torment her. Sharon D. Clarke has immeasurable presence as the titular character. She wears Caroline's pain, love, and conflict, perfectly. It's etched into her face. Every fearsome glower is tinged with sadness. Every tiny smile, although seldom seen, feels like daybreak. And although Caroline's rebellious daughter Emmie is, for all intents and purposes, Caroline's foil, Abiona Omonua carries herself with a similar aura; one of purposefulness, and self assuredness. However, a standoff between Emmie and the Rose's father during Hanukkah shows that whilst Caroline is resistant to change, Emmie revels in it.

Omonua's rendition of one of the musical's most poignant and touching songs, I Hate the Bus is a soaring, tear jerking Disney Princess style ballad. It's an I Want song, scored with beautiful piano and strings, and in it Emmie wishes for financial security, and the freedom to live on her own terms. Omonua's vocals, a mixture of bluesy belting and fluttering high note, impeccably conveys the optimism and confidence which characterises Emmie throughout the musical, and the number as a whole feels subdued yet immensely powerful.

 

Sharon D. Clarke and Abiona Omonua in Caroline, Or Change
Photo credit - Helen Maybanks

Meanwhile, Lauren Ward's waspish and worn out Rose Stopnick Gellman is a piece of work, but a sympathetic one. As she tries to take on a maternal role with her new stepson Noah, by telling Caroline to keep any change she finds in any of Noah's trouser pockets, in order to teach Noah the value of money, she inadvertently places a wedge between Caroline and the Gellman family, which tears apart the household dynamic which has always been in place.

Tony Kushner's musical book is a mammoth to dissect. There's more characterisation in the first 10 minutes than most musicals manage in 2 and a half hours, and the cast do a fantastic job of breathing life into menagerie of Lake Charles inhabitants who play a part in the story.

 

The cast of Caroline, Or Change
Photo credit - Helen Maybanks

Michael Longhurst's direction is complimented by Fly Davis' set and costume design, and the whole production comes together to capture the weariness of the script and wring it out on stage. Often a revolve is used to keep the action swirling and brewing. Lives change, lessons are learned, relationships are made and broken, and yet everything feels quiet, compact and commonplace.
 

Caroline, Or Change is a musical which captures the personal and intimate, but the tremors of rebellion incited by those fighting against racial inequality quake through from start to finish.

I was invited to review Caroline, or Change thanks to London Box Office 

Review - A Christmas Carol in Concert (Lyceum Theatre)

Spirited musicianship has always been a hallmark of London Musical Theatre Orchestra, and nowhere is that made clearer than in its returning musical production of A Christmas Carol, in concert.

 

Griff Rhys Jones and Miriam-Teak Lee in A Christmas Carol
Photo credit - Nick Rutter

Alan Menken, Lynn Ahrens and Mike Ockrent’s merry musical is a London Musical Theatre Orchestra favourite, which returns to the Lyceum Theatre this December, having played to sold out audiences in both 2016 and 2017. Of course, with Christmas just around the corner, the popularity of A Christmas Carol in concert is hardly surprising, and yet its return is favourably received.

This sprightly retelling of Charles Dickens’ beloved novel brims with warmth and humour, and a fair share of big ensemble numbers keep toes tapping as Scrooge embarks on his revelatory jaunt into the supernatural. From Jacob Marley’s intense yet eerily jaunty Link By Link, performed with fascinatingly dark charisma by Jeremy Secomb and an ensemble of long-imprisoned souls, to the uplifting Christmas Together, led by the Cratchit family, A Christmas Carol is a musical which revels in rousing choruses.

 

Griff Rhys Jones and Jeremy Secomb in A Christmas Carol
Photo credit - Nick Rutter

Musical Director Freddie Tapner’s enthusiastic conducting is a pleasure as always, and the 32 piece London Musical Theatre Orchestra sound richer and more jubilant than ever before. A starry cast of musical theatre performers add another layer of pizazz to the already glittering production, and Griff Rhys Jones is the epitome of Scrooge, the mean and miserly moneylender, and gives a masterfully characterful vocal performance, combining confidant singing with the brisk and blithering persona that has made the character such an enduring and unforgettable one.

 

Miriam-Teak Lee, Cedric Neal and Lucie Jones are spooktacular as the trio of Ghosts sent to save Scrooge’s soul, and the multi-roling of Lucie Jones as both the silent, stoic and bone chilling Ghost of Christmas Future, and Emily, the fiancé Scrooge drove away with his greed and selfishness, is an inspired move. Lee’s motherly Ghost of Christmas Past may have given Scrooge a glimpse into the trauma of his childhood, but his bitterness, self-hatred and regret over the loss of Emily clearly haunts Griff Rhys Jones’ Scrooge more unrelentingly than any of the three spectres who pay him a visit of Christmas Eve.

 

Freddie Tapner of London Musical Theatre Orchestra
Photo credit - Nick Rutter

This December, there’s no better way to escape the cold for an evening than by enjoying the big-hearted joy of London Musical Theatre Orchestra’s A Christmas Carol; a festive five star success.

Review - Seussical (Southwark Playhouse)

Who knew a musical based on the fantastical tales of Dr. Seuss could be such a delight?

First seen on Broadway in 2000, Lynn Ahrens and Stephen Flaherty’s Seussical is a warm and fuzzy musical adaptation of children’s author Dr. Seuss’s most beloved stories, narrated by none other than The Cat In The Hat.

Marc Pickering and the cast of Seussical
Photo credit - Adam Trigg 

In the Jungle of Nool, Horton the Elephant finds a clover inhabited by an entire city of microscopic beings called Whos. The only problem is, none of his neighbours can hear the tiny people, which leads to trouble for both Horton and his miniscule new friends.

James Tobias directs this charming production at the Southwark Playhouse, which evokes a sense of childlike wonder and joy at every turn. Running at a youngster friendly 75 minutes, it’s a fast paced frolic with a heart of gold, set within a candy striped, and kaleidoscopically lit world.

The music is relentlessly cheery, with groovy earworm Oh The Thinks You Can Think setting the tone for the whole musical; snappy, if simplistic (and often purposefully nonsensical) lyrics, a bouncy tune, and tight vocals from the excitable ensemble cast. Combined with Chris Whittaker’s frenzied choreography, the number explodes into the audience just as Doctor Seuss' writing leaps of the page.

The cast of Seussical
Photo credit - Adam Trigg

Marc Pickering is a cartoon come to life as The Cat In The Hat, showing an excellent rapport with audiences of all ages and he bounds around the stage. Scott Paige is a lovable Horton and Amy Perry is brilliant as Gertrude McFuzz, Horton’s besotted next door neighbour. Meanwhile Adam Dawson and Daisy Steere are a kooky couple as the Mayor and Mayoress of Whoville, amusingly waspish despite their sunshine yellow attire and quirky mannerisms.

This family friendly version may be a tad short, and a bit too busy at times, but all in all Seussical is a high spirited musical, with morals to teach audiences of all ages. Family shows don’t get much more entertaining than this.

Review - Striking 12 (Union Theatre)

Striking 12 is a musical retelling of Hans Christian Andersen's The Little Match Girl, set in early-noughties New York. Brendan is newly and unhappily single, and slogging away at a desk job on New Years Eve, when, after an inundation of party invites from his overbearing colleagues, he runs into a cheery light bulb seller on his way home. After sending her away into the cold, he is inspired to read The Little Match Girl, and is struck by the idea that he may be taking life for granted.


Declan Bennett and Bronté Barbé in Striking 12
Photo credit - Tom Grace

Oliver Kaderbhai's pared down production makes good use of the actor-musician trend which is very much en-vogue right now, and the cast is well up to the task of playing and singing the story to life. Brendan Milburn and Valerie Vigoda's music is played charmingly by the ensemble of five, with Andrew Linnie accompanying on piano, and although the music occasionally drowns out the vocals, the folksy pop score feels snappy and modern.

Declan Bennett perfectly inhabits Brendan, disguising sadness behind a wall of grumpiness that occasionally gives off one or two flickers of anger before extinguishing. Even his posture seems proud and confident, with just a hint of slouchiness giving away a dissatisfaction. Meanwhile, Bronté Barbé is radiant as The Match Girl. Sparky and effervescent, she wields a powerful voice which perfectly suits the score.

Declan Bennett in Striking 12
Photo credit - Tom Grace

Natalie Johnson's set design tells us everything we need to know about Brendan. His small apartment looks cozy but unkempt. The are books and candles adorning shelves on every wall, making the place feel lived-in, and giving us a sense of Brendan's life pre-break up. But there's a messiness too, reinforcing the apathy and discontent that Brendan expresses with his life, there's a takeaway carton sitting as if camouflaged on a haphazardly organised shelf, and at one point Brendan throws a leaflet onto a shelf to join a stack of assorted bits and bobs. The set tells us as much about Brendan's life as the story does, and paints a clear picture of his mindset at the start of the musical. He's got his life together, but only just about.

Lighting design is equally transportive, contrasting the warmth of Brendan's apartment with the cool whites and blues of the icy winter night outside. A noughties inspired display of hanging light bulbs gives the space added character.

Kate Robson-Stuart in Striking 12
Photo credit - Tom Grace

The story is interesting in premise, and the tone of the piece is well conveyed through music and design,  the only thing that prevents Striking 12 from reaching its full potential is the plot, which feels underdeveloped in some key areas. With a zippy 70 minute run time, there is little room to explore the characters at the heart of the story, and Brendan's chance encounter with the light bulb seller (an encounter which changes his life in a small yet very significant way) isn't a significant enough defining moment. The character traits which drive Brendan down a spiral of self-pity in the first half of the story seem to disappear much too conveniently, allowing for the plot to progress, and subsequently the retelling of The Little Match Girl, although the musical's most compelling aspect, comes into the story too late and feels rushed.

Nevertheless, Striking 12 is a bright musical, beautifully performed by a talented group of actor-musicians. Its optimistic message, rallying for care and compassion as an antidote to the selfishness and single-mindedness of modern society, feels extremely apt this year as the cold winter nights draw it. This is a little gift of a musical which has plenty to give its audience.

Review - Summer and Smoke (Duke of York's Theatre)

In Glorious Hill, Mississippi, childhood friends Alma Winemiller and Doctor John Buchanan Jr. reunite after several years apart. Although Alma is an unassuming and upstanding member of the community and John has a rather scandalous reputation for gambling and romancing, the pair rekindle a smouldered flame and are drawn to each other almost instinctually.

Matthew Needham and Patsy Ferran in Summer and Smoke
Photo credit - Marc Brenner

Although Summer and Smoke is a delicate and powerful drama, it'd be hard to argue that this is Tennessee Williams' best play. But that's hardly surprising considering the other dramatic juggernauts he penned. Summer and Smoke feels looser and more meandering that its siblings, but nevertheless there's still an awful lot to enjoy, especially with Rebecca Frecknall's witty and surgically precise direction to shape the piece into something more sparky and volatile than the text alone suggests. William's dialogue masterfully captures moods and moments, and Frecknall's direction shines a spotlight on those moments, flaying them before the audience's eyes. 

 

The theme of conformity and rejection of societal expectations are common to many Tennessee Williams plays, but it seldom as heavily signalled than in Summer and Smoke. John is a doctor and the son of a respected medical professional, but far from portraying his professionalism outwardly, he is louche and scruffy, with a hungry look in his eye. Matthew Needham plays his sulking rage and simmering passion to perfection, as he stalks the stage, slowly but surely peeling away Alma's ultra-refined and poised exterior. Meanwhile a revelatory performance sees Patsy Ferran disappear into Alma Winemiller entirely.

 

Patsy Ferran in Summer and Smoke
Photo credit - Marc Brenner

From her first appearance, gasping and suffocating into a microphone centre stage, surrounded by a septet of pianos, all eyes are on her. Every severe glance, anxious inhalation and soulless smile is etched out precisely on Ferran's face as Alma tries her best to reject her urges and conform to expectations. She's constantly on edge; a product of her mother's unfortunate mental breakdown several years prior to the events of the play. Forced to grow up too soon, she's evidently afraid that her carefree youth has passed her by. She's an elastic band, squeaking and stretching as she resists her wants and desires in order to maintain control and conform to the expectations put upon her. But of course, it's only a matter of time before she snaps.

 

As the direction of the play becomes clearer and the ending becomes more obvious, the inevitable trajectory of Alma and John becomes almost unbearable to watch, as their ideals slowly twist inside out. It's evident from the start that they are too different to ever work as a couple, and yet it's difficult not to root for Alma's liberation and John's redemption.

Matthew Needham in Summer and Smoke
Photo credit - Marc Brenner

Tom Scutt's purposefully threadbare design has the characters confined to centre stage, for the most part, surrounded by the tinkling ivories of seven pianos. Undoubtedly a metaphor for the tattling, self-involved inhabitant of Glorious Hill, the pianos underscore much of the play with a pretty, cloying tune which fills the air like a saccharine summer haze. It's easy to see why John and Alma are forced to both extremes in terms of societal convention, when they are constantly being put on a pedestal and inspected by their neighbours and peers. 

 

The suffocating atmosphere of small-town Mississippi is conjured perfectly in this stifling, completely engrossing production. Gorgeous design, attentive direction and a pair of incredible lead performances transform this lesser performed Williams play into a glimmering gem!  

 

I was invited to review Summer and Smoke thanks to seatplan.com