Soho Cinders – REVIEW

Soho Cinders

Charing Cross Theatre, London

 

Reviewed by Katie Middlebrook

Seen October 29th, 2019

★★★★★

You Shall Go To The Ball!

Soho Cinders is a musical, loosely based on the story of Cinderella. It has music by George Stiles and lyrics by Anthony Drewe with Elliot Davis as co-author. The action is based in the heart of London in Soho. The musical first showcased in 2008, followed by a gala concert in 2011. The soundtrack was also then released in 2011.

Soho Cinders is a modern musical which mixes politics and true love in a story about a boy called Robbie. Robbie is in the midst of running his late mother’s laundrette, paying for rent to his two ugly-step sisters and becoming romantically involved with the engaged mayoral candidate, James Prince. James and Robbie’s worlds collide, forcing them to fight for their true love and happy ending in this hilarious twist on the classic Cinderella story. The Charing Cross theatre is currently holding the most recent rendition of Soho Cinders. 

The show opens with the fun upbeat number ‘Old Compton Street’. This song is full of dance breaks, harmonies throughout and a chance to see all of the characters and get an introduction to the storyline. This is also where we first meet our Cinderella character who is played by Luke Bayer. 

Luke plays Robbie who is our leading man in the show. Luke has played a leading role before as the alternate Jamie in Everybody’s Talking About Jamie and he definitely does not disappoint in this new role. The emotion and energy Luke puts into every song he sings is breathe-taking. The score of this show is quite poppy and definitely fits Luke’s voice very well. His acting and comedy value comes across so easily, you are rooting for him to have the happy ending he deserves by the end of the show.

The second song in the show is a song called ‘Wishing For The Normal’, which is sung by Robbie and best friend Velcro who is played by Millie O’Connell. This song shows the beautiful friendship Robbie and Velcro have. Luke and Millie bounce off each other when they are on stage together, the chemistry has you constantly smiling and laughing at the banter Robbie and Velcro have with each other. 

The score of the show is very catchy, I came out singing the songs over and over again. Two songs definitely stood out as my favourites. The first being ‘They Don’t Make Glass Slippers’ which comes at a very poignant moment in the show. It is sung by Luke and really show cases his beautiful vocal rang and the emotion he shows when performing. The second song is ‘You Shall Go To The Ball’ which is the last song in Act one. It is a fun dance number where you see multiple of the different storylines moulding into one. 

Act one ends with ‘You Shall Go To The Ball’ and leaves everyone singing the catchy song in the interval. The first act ends with a big cliff hanger which leaves you wanting to find out what happens next.

A highlight of the show for me was definitely the two stepsisters. There comedy throughout the show is absolutely hilarious it left the audience in stitches. They have two duets together, but my favourite definitely has to be ‘I’m So Over Men’. The stepsisters are played by Michaela Stern and Natalie Harman. Michaela is also co-producing the show along with Will Keith and Kyle Tovey.

The show ends with a very catchy curtain call which has you foot tapping or even up on your feet dancing along with the cast as they have a ball on stage. 

Soho Cinders is on at The Charing Cross Theatre until December 21st. Do not miss out on this spectacular show! It is not one you want to miss.

Fiver – REVIEW

Fiver

Southwark Playhouse, London

 

Reviewed by Jade Prince and Katie Middlebrook

Seen July 5th, 2019

★★★★★

This review will be slightly different to our usual. Creator, Jade, and reviewer, Katie, are teaming up to share their love for Fiver. Having both seen the show, so many similar thoughts and opinions were shared. There’s just gonna be double the love! 

Fivers, something we take for granted but are rarely seen nowadays due to societies preference of contactless payment. Exchanging hundreds of thousands of hands in its lifetime yet so easily forgotten the moment it leaves your fingertips. Have you ever paused after a transaction to think about that fiver and the journey its about to embark on? 

For two hours you will bear witness to roughly half a dozen intertwining stories and how the same fiver touched their lives individually. 

Straight away, we need to express our need for a cast recording! Very rarely you find a show where each next song becomes your new favourite. It is typical for the odd song or two to fall short however this is not the case for the score of Fiver. Every song can hold its own. It was refreshing to hear so many genres of music in one musical. This aspect kept the audience engaged and excited with anticipation for what was to come next. Lyrically, the score was stunning. This ranged from the comedy sprinkled throughout to the deeper meaning behind the lyrics. There were also so many which the audience could relate to on a personal level. It is safe to say that Alex James Ellison and Tom Lees have very brights futures ahead of them not just with this show but with future creations. 

The concept of the show was wonderful. It is a very simple concept however didn’t just glide over the surface, it delved deep into realistic personal stories. It wasn’t the generic run of the mill story which it could have been. You could see the amount of time and effort and creative skill which has been pumped into the story. This really resinated with the audience through its relatable nature. It should also be noted that at no point did the story feel predictable. 

With shows that follow numerous intertwining stories, there is always the risk that the audience will be lost along the way. With Fiver, there was a seamless connection between each story and character. This was helped as the audience were guided through by Alex James Ellison who took the role of the ‘narrator’. His warm, welcoming personality immediately drew the audience in. 

From the get go, it was evident that the fourth wall would not make an appearance. With the show having an intimate story line the removal of the fourth wall really added to the audience’s experience and allowed them to embark on a rollercoaster of emotion.

Although some sombre story lines were looked at in act 1, the perfectly crafted comedy which built throughout act 2 really made this a heartwarming show. One notable scene was the proposal preparation and the joy brought to the stage by Luke Bayer and Aoife Clesham as they portrayed cheeky youngsters. 

The final point to make is the way the score so beautifully allowed each cast member to demonstrate their vocal range individually but also to provide glorious harmonies throughout. 

This is a well rounded, heartwarming show which is perfectly executed. The foundations have been set for Fiver to achieve big things. We cannot wait to see this shows development and will be there every step of the way. 

Fiver is showing at the Southwark Playhouse until 20th July 2019 and trust when we say this is not one you want to miss. More information about the show and tickets can be found here.

Amour – REVIEW

Amour

Charing Cross Theatre, London

 

Reviewed by Jade Prince

Seen May 8th, 2019

★★★

Did I ‘amour’ this show?

Amour I did not but that’s not to say I hated it. In fact, I’m on the fence about it, or should I say, in the wall. Sorry, I couldn’t help myself!

‘Amour’ takes place in the 1950s in Paris. I mean, with that title, it couldn’t really take place anywhere else?

The story focuses on Dusoleil (Gary Tushaw) who appears very comfortable in life. Comfortable. Nothing out of the ordinary. Working as a civil servant, passing the time writing letters to his mother when his mind isn’t wandering and daydreaming about Isabelle (Anna O’Byrne). All of this changes one night when he discovers he possesses the ability to walk through walls. This new ability provides him with the courage of not only helping the less fortunate but to win the heart and save Isabelle from her controlling marriage.

There was something about this show which had me feeling pretty, ‘meh’. Although reflecting on each individual component, I’m struggling to but my finger on what this show was lacking.

Individually, the artist direction for many features was beautiful and whimsical however collectively, the spark didn’t ignite.

The traverse stage set up was a unique decision (although this was probably swayed by the previous show that played at Charing Cross Theatre). I personally don’t think it lent itself well to the story. It definitely restricted what we saw on stage. If the stage/venue had been bigger, I think the traverse stage would have been wonderful. Direction-wise, it was clear that time and thought had been put into the actor’s movement. Each side of the audience was catered for and at no point did I feel like I was watching the show from backstage.

The cast were incredible! Vocally outstanding and it was a joy to listen to all of those harmonise! It was beautiful when the score built and each character was singing there own verses over each other.

I have to say I was very surprised that it wasn’t Jonathan Lipman doing the costume design for this show. The costumes were very similar to his style. It looked like the costumes were pulled from previous shows at Charing Cross Theatre where Lipman had overseen the costumes. I understand why the Monochrome theme was selected, to be in keeping with the Parisian love story. I just really wish a different spin had been put on it. It was disappointing as its been seen in so many other shows.

Lyrically the show was very cleaver. It was sung from start to finish so it is important you pay attention. Occasionally I found it really difficult to follow as the lyrics are sung very quickly. A lot of the jokes come at those points and I found myself sat there in a sea of chuckles having completely missed the joke myself. There was the occasional play on words which made them sound rude until the whole thing came out. I really appreciated that especially with one of the riskier words!

-Now this is something I don’t normally say-

If the opportunity comes around and I get to see the show again before it closes, I definitely will. I didn’t hate it but at the same time, going in ‘blind’ and not knowing anything about the show hindered my experience. I do think a second watch will highlight a lot of things I initially missed and bring a new appreciation to the show. 

All in all, it was a very charming piece and lives up to the main promo quote provided by NY Times, ‘a bedtime story for grown ups’. Nothing too over stimulating although enjoyable at the same time.

‘Amour’ is playing at Charing Cross Theatre until July 20th, 2019.

More information on the show and tickets can be found here.

Lipstick: A Fairy Tale of Iran – REVIEW

Lipstick: A Fairy Tale of Iran

Omnibus Theatre, London

 

Reviewed by Jade Prince

Seen March 10th, 2019

★★★★

 

I can review it this time round! In March 2018, I was invited to see a script-in-hand performance of ‘Lipstick: A Fairy Tale of Iran‘. It was in its very early stages but even at that point it was well established. A year later, we got to see the development.

To give you an overview, ‘Lipstick: A Fairy Tale of Iran‘ tells Orla’s (Siobhan O’Kelly) story. A heartbreakingly beautiful account of her 6 week trip to Iran in 2010 told upon a Soho club stage in the present day. A story of a completely different country with completely different laws and, more importantly, a completely different view on women. Where control on its people, cultural practices and the arts is valued above anything else.

The show is set up with a dual aspect; two stories intertwining with each other. One part consists of the scenes that played out on Orla’s trip to Iran. The second part taking place on a Soho club’s opening night. Although I really enjoyed this dual story aspect, I couldn’t help but feel it was very confusing at some points. The whole staging of the show has undergone major development however the subtle light changes didn’t send a strong enough signal of a scene change to the audience. There are parts of the script that change very suddenly and myself, as an audience member, started focusing on where we were instead of the powerful words being said.

The script itself was a little slow and took its time to build momentum. You really need to hang in there because the message it conveys is so powerful. Some of the monologues really put the brutal truth into perspective. Highlighting the awful things that still occur in this world but also still provide that glimmer of hope.

I applaud Sam Wilde and Elizabeth Harper for the set design. Simple yet in keeping with the story. Something I loved about the script-in-hand performance was the intimacy. I mentioned that it was like being told the story in someones living room. This time it was the complete opposite. But it kinda worked. The cabaret club set still felt intimate but gave the impression of a grander establishment. It did detract from the intimacy however it gave the performance more authenticity.

Dotted throughout the show are some small cabaret numbers performed by Mark (Nathan Kelly). It is only fitting to have a few cabaret numbers in a Soho drag cabaret club! It’s what you’d expect although they were so cleverly worked into the story. A seamless transition from London to Iran and vice versa bringing a constant reminder of the art that would face corporal punishment in one of those countries.

Reading back over my post from a year ago, I still hold all those views.

Something is telling me this show will go far. It’s still got some work however the foundations are there and I am all for supporting this!

The show is a political statement and it hits some tender nerves.

Definitely worth seeing and having on your radar.

‘Lipstick: A Fairy Tale of Iran’ is at the Omnibus Theatre until March 24th 2019. Tickets and more information on the show can be found here.

 

 

SIX – REVIEW

SIX

Arts Theatre, London

 

Reviewed by Katie Middlebrook

Seen March 10th, 2019

♚♚♚♚♚♚ (<- yes, stars won’t do it. Bring out the royal attire!)

 

“Divorced, beheaded, died, divorced, beheaded, survived.” 

SIX The Musical is a brand-new musical phenomenon that everyone is losing their heads over and the soundtrack is storming up the UK pop charts. 

SIX was originally performed by Cambridge University Musical Theatre Society directed by Jamie Armitage before first playing in The Arts Theatre in December 2017. 

The story of SIX allows each of Henry VIII’s wives to tell their story individually of what they went through during their time as his wife. 

The show starts with the opening song ‘Ex-Wives’ and from the get-go the energy on stage is very apparent. The girl’s costumes have an aspect of old fashion to them but at the same time are very modernised. Each girl has an individual style which fits their character. A part of the costume I really liked is the little microphone holders where during dance numbers, the girls can still carry their microphones but without having to hold them. 

In-between each song the characters tell you are little bit about their story and set up the song before it starts. During these times you can really see the chemistry and friendship between the six girls not only as their characters on stage but also off. The banter they have on stage with each other and the way they deliver the lines had me sitting on the edge of my seat and smiling from ear to ear. 

The first of the wives to tell their story is Catherine of Aragon who was played by Jarneia Richard-Noel. The energy of the girls carries on into this song was a real joy to watch with some fun dance breaks between verses and sassy comments put in throughout the song. The interaction and involvement with getting the audience to clap and dance along with them was great. With the amount energy put into the song the audience are quick and eager to join in. 

The next song is ‘Don’t Lose Ur Head’ which is Anne Boleyn’s story performed by Millie O’Connell. This is one of my favourite songs on the soundtrack, so I was very excited to see this song performed on stage and it definitely lived up to my expectations. Millie’s sassy and engaging performance had me mesmerised from the start and was one of the stand out performances of the show. 

Next up is Jane Seymour’s ‘Heart of Stone’ so wonderfully performed by Natalie Paris. This is also another one of my favourite songs from the album and did not disappoint. Natalie’s outstanding voice and performance had me tearing up and giving me goose bumps with the emotion she put into her performance. 

The fifth song on the soundtrack is ‘Haus Of Holbein’ which is one of the comedy songs. The outfits, lighting and dancing in this song are all very cleverly thought out with parts of them glowing in the dark. This part of the show is set in Germany and I love how the girls all talk and sing in German accents to fit in with this theme. The lyrics, outfits, dancing and accents were hilarious and had me laughing, making this one of my favourite dance numbers in the show. 

Alexia McIntosh plays Anna of Cleves and definitely got down during her solo, ‘Get Down’. The lyrics in this song are hilarious and Alexia performs them so easily leaving the audience hanging on to her every word. 

‘All You Wanna Do’ by Katherine Howard is another one of my favourite songs (are you seeing the pattern here?! Ha!) This is performed by Aimie Atkinson. There is a certain serious side to this song with some of the lyrics being very powerful and this was shown through the choreography throughout the song. ‘All You Wanna Do’ is one of the harder songs to sing in my opinion and Aimie sings it with so much ease and sounded phenomenal. 

Last but not least, Catherine Parr tells her story with her song ‘I Don’t Need Your Love’. Courtney Stapleton, the alternate Catherine Parr, was the one to perform this song. Her voice and outstanding delivery of a meaningful song were fantastic. 

The finale ‘Six’ is where you really see what the show is about. Girl power. The all-female band all get a chance to showcase their amazing talent along with each girl getting a chance to show their outstanding vocals. 

SIX The Musical recently got nominated for five Olivier awards and after seeing this show I can see why. The talent on stage is absolutely breath-taking and I wish them all the luck in the world. I will be raving about it for years to come. 

The live pop-concert musical returned to the Arts Theatre, London in January 2019 after playing in venues around the UK such as Cambridge, Southampton, Glasgow and Edinburgh. 

SIX The Musical, “Divorced. Beheaded. LIVE in concert!” is at the Arts Theatre until January 2020 so grab the hottest ticket in town while you still can!

More information about the show and tickets can be found here.

 

Lorna Dallas: Stages – REVIEW

Lorna Dallas: Stages

The Crazy Coqs, Live at Zédel, London

Reviewed by Mark Sykes

Seen March 6th, 2019

★★★★

Lorna Dallas has had an illustrious career spanning many decades, but has only recently returned to the stage after a 20-year hiatus. From Broadway to the West End (and many locations in between); from Show Boat to Hello Dolly! (and countless others), Lorna Dallas has ‘been there, done that’  – and then some! The journey from being a small town girl in Illinois, to a world-renowned stage performer is what provides the setting in Lorna’s latest one-woman show called Stages.

The show sees Lorna on stage alongside her Musical Director on piano, Chris Denny. Stages begins its journey in Lorna’s childhood years in Illinois and her parent’s initial disapproval of her having any thoughts of a singing career. Her opening number of “There’s No Business Like Show Business / A Glamourous Night” instantly proved that age hasn’t dampened those soaring soprano vocals and Lorna immediately had the audience (sprinkled with some familiar showbiz faces) enthralled.

The show, directed by Barry Kleinbort, was littered with songs written by some of the most famous names in music, such as Irving Berlin, Stephen Sondheim, Cole Porter, Kurt Weill, Kander & Ebb, etc. What stood out for me though was many of the songs were not the usual fare that you would usually hear in this type of show. Each song had been perfectly curated to fit Lorna’s life story, both on-stage and off, with each having a specific personal meaning to her. 

The singing career of Lorna Dallas really began when she won a singing contest whilst still in high school. With 20,000 contestants participating, that first showed the pedigree that she had and which would provide the initial foundation for the lengthy career that was to follow. 

Songs such as “Blues In The Night” (by Harold Arlen and Johnny Mercer) and Cole Porter’s “Never Give Anything Away” (with additional lyrics by show director Barry Kleinbort) continued Lorna’s journey. Songs were interjected by fascinating stories and anecdotes, many amusing but with some striking a more personal note. “Poor Little Hollywood Star / At The Crossroads” was another song for Lorna to display her vocal skills, and it was here that she impressively proved that she could still hold a note.

There is certainly an eclectic mix of song choices in Stages, but it was obvious that much thought had gone into their selection. I suppose none more so that Jerome Kern and P.G. Wodehouse’s song “London, Dear Old London” from their 1922 musical comedy The Cabaret Girl. This fitted well with Lorna’s 2-year stint in Show Boat starring alongside Cleo Laine, and a time that she fell in love with this great city.

The highlight of the evening for me had to be Lorna’s performance of Larry Grossman & Hal Hackaday’s “Empty”. It was a stunning rendition of such a beautiful song; unbelievably, the song was cut prior to the opening of the 1970 Broadway show Minnie’s Boys. Lorna also sang one of my personal favourites, “Teach Me Tonight”, written by Gene de Paul and Sammy Cahn. Whilst the song was written in 1953 (well before I was born!), Lorna’s interpretation still feels fresh – and it also provided the opportunity to shine the light on Chris Denny’s keyboard skills with a lovely solo spot. 

The raw emotions of the evening came to the fore with Ivor Novello & Christopher Hassall’s “My Dearest Dear”. The song has a deep personal meaning for Lorna and it left a deep imprint on the hearts of the audience as well. It was a special moment of the evening.

The evening ended with Anthony Newley & Herbert Kkretzmer’s “If All The World’s A Stage”. It was a perfect way to round off a wonderful journey through time. From a small town in Illinois, to shows such as The King And I and even a Royal Variety Performance in front of Her Majesty, the Queen Mother, Lorna Dallas has come a long way. For me it was as much about the personal tales used to segue the song choices as it was the actual songs being performed; but putting them together lead to perfect combination of music and chat.

The fact that Lorna can continue to deliver shows like Stages to sell out audiences, and importantly provide a fresh interpretation on songs that go back to the early decades of the 20th century, is proof of her pedigree and staying power – the likes of which is such a rare commodity in the 21st century.

An Enemy of the People – REVIEW

An Enemy of the People

Union Theatre, London

.

Reviewed by Jade Prince

Seen January 16th, 2019

★★★

The Union Theatre has opened their doors up once again to a fabulous series bringing focus on past great writers and their work in relation to today’s issues. The Phil Willmott Company have returned to The Union Theatre for their fourth season of “Essential Classics”. Between the months of January and March 2019, three shows are being presented in such a way that pulls the classic writing into the 21st century. On display is Arthur Miller’s adaptation of Henrick Ibsen’s ‘An Enemy of the People’, Offenbach’s ‘Can-Can!’ and William Shakespeare’s classic, ‘Othello’. 

To start the season off, we got to see ‘An Enemy of the People’ which sees the struggle of a small town scientist as he battles the mayor and local community after making a shocking discovery which could significantly impact the future of the town’s current project. It soon becomes clear that despite the town’s people believing the harsh truth of their actions, the ability to stand against the political body of the town is non-existent. Despite Ibsen writing this piece back in 1882, the context remains relatable in today’s political climate, especially in the US with Trumps’ regime. Arthur Miller’s adaptation of Henrick’s original work was brilliant and also hit the audience hard with the realisation that regardless of the century, the same issues prevail. 

An Enemy of the People definitely delivered the message intended however the lack of professionalism really detracted from the experience. This low budget performance definitely had an impact on how a great play was received by the audience. It was clear it had so much potential. In a way, it did reflect the current government state perfectly; it seemed so promising yet failed to deliver. 

The play definitely got better with time. It gradually built up momentum. This was helped by the passion delivered by David Mildon (Dr. Thomas Stockman) which was compelling to watch. This then reached the pinnacle towards the end of act two where the level of emotion displayed by Mildon was through the roof. I applaud him for the stunning performance. 

Unfortunately, the rest of the show was rather bland. The full package was not there for me. This ranged from the lack of American accents (it appeared that this element was optional for the cast) to the mediocre set design. This really hindered the flow of the play. It was very difficult to distinguish changes in scenes which ultimately slowed the show down. The only way you could identify the scene changes were through the over exaggerated blackouts. It would have been great to see the scenes changes tackled in a different way instead of the simplest solution being selected. 

A lot of thought had been put into setting the scene and this typically came in the form of background noise. It was a very simple addition; birds chirping for when the scenes took place outside and cheering during the debate. It was a nice touch although there were some parts where the background noise was too loud and made it difficult to focus on the scene being played out infront of us. 

The Union theatre is a wonderfully intimate venue where this show could have been right at home however the space was not fully utilised and ended up coming across as very low budget. Overall it was enjoyable but very evident that there was so much more the show could have given to the audience. 

An Enemy of the People is playing at The Union Theatre until 2nd February 2019. For more information and tickets, head to  http://www.uniontheatre.biz/an-enemy-of-the-people.html

Brass – REVIEW

Brass

Union Theatre, London

 

Seen November 7th, 2018

Reviewed by Mark Sykes

★★★★

2018 marks the Armistice centenary, so it is fitting that the musical Brass is being performed at the Union Theatre in recognition of the commemorations marking the end of World War One.

Originally commissioned by the National Youth Music Theatre in 2014 and written by Benjamin Till (with additional lyrics by Nathan Taylor and Sir Arnold Wesker), it tells the story of an amateur brass band from Leeds who enlist to the Army and go to the front line in France to help their fellow countrymen in battle. But the story that is told is also as much about the women who are left behind, and their worries about loved ones and whether they’ll ever return.

Act one starts as the ‘band of brothers’ demonstrate their adept skills playing their brass instruments and it also sets the scene of their relationships with the ladies working in the local factory, the ‘Barnbow Lassies’. The lads are a cheerful bunch and their decision to enlist, whilst being a worthy one, is perhaps made without fully realising the full consequences of what they are letting themselves in for.

One of their brethren, Morrie (played by Lawrence Smith) is not yet old enough to enlist, but this doesn’t deter him from wanting to join his colleagues in battle. This decision will eventually have a huge impact upon them all, but it is the first loss of one of their own, Harry, that brings into sharp focus for the rest of the band the full horrors of war.

Brass, running at 2 hours 55 minutes (including interval), could easily have been nearly three hours of a desperately dark tone and you couldn’t have argued, given the topic, if that had been the case. But to give Benjamin Till (and his co-creators) credit, he has managed to integrate some good humour and light amongst all the darkness of war. One of my favourite lines of the evening was “Can I share your blanket tonight?”. It was done with deft humour but at the same time, highlighted the limited comforts that the guys had on the battlefield.

Titty’s poems (the wonderful Samantha Richards) was another case of being able to lighten the mood as the ladies dealt with being stuck in a factory and feeling pretty helpless for the lads at war in France, their main contribution being writing letters to those on the front line alongside, of course, creating the munitions for their war heroes. Tamsin Dowsett is one of many highlights within a magnificent ensemble cast and is almost matronly-like in her role of factory manager Miss Grimsby, a character who relishes keeping her ladies in check!

Photographer: Mark Senior

Photographer: Mark Senior

Photographer: Mark Senior

Act two features the ladies deciding to form their own brass band, notwithstanding their lack of playing experience! Again, this is another aspect that brings some comedic balance to the solemn proceedings happening elsewhere.

Morrie being underage eventually has devastating repercussions. His questioning by a commanding officer is one of the highlights of the evening, and Lawrence Smith shows incredible emotions as he struggles to deal with how to handle the situation under much duress.

Two of the prime characters in Brass are Eliza (Emma Harrold) and Wilfred (Maison Kelley), and one of the most heart-warming moments in the show is when they meet for the first time when Wilfred returns home on leave. Harrold is enthralling, she is captivating throughout and her performance of Could Have Been was stirring and heartfelt.

Brass draws to a close when the men begin their assault on the enemy’s front positions, or to put it more accurately they begin their suicide mission. To the echoes of their battle cry, “We do this together”, the results are stark in their brutality. The band of brothers fought as one, and they fell as one.

There are some wonderful songs in Brass, including Keighley, Billy Whistle, the eponymously-titled Brass and Scared, which deals well in capturing issues with love both on the front-line as well as back home in Leeds. The size and scale of the Union Theatre stage can pose some issues with choreography, but Sasha Regan and her team have done a great job here. I also noticed during You’ll Always Have A Friend there was perhaps a doffing of the cap to Bob Fosse’s choreography of Chicago – whether that was the case or not, nice moves!

Brass tells a fascinating story of a bunch of amateurs deciding to become soldiers in an effort to help their country. Overall it strikes a fine balance between the brutality and horror of war, whilst trying to shine a light on the positive traits of those in battle and those left behind in Leeds. It also factors in some of the other issues that prevailed at the time, including homosexuality and societal hierarchies (not that, to some extent, they don’t remain an issue today).

An excellent ensemble cast does a tremendous job of portraying Benjamin Till’s story, with not a weak link amongst them. With expert direction and staging by Sasha Regan, Henry Brennan as Musical Director, and together with the rest of the creatives involved, Brass is a fine and respectful commemoration in this year of the Armistice centenary.

Brass is playing at the Union Theatre until November 24th. Tickets ad more information can be found at http://uniontheatre.biz/brass.html

Eros – REVIEW

Eros

White Bear Theatre, London

Seen September 9th, 2018

Reviewed by Jade Prince

★★★1/2

The 1990s was a decade which welcomed in many things. The computer was one that had the biggest impact. Like anything, it had its pros and cons. It improved accessibility to the world, giving people the feeling of acceptance and a purpose when in reality the thoughts of these were a distance truth. But with this accessibility came the ability to exploit. The improvement of technology meant that camera were also improving and the time between capturing the image to viewing it in its printed form were drastically decreased. Sexploitation began to have an ever bigger presence.

The story follows the lives of Ross and Kate. Both stagnant in life. Ross unknowingly running from his past and Kate trying to find closure.

I want to say this show has depth however I don’t think this is possible. While the writing was enjoyable most of the time, there were times when the pace dropped. Complete scenes which never seemed to develop and left the audience asking more questions than they had before.

Focusing on pass behaviours eventually catching up with you despite how fast you run and the facade you create. Ross is a mellowing, middle-aged man doing exactly this. Escaping from his past which left a photographic imprint in his mind. A lifetime of guilt and regret. Until the past enters through his failing business’s door, a female ghost of those days, Kate.

I’m still rather unsure what Kate’s intentions were. This was not made clear. I believe this aspect of the play needed working on the most in order to allow the audience to make up their mind on how they felt about Kate. It was also a little ambiguous as to how Terri aided the story. Was she there to represent the naivety of the young?

The writing of the script was fairly good. As perviously mentioned, the majority of it had a good pace with some witty parts. Unfortunately, what let it down was how it seemed the need to acquire a couple of ‘cheap’ laughs. It heavily relied on the mention of well-known towns around the Staines and Twickenham area to make the audience laugh. Don’t get me wrong, it worked, however people will always smile/chuckle when something resonates with them in that context.

Overall, this was relatively enjoyable despite the flaws. It is clear it is in the early stages of its development and I will be interested in seeing where this goes in the future. Next time I hope the synopsis is a little more vague so the reveal of Ross’s past life is more of a shock.

That Girl – REVIEW

That Girl

Old Red Lion Theatre, London

 

Seen September 5th, 2018

Reviewed by Mark Sykes

★★★★

That Girl, written and starring Hatty Jones, is a moving story about fame, love and friendship, and how the sands of time can erode a bond that was expected to last a lifetime.

Hatty Jones was, at the tender age of 10 years old, the child star of the movie Madeline. Thrust into the limelight alongside established actors Nigel Hawthorne and Frances McDormand, this early start to acting sets the initial premise for ‘That Girl’. The story then jumps forward almost 20 years to the present day, with the show’s lead character Hatty sharing an apartment with Polly (Alex Reynolds), her friend since childhood.

Hatty now has a job in advertising but seemingly can’t let go of her moment of ‘childhood fame’, using every opportunity that presents itself to orate on her past success. It is this struggle to leave her past behind and to focus on the future that comes to a head as Hatty and Polly prepare to move from their current abode. Whilst all of their belongings are boxed up ready for moving day, Hatty frustratingly seems not quite ready to let go.

Alongside this, Hatty struggles to find a loving relationship, relying on Tinder to engage with future male prospects. It is this search for love that leads Poppy to catch her boyfriend (Will Adolphy) in a compromising position with Hatty. This, understandably, puts a strain on Hatty and Polly’s friendship and moving out of their flat provides the trigger for them to go their separate ways. At the end, after a near lifetime of friendship, this is a sad ending that leaves neither of them happy.

With a growing difference on priorities and perspectives of life, That Girl is a story that shows how time can erode a friendship no matter how strong the bonds that hold it together. Hatty Jones has written a sharp and witty script that is expertly played by the three key protagonists and directed by Tim Cook. Whilst inspired by her own experiences, you’re never totally sure how much of an autobiographical story of Hatty Jones this is; but that’s no bad thing as you can use your own imagination to determine where the lines of reality are drawn.

What Hatty Jones does is tell a story about friendship that many people will be able to relate to. It certainly had me thinking back to the late 80’s when I moved to London at the age of 22 and was sharing a house with two others. Friendships were formed, tensions arose, we laughed, cried and got drunk(!) but eventually the passage of time inevitably leads to people going their own separate ways. Hatty Jones has captured this and more.

It always feels a bit strange when a show ends but you’re not really sure if it is the end, or if another scene will follow. Unfortunately ‘That Girl’ ends just like that, but in a way that is a good thing! I was left wanting to know what happens next; what stage of her life is Hatty at in 5 or 10 years’ time. I hope Hatty will invite us back for the next chapter as I want to know if she finds true love and if she and Poppy can rekindle their friendship.

With a now extended but still limited run, That Girl is at the Old Lion Theatre until September 15th. Tickets and more information can be found here.

GUY! A New Musical – REVIEW

GUY! A New Musical

King’s Head Theatre, London

 

Seen August 31st, 2018

Reviewed by Mark Sykes

★★★★

This musical is about Guy, an overweight millennial gay man and his search for true love. Played by Brendan Matthew, Guy thinks he doesn’t fit into the gay community and his struggles to find the right partner provides the focus for this story. He shares an apartment with Tyler (Steve Banks) and the relationship goes through a number of ups and downs; friendship troubles emanating from Guy setting up a fake profile on the dating app Grindr using Tyler’s picture. Tyler’s distant partner (Adam Braidley) sees the picture, assumes Tyler is on the latter’s ongoing conquest to find love.

Meanwhile, Guy has decided to lose a few pounds in the hope that a fitter body will make him more attractive and therefore easier to find a suitable partner. It is this storyline where Guy meets Aziz (Seann Miley-Moore), a young, fit, good-looking man of whom Guy thinks someone like that would never fall in love with him. In a way, they are a bit of an ‘odd-couple’, but actually have much more in common than each of them initially realise. Their friendship blossoms, but Guy is afraid to take it to the next level for fear of scaring Aziz away. This causes its own problems when Aziz reaches forward for that first kiss; Guy’s self-doubt and insecurities come crashing down on their relationship and it’s then a question of whether or not things can be retrieved or are their irreconcilable differences?

There only four actors in this show and Brendan Matthew shows admirable qualities as he remains on stage for pretty much the whole of the two hour show, portraying Guy’s qualities and inner demons well. Special mention though goes to Seann Miley-Moore who gave a captivating performance and was seriously impressive.

This was my first visit to the King’s Head Theatre. It’s a very small venue, albeit with a surprisingly wide stage. The intimate setting actually worked well for this show, and with only four actors there was plenty of space for them to express themselves. The staging was simple; no scenery as such, just a few props on stage; but this didn’t detract from the storyline. More so, it puts more emphasis on the dialogue and the acting, with no peripheral frills to be concerned with.

There was a sharpness to the script and lyrics, with some cutting one-liners expertly delivered by the cast. Being slightly critical though, I did feel that parts of the dialogue were a bit contrived and some of the scenes in between the 14 songs could perhaps do with a bit of trimming so as to maintain the momentum of the overall show. My only other criticism is that there were a couple of scenes where it wasn’t clear (to me at least!) whether the dialogue taking place was a virtual conversation or a physical one.

Overall, this modern love story serves as a reminder of the dangers of social media. A reliance on a virtual world of the Internet and dating apps to build relationships and to find ‘the one’, is not necessarily a path to success – especially when all may not be as it seems. For anyone though, gay or otherwise, Guy’s tale can serve as a reminder to us all to look in the mirror, accept yourself for who you are, and don’t try to become something you can never be. Embrace your own qualities, focus on the positives and be proud of YOU!

The Beautiful Game performed by the National Youth Music Theatre – REVIEW

The Beautiful Game

The Other Palace, London

 

Seen August 16th, 2018

Reviewed by Mark Sykes

★★★★

NYMT was established in 1976 and has had some illustrious alumni and patrons over the years, including Kerry Ellis, Sheridan Smith, Jude Law and Idris Elba, to name but a few. NYMT provides young people with training and mentoring in musical theatre, both those wanting to tread the boards as well as those wanting a career in the creative and technical aspects of theatre.

NYMT’s 2018 summer season features four musicals, three being performed at The Other Palace as part of a 3-week residency. I had never been to a NYMT performance before, but my interest was piqued when I saw that they were doing a production of The Beautiful Game, having seen the original West End production of this back in 2000 (lead by Hannah Waddingham).

The Beautiful Game has music by Andrew Lloyd Webber with book & lyrics by Ben Elton and is set in Belfast between 1969 and 1972.  Whilst it has football at its core, the focus is on a group of youngsters dealing with the troubles of the day in Northern Ireland.

One of the perennial issues when putting on a show at The Other Palace is the size of the stage. It’s much smaller than its larger West End cousins, so much credit should be given to choreographer Matt Cole for both the opening football match sequence and the cup final that happens later on. Having so many people on stage at the same time and interpreting a football match in dance could be fraught with issues, but the energy and coordination on display was an impressive feat.

If you listen to the soundtrack, one of the highlights is God’s Own Country. Led by the central character Mary, it provides NYMT’s Aliza Vakil one of numerous occasions during the show where her stage presence and performance belies her youth, as is excellent throughout. Mary’s relationship with John is one of the centre pieces of the story as they fall in love, get married and have a child; but John gets drawn into the troubles of the time and gets incarcerated for having helped his best friend escape from the police. On his release from prison, John has some unfinished business to deal with much to the consternation of Mary; but finally the two are re-united as John seeks some level of redemption for past mistakes. Rueben Browne plays John, and at just 19 years old, gives an impressive performance in conveying the emotions of being torn between family and helping wayward friends.

The character Thomas is one of the main protagonists involved in trouble-making activities, and is commendably performed here by Ned Costello. The scene which leads to someone being ‘knee-capped’ is fraught with tension and provides a jolt to the heart when the gun goes off. The experienced Jasper Britton plays Father O’Donnell, and provides much of the light relief in what at times can seem like a  very dark musical; but even with the subject matter at hand, Ben Elton’s lyrics continue to throw in the laughs throughout, helping to lighten the mood.

Director Hannah Crissick has done a sterling job bringing The Beautiful Game back to the stage. All of the NYMT casts members deserve credit in their performance, including Paul French, Edd Conroy, Rory Jeffers, Lucy Carter, TiernaMcNally and all of the ensemble members. Given their age and experience, they all dealt with the subject matter superbly. I only learned after the show that Andrew Lloyd Webber was in the audience the same evening as me; he must have left a very proud man.

The Beautiful Game may deal with issues seen as no longer relevant given the troubles of Northern Ireland belong largely to a bygone era. But the issues at the heart of this story still exist, not only across the Irish Sea but with parallels across the world as religion and violence seem ever intertwined. It’s a story that continues needing to be told. The original cast album is available to listen on Spotify. If you have an account, click here to listen.

The Beautiful Game was staged by NYMT at The Other Palace, 15-18 August 2018.

Bury the Hatchet – REVIEW

Bury the Hatchet

The Hope Theatre, London

 

Seen July 28th, 2018

Reviewed by Jade Prince

★★★★

Outside of my theatre life, there is nothing I love more than watching crime documentaries (especially BuzzFeed Unsolved!). After all, I spent 5 years of my life studying Law and Psychology. Delving into criminal mysteries became the norm for me. So I was super excited when I saw the story line for Bury the Hatchet.

There is still an unsolved murder from 1892 which had the main suspect acquitted. The murder of Andrew Borden and his wife, Abby Borden, occurred 126 years ago to the date of writing this review, August 4th 1892. The main suspect was Andrew Borden’s younger daughter, Lizzie Andrew Borden. This case was unique in providing an insight into the flaws of forensic investigation at the time as this case was ultimately dropped as there was insufficient evidence in order to secure a conviction.

Bury the Hatchet has a very unique way in retelling this story with an injection of some folk music here and there. It was delivered as a documentary yet had a very raw appearance.

Let’s just jump straight in with the biggest down fall and in fact, my only real criticism of the show. I personally feel this raw appearance let the performance down. I couldn’t help but feel there was no real thought in the delivery or preparation. Throughout the show there was a lot of jumping around. The three characters continuously jumped into various different historical reenactment roles which made it rather tricky to stay up to speed with the story being played out in front of you. I occasionally found myself confused as to what time period we were viewing: was it still the historical reenactment or had we leaped forward back into the present day retelling of the story? Whilst watching the show I could see that this disorganised element could be easily rectified in a number of ways.

Taking this out of the equation, I did enjoy the show. It is very rarely you see a play of this nature. I certainly cannot fault the cast. They were incredible and worked wonders with what they had in that room. The harmonies definitely stood out for me. I loved how the addition of music was intricately woven into the story and that it was actually relevant and fitting. The use of the limited number of instruments really transported you back to 1890’s Massachusetts.

I am always intrigued when writers perform their written work. Sarah Wilson did this for Bury the Hatchet. Not only was the writing factual and interesting but the way Sarah delivered this was engaging. The addition of Joseph Prowen and David Leopold only added to this. Chemistry is something I always look for in a cast and the chemistry seen on stage was strong enough to build Andrew ad Abby Borden’s tomb! I really admire the comedy dotted throughout. Although the whole show was scripted, the comedy never seemed forced. This was helped by the fact that Sarah, Joseph and David were able to bounce off each other effortlessly.

I am very glad I managed to see this show and it will be great to see where this goes in the future. I can wholeheartedly say that there is potential and with a budget and larger venue, this will be reached.

Bury the Hatchet is at The Hope Theatre until August 11th. Tickets ind information can be found here.