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.

A Monster Calls – REVIEW

A Monster Calls

The Old Vic, London

 

Seen August 18th, 2018

Reviewed by Jade Prince

★★★★★

This has been on my list of things to see and I thought I wouldn’t have the chance to see it at The Old Vic but I am so happy I did. I was reading everything on-line and everyone was raving about the show. My heart warms when I say that this show did not disappoint. It exceeded so many of those reviews! 

The original book (by Patrick Ness) was aimed towards the children’s literature genre and I have to confess, my childhood was shocking when it came to literature. The books I read were never iconic or influential so it was safe to say that I knew nothing about ‘A Monster Calls’. I didn’t even realise it was a book! It is not the standard storyline. The imagination of a child but the struggles of an adult torment Conor (Matthew Tennyson). I feel it is safe to say that Conor feels alone in this darkening world. His father (Felix Hayes) took off and headed to America, he is dealing with the impending doom of losing his very own mother (Marianne Oldham) and a Grandma (Selina Cadell) determined not to let any family incident knock her off her throne. It focuses on morals, truth and acceptance of ones self. 

The whole show put me in this incredible trance! It was so mesmerising to the point where one of the clock clangs scared the sh*t out of me! Violently slapped me right out of that trance! 

Lets look at the set, I loved the versatility of the white box set. Normally the white box is never used to its full potential however ‘A Monster Calls‘ used every single millimetre. A giant canvas for projections, a way to mask the two-man band (Benji Bower and Will Bower) when needed and then have then on full display in the next scene. It also provided a wonderful back drop for the tree. The shadows cast were super. Occasionally when multiple lights were up hitting the tree from different front angles, a couple of different tree shadows appeared in the background. I am not sure if this was intentional but it was a great addition to some of the stories told by the Yee Tree, especially those that you could picture being set in a forest! 

It was an unusual take on a ‘monster’. The book is aimed at children but the typical monster appearance was not adopted. There were no elaborate costumes or masks or gruesome features to distinguish the monster however the addition of the set itself created this illusion. The human appearance probably made it more terrifying. Monsters aren’t always these huge, grizzly creatures, they walk among you and I down the street.

I went into this show not knowing what to expect. I was in awe when the ropes (which I initially thought were for decoration) morphed into a tree. It was such a unique way of representing it. There was nothing standard about it. Michael Vale was definitely not looking for an easy route when envisioning this! The way it effortlessly travelled around the stage taking different shapes and sizes, just like an actual tree would as its branches are waltzed around by the wind. I take my hat off to the cast having to manoeuvre those ropes. Moving one is heavy, let alone 3-4!

Amongst the ropes was a spectacular dance carried out with so much precision across the stage. Even by those suspended in the air. This was great. For me the child element of the characters came out. I don’t know, it’s kind of the standard thing, isn’t it? Only being able to picture children sitting on tree branches. Maybe…just me, okay.

The script was great on its own however the music was an added bonus. I just kept thinking to myself “I need a soundtrack of this.” It was a mix of both relaxing but also heightened intensity. It was a strange combination however work incredibly well. Music can have a really big influence on a show both positively and negatively. A lot of the times it’s not needed though the decision to include music in ‘A Monster Calls‘ nurtured a completely different depth of the show. Music-wise, they didn’t just rely on the ambient music but also had a very talented woman hidden in the cast who was able to strikingly lend her voice to the story. I didn’t think it could get better and then Nandi Bhebhe started singing. The scene where Nandi was singing in the tree was sensational!

All in all, this is the piece of theatre that everyone is needing to see without even realising it. It’s raw yet so powerful and I think I could honestly keep going with this review. More elements keep popping into my head as I write but I need to stop. The ending had me in tears and when those house lights came up in the auditorium I had this uncontrollable need to break down and cry. Even walking out of the theatre I was willing myself not to cry. But I know I wasn’t the only one like this. A couple of seats over from me a boy, who must have been able 16, was doing exactly what I wanted to do. Hunch over and sob. That my friends is a sign of a bloody marvellous show!

I am so happy I got to see it before it closes.

‘A Monster Calls‘ is at the Old Vic until August 25th so get down there ASAP!

Show and ticket information can be found here.

 

Great British Mysteries? – REVIEW

Great British Mysteries?

Soho theatre, London 

 

Seen May 18th, 2018

Reviewed by Jade Prince 

★★★★ (so close to 5!)

Where do I start with this one.

The best place is probably stating that I loved it!

I went in and the only thing I knew about the show was that it was a mockumentary. Now that could go either way.

The first 10 minutes, I found myself in the uncomfortable unknown. Olive Bacon (Rose Robinson) and Dr. Teddy Tyrell (Will Close) were setting the scene leaving the whole audience in limbo. A lot wanted to laugh at these early jokes but were still plucking up the courage. This probably wasn’t helped by the intimate venue (but this was actually the ideal setting)

It really didn’t take that long before Olive and Teddy had the audience in the palm of their hand. I have to admit, I can be a very tough nut to crack when it comes to shows like this and for me to sit there front row crying with laughter is a rarity!

I loved the whole set up with this being the final episode of their televised series, looking back at all the highlights which were voted for by fans. You get to see the pair’s less than serious approach to uncovering the truths about the greatest British mysteries known to man.

The chemistry between Rose and Will is really what kept the show going. They were able to bounce off each other so effortlessly. Their comedic timing was on point. This is something, as a performer you either have it or you don’t. If the script wasn’t funny enough the sudden corpsing  on stage really had the audience howling. But like true professional they were able to pick right up where they left off.

Joseph Hancock directed the show and although it was very basic and clearly on a budget, the use of the screen and the projector worked really well. It really helped break the scenes up and gave Rose and Will a bit of a breather. As an audience member I do find it nice to be able to draw my attention to something else and then go back to the laughter. It was all done in such a way that you didn’t miss anything.

Nothing about this show is serious which is why it was such a delight to watch. Harmless, silly comedy. Something I haven’t seen for a while. It is clear to see why it had a sold out run at the Edinburgh Fringe 2017.

If you claim to need evidence to believe this show is good before you purchase tickets, I have one thing to say….”evidence?!…..Shmevidence!”

Just get your tickets and know you’ll be guaranteed a great night.

Great British Mysteries is currently touring a select number of venues in its preview stage. More information on the venues and dates can be found on their twitter page.

Screaming Secrets

Screaming Secrets

Tristan Bates Theatre, London

 

Seen on February 23rd, 2018

Reviewed by Jade Prince

★

(DISCLAIMER – Brutal honesty throughout!)

Well, I’m speechless. And not in the usual way.

Theatre is meant to evoke feelings and this did for me but something is telling me annoyance and a teeny tiny bit of anger wasn’t what the writer was going for.

I’m not too sure where to start. It is probably best to attempt to explain the concept of the play. It was a little all over the place. The main story was meant to be about acceptance and understanding by friends and family. Its a philosophical play looking at moral dilemmas and what happens when we are looking them straight in the eye. Antonio (Jack Gordon) unintentionally discovers his fate but needs to rapidly find a way to disclose such information to his family. The only issue being the bold characters in his family and unfolding events also occurring. Some secrets just have to be told.

That is probably my best shot at trying to explain it. I don’t feel that any of the main aspects of the ‘synopsis’ were actually reached. The secrets alluded in the title were never actually revealed in whole. And although part of the secret was revealed, it was done against Antonio’s will. Reading through the main synopsis on the Tristan Bates’ website I chuckled more than once. “Relationships under scrutiny” but all the established relationships seemed to be falling apart. Not one relationship seemed healthy or achievable. There was no solid relationship to put under scrutiny. Another section read “Antonio has to make up his mind rapidly” he never actually made up his mind. People were continuously telling him what he should do and then Simon (Ben Warwick) went a head and told Monika (Triana Terry) anyway about his diagnosis! What a great doctor! Patient confidentiality!

The story took place during Antonio’s birthday and oh my! It must have been the worst party in the history of parties and in complete honesty, possibly the worst 90 minutes of my theatre life! (I warned I’d be brutal) There have only been four shows out of my 150-odd in the past two years that I have actually contemplated walking out of. Show Boat, Young Frankenstein, Promises, promises (which I did actually leave during the interval) and unfortunately, this one. The only thing really stopping me was the fact I was wedged against a wall with a full row beside me and no interval.

From the onset none of the characters listened to each other and neither did I really. I mean, I did listen. Enough to write this. It just became an argument that went round and round which slowly had more characters joining the mix.

The acting was rather bad. Looking at the programme it looks like a few of the cast have had a very heavy weighted television and film career as a pose to stage. I feel this might have been a downfall.

It was so frustrating how the majority of the characters spoke over each other meaning many of the lines were very rarely finished. It made it all feel so rushed and not rehearsed. Actually a lot of the potential humorous lines where missed due to this. People jumping in here, there and everywhere. The whole feel of the show was very mismatched. This included the plot which did not seem to follow anything really. Even the time period was questionable. Nothing pin pointed it on stage. The set was saying 21st century chic with the vintage pieces. Whilst one costume screamed the 60s. None of the costumes seemed in keeping with each other or even matched one decade.

A key point of theatre for me is relating to it. Watching something that is realistic. None of this was realistic. The party was but as soon as you delved further into the story and the morality/impact on relationships was mixed in, it all seemed so far fetched. (SPOILER ALERT) In what situation would you find out you have cancer by over hearing a conversation between a friend/your doctor and sister and then so calmly approach that ‘friend’. Firstly, why would your personal doctor be your friend? That doesn’t happen very often in real life, virtually never when dealing with terminal illnesses. And then the big green light came in representing the shock of the cancer. Cliché!

We then somehow managed to jump into a seance mid-show? Monika just blurted out ‘Let’s have a seance!’ WHAT?! At no point leading up to this was there any inkling of the interest in the paranormal. The funniest part did occur during this scene but how we got there still baffles me!

There were then freeze frames thrown in everywhere! There are only so many freeze frames you can tolerate especially when some of the cast feel that they are exempt from them. A freeze frame means you freeze. Not continue moving and sighing which was rather distracting.

The script was poncy. I completely understand that philosophy was the main part and that the writer specialises in philosophy which accounts for all the philosophical terms and views but the language was just unneeded. Extravagant words thrown in for the sake of it. I can accept a few here and there with purpose but full sentences, not so much.

Overall, this play was incredibly bizarre! Far too much happening at one. Many of the characters seemed pointless.

There are two more showings left of this if you feel the urge to see it but I would definitely advise you spend your money on something else. Information on the show and tickets can be found here https://www.tristanbatestheatre.co.uk/whats-on/screaming-secrets and it closes today, February 24th.

Dead and Breathing – REVIEW

Dead and Breathing

The Albany Theatre, London

 

Seen on February 21st, 2018

Reviewed by Jade Prince

★★★★★

I loved every single moment of this show! And that is incredibly rare for me to say!

I was lucky enough to have been invited along to the UK premiere of ‘Dead and Breathing’ at the Albany.  This dark comedy introduces you to Carolyn who is dying of cancer and wants nothing more in the world than to die. An affluent lady is now in the care of her nurse as she has no one left to turn to. The harsh years have spoiled Carolyn’s nice nature but one confrontation between her Christian nurse, Veronika, could be just the thing needed to change all of that.

Lizan Mitchell (Carolyn) was out of this world. Her performance was breath taking. So believable, emotional and raw! It was so beautiful to experience in such an intimate venue. The only person I have seen of that level is Imelda Staunton. She continuously topped her previous scenes.

The show its self was initially a little slow to start with but once the momentum was there it was very enjoyable. I was a little apprehensive at first as to how this show would work what with the topic and given synopsis being very dark. Although the comedy throughout was great! It was so naturally incorporated into the script.

The reveal Veronika made 15 minutes towards the end of the show was completely unexpected (I won’t reveal what it was) and just when you thought the story was over it took another drastic turn and brought it straight back to life, ironically!

Inspired by the show, its the first show with so much life that I have seen in a long time. To start off with I found the story a little dated. That was until Veronika’s reveal and then the whole dynamics were flipped. There was so much relevance which is still seen within todays society and the different generations.

Chisa Hutchinson writing was so engaging. At no point during the show did I feel my attention slipping away. It was gripping. Even one scene with no dialogue for the whole duration of a bed being stripped and made, I was on the edge of my seat watching each character like a hawk. It was great at seeing more of their characters

Side note on Chisa Hutchinson: I personally adore anyone who, on their website, has the tab entitled “awards & shit”

This is one of those shows I shall be raving about for a while! Definitely find the time in your busy schedules to se this one. After all, it is its UK premiere and I predict that it will be the biggest thing everyone will be talking about next year!

The show runs from now until March 3rd and for more information of this show which  you need to see ASAP, just head over to https://www.thealbany.org.uk/event_detail/2203/Theatre/Dead-and-Breathing

The Believers are but Brothers – REVIEW

The Believers are but Brothers

Bush Theatre, Shepherd’s Bush, London

Seen on January 31st, 2018

Reviewed by Jade Prince

★★★★★

This unique one-man show provides a hard hitting take on the social world in which we currently live in. Touching on topics such as terrorism, politics and resentment this performance is thought provoking from the onset. Even before entering the theatre, from just reading the programme, the cogs in my brain were set into motion. The main focus of this show is how three resented men from different walks of life with access to the internet rapidly have their lives changed to accommodate a radical point of view.

(DISCLAIMER – a lot will be revealed in this review so if you are wanting to see the show without any prior knowledge I recommend you stop reading. However if you don’t mind and are still intrigued, please continue reading!) 

Let’s start off by saying this is unlike anything I have ever seen and unlike anything currently out there, 100% with the times and so relevant. It was a slight shock walking into the theatre and hearing the words ‘would you like to join our WhatsApp group to use during the performance?’. This is a unique part of this performance which really added to the topic. It emphasised the fact that everyone is in immediate connection and despite being in a room of say 50-odd people, we were all still completely anonymous. The only identification we had was the first name that would appear on the WhatsApp message if we decided to send one. That was really hard hitting for me, personally. The anonymity of everyone in the room was really felt when we were all asked to message the strangest thing we had seen on the internet. That brought up some strange things! I have to admit that at some points having the WhatsApp messages coming through was slightly distracting and I struggled focusing on what Javaad Alipoor was saying. With the messages coming through it was so difficult to determine what was real and what was scripted which demonstrated the world of fantasy and reality online.

The whole performance was so engaging. It felt like I was watching a documentary. I definitely came out feeling different in a strange way and with a changed view on the social media world. It was an education I believe everybody needs in relation to some of the topics it touched on regarding the type of information you put out online and the repercussion that may have. I do love a good piece that makes you think.

The show itself was very basic. Very raw. It was scripted but the way Javaad delivered the script made it feel like he was having a genuine conversation with you about something he is truly passionate about. There were no elaborate sets (although the set was very pleasing to look at), no extravagant lighting used. Just Javaad on a stage with a desk, a few computers, a microphone and a mesh screen for the projected images. That was another great aspect, having the media displayed in different ways. It wasn’t just an hour of Javaad talking at you.

This is one I would highly recommend and deeply believe that everyone would take something different from the show whether or not it is something that you have an interested in. Ticket prices range from £10-£17.50 and is running until February 10th. More information can be found at https://www.bushtheatre.co.uk/event/the-believers-are-but-brothers/

Time to see Glengarry Glen Ross

We are now approaching the final week of Glengarry Glen Ross showing at the Playhouse Theatre and if you haven’t seen this one, I would highly recommend it.

This isn’t a review of the show as I think that my opinion may be slightly bias with the number of times I have seen it.

For those of you not familiar with the show here is a little bit about it: The real estate industry can be brutal. In a tiny office in Chicago four salesmen are becoming increasingly desperate to secure leads and earn their commission. So desperate in fact they would do anything to make it happen. Everyone has the same goal: close the deal.

This is a fast pace show which takes drastic turns. I love listening to the audience’s reactions.

Considering I watch it practically every night I still laugh at the witty script. It is so quick. If I am completely honest the script won’t be for everyone. There is strong language throughout and some use of the ‘C’ word. This aside the cast are fabulous and keep it fresh and engaging. I absolutely love the chemistry on stage. Especially the way in which Stanley Townsend (Shelly Levene) and Christian Slater (Ricky Roma) bounce off of each other during act 2.

This is definitely one to see before the show closes on February 3rd. Tickets and information about the show can be found here: http://www.atgtickets.com/shows/glengarry-glen-ross/playhouse-theatre/#showinfotabs=showtimes

Be sure to grab your tickets fast as this show is selling like hot cakes in it’s final week!

Girl from the North Country – REVIEW

Girl from the North Country

Noel Coward Theatre, London

 

Seen on January 10th, 2018

Reviewed by Jade Prince

★★★★

Based in America on a run-down guesthouse during the Great Depression where everyone is staring their bleak future straight in the eye. Both the owner and his guests are either outcasts of society, have undesirable backgrounds or crumbling bridges within their relationships.

This show has a soundtrack comprised of numerous songs by Bob Dylan which is wonderful at complimenting the Great Depression vibe. The songs do not need modern instruments so the rustic band on stage also help to add to that feeling. I could truly imagine the actions on stage being carried out in real life by those living in the guesthouse.

I can’t say that the story thrilled me and captivated me for the whole duration. Act 1 was average however I felt that act 2 slowed down a lot. Many of the people around me seemed to enjoy the story with just a few commenting on the speed. It just didn’t really seem to be going anywhere.

The vocals from that cast were insane! So beautiful. Those harmonies were stunning. I really like the way that no ‘booth singers’ were used and that the ensemble members not on stage came out when harmonies were needed. The focus was never on them at these points during the show. They normally helped accompany the small band with some tambourines or shakers.

I adored the smooth transitions from scene to scene during the musical numbers. This was breathtaking and so subtle. They weren’t drastic changes; a few back drops flew in, cast members adding and removing furniture. That was a really nice touch. Whilst the cast were performing they were effortlessly lifting tables into the wings and helping with this transition before they faded away into the wings awaiting their next scene.

I feel really bad highlighting one performer when everybody else was also fabulous however I was blown away by Shirley Henderson‘s (Elizabeth Laine) performance. I was not expecting that voice and she handled her character with so much respect. I can’t imagine how hard it must be to portray a character with dementia but she did it very tastefully.

The vocals for this show really won it. That is probably the only reason I am giving this four stars. Thankfully there were enough songs throughout which definitely distracted me from the poor storyline. It could so easily be five stars if the story was worked on.

This is definitely one that I will be wanting to see again to see if they is anything else I take from the show. If not for this reason, simply to hear the numbers again because they were all truly stunning. It has been a long time since I’ve seen a cast where every member is vocally outstanding!

Girl from the North Country has just opened at Noel Coward Theatre and is booking until March 24th, 2018. More information on tickets and the show itself can be found at https://www.londontheatre.co.uk/show/girl-from-the-north-country

Cat on a Hot Tin Roof – REVIEW

Cat On A Hot Tin Roof

Apollo Theatre, London

 

Seen on August 25^th, 2017

Reviewed by Jade Prince

★

An elaborate dance around lies and sexual tension, a warm summer night of celebration in Mississippi sees Brick and Maggie’s marriage balancing on a knife edge. With the uncertainty of the family estate on everyone’s mind the battle of the lies continues but which one will come out top?

An honest review – for the duration I was effectively a cat on a hot tin roof metaphorically in my chair, fidgety and bored, unable to sit still. It is never a good sign when multiple people become restless from the beginning of the second act.

I do not want this review to slate the show because a lot of hard work has been put into it however I shall be expressing my honest opinions. There were some good elements of the show but the negatives certainly removed all enjoyment from it.

It did not start well with act 1. The whole act consisted of Sienna Millers (Maggie) and Jack O’Connell (Brick) setting the feel of the show. Throughout you could see drops in their momentum as if they were struggling with emotional stamina. The ‘regular’ dialogue was engaging however when an argument erupts between the two characters the acting became less believable. I did not believe it one bit. In fact I was cringing slightly. It is so difficult to watch something and get really into it when the acting is not believable. Underplayed falls, bad proximity to each other with lunges and pathetic screams. (SPOILER – I’m sorry but if someone were to lunge towards me aiming to hit me with their crutch I would bloody shriek and dive out of the way!) I also found that missed a lot of the build up with Brick during the arguments because I was focused on Miller’s performance. She seemed far more connected with her character however that have may been the way it was meant to be portrayed, Brick remaining very distant from life waiting for the ‘click’ every day in order to cope.

The start of act 2 was by far the most engaging part of the show. The whole company coming together really drew me in. Although during act one we, as the audience, were given the impression of the family being out of control. I was not given that impression when the five child actors were on stage. Everything seemed very calm!

When I walked into the auditorium I was very intrigued with the set choices. It was not until the show started I was able to appreciate the set. The set was simple but effective. The only issue I found was it did not really help set the scene/time setting. The layout and colour scheme was giving me an art deco vibe however the story is set on a cotton plantation but the cast also had modern electronic devices. I was confused as to whether they were trying to update a classic or just had complete disregard to the time period.

Another thing that was very evident in the second act was the accents. They were awful! I was spending far too much time concentrating on what was actually being said. Halfway through the second act I gave up because just as I started understanding what was happening, I was lost again.

I am going to wrap this up here as I think these are the main points that let the show down. I personally would not recommend this show but if you are looking for a quiet night at the theatre where nothing much happens and you can nod off slightly, this may be for you.

Cat on a Hot Tin Roof runs until October 7^th at the Apollo Theatre.

Lady Day at Emerson’s Bar & Grill – REVIEW

Lady Day at Emerson’s Bar & Grill

Wyndham’s Theatre, London

 

Seen on July 15^th, 2017

Reviewed by Jade Prince

★★★★★

Be transported from the hustle and bustle of Leicester Square to Philadelphia’s Emerson’s Bar & Grill. The story follows the dramatic life of Billie Holiday (Audra McDonald) as she ventures back to Philadelphia, a state with much history for Holiday herself.

As well as an incredible stage presence throughout, McDonald is also accompanied by a three piece jazz band (Shelton Becton, Frankie Tontoh and Neville Malcolm) playing the mellow score featuring songs such as God Bless The Child, Crazy He Calls Me, Easy Livin’, Strange Fruit and What A Little Moonlight Can Do.

I was mesmerised from the onset by McDonald’s performance for a number of reasons. I was taken on an emotional rollercoaster. Initially I was concerned as she came staggering through the audience and up the stairs (I went into this show blind and had absolutely no idea what to expect!)It did not take too long before I started feeling empathy for her as you realise she is a tough woman who has had a lot of misfortune in her life but has repeatedly gotten up and continues walking, all be it with her own coping mechanisms. By the end of the show I just wanted to give her a huge hug.

This whole show was fabulous. I am actually struggling to find words. In the programme, Lanie Roberston wrote:

“The image of the world’s greatest jazz singer being so undervalued at the end of her life and career was an image that has always haunted me. Writing Lady Day at Emerson’s Bar & Grill was an attempt to rid myself of that.”

Well, I most certainly walked out of that theatre haunted by the stunning performance and story.

It is clear to see that Audra McDonald has a fair bit of experience. I had seen a few of her film and TV appearances however I had never seen her on stage and was very excited to witness this. I am just in complete awe. The ability to maintain that performance standard but be so comfortable with it to interact with the audience up close. A true chameleon of an actress!

The set by Christopher Oram was wonderful. I really felt like I was in a Philadelphia Bar & Grill. I was sat on one of the front tables in the stalls so I am not too sure whether this feeling was consistent throughout the theatre. I also loved the use of the audience on the stage. It just brought everything much closer and so much more intimate. Another great element which made the show feel more intimate was the fact that it was not restricted just to the stage. One of the front tables (my table for the night!) actually had props on and the main entrance and exit was through the side of the stalls to the front of the stage which was used a number of times during the show by McDonald herself and Jimmy Powers (Shelton Becton)

I feel a moment is needed to appreciate a key member of the show…Tilly! Tilly played Pepi (Billie’s Chihuahua) and was far too adorable. A little diva who did not seem the slightest bit fazed over the spotlight but made the whole audience weak when, as if on cue, placed a few kisses on McDonald’s face!

Lady Day at Emerson’s Bar & Grill is certainly one to see. It stands head and shoulders above anything in the West End currently. All the hype is definitely correct!!

Lady Day at Emerson’s Bar & Grill is currently booking until 9^th September 2017. Tickets and more information can be found at https://www.delfontmackintosh.co.uk/tickets/lady-day/

Our Ladies of Perpetual Succour – REVIEW

Our Ladies of Perpetual Succour

Duke of York’s Theatre, London

 

Seen on May 27th, 2017

Reviewed by Jade Prince

★★★★

After several sell-out runs at some very prestigious venues (National theatre and Edinburgh Festival Fringe) Our Ladies of Perpetual Succour is back in the west end “smashing the f*cking system”. When a group of six catholic school choir girls venture out of their small home town of Oban to the city of Edinburgh for a one-day choir contest, all hell breaks loose. The story follows the six girls (Chell, Kay, Orla, Manda, Kayla and Fionnula) as they enjoy their school trip in a less than lady-like manner. Along with the hilarious script and brilliant songs from ELO, heartbreaking discoveries of the characters make the rude and crude ladies lovable.

The show itself was incredibly enjoyable throughout but felt slightly long as it had a run time of 1 hour 45 minutes with no interval. What made this more bearable was the quick and witty relationship between the 6 ladies. It was questionable as to whether they were following a script as it was so free flowing and natural. The way the cast bounced off each other was wonderful to watch from the audience. Despite the script having lots of laugh out loud moments, the quieter more intimate and emotional scenes were still very captivating and heart wrenching.

The cast were able to deal with different music types from rock to church hymns and their harmonies were the most beautiful thing I’ve heard in a very long time. Stand out voices were definitely Frances Mayli McCann (Kylah) and Kirsty MaLaren (Manda). I absolutely loved Karen Fishwick (Kay) portraying the dark horse of the group and the completely honest drunk whilst tugging at the heart strings. It honestly felt like I was watching the shenanigans witnessed from my secondary school days a few years back unfold on stage!

The set was kept very plain throughout the show which worked well during some scenes however led to confusion during others, it was difficult to establish when they were still at the choir contest in Edinburgh or whether they had travelled home to Oban. The stripped back set worked very well for scenes in clubs and bars however not so well in other scenes but everyone worked well with what they had. The messiness and less than precise placement of props added to the whole story of wild chaos.

The who show oozed feminine power with an all female cast and small band.

A refreshing show which is much needed currently and is unlike anything else on the west end with humour for everyone. Something for everyone whether that is some crude humour, emotional storylines or a moment to reminisce in some wild school days. It is a real must see!

Our Ladies of Perpetual Succour is at The Duke of York’s theatre for a very limited run until September 2nd, 2017. Ticket available at http://www.atgtickets.com/shows/our-ladies-of-perpetual-succour/duke-of-yorks/