King Kong – REVIEW

King Kong

Broadway Theatre, New York

 

Reviewed by Jade Prince

Seen June 4th, 2019

★★★★

King Kong appears to have not taken the crown this Broadway season after announcing its final performance will take place on August 18th 2019. It has been a competitive season with film to musical adaptations dominating The Great White Way.

Unlike the other film to musical shows, King Kong had the upper hand. A unique, out of this world way of bringing the legendary Kong to the stage. Unfortunately, this wasn’t enough to ensure a longer run.

Following the story of the film with the same title, King Kong takes you on board the filming voyage from New York to Skull Island. Unbeknownst to the cast and crew, they had just invaded the king of the jungle’s territory. An unlikely bond is forged between the lead actress Ann Darrow (Christiani Pitts however at this performance we had a cover, Lissa DeGuzman) on the film shoot and Kong.

The plot and script were the biggest downfall. It fell completely flat. However, King Kong has an advantage because everything else is done to such a high standard, the audience are willing to forgive the lack of plot. I know that I was. The audience is so entranced in Kong himself that the story takes a backseat. I’m inclined to say it’s a blessing for the show.

Even before we laid eye on Kong, the audience witnessed a stunning transition on stage. In the midst of wonderful choreography, the back of the stage elevated to create the bow of the ship. Something I was not expecting! I had heard of the boat scene prior to seeing the show. In fact, reviewer Mark had seen the show and commented on this. He admitted it made him feel a little nauseous which I completely understand now! I was towards the rear of the orchestra, safely in row U but I can see why people would feel that way when sitting close to the stage. Especially with no fixed features in their peripheral vision.

The direction of the show was stunning with the pinnacle being the huge revealing of Kong. I really appreciated how it was a gradual introduction and not a sudden thing for the audience. The suspense was meticulously crafted. The auditorium fell silent. The sound was incredible, and you felt as if you were right there in the cave. I really lost it when the teeth became visible. The gradual reveal was almost too much to handle! I will never forget my friend looking over at me and laughing because my mouth was wide open, and I was edging further forward in my seat. She had seen the show before and knew what to expect however for me, I really felt like a little kid. Very rarely do you find theatre which makes you feel that way.

As previously mentioned, we were lucky enough to see a cover in the role of  Ann Darrow. Lissa DeGuzman had a gorgeous stage presence. I can’t imagine how daunting it would be to share the stage with Kong. It would be so easy to be upstaged and cast into the shadows however DeGuzman did a fabulous job of drawing the focus to herself to avoid this. They were able to share the stage harmoniously and really complimented each other.

The puppetry control of Kong was mind-blowing! Props to the design team and team operating Kong during the show! Every single one of you reminded me why theatre is so special. It is moments like that that make it.

All in all, the technical side of this show completely outweighed the lack of story. It truly is a stunning piece and I urge you to see it!

With a little over a month left of its run, head to https://kingkongbroadway.com/index.php for more information on the show and for tickets.

 

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.

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.

Fat Jewels – REVIEW

Fat Jewels

The Hope Theatre, London

 

Seen July 6th, 2018

Reviewed by Jade Prince

★★★★

In the heart of a South Yorkshire council estate lies a lonely and dangerous newly evolving, manipulative friendship. Two repressed characters fighting their own demons. One night they start therapy. Therapy to help Pat (Hugh Train) as he is helplessly overcome by dark, violent thoughts. This therapy conveniently masks Danny’s (Robert Walters) own issues. This controlling piece will demand your attention.

The whole concept was great and it evoked many emotions. I started sympathising with the characters and then this feeling changed to disgust with something one of them said. This turned to laughter and then I found myself on the fence not knowing which side to take but in the end I was rooting for Pat whilst also feeling really sorry for Danny.

This is a very captivating show. I really enjoyed it. It was a rollercoaster but a very stable rollercoaster of emotions and intensity. It was spot on! I do love a dark comedy and some of the one liners were fab. A couple of the life analogies very nearly resulted in belly laughter! I did hope it would be funnier but I feel that was partly on the audience. There were not a lot of us there. When that happens, people get very worried about starting the laughter for fear of being the only person laughing. I’d love to see this with a full house. I image it’ll be a completely different show!

Robert Walter’s performance had me on the edge of my seat. From the onset, you could see the sexual predator in him. His glare towards Pat in those first scenes conveyed so many different aspects of his personality. My psychology brain was making an appearance and I could see the fatherly love towards Pat but also the sexual attraction and the controlling desire.

Hats off to Robert Walters and Hugh Train for delivering that performance. I saw it on a very quiet night with very few people in the audience but they kept the energy level consistent throughout and delivered an entrancing performance Both needing someone regardless of how they created the friendship.

For 70 minutes you are surrounded by the undeniable sense of loneliness and smell of battered sausage and chips. It is slightly overwhelming! You will be craving greasy sausage and chips on the way home.

I urge you to see this piece. Beautifully crafted with such a wonderful script. There is a lot more to be seen with this play. I would be really intrigued to to see other piece from the writer, Joseph Skelton.

Fat Jewels is at The Hope Theatre until July 21st. This isn’t one to miss. Tickets are £15 (£12 concession). More information and tickets can be found here.

Myth – REVIEW

Myth

The Other Palace, London

 

Seen on March 16th, 2018

Reviewed by Jade Prince

★★★★

Okay, so this will have two parts. Two separate posts. One being a review of the most recent production at The Other Palace and the other being comments on the development. I managed to see the show back in 2016 at the Cockpit theatre when it was ’27’. I loved the show back then and still do today.

I will try my hardest to make this review as if it was my first encounter with the show.

This was a workshop run at The Other Palace.

For those not aware of this story, it is heavily based on Ancient Greek mythology. More specifically Orpheus and his encounter with the underworld. As the rock score would imply it is a modern rendition of this historical tale.

This is most definitely a darker show in comparison to those in London currently. It touches on the very difficult topic of mental health. It perfectly represents how mental health is overlooked and how when it is identified, all attention goes to that one person drawing focus away from those also suffering. This is something that occurs so often.

Orpheus is the lead character struggling with a huge life change, being propelled to stardom. The audience are shown his ways of coping which are detrimental to his life, health, friends and family. An even darker turn is that all of this had been decided before hand. The fates knew exactly what they were doing.

The vocals were outstanding. Oh my goodness. That cast is so talented. The harmonies and power. They tore the roof off the theatre. Some standouts were definitely Eloise Davies (Clotho, a fate), Jodie Jacobs (Atropos, another fate), Joel Harper-Jackson (Orpheus) and Zoe Birkett (Miss. M) That’s not to say the rest of the cast weren’t on fire because they most certainly were. It’s been a long time since I’ve seen a cast of that standard. Not a single weak link.

Although I really enjoyed the show there were a few things which I noted which could’ve been improved and with it being a workshop feedback is needed to develop it into the wonderful show it could be. I believe there is a lot of improvement to be had with the script. As previously stated, the whole concept of the show is very unique. I just felt parts of the script fell flat. One particular scene was about halfway through act 1 when Orpheus meets Hades in the underworld. That scene was very dragged out and I even found myself losing interest and willing the next number to come along.

I really struggled with the names. I know that they are all Ancient Greek mythology related which is very in keeping. I just really struggled remembering them and therefore making connections with the characters. Obviously having such an emotional show I feel it should be important to put memorable names to faces. I had no issues with some names such as Mel, Miss. M, Pandora, Orpheus (obviously!) and Hades. The main characters. But if you were to ask me what the other minor characters were called, I wouldn’t be able to tell you.

One thing I like about The Other Palace is that the performance is not restricted to the stage. Throughout the show the stairs were uses (not too great if your back was facing said stairs) and characters actually sat in spare seats in the audience. There was a chat show scene where this worked so well.

Something which really got to me emotionally was the final number. The main stage was used but also the stairs of the theatre. One was a happy image and one was sad but you could choose which one you wanted to watch. I am not too sure why that blew my mind but it was a really nice touch. This also links to the chat show scene. It is nice to have the choice in what you watch although the whole story is still present. Easily missed behaviours and actions are noticed which add so much more to your understanding of the show.

I thoroughly enjoyed the show. Outstanding music with a great plot. I really need a cast recording ASAP!

I really do think that I have found my favourite new musical. The whole concept is incredible. I can really see it being mega when everything is where it needs to be. I am beyond excited to see how this show develops even further in the future and endeavour to be there every step of the way!

Part two of this post is linked here were you can see some of my thought on developmental changes which have been made since 2016.

Carl Barron – Drinking with a Fork – REVIEW

Carl Barron – Drinking with a Fork

Hammersmith Apollo, London

 

Seen on March 3rd, 2018

Reviewed by Jade Prince

★★★★

“It’s gonna be a top night”

I was a little dubious at first when I got the email reading “AUSTRALIAN’S BIGGEST SELLING COMEDIAN TO PLAY AT HAMMERSMITH APOLLO”. That is one hell of a big claim and I was praying Carl Barron would live up to expectations. About 15 minutes into the show I started questioning myself as to why I even had doubts in the first place!

From Longreach in Queensland, Carl most certainly has a unique stance in the comedy world. A refreshing approach to the term stand-up. He had spent many years tiling roofs before branching into the comedy circle which has propelled him higher than any of those roof s could have. A man of many talents. A roofer who can play the guitar and who was raised by fuckwitts but didn’t turn into too much of a fuckwitt himself!

I personally enjoyed the show. An hour and a half of pure laughs. The Aussies definitely came out in force and I had that odd feeling of being the only British person there! It was at this point it dawned on me, ‘OMG! What if I don’t understand any of the context?’ Another doubt which was unwarranted! There were only a few moments where the accent made things difficult to understand as Carl got more passionate about a joke. And a few of the sayings appeared to have different meanings. It took about ten mentions of the line ‘she had the shits’ to understand that in Australia it actually means to be annoyed with someone. Over here in the UK we tend to use that line to convey someone has diarreha! A little different!

My only real criticism would be that one or two of the jokes were dragged out a little longer than needed. At these points I did start to lose interest but this was reeled straight back in when the topic changed.

Hands down I can say he is the only non-offensive comedian I have seen. A lot fo comedians these days rely on controversial topics and stereotypes to win them laughs however Carl did not need any of this. His use of relatable and honest material made the whole of Hammersmith Apollo howl with laughter! I’d say that he is suitable for the whole family. It must be noted that he does swear during his shows but he actually highlighted this potential issue himself and then justified his reason for that so perfectly.

For me, it’s a great sign when the audience are quoting the show on the way home! “It wasn’t the first 15, it was those last 2” in my case referring to the sharing box of chicken nuggets demolished on the train home!

It’s a shame he only had one London date but be sure to keep an eye out for future UK dates on the website I shall link below. It really was a great night! He’s back doing shows in Australia and New Zealand for a little while now but be sure to snap up those tickets when he’s back on British soil. The Aussies will definitely put up a fight for tickets but give them a beer and they should be grand!

His website with the list of upcoming gigs: http://www.carlbarron.com

tick, tick…BOOM! – REVIEW

Tick, tick…BOOM!

Park Theatre

 

Seen on May 18th, 2017

Reviewed by Jade Prince

★★★★

With a limited run at Park theatre Tick, Tick…BOOM! Most certainly did not disappoint. From the Pulitzer Prize winner, Jonathan Larson, the story follows three friends (Jonathan, Susan and Michael) during the 1990s as they arrive and start their journey through their thirties. While Jonathan spends the eve of his thirtieth birthday contemplating his career choices, his girlfriend (Susan) dreams of being married and venturing out of the city and his best friend (Michael) is achieving huge success in business. This sweet and intimate show takes you on a journey of self-discovery with the strong reminder of never letting go of your dreams no matter what life throws at you.

All three cast members were strong performers, but Jordan Shaw really stood out. Naturally funny when delivering his lines and was super at switching between drastically different minor characters at various point during the show. Despite the fact that there were only three cast members, the hustle and bustle of New York was still so clear on stage. Small things like the stage transitions really helped: the three actors moving props whilst noticeably changing characters. Heading into “Sunday” I was really given the feeling of being sat in the middle of a café in SOHO! In total there were 7 other characters split wonderfully between Gillian Saker and Jordan Shaw alongside their main roles of Susan and Michael. Chris Jenkins gave the audience a real feeling of empathy towards Jonathan as he pursued his dream of becoming a composer.

Superb vocals from all cast members although it was difficult to hear during some songs, as the main keys were very loud and seemed to drown out the vocals. This was more prominent at the start of the show and did not really pose an issue when the three characters came together for certain numbers. The majority of the songs were very engaging (helped by the intimacy of the venue) even the solos had a real connection to them. Gillian Saker’s performance during “come to your senses” was mesmerising! The three came together so well during the larger numbers such as “30/90” and there was never a moment I questioned the friendship portrayed.

Park 90 is a very intimate theatre auditorium which initially caused me doubt, but worked well in the favour of the show. The set, designed by Nik Corrall, was a fabulous use of space with simple but brilliant transitions.

Initially I was slightly unsure as I walked in however, a few numbers in, my mind was put at ease and I came out loving the show and believing that my own personal dreams are not too far out of reach.

Playing at Park Theatre until May 27th, 2017. Tickets: https://www.parktheatre.co.uk/whats-on/tick-tick-boom