Irving Berlin’s White Christmas – REVIEW

Irving Berlin’s White Christmas The Musical – Gala Performance

Dominion Theatre, London

 

Reviewed by Mark Sykes

Seen November 25th, 2019

★★★★

This reviewer, at the ripe old age of 55(!), has literally spent a lifetime watching the classic White Christmas movie, so having missed out on seeing this production when it premiered at the Curve, Leicester in December 2018, I was really looking forward to finally seeing this story come to life on-stage – and thankfully the evening lived up to my expectations.

Without getting too much into the details of a story that no doubt the majority of readers will be familiar with, it focuses on two WW2 army veterans (Wallace and Davis) who become a major song-and-dance act after their careers end. They bump into the Haynes sisters, who are also a popular song-and-dance act with a burgeoning career. They all end up at a winter lodge in Vermont that is sadly lacking any snow. Wallace and Davis bump into their former General, the owner of the lodge, who has bills piling up as the lack of snow means a dearth of paying customers. Wallace, Davis and the Haynes sisters concoct a plan to put on a Christmas concert at the lodge to help out the General. The parallel story is one of love between the army veterans and the two sisters – one relationship comes easy, the other needs some matchmaking to be done!

The staging at the Dominion Theatre focuses on the barn at the lodge where the Christmas concert is to be held. The simple wooden structure enables the various sets to seamlessly transition between scenes, whether it’s a New York ballroom, a train carriage, or the reception of the Vermont lodge. Interestingly, the band were situated on-stage to the left of the audience and split over two levels of the barn. For me this worked well (as it wasn’t a large orchestra) and enabled them to support some of the scenes more effectively than if they’d been hidden away elsewhere. I particularly loved the neon lighting that often featured in the set design created by Michael Taylor, and overall everything worked well whether it was simple or complex scene.

The highlights of the show for me happened on the big song-and-dance numbers. The vast expanse of the Dominion stage provided ample space for all of the cast to be involved in Stephen Mear’s wonderful choreography. On more than one occasion these big numbers had me thinking back to the recent hit production of 42^nd Street which was impressively led by Clare Halse, and which is fitting seeing as that Clare is one of the Haynes sisters and is tremendous throughout. The other sister is Danielle Hope, she has the most wonderful voice and who I last saw demonstrating her vocal prowess in concert at The Other Palace back in the summer. Clare and Danielle work well together as sisters with excellent dynamics between the two of them.

Danny Mac as Wallace and Dan Burton as Phil Davis wouldn’t seem out of place in the original movie. They have the looks, can sing the American songbook, and have dancing skills that make it look so effortless. Following on in the footsteps of Bing Crosby and Danny Kaye is an enormous undertaking, but they do the show justice – never more so than in the big energetic song-and-dance numbers previously mentioned. It’s on those occasions that the Dominion really comes alive and takes on a different dimension.

General Waverley is played by Michael Brandon. Again, showing my age here, Michael became particularly well-known in the UK as a result of the 80’s TV series Dempsey & Makepeace, of which I was a big fan. It was great to see him on stage, and this native New Yorker was perfect casting for the ageing (sorry Michael!) American General. Brenda Edwards was the crafty receptionist at the lodge charged with keeping both the lodge and the General under control. A former X Factor contestant from 2005, Brenda has a wonderful voice that when she lets rip, makes you immediately think of her standing up in church delivering a gospel classic. Which is ideal seeing as she’s appearing as Deloris in the Sister Act UK tour in 2020.

All of the cast were wonderful. Whether it was the singing, the dancing or the numerous comedic moments, there wasn’t one weak link. There is one other person that I would like to highlight though, and that is the General’s niece. This role is alternated across three children and for the Gala night it was Erin Rushidi. Erin was truly outstanding, particularly with the comic timing, and pretty much stole every scene that she was in. The audience loved her! She is a tremendous talent and definitely one to watch out for in the future.

As for the show itself, it gets off to a slightly slow start as the foundations of the story are built at the start of act one in the army days, but that quickly moves on and then the rest of the show pretty much flies by. Song after familiar song happens apace, and whilst you’re waiting in anticipation for ‘that’ final scene, you can’t help but revel in the visual feast in front of your eyes. There are some wonderful costumes, designed by Diego Pitarch.

This production follows the storyline very closely, and there were a number of times when I was getting quite emotional seeing elements of the movie come to life in front of my very eyes. Whilst the finale was always going to be a special moment, another highlight was when Bob Wallace and Betty Haynes sang ‘Count Your Blessings Instead of Sheep’. Danny Mac and Danielle Hope performed this beautifully, and yes there may well have been a tear in my eye at the end of that song. So, to the finale itself, White Christmas. This was everything I wanted it to be. Yes, we all know what happens when the barn doors are opened, but it was fabulous to see this scene come to life and the snow begin to fall.

Director Nikolai Foster has done a brilliant job with this production. I suspect the majority of audience members will be familiar with the story and have seen the movie before (who hasn’t?!); well none of these should leave disappointed. Yes, some elements of the storyline and some of the jokes may seem dated in the 21^st century, but if you walk into the theatre putting all that aside, you will find yourself with a definite smile on your face, a chuckle here and there (well actually, quite a few chuckles!), and a propensity to want to sing along! And on that latter point, everyone gets the opportunity to do that at the end.

Even the most hardened of hearts cannot fail to be softened by what they see and hear in this production. Everyone will be leaving the theatre with a smile on their face, maybe a few tears in their eyes, and no doubt looking forward to seeing the movie on TV again this Christmas. For me, I’m seeing the show again over the Christmas period, and I can’t give a better recommendation than that!

White Christmas will be continuing to provide cheer during this festive season. Be sure to catch this winter warmer. More information on the show and tickets can be found here.

The Swell Mob – REVIEW

The Swell Mob

Colab Factory, London

 

Reviewed by Jade Prince

Seen May 9th, 2019

★★★                         (Concept ★★★★★)

The Swell Mob. Where do I start with The Swell Mob?

Another incredibly promising show which unfortunately fell flat. I suppose it did have an impact on me, I left questioning what I had just experienced and the show has stayed with me. Just not for the right reasons.

I am going to be vague as possible with the plot as describing it will reveal spoilers. With this show it is best not to know what the story is however knowing how to respond is key. I’m pretty sure that won’t make sense but please bear with me!

Situated next to an already well-established immersive theatre experience, The Swell Mob is left in the shadows.

The concept for this show is outstanding. This is partly why it pains me to write this 3 star review. The 3 star review is purely based on what I experienced on the night. If an opportunity came around meaning I could see the show again, I would without hesitation in the hope my current view would be changed.

The Swell Mob is unlike any other immersive theatre I have experienced. Instead of being taken through the story, you have control on how it played out which I loved! It was hands-on, immersive (as you’d hope) and stimulating.

I’m just going to go straight in for it…I didn’t get a full show. An abrupt ending is never good in my opinion. But what is worse is when the audience can’t distinguish the end of the show and are just left there lingering until stage management informs you that it is in fact the end of the show….go home!

The audience for this particular performance we attended never saw the end of the show. The run time is very limited and appeared to require precise audience actions for the story to progress.

From the get-go, it was evident that the audience was very unsure on what was happening. The show came up late (the venue doors didn’t open until after the scheduled start time) which normally isn’t an issue but when you have 75 minutes for the show with the second show so soon after the first ends, it becomes a very risky game. On two show days at The Swell Mob, show 1 goes up at 16:30/19:15 with show 2 staring at 19:15/21:00. On most days its a 30 minute turn around, theres hardly any time factored in for any possible mishaps resulting in the audience missing the scripted finale.

After being let in late, we all hung around in the first room which conveniently had the bar! A tankard of gin for me please! This was our first real encounter with the cast.

It was a very awkward first 10 minutes. 10 minutes of a very limited time when the story could have moved forward. Eventually other audience members started to notice that we had to purchase a ticket in order to move forward. Don’t worry, the ‘currency’ is provided upon arrival!

Finally, scene 2 began! In the depths of the basement (the same basement where I had a drunk night of poker…ha!) the full labyrinth came into view. Once again, everyone was little uncertain as to where they could go and even what they should do. I took it upon myself to start exploring. This then let to the discovery that you can actually touch props, open draws and find hidden clues. Another chunk taken from our limited time.

Without giving too much of the plot away, multiple clues have to be found in order to free the spirits. Its a mixture of riddles and finding items in order to unlock the ending.

The sections of searching were broken up nicely with scenes acted by the cast however it was difficult to know when these were happening and could have easily been missed due to the set up of the building.

Once we got into the flow of things and knew the boundaries, it was great fun interacting with the characters. I managed to get very hands on. You feel like you have really contributed. It was so easy to get sucked into the atmosphere.

The cast were also fabulous to interact with and could be found roaming the entire building.

The main downfall of The Swell Mob was the lack of guidance from the cast/stage management. The concept was wonderful and I adore the (almost) escape room-vibe. It just took far too long for people to understand what was going on and as a result we never received the full story that night. It would have been amazing if the cast moved the story along if they saw the audience struggling to do this themselves. It would avoid the disheartened feeling of ‘was that it?’ as we left.

I really wanted to rate this higher but the incredible cast and mind-blowing sets just weren’t enough to offset the incomplete story/experience. I’m not saying this happens every night. It could have been an off night.

The Swell Mob is at the Colab Factory until July 28th (only open on Thursdays, Fridays, Saturdays and Sundays). More information can be found here.

If you have been, we want to know your thoughts with this one. Did you get the full story?! Let us know! 

 

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.

The Grand Expedition – REVIEW

The Grand Expedition

Top secret London location!!!!

.

Reviewed by Jade Prince

Seen February 26th, 2019

★★★★★ and all the stars between here and the moon!

I can’t rave about this enough! The two and a half/three hours spent with GingerLine were a dream. For those who love both theatre and food, your time has come. There is a place where the two worlds intertwine!

GingerLine has a reputation for creating journeys for their audience members that not only teleport them to another world but also sets their taste buds alight. With past adventures including Juniper Manor, The Faculty of Eatucation, and Chambers of Flavour (V 1, 2 & 3) where tickets sold out in a blink of an eye. It is safe to say that this one appears to be following suit.

This was my first GingerLine experience and, in all honesty, I had no idea what to expect. After all, it isn’t every day one gets to indulge in an immersive dining experience. 

For those not familiar with immersive dining, you still get the theatrical story however the food is part of this story. They compliment each other perfectly; enriching all your senses. This type of immersive theatre has really taken off over the past few years with GingerLine paving the way.

Now, the event itself…

Just like any grand expedition, the destination is always in mind but never visible until the final stretch. In this case, 4pm on the day! The location is finally revealed but contrary to popular belief, it is not on the ginger line this time.

We stepped into the clouds and were sworn to secrecy. You really need the element of surprise to add to the wow factor! I can’t be giving away all their secrets! That being said, we have been granted special permission to share some production shots in order to give you a tiny glimpse into this “floating, feeding, falling dream”.

• 

• 

Throughout the night the action is delivered straight to the table. No need to move and trust me, with the amount of delicious food served, you did not want to move!

Majestic poetry carries you through a world where whimsical choreography, larger than life characters, hand-drawn animations, exquisite set design and explosions of flavour flow seamlessly together.

• 

• 

• 

• 

The night was meticulously planned so nothing felt rushed. There was always something to entertain and for those with wondering eyes, like myself, an endless amount of detail to discover.

I had opted for the vegetarian menu to sample for our vegetarian audience and was delighted with the way these dietary requirements were handled. Everyone was catered for all at the same time. And the presentation of the dishes remained the same. I also have to add, the vegetarian menu was delicious!

After floating, being fed and then gently falling back down to earth, it was time to finish our grand expedition. My taste buds have sampled exotic cuisine and everything just tastes bland now!

We’ll have to go on another grand expedition.

Seriously, you need to experience this. Initially, I thought it was a bit pricey but now I have experienced everything you receive and with it all to a very high standard, it is worth every penny!

Tickets and more information can be found here.

There are new worlds waiting for you!

Thriller LIVE – 10th Anniversary Performance – REVIEW

Thriller LIVE – 10th Anniversary Performance

Lyric Theatre, London

.

Reviewed by Katie Middlebrook

Seen January 22nd, 2019

★★★★

On Tuesday 22nd January 2019, Thriller – Live celebrated a spectacular 10-year anniversary of the show being on the West End and Ginger in The Theatre was lucky enough to be invited to this fun filled event.

Thriller – Live is a two-and-a-half-hour concert show celebrating the music of The Jackson 5 and the solo work of Michael Jackson. The show had already been performed in the United Kingdom, Germany, the Netherlands and Scandinavia before the Lyric Theatre opened its doors in London for the first time on 21st January 2009.

Adrian Grant is the writer and theatrical producer of Thriller – Live. He started a British fan club for Michael Jackson in 1988. Adrian worked closely alongside Michael during the time the ‘Dangerous’ album was being recorded. In 2006 Adrian developed the tribute show and it had its first preview at the Dominion Theatre in August that year. Later that year Adrian teamed Chris Brown up with the dancers of Thriller – Live to perform the show in front of Michael Jackson. The following year Thriller – Live became a touring show with raving success and reviews across the UK and Europe before opening at the Lyric Theatre in January 2009.

This was my first time seeing the show and I had such a fun evening. The performers interactions with the audience was amazing. They easily got everyone to dance and sing along and if you are on the front row you might be lucky enough to get a high five from a cast member or two!

There are four main singers in the show who are all very talented. I really enjoyed hearing their harmonies and renditions of popular Michael Jackson songs. One of my favourites was ‘She’s Out of My Life’ which was performed by David Julian who stood out throughout the show as a very gifted performer.

Florivaldo Mossi was a very convincing Michael with his looks and naturally flowing dance moves. I was a little confused for some of the numbers as it looked like he was lip syncing but, in the finale he could very clearly sing.

The show has a lot of content with lots of well-known Michael Jackson songs as well as Jackson 5 songs, but the show didn’t seem to be in any order or have a particular structure which sometimes was a little bit confusing. I found myself knowing and enjoying a lot more of the songs in Act Two, some of my favourites being ‘The Way You Make Me Feel’, ‘Man in the Mirror’, ‘Earth Song’ and of course ‘Thriller’.

There was obviously a lot of hard work put into the costumes and creative side of the show with the set design and lighting. It was all very colourful and bright and kept the show very exciting throughout the whole thing. Along with the audience interaction it was a very entertaining and enjoyable show.

If you are a fan of Michael Jackson and his music and want a fun filled evening of dancing and singing, then Thriller – Live is the place to go. It continues to play at the Lyric Theatre on Shaftsbury Avenue Tuesday to Sunday every week with matinees on Saturday and Sundays.

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

Masters of Choreography: Beats on Pointe – REVIEW

Masters of Choreography: Beats on Pointe

Peacock Theatre, London

 

Seen on February 20th, 2018

Reviewed by Jade Prince

★★★

I wanted to love this show so much due to its unique collaboration of two drastically different dance styles.

Beats on Pointe is the creation of Masters of Choreography which has been very successful in Australia and now pirouetting its way over to London. This dance show brings street dance and ballet to the same stage to demonstrate how dance styles worlds apart can be brought into the same space.

I was very excited reading about this show and believed that it would have great potential. However these initial thoughts were soon put away once the show had begun.I didn’t hate the show. I thought that the majority of the dancing was beautiful and it was very nice to watch but I did want to see more ballet. I’m a sucker for a bit of ballet! Especially pointe work.

I didn’t like the comedy sketches thrown in between. I appreciate that the dancers need a break in between energetic numbers but there are ways to do it. A bit of well written comedy here and there is greatly welcomed however a lot of this was bordering on the type of material that you would see at a holiday village like Butlins. It was rather cringeworthy.

A lot of stories were presented through different numbers, some less obvious than others with some really in your face. There were a few which felt incredibly cheesy, the old couple, and I personally found that detracted from the enjoyment of the dancing.

The first act didn’t really seem to have a direction. There was no real story moving from dance to dance. Actually, the whole show didn’t really have an overall story. Well, not one that I could see. Act one consisted of a lot of the cheesy audience participation i. e. “How are you doing tonight, London?” and then there was this one section I wish I could have heard more of. The section, which I shall title the “stomp inspired section” was beautiful! I could hear all the beats they were making however I feel amplifying that sound would have really benefited and made it consistent with the rest of the music. Everything else was very loud and then all of the sudden it went very quiet. It would have been great to have those beats ripping through the theatre!

A few of the other elements thrown into act one seemed redundant. I can’t fault the talent from the drummer and singer but it didn’t fit in with the rest of the show. Evidently just a filler.

Something which was bugging me throughout the show was the timings. Timing is key in dance and there were a few of the female dancers who seemed to be a beat behind the others in a lot of the routines. Although in the much faster, street dance sections the timing was there and everything was so incredibly precise!

It was rather nice how they experimented with the use of lights within the costume. This produced a very nice effect on stage.

The second act got a lot better and lost all the unneeded comedy which was nice. My only criticism of the second act (along with the timing which occurred throughout the show) was how rushed it felt. There were no real pauses in between the dances or any scene/sound transitions. As soon as one group finished performing the next ran straight out.

The majority of it was great to watch and of which I really enjoyed. If they removed all the ‘cheese’ I would probably go back to see it. I really appreciate the amount of work those dancers put into that show every single night. Its just a shame that it hasn’t found the way to utilise all of its potential.

Beats on point is running until February 24th at the Peacock theatre.

For more information about the show and for tickets, head to: https://www.sadlerswells.com/whats-on/2018/masters-of-choreography-beats-on-pointe/

Top 10 Shows of 2017

In my personal opinion, I think that 2017 has been a great year for theatre. There have been so many great shows which I have seen over the past year…and the odd few which were awful! As we are nearing the end of the year I have decided to put together a little post about the top shows that I have had the honour of seeing.

I am currently sat here going through my ticket scrapbook refreshing my mind on what I have actually seen this year alone (which is a lot!) and what ones I enjoyed and still stand out head and shoulders above the rest. The way I’m writing this is in no particular order, it’s simply what comes to mind first. I am also not writing this in the ‘traditional’ way by just listing a short description of the show. I’ve decided that I want to reveal why they stood out/meant a lot to me.

(If I have reviewed the show, the review will be linked to the title)

1. Dreamgirls, Savoy Theatre

I’ve seen this one about 40 times this year alone so its a good one to start with! To be honest, I have lost track just how many times I have seen the show since it opened last November. That is embarrassing! It has just been a very special show for me. It has always had the ability to make me laugh and cry my heart out and provides 2 hours 20 minutes of pure escapism. I have relied on it heavily as therapy! It was also amazing seeing friends on stage (before cast change) and see them develop. The new cast are just as good!

2. Tick, tick…BOOM!, Park Theatre

This show always jumps to mind. I  saw this show on a whim as I managed to get a cheap ticket and I fell in love! Jonathan Larson is a genius and creates beautiful musicals (Including Rent which pops up later on). I clearly remember going into that show feeling rather deflated with life. I left with a new fire ignited within (that sounds so cheesy!) I came out loving the show and believing that my own personal dreams are not too far out of reach.

3. Alice’s Adventures Underground, The Vaults

This was outstanding! Such an incredible immersive theatre experience and I loved every single minute of the show. My inner child was released as we all relived this iconic childhood classic.

4. Honeymoon in Vegas, London Palladium

A one off concert performance of the show conducted by the one and only Jason Robert Brown! It was incredible seeing this show for the first time. Everyone was in such high spirits and you coult tell that everyone on stage was having the time of their lives. It would be great to see Honeymoon in Vegas back in the west end soon and for a longer run!

5. Shitfaced Shakespeare, Leicester Square Theatre

This is a strange one to put on the list however I really enjoyed it (considering just how much I hate Shakespeare!). Very rarely you find a show that leaves you crying with laughter and questioning “what the f*ck have I just watched?!”.

6. Jesus Christ Superstar, Regent’s Park

Flawless. The staging. The cast. Everything was flawless! It definitely gave me a new appreciation for the story and music. If I’d have caught it earlier in its run I could have easily seen this numerous times.

7.  Little Beasts, The Other Palace

Considering I don’t normally see children’s theatre, I thought this was great. This was a workshop production but was already very strong. With a bit more fine tuning this could really be an amazing family show. I adored the concept of ‘what happens to naughty children?’.

8. Rent, UK tour

If any of you saw this production you will know why I’ve put it on the list! I, like many other rent heads had waited years to see this in the UK and it finally happened. It was everything I was hoping for and so much more. The cast. The set. It was all just a little bit too much! It is the only show I cried uncontrollably through. Even leaving the theatre I was still sobbing. No show has ever had that effect on me so it was something pretty special. I saw it a couple of times on this tour and it just got better and better.

9. Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre

So, I don’t normally see plays (something I am hoping to change in 2018) and I wanted to see what all the hype for this show was for. I’d managed to find a relatively cheap ticket so went along. To say this play was around the 3 hour mark, it flew by. I have never been to engrossed in a show. Imelda Staunton was sensational.

10. The Braille Legacy, Charing Cross Theatre

A very moving piece. Once again I saw this one on a whim (cheap tickets on the day!) and wasn’t really expecting much. The story was so touching. This was its first run in the west end as it is a new musical and I really hope this goes somewhere. I was beautiful and really tugged on my heart strings.

There we go, my top 10 shows of 2017. Do you agree with this choice or are there some you’d change? Let me know in the comments believe and once again please share with friends and follow ginger in the theatre on all our social media accounts! Here’s to 2018!!

Evita – REVIEW

Evita

Phoenix Theatre, London

 

Seen October 4th, 2017

Reviewed by Jade Prince

★★★

Those who have read my recent reviews will know that I have seen the shows at the later stages of their runs and this one is no different. Evita only has another week left in the West End but that does not mean you should forget about seeing it!

The iconic story of the rise of Eva Peron and how she became Argentina. From a middle class family, she worked her way up the ranks by winning the hearts of the people of Argentina. A touching true story told with music by the one and only Andrew Lloyd Webber and lyrics by Tim Rice.

It was nice to be able to see the show again as the last time I had seen it was back in 2014 on its UK tour. I personally did not notice any drastic changes to the set or staging but then again, why change something if it is working well? They have managed to condense the set down in order to work with the smaller size of the Phoenix theatre however it is most certainly better suited on a larger stage. This helps to add to the grandeur in a handful of numbers.

The show itself was very enjoyable however really lacked the “wow” factor. I am not too sure whether this is because I have seen the show before (a very long time ago) or what it was but the spark was not there. The cast were very strong together however there were a few little things that I could not help but notice. The first being the lack of accents. Or should I say the amount of different accents they attempted to include. There was no set accent and at one point between Eva and Che in act one I thought it was about to move into Sweeney Todd! It is set in Argentina!

Another point which disappointed me was the fact that the child actor was, very noticeably, miming during “Santa Evita”. I found this a shame as there are some many talented kids in the west end. She was incredibly cute though and melted hearts so in a way that compensated.

Despite these two little down falls there were two things that stood out. Che (Gian Marco Schiaretti) was sensational. I could not take my eyes off of him for the whole show and vocally he was outstanding.

The other stand out moment happened where I least expected it – “Another Suitcase in Another Hall”. This is by far my favourite song of the whole show so ultimately I have high expectations and in my opinion the best performance was by Samantha Barks on ‘Andrew Lloyd Webber – 40 musical years’. Well, I was slightly wrong! Sarah O’Connor (Mistress) smashed it. Her vocals and acting were on point throughout and I was captivated. This was probably my favourite moment of the whole show.

Evita is a beautiful show which is well established. Each time you see it you know exactly what to expect and this version is no exception. It only has another week left at the Phoenix Theatre so be sure to get a ticket. Must end October 14^th. Tickets and more information: http://www.atgtickets.com/shows/evita/phoenix-theatre/

Whisper House – REVIEW

Whisper House

The Other Palace, London

 

Seen on May 22nd, 2017

Reviewed by Jade Prince

★★★

From the creators of Spring Awakening, Whisper House is set in a lighthouse during World War 2. Christopher discovers something strange when he moves to live with his aunt after his father’s death and mother’s hospitalisation. The mysterious music and whispers have grown more prominent and Christopher knows something must be done.

The rock musical contains an awesome score with catchy tunes that will be stuck in your head and you’ll subconsciously be singing “better to be dead” as you leave.

Alongside this brilliant rock score the actual story line seemed a little lost. It was difficult to see how certain elements of the story were relevant. I feel that this was compensated for through the music and the cast stage presence. There was always something to look at whether that was the actions of the ghosts or the small illusions performed.

Niamh Perry and Simon Bailey stole the show as the two “ghosts” skulking around the stage. Both voices worked wonderfully together creating beautifully eerie presence. These ghosts are said to be seeking revenge and Niamh’s whimsical voice definitely hints at her character’s sinister side. This is helped by her costume (simple, long silk dress) and chilling glares.

A very simple set was used effectively and had different layers working down to the pit of the stage giving the illusion of the height of the lighthouse. Other elements worked very well in creating the feeling of being in New England during World War 2, such as worn and mismatched chairs and wooden floorboards covering the stage.

I personally really enjoyed the use of projection onto the back wall of the set. One of the projections that really stood out was the stair well and how well the actors were timed with the movement of the stairs themselves.

Overall this was an enjoyable show to watch and very captivating. It was very in keeping with The Other Palace’s theme of hosting quirky new productions.

Whisper House is currently at The Other Palace until May 27th. Tickets available at https://www.theotherpalace.co.uk/whats-on/whisper-house