Slave Play – REVIEW

Slave Play

Golden Theatre, New York

 

Reviewed by Jade Prince

Seen October 30th, 2019

★★★★★

When it comes to plays, I’m a very difficult audience member to ‘move’. I’m ginger. Soulless. Thinking back, there is only one play that comes to mind which captivated me and evoked some emotional response. But it did not leave me in my seat, unable to move until I could start to process some of what I just witnessed. There is a first for everything and Slave Play was that first for me. It’s played on my mind for hours, days, weeks.

I’m not even sure where to start of if I should post this.

Will my ramblings do the show justice?

Hell no!

It is one that you just have to see with your own eyes.

Jeremy O. Harris has created something which is revealing and brutally honest of the world we live in.

The play was totally not what I was expecting. Actually, I’m not 100% sure what I was expecting. I thought it would be a very serious, historical play about race and inequality. Silly me for assuming I could accept this show and title for face value. It was very much about those things but immediately threw you into the deep end and just when you thought you had the gist of it, Jeremy O. Harris threw in this mega curve ball which completely obliterates your current perception.

It’s a fascinating show where the discomfort it creates draws you further in. I felt uncomfortable but at the same time, I couldn’t snap out of the trance the show put me in. Audience members could approach it in two ways: either look away and attempt to ignore it (although the panels of mirrored glass made it impossible for you to do so) or you could run with it. Get into it and see the honest answers break free from the inter-racial couples in the therapy group.

I want to draw attention to the huge mirrors for a brief moment. They formed the back wall of the stage. What a genius idea! Having a show this ballsy and the audience facing this huge towering wall of mirrors was brilliant. There was absolutely nowhere to hide. You were constantly being watched, both by fellow audience members and the cast on stage regardless of where they were positioned. Yet, in a strange way, it provided an element of comfort because we were all in it together witnessing groundbreaking theatre.

In my honest opinion, which may ruffle some feathers, those who don’t like the show and take offence will be the ones which have just experienced a show that has come very close to the bone for them.

For me, this is an outstanding piece of theatre that opened my eyes further. It encouraged me to re-evaluate the world we live in.

The prime example of what great theatre should do.

(Public apology: This write up has not done the show ANY justice! This is just me rambling about, possibly, the very best piece of theatre I have seen.)

You’re all just going to have to take my word for it. Run to get tickets because this show isn’t around for long. It must close on January 19th 2020. Click here for more information of the show and to snap up tickets.

The Wider Earth – REVIEW

The Wider Earth

Natural History Museum, London

 

Seen October 20th, 2018

Reviewed by Jade Prince

★★★★

We all know the name Charles Darwin and how his discoveries changed the world however what is less well-known is his very first voyage and the way this changed his own life.

Enter a world of adventure.

As an audience, you are taken onboard HMS Beagle and sail across the world, witnessing first hand the evolution of Darwin. This show provides a unique insight into the battles 22-year-old Charles Darwin (Bradley Foster) faced when reaching for his dream. Striving for acknowledgement in a prestigious community, acceptance from his father (Robert Darwin played by Ian Houghton) and mutual love from Emma Wedgwood (Melissa Vaughan).

The Wider Earth is London’s newest family show and has all the elements a parent would wish for. It’s entertaining, educational and a perfect way to round off a day of learning at the Natural History Museum. This was something I loved the most about the show, it’s setting. Tucked away down one of the grand corridors, the auditorium is situated right next to The Darwin Centre. A perfect pairing.

Lets get onto the show. There were many aspects I enjoyed. The story did exactly what it said it would do. It presented the buildup to Darwin’s first voyage, the voyage itself and then his return. Five years of someone’s life told in two hours. The script had a very comfortable pace. There were no moments that felt rushed and it was definitely presented at a level suitable for all ages. My only criticism would be that the characters were very bland. I didn’t feel much characterisation.

Left to Right: Ian Houghton, Andrew Bridgmont, Marcello Curz, Bradley Foster, Melissa Vaughan, Matt Tait

Bradley Foster

Marcello Cruz and Bradley Foster

Bradley Foster and Melissa Vaughan

The set was brilliant. It really helped to create an incredibly smooth transition from scene to scene. The rotation also helped to provide the feeling of traveling. There were a couple of transitions where the cast continued acting on the ‘rock’ during the rotation giving the impression they were exploring a new foreign land. It was brilliant, don’t get me wrong, however after a few scene changes the transitions felt a little repetitive and it definitely lost its wow factor.

My favourite element of the show had to be the puppets, I just wished they had more stage time. The design of the puppets was in the form of simplistic mechanisms.  You could see the structure of the inside of the puppet and route of movement. To incorporate the puppets didn’t require additional cast and crew, the cast members you saw onstage also evolved into puppeteers! Watching it on stage was beautiful. They became this extra limb for the puppet/animal displaying all the associated characteristics.

Sound and light was something which really added depth to the show. Throughout, there was an amazing backing track easing the plot through its own organic growth but also, when needed, heightened the intensity. One scene which really sticks out (without giving to much of the story away) was the moment HMS Beagle capsized. The stage and auditorium were a wash of rippling shades of blue. Completely submerged. In fact, replaying that vision whilst writing this, I can easily say that was my favourite scene in the show. So many actions perfectly executed; the sound, the light, the slow motion acting from the cast.

Looking at the whole package it is clear to see why the Natural History Museum was selected to play host to The Wider Earth. No other venue would do.

Be sure to see The Wider Earth which is calling the Natural History Museum home from now until February 24th 2019. Did I also mention that children go free when paired with a paying adult ticket? It’s true, they do! More information on the show and tickets can be found at: http://www.nhm.ac.uk/visit/exhibitions/the-wider-earth.html

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.

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.

The Secret Letters of Gertie and Hen – REVIEW

The Secret Letters of Gertie and Hen

New Wimbledon Studios, London

 

Seen April 7th, 2018

Reviewed by Jade Prince

★★★

A very sweet yet harrowing tale of two ten year old girls. Two ten year old girls , very similar but worlds apart. All due to their country of origin. After years of friendship and hundreds of letters back and forth they are soon to learn this must cease. They are now considered enemies but association. World War 2 has broken out.

‘The Secret Letters of Gertie and Hen’ has finished workshopping and held two private previews ahead of their launch and short run in November 2018 at the New Wimbledon Studios.

If I am completely honest, the first act was enjoyable. I wouldn’t say that it completely wowed me but I do believe there is definitely potential. It is a rather unique story. A story which I actually really like. It is not one we hear very often. We finally get to hear from the female’s point of view. Those who were left behind. So frequently we only get to hear the male take on events. With the character list being rather extensive you do get to see a lot of other view points too.

It is also nice having such a range of topics covered in one play. It covers love, politics, loss and friendship to name a few. Yet despite the amount of topics covered it doesn’t feel crowded. There were a few scene which I felt didn’t add or detract from the story and actually dragged out the first act a little. Apart from this the other scenes were still really engaging. I was not expecting the drastic turn of events at the end of act 1. That is definitely something which I feel will bring the audience back after the interval. I personally was gutted I couldn’t stay to see act 2 and now have to wait until November to see the full thing! Once the ‘drastic change’ started it was easy to predict what would happen next. I just hope the rest of the show isn’t like that.

Script wise, it was very strong. I felt a few of the intense scenes seemed to escalate very quickly with no between group. One minute the character are just talking and the next an argument is taking place. There was no development on that showing the lead up to the that. I think in a few cases the script wasn’t the issue, it was more the direction given.

Seeing as the show will continue at the same venue in November, I feel that it is important to comment of the set up and direction. I really liked the fact that levels were used. It was nice to have each family in their own performance space. Very rarely they overlapped. It was a rather small cast considering the amount of characters and it was handled well. In November it would be nice to see a slightly larger cast so that the roles aren’t doubled up. But I can’t fault how it was handled in these previews.

It was a nice touch not having a restricted performance space and various routes were used to enter and exit the stage.

I personally felt that the scene changes were very brief. At some points it didn’t feel like there was any pause. It just went from one scene straight into the other. As an audience  member I don’t feel like in those moments I had a chance to process the previous scene.

I honestly do look forward to seeing this in full come November. It definitely does have potential. A unique take on events which I believe will draw the audience in. With a little tweaking and polishing, this could be great!

Be sure to follow The Key Theatre Company on twitter for more information on their upcoming dates.

 

Lipstick: A Fairy Tale of Modern Iran (Script-in-hand performance)

Lipstick: A Fairy Tale of Modern Iran

A new play written and directed by Sarah Chew

 

The Omnibus Theatre, Clapham, London

Seen March 16th, 2018

Written by Jade Prince

— This will not be a review but more of an experience and a jot down of all my thoughts. I will not take into account the set or anything that will change from production to production. I will be mainly focusing on the script and its content. It seems unfair to publish a review on something which is so early on in its development. —

Beyond Boarders is a mini-season at The Omnibus Theatre which displays work from female theatre writers who all share the same focus of intercultural communication and collaboration. They all aim to raise awareness on the exclusions (both personal and political) faced by different cultures and ethnicities. The sole focus of this mini-season is Britain and the Middle East. Beyond Boarders is made up of five different shows, one of which we got to see.

Part of Beyond Boarders, the script-in-hand performances of ‘Lipstick: A Fairy Tale of Modern Iran’ tells the story of Orla who ends up slap bang in the middle of the revolution in Iran. Raising so many questions about the things she witnessed and experienced. A unique new piece of theatre which is half theatre and half drag cabaret. It is also important to note that all of this was inspired by Sarah Chew’s own time in Iran back in 2010.

To say this is a work in progress and the team have been working on it for only two weeks it was pretty spectacular!

The whole concept was heartbreakingly beautiful. Orla, attempting to understand exactly what she saw during her 6 weeks in Iran. A completely different country with completely different laws and more importantly a completely different view on women. The perfect place for a feminist to witness and experience first hand. Witness and experience she sure did.

The script was initially slow and I found it a little uncomfortable how the audience were addressed to start with. Orla is actually telling you, the audience, the story but despite the initial uncomfort, it actually worked so well as the play progressed. If it had been a more intimate venue I would have felt like she was retelling the story in her living room. I would actually have cried then!

It really hit a tender nerve as is was brutal truth. We all know these awful things are happening in the world and more specifically the segregation between male and female in Iran however we as society are never given the full truth. It is always exaggerated or censored. One extreme to another. It was definitely something else hearing a first person encounter. It was wonderful but at the same time hard to swallow.

The music choice was so fitting. It really helped move the story along but at the same time the background music added that extra element of emotion which did actually cause me to tear up towards the end. The combination of the way the audience were addressed, the content being spoken and the music. It is incredible how a bit of music can have such a drastic impact on dialogue and the overall emotion.

One thing I wasn’t too sure about was the nudity. I don’t feel it was needed but then on the other hand it definitely shocked me. I had become so accustomed to seeing two beautiful women on stage that I had completely forgotten one was male. This was down to the fact the drag make-up was natural and not of the typical drag style. I did admire the way that this showed that gender was irrelevant and that we are all equal.

I did really like how Mark was utilised in helping to retell Orla’s story. Switching from character to character as they appeared and in my eyes providing that comic relief in such a hard hitting play.

This is a real political statement.

I will definitely be seeing this play again when it is next in London after further development. It is definitely a unique piece highlighting key issues faced in the world currently.

Olivier Awards 2018 Nominations and Predictions

It’s been a week since the Olivier Award nominees were announced and I am very behind on the whole theatre scene due to health issues however I am now on the mend and have decided to do a little write-up on the nominations. This is probably the very first year that I have agreed with the selection. Other years I have completely disagreed. While I still believe the range of shows and talent acknowledged is limited, this year seems to have taken the talent factor into account as a pose to the popularity factor. SOLT, you are improving!

— Those in bold are the ones I want to win. Those bold AND underlined are my predictions for the actual winner of the category. If there is only one in bold and underlined it is because that is what I want to win and also predict to win. I won’t be making comments on all of the predictions I make. Also, final note, I shall be linking some of my reviews through out this post so be sure to check them out! —

Lets crack on!

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Best New Musical

An American in Paris, Dominion Theatre

Everybody’s Talking About Jamie, Apollo Theatre

Girl From the north Country, The Old Vic and Noel Coward Theatre

Hamilton, Victoria Palace Theatre

Young Frankenstein, Garrick Theatre

I really want Hamilton to win but then again I am a Hamilton whore so that’s that! The only one that I really can’t see winning is Young Frankenstein. I really didn’t like that show. Not my humour at all and An American in Paris was very mediocre. I can see Everybody’s Talking About Jamie smashing it simply because it is 100% relevant at the moment. That’s not me saying that something shouldn’t win because it’s not relevant. If it’s making an impact on society, it’s great!

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Best New Play

The Ferryman, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Ink, Almeida Theatre and Duke of York’s Theatre

Network, National Theatre – Lyttelton

Oslo, Harold Pinter Theatre

This category is difficult to predict. The small handful of shows that I never got around to see! Ha! And they all seemed to be received very well.

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Best Director

Dominic Cooke, FOLLIES, National Theatre – Olivier

Marianne Elliott, ANGEL IN AMERICA, National Theatre – Lyttelton

Rupert Goold, INK, Almeida Theatre and Duke of York’s Theatre

Thomas Kail, HAMILTON, Victoria Palace Theatre

Sam Mendes, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

HAM-IL-TON!!!! You’re going to start seeing a pattern here! It was just stunning!

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Best Actress

Laura Donnelly, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Lesley Manville, LONG DAY’S JOURNEY INTO NIGHT, Wyndham’s Theatre

Audra McDonald, LADY DAY AT EMERSON’S BAR & GRILL, Wyndham’s Theatre

Imelda Staunton, WHO’S AFRAID OF VIRGINIA WOOLF?, Harold Pinter Theatre

How can you put two queens together?! I didn’t have the chance to see Laura or Lesley but both Audra and Imelda were outstanding! Two very different performances but both still touched me and left an impact.

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Best Actor

Paddy Considine, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Bryan Cranston, NETWORK, National Theatre – Lyttelton

Andrew Garfield, ANGELS IN AMERICA, National Theatre – Lyttelton

Andrew Scott, HAMLET, Almeida Theatre

Once again, this is another category I can’t really comment on so I’ve made my prediction based on what I’ve heard.

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Outstanding Achievement in Opera

Paul Brown for his set and costume designs for IOLANTHE, London Coliseum

Joyce Didonato and Daniela Barcellona for their performance in SEMIRAMIDE, Royal Opera House

Roderick Williams for his performance in the Royal Opera’s THE RETURN OF ULYSSES, The Roundhouse

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Best New Opera

La Boheme, Trafalgar Studios 2 

The Exterminating Angel, Royal Opera House

Semiramide, Royal Opera House

I got to see La Boheme and I was blown away! I’ve linked my review just incase you have the urge to read it but it was such a beautiful modernised version of such a well-known classic.

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Best Actress in a Supporting Role

Brid Brennan, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Denise Gough, ANGLES IN AMERICA, National Theatre – Lyttelton

Deaebhla Molloy, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Imogen Poots, WHO’S AFRAID OF VIRGINIA WOOLF?, Harold Pinter Theatre

I have a feeling ‘Angels in America’ is going to dominate the play categories.

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Best Actor in a Supporting Role

Bertie Carvel, INK, Almeida Theatre and Duke of York’s Theatre

John Hodgkinson, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

James McArdle, ANGLES IN AMERICA, National Theatre – Lyttelton

Peter Polycarpou, OSLO, Harold Pinter Theatre

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Best Set Design

Bunny Christie, INK, Almeida Theatre and Duke of York’s Theatre

Bob Crowley and 59 Productions, AN AMERICAN IN PARIS, Dominion Theatre

Rob Howell, THE FERRYMAN, Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre

Vicki Mortimer, FOLLIES, National Theatre – Olivier 

The set of Follies was stunning. Definitely the type of set design that I love!

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Best Costume Design

Hugh Darrant, DICK WHITTINGTON, London Palladium

Roger Kirk, 42ND STREET, Theatre Royal Drury Lane

Vicki Mortier, FOLLIES, National Theatre – Olivier

Paul Tazewell, HAMILTON, Victoria Palace Theatre

These fours shows were great with there own costumes but for me personally, there can only be one winner.

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Best Sound Design

Tom Gibbons, HAMELT, Almeida Theatre

Gareth Owen, BAT OUT OF HELL THE MUSICAL, London Coliseum

Eric Sleichim, NETWORK, National Theatre – Lyttelton

Nevin Steiner, HAMILTON, Victoria Palace Theatre 

Another close call but as soon as you hear ‘dun, du-du-du-dun, dun, dun’ you have to hand over that award.

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Best Lighting Design

Howell Binkley, HAMILTON, Victoria Palace Theatre

Paule Constable, ANGLES IN AMERICA, National Theatre – Lyttelton

Paule Constable, FOLLIES, National Theatre – Olivier

Jan Versweyveld, NETWORK, National Theatre – Lyttelton

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Outstanding Achievement in Affiliated Theatre

The B*easts, Bush Theatre

Killology, Jerwood Theatre Upstairs at the Royal Court Theatre

The Red Lion, Trafalgar Studios 2

The Revlon Girl, Park Theatre

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Best New Comedy

Dry Powder, Hampstead Theatre

Labour of Love, Noel Coward Theatre

Mischief Movie Night, Arts Theatre

The Miser, Garrick Theatre

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Best Revival

Angels in America, National Theatre – Lyttelton

Hamlet, Almeida Theatre

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

Witness For the Prosecution, London County Hall

I went to see ‘Who’s Afraid of Virginia Woolf?’ on a whim. I found a cheap seat and everyone was raving about it and was horrified to find out it was 3 hours long. At that point I didn’t like plays and had only seen a handful. But, woah! To say I enjoyed it was an understatement. Those three hours flew by. I was captivated.

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Best Actress in a Musical

Janie Dee, FOLLIES, National Theatre – Olivier

Shirley Henderson, GIRL FROM THE NORTH COUNTRY, The Old Vic and Noel Coward Theatre

Imelda Staunton, FOLLIES, National Theatre – Olivier 

Josie Walker, EVERYBODY’S TALKING ABOUT JAMIE, Apollo Theatre

For me the winner has to be Shirley Henderson. Everything about her performance in ‘Girl from the North Country’ was flawless. Such a difficult role. All the ladies did very well in this category though.

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Best Actor in a Musical

Ciaran Hinds, GIRL FROM THE NORTH COUNTRY, The Old Vic and Noel Coward Theatre

John McCrea, EVERYBODY’S TALKING ABOUT JAMIE, Apollo Theatre

Giles Terera, HAMILTON, Victoria Palace Theatre

Jamael Westman, HAMILTON, Victoria Palace Theatre

I have a strong feeling John McCrea will win this one. I don’t necessarily agree with this if it happens. His performance wasn’t out of this world. Considering Jamael is new to the scene he has done so well! I was a little dubious seeing someone fresh out of drama school would be taking the lead in Hamilton but I was pleasantly surprised!

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Best Musical Revival

42nd Street, Theatre Royal Drury Lane

Follies, National Theatre – Olivier 

On The Town, Regent’s Park Open Air Theatre

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Best Theatre Choreographer

Andy Blankenbuehler, HAMILTON, Victoria Palace Theatre 

Bill Deamer, FOLLIES, National Theatre – Olivier

Kate Prince, EVERYBODY’S TALKING ABOUT JAMIE, Apollo Theatre

Randy Skinner, 42ND STREET, Theatre Royal Drury Lane

Christopher Wheeldon, AN AMERICAN IN PARIS, Dominion Theatre

Hamilton is gonna win this one! But the choreography in both ‘Everybody’s Talking About Jamie’ and ‘42nd Street’ was beautiful. Completely different styles which complimented the shows perfectly and evoked different emotions.

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Best Entertainment & Family

David Walliams’ Gangsta Granny, Garrick Theatre

Derren Brown: Underground, Playhouse Theatre 

Dick Whittington, London Palladium

Five Guys Named Moe, Marble Arch Theatre

How did I miss/forget about this category?! Derren Brown is an outstanding show man! And, come on, it was at Playhouse. My baby! But I do think Gangsta Granny will win simply by popularity with entire families however I didn’t hear much about it when it was playing at Garrick Theatre. Maybe it will be the dark horse.

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Outstanding Achievement in Dance

Rocio Molina for pushing the boundary of flamenco in FALLEN FROM HEAVEN (CAIDA DEL CIELO) for Dance Umbrella, Barbican Theatre

Francesce Velicu for her performance in English National Ballet’s Production of Pina Bausch’s LE SACRE DU PRINTEMPS, Sadler’s Wells

Zenaida Yanowsky for her performance in Liam Scarlett’s SYMPHONIC DANCES for the Royal Ballet, Royal Opera House

I actually have no predictions for this partly because I am so unfamiliar with the pieces also I fell that dance is very subjective.

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Best New Dance Production

Flight Pattern, Crystal Pite for the Royal Ballet, Royal Opera House

Goat, Ben Duke for Rumbert Dance Company, Sadler’s Wells

Grand Finale, Hofesh Shechter, Salder’s Wells

Tree of Codes, Wayne McGregor and the Paris Opera Ballet, Sadler’s Wells

Once again, I actually have no predictions for this partly because I am so unfamiliar with the pieces also I fell that dance is very subjective.

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Outstanding Achievement in Music

Everybody’s Talking About Jamie, music and orchestrations by Dan Gillespie Sells, his debut as a musical theatre composer and orchestrator, Apollo Theatre

Follies, the orchestra, under the Music Supervision of Nicholas Skillbeck and Music Director Nigel Lilley, National Theatre – Olivier

Girl From the north Country, music & lyrics by Bob Dylan, original orchestrations & arrangements by Simon Hale, The Old Vic and Noel Coward Theatre

Hamilton, composer-lyricist Lin-Manuel Miranda, Victoria Palace Theatre

LIN. LIN. LIN. KING!

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Best Actress in a Supporting Role in a Musical

Shelia Atim, GIRL FROM THE NORTH COUNTRY, The Old Vic and Noel Coward Theatre

Tracie Bennett, FOLLIES, National Theatre – Olivier

Rachel John, HAMILTON, Victoria Palace Theatre 

Lesley Josph, YOUNG FRANKENSTEIN, Garrick Theatre

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Best Actor in a Supporting Role in a Musical

Michael Jibson, HAMILTON, Victoria Palace Theatre

Ross Noble, YOUNG FRANKENSTEIN, Garrick Theatre

Jason Pennycooke, HAMILTON, Victoria Palace Theatre

Cleve September, HAMILTON, Victoria Palace Theatre 

Not even a second thought, Cleve all the way! So proud of that guy and how far he has come over the past couple of years!!!! The others are great in this category but it HAS to be Cleve!

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Now lets wait and see how completely wrong I am! All the best to everyone nominated. You should all be proud of the achievement of getting this far!

Treading Water – REVIEW

Treading Water

Vaults Festival, London

 

Seen on March 4th 2018

Reviewed by Jade Prince

★★★★★

Screw it! I’m going all out and giving this one five stars. A beautifully touching piece of theatre with great humour.

The simple life of two lifeguards. Sue and Carol follow the same routine day in and day out. Their job to watch the world go by, the same view everyday. Including one gentleman who appears each morning like clock work. In a job where nothing very interesting happens, can Sue and Carol change that?

This was honestly such a cute play. I very rarely whip the world ‘cute’ out in my reviews but this deserves it 110%. It was so relatable on so many leaves and I really didn’t believe that awkwardness could look so cute! We have all definitely been in that situation where we have no idea how to approach someone you’re interested in. Should we do it Carol’s way of throwing it straight out there or Sue’s way of taking your time and trying to really understand that person? I fell in love with the three characters straight away which is such a huge achievement for a short play. Within less than an hour I wanted to hug all three of them.

The start of the play seemed very slow. A lot of observing the characters and their little, quirky behaviours. I really did like this aspect especially as I went in not knowing very much about the show. It had me feeling a little on edge and wondering what was going to happen but then I fell into the ‘comfort zone’. The kind of zone you’d associate with routine and structure. It was a beautiful feeling being at the same pace as the characters.

I absolutely adored Carol. We all have a friend like her. So blunt and providing such a wonderfully honest observation on life. This really pulled at my heart strings a little but it was so well balanced with humorous lines.

I have to admit that I was a little confused on the ages of the characters. Carol seemed to be in a very stale marriage (something that I would link with a middle-aged woman) while Sue seems very young and naive. Yet, at the same time then seemed to be very much the same age. It wasn’t anything that troubled me loads. I just distinctly remember having that question come to mind half way through the show.

It was just such a lovely, calm play highlighting so many subtle things in everyday life. No huge drastic plot changes or controversial topics but it worked so, so well whilst keeping an engaging speed. I just felt so refreshed as I left.

I predict big things for this show and I cannot wait to see it again.

Be sure to follow SubtlePaws on twitter for the latest updates on ‘Treading Water’ and their other shows: https://twitter.com/SubtlePaws?lang=en

Also follow ‘Treading Water’ writer, Kathryn Gardner: https://twitter.com/KathrynEGardner?lang=en

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

Theatre Maker Launch at the Cockpit Theatre

Sunday 18th February, 2018

For those not familiar with the Cockpit theatre, it is a fabulous little venue in Marylebone. It is a chameleon of a building. Used for rehearsal spaces, a main theatre auditorium with 420 seats and a bar where they host a number of different events. Whether that is presenting shows, hosting events, training days, industry events, the Cockpit is an incredibly welcoming space which cherishes new creators and their works.

They have been working on a brand new hub focusing on those making theatre. This hub will consist of classes, courses, workshops, talks and drop in session in order to aid people with new skills and to share and develop their own ideas. Various workshops will take place as well as the weekly drop in session scheduled for every Wednesday at 6pm in the bar.

In this blog I shall be giving a run down of the launch day, what went well, what I didn’t like so much and then I shall be delving into what is on offer and what taster sessions I took part in. These will be in more detail explaining exactly what we did and what you can expect to see followed by MORE information of the available course along with prices, date and time frames.

From the moment I stepped foot into the theatre I was greeted with a fabulous friendly welcome which you can always expect from the Cockpit staff. You’re always made to feel welcome there and I truly believe that this would be the best place in London to take evening classes/courses/share ideas with other creatives.

When we arrived we were given the agenda detailing everything that would be happening over the next 4/5 hours. There was also the breakdown of the taster sessions happening through the day with 3 lots of 40 minute session with 10 minute breaks.

The agenda for the morning:

(I’ve circled the taster session I attended)

The numbers were very disappointing considering how any people had booked on. All of those people who were no shows really missed out on some great sessions.

The first session of the day was ‘From Theatre Maker to Film Maker’ led by Steve North. This was great and provided a brand new experience. Steve has had a very colourful career initially starting off in acting and has now moved into theatre making. His most recent achievement was co-writing the short film ‘Through the K-Hole’ and directed the hard winning ‘Cregan’.

His actual course is a lot longer however we had a great insight. He stripped it right back and we started looking at our own memories and how they are personal. We did a simple exercise of writing down three different memories: one from last year, one from last week and one personal memory from any point in our lives. We then paired up and had to tell the other person our memory. It was then open for them to retell that memory to us and then in the group when we all came together, stood in the dark. It was a very strange experience because these memories that had once been our own where now someone else’s. It was such a strange feeling listen to your own memory from a different person. I found myself sympathising and nodding my head as if I was sympathising with the person even though it was what I had dealt with. We did this a few time but it was a great way to see how we connect to personal stories and the benefit of focusing on a personal experience when starting to write the concept and script for a short film.

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The second taster session of the day was with Sarah Fraser and focused on making theatre from scratch. Obviously this is a very broad topic and her course will delve in deeper to the whole process but it was great what we did in the session.

A little background on Sarah – she has helped create the theatre company ‘Hoax’. In 2012 she graduated from the Central School of Speech and Drama with her MA in Classical Acting. From there she has worked in immersive theatre and has had a real focus on physical theatre, using voice on the body to create brand new work.

It was basically a whole game session to break the ice and make everyone feel comfortable around each other which is obviously key when working in a team which need to be very close and on the same wave-length. The improvisation game was fabulous. We were simply handed a scarf and told to run wild with one rule: the scarf could not at any point be used as a scarf. It was great to see people improvising and for others in the group to so willingly join in with ideas. Everyone was on board 110%. Sarah’s energy and passion was infectious and I strongly believe that people on this course will benefit immensely.

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The third and final taster session I took part in wasn’t what I thought it was going to be. If you have read my previous blogs and review you will have noticed that I like to go into things ‘blind’. Without knowing the story/previous reviews/or reading much on the theatre website so I did not read into each of the different taster sessions. I simply turned up on the day and selected whatever sounded interesting to me. This was the ‘making theatre using visual and physical techniques’ session led by Miriam King.

For some reason I was expecting it to be very heavily focused on props and scenery and other ways of presenting the story on stage. I was very wrong. Miriam specialises in physical movement and how that tells the story. The exercise we did was very beneficial in understanding how to ground ourselves and move into a neutral state. This would be perfect for actors when transforming into drastically different characters from their normal selves however I did struggle to connect and enjoy it. I know that sounds really harsh but it just wasn’t something I enjoy. Miriam is very experienced and really puts the whole of herself into her teachings.

Before I knew it the taster sessions where over and it was time to watch the performance of ‘The Silent Stream’ which was written and performed by Jonathan Brown.

This was definitely not my type of theatre. I started drifting into my theatre reviewer state (not that I was there to review the performance). We saw this performance as Jonathan Brown runs the ‘Making theatre as a solo performer’ course which will be running as part of Theatre Maker. Having read up on the one man show since I have seen it, I do believe that there is greatness behind it. Especially as its has sequels entitled “Betsy: Wisdom of a Brighton Whore” (a one woman show) and “The Well” (ensemble piece). I would be intrigued to see these pieces now. I found the performance of ‘The Silent Stream’ to be very slow. It seemed to be a little all over the place and was very hard to follow. I personally feel that it would work better as an ensemble piece. This might help it flow better especially when two or more characters are presented at once on stage. What I saw definitely had potential though.

Anyway, this isn’t a review on that show, its a write up on the whole ‘Theatre Maker’ launch day experience! I really enjoyed it from the start. I have to admit ‘the Silent Stream’ was the only let down. It didn’t advertise the course in the best way and I think a lot of people were lacking enthusiasm by that point. From the taster sessions I have seen, I really do have high hopes for what the Cockpit have planned.

Below I shall include all the information you will need about the different courses, prices, time frames, and dates as well as links to the cockpit so you can keep up to date with all of their latest information and for the possibility to attend any future taster sessions.

The classes which will be offered area:

• Making Theatre as the Entrepreneurial Artist (£100, 4 weeks, Monday March 5th-26th, 10:30am-1:30pm)
• Making Theatre Using Visual & Physical Techniques (£160, 6 weeks, Wednesday March 7th-April 11th, 7pm-10pm)
• Making Theatre from Scratch (£130, 6 weeks, Tuesday March 20th-April 24th, 11:30am-1:30pm)
• Making Theatre as a Solo Performer (£310, 5 weeks, Thursday April 5th-May 3rd, 6:30pm-10pm)
• Making Theatre with Storytelling (£80, 3 weeks, Wednesday April 18th-May 2nd, 6:30pm-9:30pm)
• From Theatre Maker to Film Maker (£180, 2 days, Saturday April 21st-Sunday April 22nd, 10:30am-6pm)
• Making Theatre Using Commedia Dell’Arte (£160, 6 weeks, Wednesday May 9th-June 13th, 7pm-10pm)
• Making Theatre with Improvisation (£160, 6 weeks, Thursday May 10th-June 14th, 7pm-10pm)

For more information on Theatre Maker at the Cockpit: http://thecockpit.org.uk/Theatremaker

Follow the Cockpit on twitter for all of the latest information: https://twitter.com/cockpittheatre

Thank you or reading this far! Here is a little reward – If you book onto a course before 6pm Monday 26th February, 2018 you can take full advantage of the one-off launch day code ‘INVOLVED18’ to get 15% off! You’re welcome!

Life is too short. Take the chance and make captivating theatre!

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!