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 Lion King

The Lion King

Lyceum Theatre, London 

 

Seen May 19th, 2018

Written by Jade Prince 

This will only be a quick one about Lion King simply because I feel this show doesn’t need another review. I simply want to document my thoughts because all of mu previous beliefs were totally wrong!

I always said I’d never see Lion King as it was overrated, over-priced and dated. Boy, do I retract those statements!

I was in London on a Saturday and had no matinee show so I decided to pop in to the box office to see what the day seat situation looked like. I wasn’t;t expecting anything as ti was 10:30am. Lo and behold they had one lonely seat left. For £20, how could I refuse. So I was seeing the show I had always labelled as overrated.

I tell you what, as soon as the opening number started, “The Circle of Life”, I had chills everywhere! It didn’t take much more to make me cry like a baby. As soon as the giraffes came out I was gone!

Regardless of how long its been in the west end, it still works that Disney magic. Its classic Disney magic.

The puppetry was stunning, Not just the animals but also the scenery. Those grass costumes were so creative!

With the incredible feeling that show gave me, I could so easily get addicted to it!

It was nothing high tech but it worked so well. I never expected that stage and my mind was blown by the way if was used to create those iconic scenes we all know and love.

I could go on but I’ll stop it here. I love it and have never has that kind of reaction with a show!

I’m going again!!!!!!

It’s Only Life – REVIEW

It’s Only Life

Union theatre, London 

 

Seen June 16th, 2018

Reviewed by Jade Prince 

★★★★

It was a rather cute show and contains some great reminders for people wanting to live a fulfilling life. Although, putting these into practice isn’t always the easiest. ‘It’s Only Life’ covers every human need spanning the whole spectrum whilst delivering the message wisely.

The music is solely John Bucchino’s who, over the year, has wrote songs which have been  performed my theatre legends such as Audra McDonald, Liza Minnelli and Patti LuPone to name a few. He isn’t well know in the UK. In all honestly, I had never heard of him. I do have to say though, I love his writing style. All of his songs in this show are very heart warming and honest. He manages to capture true life in its rawest nature.

I can’t say I saw much of a story during this show (the story I did see was left till the end) which did detract from the enjoyment initially. I was very worried I was missing the point so I started really listening to the lyrics. And that is when the enjoyment came back.

You could not ask for a more talented bunch of performers! Including the MD, Nick Barstow. I do love seeing a show and every person on stage is at the same level. No weak link in this cast! The songs were just so well suited to their voices and each of them got to demonstrate their range at various points during the show.

This was a very basic production with no microphones and just one pianist. It was such a beautiful touch only having a piano accompanying the performance. It worked so well with the lyrics being sing. Where the venue was of an intimate size there was no need for the microphones but I do wish that certain cast members had a microphone. At certain points I was really struggling to hear and I was sat front row.

The set was so cute! The use of different levels was perfect! It was very minimalistic, colour-wise. All white washed with the odd burst of colour here and there. All pastel colours and I am a sucker of pastels! I really enjoyed looking around and seeing all of the everyday items (the majority painted white) hung on the walls in the various rooms of the house. I did spy a pastel blue Buzz Lightyear!

‘It’s Only Life’ is currently playing at the Union Theatre until July 7th. If you are looking for a cute, heartwarming, enjoyable show, this is the one!

Tickets and information can be found at: http://www.uniontheatre.biz/its-only-life.html

West End Bake Off 2018

May 19th, 2018

This year I was delighted when I found out I was in London the weekend of West End Bake off. But to make it even better…I was free between 11am-1pm!!! Winning!

You all know I went.

West End Bake off has been a successful charity event which is held each year in the cosy grounds of The Actor’s Church in Covent Garden. Each year it helps to raise money for the outstanding charity ‘Acting For Others’. This year alone, £9,500 was raised in those short hours. Isn’t that mad?!

I have to say I thoroughly enjoyed myself. The sun came out in all its glory to support the event. There was a real buzz as you entered with everyone eager to see the stagey creations. Roughly 20 west end shows turned up to displayed their baking skills and support. So much talent!

To say everything was rammed in there was an understatement. It won’t be long until they will need a bigger venue, it’s that popular!

Not only are there loads of cakes on sale for £1 but they also have a poster stand. Some are signed by the current west end cast which have a higher price tag. Others are slightly older. I noticed a single Kinky Boots poster signed by the one and only Cyndi Lauper. They range in prices but lets face it, us theatre lovers don’t care and we know the money is going to a fabulous cause. I made a bee-line for that and managed (by some miracle) to land my hands on the very last signed Hamilton poster. I died!

Some of the shows also sell merchandise on their cake stands which is another wonderful element. Hamilton did great by holding several auctions for signed t-shirts. From what I was hearing, each one went for about £60! In between all of these auctions I just HAD to make a donation and have a photo with the cast whilst showing of my beautiful poster! I’m trash! But, hey! It started a trend and they started taking photos with people for a small donation. All for the cause!

It wouldn’t be a bake off without having the cakes judged by some guest judges. Previous winners include 42nd Street, The Secret Garden and The Mousetrap. This year, the trio of judges were made up of Ruthie Henshall, Christopher Biggins and Wendi Peters. They had so many cakes to judge. After a difficult decision they crowned ‘Young Frankenstein’ the winner of 2018. They are now the proud owners of ‘Cuppy’! It’s such a cute trophy!

Trophy photo credit: West End Bake Off 

It was such a great start to the weekend and I cannot wait until the next one!

Head over to West End Bake Off’s website and twitter for the latest information on this one of a kind event.

See you next year!

SeatPlan

If you are part of the theatre community I am pretty certain that you will have come across ‘SeatPlan’ at some point. If you haven’t, you will soon enough. This will change your whole seat buying experience. 

If you are a regular reader you will remember that I mentioned this site during my ‘getting the better seats without breaking the bank’ post. 

“A website I use before I make any ticket transactions is SeatPlan. This is a fabulous website especially if you are not familiar with the theatre or seating plan. SeatPlan offers an interactive seat map for the majority of the big theatres in the west end and a handful nationwide. They rely on their members to upload seat reviews and many of them include photos of the view of the stage from that particular seat. These are completely honest reviews which are monitored. So far it has never failed me. They also provide an incentive for their members to review seats with credit which can add up to theatre tokens. Another great way to save money! Currently, you will receive 40p for each photo you upload once your review has been approved. You can start doing this now if you haven’t already! Just head to their website and sign up for free. They also offer great ticket deals through their website so that is also worth checking out.” –  A extract from said post but it sums the website up nicely.

SeatPlan was created in 2011 and has grown so much. A little birdy tells me they are looking to develop the site further so I thought I would make my opinions known! Ha! 

I have been an active member on this site since the summer of 2015 (if I remember correctly. It’s been a fair few years for sure) and I have to say this is my go to website when I am buying tickets regardless of which site I use to purchase them. It is and always has been so easy to navigate. It is such a clean set up which allows you to do everything you need straight away. My only nag about the navigation of the page is that I do struggle bringing the list of London theatres up. There has been a few occasions where I’ve wanted a trusted list of the main London theatres so I have turned to SeatPlan. I know the list is on there but it would be nice having it at the top of the page instead of having to scroll down to the bottom. What would be even better is having a side menu where you could select just that. Typing this, it has just come to mind how useful a map of ‘theatre land’ would be! You literally could find everything on one site. I know that when I book shows I like to fit as much in as possible and seeing how close the theatres are is key. It is such a hassle switching from websites to google maps. I have a fairly good knowledge of ‘theatre land’ but still need help on occasion. 

When I found out a while back you could purchase tickets for shows in London via SeatPlan I had to have a little peek. I was actually really impressed. This isn’t a feature that I have used loads but when I have they have always had great seats at great prices. I can’t say that it is the same for every show but they haven’t disappointed yet. I really need to make a habit of checking there first before booking anything. I have a feeling I could save lots of money. 

To upload reviews you do have to create a profile which I, personally, really love. It is such a great way to keep track of the shows I have seen and various theatre trips. The timeline at the bottom of your profile is a great touch. It saves me having to dig out my hefty ticket scrapbooks to see if I have been to that venue before, actually sat in the same seat or in a similar area, etc. You can just scroll through the timeline, click on the relevant show tab and it will show you the date you saw the show, where you sat and the review you left on the site. Obviously you are restricted as you can only add reviews to the theatres they have listed on the website. There have been times where I have been looking for certain seat plans but they didn’t cover it. I think it would be nice to have a section dedicated to seat plan for theatre all over London. There are a lot I have come across that aren’t on there. Not so much for members to write reviews (and gain credits) but to get an accurate seat plan. A lot of the seat plans online are not accurate. This would be a nice touch, completely separate to the main aspect of the site where you add reviews. Maybe just keep the reviews to the main theatres currently listed on the site? 

The profile aspect could really be used to gain a community feel on the site. At the moment you can see a percentage of the user profiles on the leaderboards but apart from that you can’t really do anything else. This is the same with the monthly competitions held. We never hear much about the winner unless you actively search for it via the tab at the bottom of the site page. Members all receive the emails reminding them of the competitions (actually mine are on occasion, not every month) but that is all we really hear. 

Rewarding reviewers is a great incentive. I loved earning rewards that add up to theatre tokens that arrive in the post. I’m not gonna lie, these tokens helped to fund my Dreamgirls addiction! It has been sad watching the individual credit amount decrease over the years. When I first started it was £1 per photo from your seat and then it went to 50p per photo (ticket and seat) but now it is 40p per photo. I understand it is a business and needs to make money but it just takes forever now to gain those theatre tokens. The hand written notes that come with the theatre tokens are really cute. You’ve got to love Susannah for doing that. That is one thing I admire. Even though there are thousands upon thousands of members they still keep that personal touch. 

I do wish that it was compulsory to add photos to the reviews. There is nothing worse than seeing someone has reviewed a seat (especially in a part of a theatre which is less reviewed) to find that it is really vague with no photo. You then have to take a stab in the dark and hope for the best when booking seats. 

I have often asked myself the question – why don’t the have guest bloggers or takeovers on their social media. I most certainly would love to read a guest post, say once a month and get an awesome insight into the theatre world. This could be another aspect which could completely explode and be great for SeatPlan! 

Just to be really picky I shall comment on the overall appearance of the site – it does look rather bland. As I have already mentioned the navigation is easy but Seatplan almost loses its identity as you scroll down the page. 

The next step for SeatPlan is definitely an app.  I believe it would open so many doors. I personally would then add reviews as soon as I have them instead of waiting to upload several at once. This could also really help them which the selling of theatre tickets. I’m all about having that immediate access on my phone. My bank account isn’t, but I am! 

I’m opinionated so there are some of my thoughts. It has been great watching the site develop and grow over the years and I really look forward to seeing where it goes in the near future. And on that note, I need to add all the seat reviews I have been allowing to accumulate. BYE!! 

From Numbers to Words: the development of ‘Myth’

I saw Myth back in 2016 at the Cockpit theatre under its previous name, ’27’. 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. Over the past two years it has gone back into development. Here, I will be making a note of the changes I notices and whether I personally feel that they were beneficial for the shows development.

–Keeping in line with my other posts, I shall be keeping this very honest.–

I do have to say this right off the bat before we go any further  – I don’t like the new name. It is so generic. My response to the name change was ‘myth, of what?’. 27 was much more catchy and more unique. It gave the insight as to what the show was about without revealing too much and was still enough to spark people’s curiosity. Having spoke to Sam Cassidy after the 2018 show, I still stand by my view. His reasoning behind the name change is valid however I feel it could have been executed in a better way. I don’t feel that Myth markets the show as it should do and is actually underselling it currently. If I hadn’t have previously seen 27 and I had stumbled across Myth’s page on The Other Palace’s website I would have been, “Okay, if I get around to seeing it, I’ll see it”, It wouldn’t have gone straight to the top of my theatre list.

When I saw the show back in 2016 the only real criticism I had was the script. It had a real amateur feel to it. Something which I would have expected to see from a GCSE candidate. I was very pleased to see that the 2018 production had had a lot of work done on it script wise. It seemed so much stronger. Back at the cockpit it wasn’t until act 2 that you actually realised the story whereas now it is made clear from the onset. The script seems a lot more engaging with quick little one-liners throughout. Those did make me chuckle. It was a nice touch having these as the show is very dark so it was almost a relief to be laughing at moments. There was one scene in act 1 where Orpheus meets Hades for the first time in the Underworld and for me that was the weakest part in the script. It seemed incredibly long winded for what was happening. I actually did lose interest and was willing for the next number to start because I knew how great the music was! But to only have this in one part of the show was a great step up.

Side note on the script – I adore the fact they kept the section on “hey, boy. What are you thinking about?”. My heart melted. “You, my favourite thing” Gone. Love it.

I really like the fact the ‘fates’ had more of a presents this time. It felt like they did anyway. It was great seeing a deeper characterisation of them. Atropos being the ‘mummy’ fate and keeping the other two in check and then jumping to the other extreme with Clotho who seemed to be the youngest with a purer heart.

I understand that this was a workshop production so the budget was very limited however I would definitely like to see more of a difference in the reality and the underworld. Just to make things a little clearer on the audience’s side. Same goes with the character appearances. I loved the way the ensemble were predominately in black but I did think Orpheus and the other band members didn’t have a real rock look. They could have easily passed for a mediocre pop group (which, I suppose, is what they are to start with!). I just wasn’t getting that rock star vibe especially from Orpheus.

This 2018 version had a lot of new songs added. Some I was able to catch and noted that they were the new ones but they all blended in so well. Went so naturally together. So much so, some I completely believed had already been in the show. Once again, the music is just incredible. It is always a positive when you come out of the theatre singing the songs. One of the new editions which actually closed the show was great! Definitely the anthem of the show. I mean, it was rather cliche. I really up beat, feel good song but it is a well justified remedy after a show touching on some depressing elements.

The characterisation of Hades definitely changed but I appreciate this will differ from actor to actor. Ryan Malloy gave it a more edgier feel whilst portraying the sinister side. After all, he is the devil! Whereas this time around it was more…annoying. It was the very typical *insert British accent* “proper British devil!”. You didn’t want to hate or like him, rather ignore him.

I know this post seems incredibly negative however I really do want the best for this show. I absolutely adore it and will continuously be raving about it. It has such great potential and I cannot wait to see it blossom into the next West End hit!

I did review the workshop production at The Other Palace is you are interested in reading that too!

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!

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!

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!

Getting the better seats without breaking the bank

The west end can be a wonderful and memorable night out however it can all add up becoming very expensive. A large amount of this cost will be the theatre tickets themselves. Many people do spend a lot of money on theatre seats and obviously that is how the west end thrives and continues. It is a business! However I believe everyone should be able to enjoy the theatre so this particular blog post will aim to arm you with the correct websites, apps and information for when you need to save the pennies but still want to see the arts.

I’m about to reveal my deepest secrets so pay attention!

Over my years of going to the theatre on a student budget I have become an awful lot savvier and very rarely spend over £40 on one seat unless it is something incredibly special. One of my main go-to apps is TodayTix. They do brilliant deals and never sell restricted seats. They have a fabulous selection of seats pretty much all of the time to suit every budget. Another great thing they do is daily lotteries for a few select shows and ‘rush’ tickets which range from £15-£25 in price.

Let’s start with the lotteries. Every day the lotteries are live from midnight. Currently the shows include Dreamgirls, Everybody’s Talking About Jamie, Young Frankenstein and Kinky Boots. Matinee lotteries close around 10:30am and lotteries for the evening shows close at 3:30pm. You enter for that day’s show and are notified 2 to 4 hours before the performance. This option is only great if you live in London or within an hour on the train but it is still a good way to get nice, affordable seats, normally front row!

The ‘rush’ tickets are a little different but still provide great seats at affordable prices. This ticket option gives you more notice as they become available to buy through the app at certain times of the day (typically 10am or 10:30am, depending on the show). It is a first come first serve system and seats vary depending on what is available on the day. There is a large variety of shows though which currently include: Mary Stuart, Girl From The North Country, The Birthday Party, 42nd Street, The Ferryman, Royal Shakespeare Company, Motown and The Woman in White.

Another great one in my arsenal of ticket sites is ATG. A bog standard site which is very helpful! The seat plans are fairly accurate and occasionally you find the odd last minute seat reduced in price. Also they have their theatre cards where payment for a years membership means that you get ticket discounts, early sales and much more. There are two types of theatre cards which both look great depending on your budget.

Day seats are also another great last minute option. They do take a fair bit of planning if you are determined to see a show that day! Only certain shows offer day seats and again this is down to availability. Some shows have a designated number which they have available everyday whereas other shows vary theirs depending on how well that show has sold for that day. From my experience, I recommend getting to the box office around 8:30am on a normal show day. If it is a special performance such as a cast change the hard core fans will get there super early, some will even camp out over night to get their hand on a ticket! Day seats are never guaranteed. There have been many a time where the person in front of me has got the last one and I’ve had to go back to the drawing board. A lot of these options mentioned in this blog are great for last minute deals so they always become by back-up plan if day seating isn’t a success. To see whether a certain show offers day seats just head to their official website and it will provide all of the details you need.

A website I use before I make any ticket transactions is SeatPlan. This is a fabulous website especially if you are not familiar with the theatre or seating plan. SeatPlan offers an interactive seat map for the majority of the big theatres in the west end and a handful nationwide. They rely on their members to upload seat reviews and many of them include photos of the view of the stage from that particular seat. These are completely honest reviews which are monitored. So far it has never failed me. They also provide an incentive for their members to review seats with credit which can add up to theatre tokens. Another great way to save money! Currently, you will receive 40p for each photo you upload once your review has been approved. You can start doing this now if you haven’t already! Just head to their website and sign up for free. They also offer great ticket deals through their website so that is also worth checking out.

The website Get Into London Theatre only comes around once a year and is always a good one to know about. I have to be completely honest and say their 2018 selection of shows wasn’t too great this year and I only purchased tickets for one show when normally I go crazy! Each December the website goes live with deals for a range of different shows with tickets for £10, £20, £30 and £40 (great for all budgets) The location of the seats are also normally really good and it tells you just how much you saved. Normally the £69 tickets are the ones reduced to £40, £49-£39 reduced to £30 and so on. Previous years I have been able to get ticket to big shows such as Phantom of the Opera in row D in the stalls for £40. Like I said before, this year wasn’t great but hopefully come December the 2019 selection will be a lot better.

That is about it when it comes to the best sites to use when looking for theatre tickets. I always recommend you stick to the main websites such at ATG, Love Theatre and  TodayTix as you won’t have to pay any commissions fees. Many of the other tickets sites sell legit tickets that comply with the ‘STAR’ standards however they do add an additional fee for using their service. Just be aware of that. Always look around on different websites as the prices will change dependant on the website.

I really hope this has helped you gain a further understanding on how to still see theatre on a limited budget. All of this works for me which is why I was able to see over 70 shows in 2017!

Disclaimer – things mentioned in this blog aren’t always guaranteed and are subject to change at the various company’s discretion. As of the time this blog was published, 16th January 2018, all show information was correct.

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!!