The Beautiful Game performed by the National Youth Music Theatre – REVIEW

The Beautiful Game

The Other Palace, London

 

Seen August 16th, 2018

Reviewed by Mark Sykes

★★★★

NYMT was established in 1976 and has had some illustrious alumni and patrons over the years, including Kerry Ellis, Sheridan Smith, Jude Law and Idris Elba, to name but a few. NYMT provides young people with training and mentoring in musical theatre, both those wanting to tread the boards as well as those wanting a career in the creative and technical aspects of theatre.

NYMT’s 2018 summer season features four musicals, three being performed at The Other Palace as part of a 3-week residency. I had never been to a NYMT performance before, but my interest was piqued when I saw that they were doing a production of The Beautiful Game, having seen the original West End production of this back in 2000 (lead by Hannah Waddingham).

The Beautiful Game has music by Andrew Lloyd Webber with book & lyrics by Ben Elton and is set in Belfast between 1969 and 1972.  Whilst it has football at its core, the focus is on a group of youngsters dealing with the troubles of the day in Northern Ireland.

One of the perennial issues when putting on a show at The Other Palace is the size of the stage. It’s much smaller than its larger West End cousins, so much credit should be given to choreographer Matt Cole for both the opening football match sequence and the cup final that happens later on. Having so many people on stage at the same time and interpreting a football match in dance could be fraught with issues, but the energy and coordination on display was an impressive feat.

If you listen to the soundtrack, one of the highlights is God’s Own Country. Led by the central character Mary, it provides NYMT’s Aliza Vakil one of numerous occasions during the show where her stage presence and performance belies her youth, as is excellent throughout. Mary’s relationship with John is one of the centre pieces of the story as they fall in love, get married and have a child; but John gets drawn into the troubles of the time and gets incarcerated for having helped his best friend escape from the police. On his release from prison, John has some unfinished business to deal with much to the consternation of Mary; but finally the two are re-united as John seeks some level of redemption for past mistakes. Rueben Browne plays John, and at just 19 years old, gives an impressive performance in conveying the emotions of being torn between family and helping wayward friends.

The character Thomas is one of the main protagonists involved in trouble-making activities, and is commendably performed here by Ned Costello. The scene which leads to someone being ‘knee-capped’ is fraught with tension and provides a jolt to the heart when the gun goes off. The experienced Jasper Britton plays Father O’Donnell, and provides much of the light relief in what at times can seem like a  very dark musical; but even with the subject matter at hand, Ben Elton’s lyrics continue to throw in the laughs throughout, helping to lighten the mood.

Director Hannah Crissick has done a sterling job bringing The Beautiful Game back to the stage. All of the NYMT casts members deserve credit in their performance, including Paul French, Edd Conroy, Rory Jeffers, Lucy Carter, TiernaMcNally and all of the ensemble members. Given their age and experience, they all dealt with the subject matter superbly. I only learned after the show that Andrew Lloyd Webber was in the audience the same evening as me; he must have left a very proud man.

The Beautiful Game may deal with issues seen as no longer relevant given the troubles of Northern Ireland belong largely to a bygone era. But the issues at the heart of this story still exist, not only across the Irish Sea but with parallels across the world as religion and violence seem ever intertwined. It’s a story that continues needing to be told. The original cast album is available to listen on Spotify. If you have an account, click here to listen.

The Beautiful Game was staged by NYMT at The Other Palace, 15-18 August 2018.

West End Live Lounge – REVIEW

West End Live Lounge

The Other Palace, London

 

Seen May 13th, 2018

Reviewed by Jade Prince

★★★★★ for the overall concept

★★★ for the show itself

Boy, did I really want to love this. Ever since the idea came about people have been raving about it and it has outgrown so many of its previous venues. The shows don’t happen very often and when they do they sell out fast. This time I thought I would see what all the hype is about. I have to say, in complete honestly, I left feeling incredibly let down.

The only points during the show where my eyes lit up and I found myself awestruck were when Jodie Jacobs, Liisi LaFontaine and Moya Angela performed their solos. Those ladies knocked my socks off! Jodie shook the theatre with her performance of ‘Great Balls of Fire‘. Oh my word! That woman’s voice. I am never prepared for that. Liisi did a stunning performance of ‘Grenade’. I hate her, her voice is so effortless. Can I please be blessed with a voice like hers. Okay, maybe only in my dreams. I don’t think anyone was prepared for Moya’s performance and I was very thankful it closed act 1 because I most certainly needed time to recover. She came out and SH-MASHED ‘I will always love you‘. I don’t know why I bothered shaving my legs that morning because I had goosebumps everywhere and then my legs were all prickly. It was a spiritual awakening.

The rest of the show was pretty meh. (It really hurts me to say that because I was hoping for so much more.)

The concepts of ‘West End Live Lounge’ is fabulous. Each one raising money for a different charity. All the money goes to charity and everyone who hosts and performs does it for zilch! Pretty remarkable. They donate so much of their time.

The chosen charity this time was Centrepoint who put all of their energy into helping those young and homeless through rehabilitation courses. I couldn’t help but feel this charity and the efforts of the show got undermined by an elaborate scheme to promote Divalution’s upcoming show. The charity was mentioned twice and those two times were incredibly brief. I feel for an event like this the focus should not be on self promotion but actually gathering people to help make a difference. Now, this is nothing against Divalution before people start saying that. Their vocals and harmonies were great! It wasn’t just Divalution who made me think this but they were the most predominant throughout the show.

I really found myself drifting off during a lot of the performances. I completely understand it is a chance for those performing to sing songs that they wouldn’t normally sing but some of the song choices were not great.

I have to give credit to Paul Taylor-Mills and Vikki Stone for hosting. At least they brought some life to it. Although I did start to think the red coats were going to make an appearance. I got that holiday club feel many times.

On a positive note, I really did appreciate hearing every single piece of the band. That is something I always look out for.

At the end of the show I had completely forgot it was for charity due to the lack of mentioning. It was only when I was startled by an usher violently shaking a charity bucket in my face that I remembered. It would have been nice for them to mention that they would be collection buckets on the way out before the show officially finished.

The majority of the show was enjoyable and it was nice hearing different renditions of songs from people you would never normally get the opportunity to hear sing, unless at one of these events.

I love to give everything a fair chance but I can’t say that I will be running to the next West End Live Lounge. It could have just been an off night. I guess the line up for the next one will determine whether I go or not.

Stay up to date with the latest news on West End Live Lounge by following them on twitter.

Myth – REVIEW

Myth

The Other Palace, London

 

Seen on March 16th, 2018

Reviewed by Jade Prince

★★★★

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

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

This was a workshop run at The Other Palace.

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

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

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

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

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

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

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

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

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

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

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

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!

Eugenius! – REVIEW

Eugenius!

The Other Palace, London

 

Seen on January 31st, 2018

Reviewed by Jade Prince

★★★★

Eugenius has returned to London after a stellar run last year at the London Palladium. This time it has taken up residence in the much smaller venue, The Other Palace. Complete 80s pop culture over-load, Eugene (Liam Forde) is a teenager. More importantly a geek ridiculed by the world. His world. High school. His safety being the creation of comic book superheroes. From a small hobby, Eugene is shot straight to Hollywood as his idea takes off but reveals struggles along the way maintaining the art and true friendships. Sometimes the fictional world can be a lot realer than it seems.

It was such a fun show to watch! Everything about it had energy. It’s not the best thing that I have seen but I can understand why so many people love it. The majority of the music is incredibly catchy with a variety of different music styles from 80s pop to the standard love ballads to more comical numbers. I have to be completely honest and say that the closing number has been stuck in my head since I left the theatre. “GO EUGENIUS!! Go Eugene!” The whole soundtrack was very upbeat and enjoyable but I don’t feel it would be a soundtrack that I would be able to listen to fully outside of the show. The odd feel-good songs have now been added to my ‘morning motivation’ playlist. The rest would be enjoyed if I saw the show again.

I rather enjoyed the choreography although I found that it lost its full potential due to the stage size. This production would suit a larger stage. It all just felt a tad crowded but they made what they had work.

The script for certain characters was great, especially for Ferris (Daniel Buckley). I did not expect half the things he said which made it so much funnier. The rest of it was rather mediocre and I did find myself willing the next number to start. None of it was irrelevant, just a little slow.

I don’t like doing this part simply because the whole cast were great, we have a standout performer – Laura Baldwin (Janey) was fabulous. He voice is so petite yet so very powerful and she really got to demonstrate that. I spent so long trying to work out what I’d seen her in before. It turns out it was ‘Little Beasts‘! She presented such a caring glow about Janey which was lovely to watch.

It was wonderful seeing all the characters so drastically different! A camp Hollywood talent scout (Theo, Scott Paige). A guy who has to be at the top of the food chain with everybody  kissing his ass (Lex, Cameron Blackely). Somebody born to flaunt her ‘assets’ (Carrie, Melissa James). With the exception of a chameleon of ensemble members (Alison Arnopp, Jacob Fisher, Alex Tranter, Luke Dowling, Frances Dee, Chloe chambers and Rosie Heath)

Overall, I really enjoyed the evening however I can’t help but feel something was missing. I can’t quite put my finger on it. It was missing its wow factor. Despite this, Eugenius is definitely a show to bring back nostalgia for people who grew up in that decade with hilarious references! However people not of that generation will also understand the vast majority of the references too! It will be enjoyed by all (12+)

You can find Eugenius at The Other Palace until March 3rd. For more information on the show and tickets please visit https://www.theotherpalace.co.uk/whats-on/eugenius

#GOEUGENIUS

February theatre that has me excited!

February is almost here. Anyone else taken a dislike to how fast January went by?!

But with a new month brings new shows to see and there are several that I am really looking forward to seeing in February!

February holds John Thaw’s Initiative Season at the Actor’s Centre where many writers showcase their new work. One I am looking forward to and already have tickets for is ‘Jam Jars’. The talented Lily Frazer has written this one. It sounds so good! We will get to see the first act in its early production stage and then will have the opportunity to then provide feedback through a Q&A with Lily herself or via feedback cards. I love seeing new work and have high hopes for this one (No pressure, Lily! Ha!) It’ll be great to see this one develop from such a raw state. Information about ‘Jam Jars’ can be found here at https://www.tristanbatestheatre.co.uk/whats-on/jam-jars

This next one I will be mentioning has already begun previews and I technically won’t be seeing it in February but my review will be posted that month! (I’m seeing it January 31st) Eugenius will be at The Other Palace throughout next month and is one that I have been dying to see. I missed its run at London Palladium last year so had to jump on the opportunity this time round. I have only heard great things about this show! Even more so now the previews have started at The Other Palace and I keep seeing friends posting about it. Beyond excited to see it on Wednesday! Ticket and show information: https://www.theotherpalace.co.uk/whats-on/eugenius

The Vaults Festival is also taking place over February where over 300 new shows will be showcased. I love this idea and how they are providing an opportunity for new work to be seen in a completely welcoming way. Such a variety including theatre, comedy and film. There are so many that I have my eye on. Vaults Festival will be taking place from January 24th until March 18th. All information regarding shows, dates, location and tickets can be found at https://vaultfestival.com

From February 20th to February 24th you can catch ‘Beats on Pointe’ at The Peacock, London. This sounds epic! All the way from Australia, Masters of Choreography will be bringing their talents to the stage in the heart of London. Have you ever thought ballet and street dance could never be mixed? Two polar opposite dance styles? Wrong! They are about to demonstrate that these go hand-in-hand to provide a whole new dance experience. This is a show that I will be jumping at! Tickets available at http://peacocktheatre.com/whats-on/beats-on-pointe-masters-of-choreography/

So, those are some of the things I am excited for. What shows are you looking forward to? Let me know down below and don’t forget to give those I’ve mentioned some love! Check them out and get those tickets!

Whisper House – REVIEW

Whisper House

The Other Palace, London

 

Seen on May 22nd, 2017

Reviewed by Jade Prince

★★★

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

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

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

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

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

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

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

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