Puccini’s Madama Butterfly (An Ellen Kent Production) – REVIEW

Puccini’s Madama Butterfly (An Ellen Kent Production)

New Theatre, Oxford

 

Reviewed by Jade Prince

Seen January 25th, 2020

★★★★★

This was stunning. An easy 5 stars!

This was the second night of Ellen Kent’s opera productions at New Theatre in Oxford and I thought I’d enjoy La Bohème more. I was very wrong. La Bohème was enjoyable but Madama Butterfly took my initial thoughts of Ellen Kent’s productions to another level.

Another romantic opera set in the heart of Japan, tells the story of a young Japanese woman who falls in love with a visiting American lieutenant. It’s a heart-breaking romance.

Having seen another Ellen Kent production the night prior, it was clear to see that this production got the bigger budget and more attention. It all worked so wonderfully on stage. The initial teething problems with sound from night one had gone. It was obviously the warm up for this spectacular piece.

It was magical hearing the orchestra in all its glory. The music just radiated through you and sent chills down your spine. But then to have that accompanied by the vocals of the talented cast just heightened the whole experience. That was the vibe I expected from an opera. The cast were not holding back. They really gave their all and the outcome was beautiful.

The emotion was raw. Elena Dee was mesmerising as Cio-Cio San. I’ve heard she’s been working on perfecting her role at the end of the show (no spoilers from me! but you probably know where it’s going) and I have to say…I was blown away. It was so moving. Not only the acting but the pain portrayed in her voice.

I adore how poetic the lyrics are. Being able to read the surtitles was great. As we’re talking about the surtitles, I really enjoyed the variation in speed that people were reading them. There are some point which are quiet funny and some people in the audience were a lot quicker at reading them than others resulting in an echo of chuckles. It just made me realise that everybody was getting their own unique experience. It hit home how subjective opera can be and moves people in different ways.

I can definitely see why this production of Madama Butterfly won the ‘best opera award’ from Liverpool Daily Post Theatre awards. Just like a butterfly, Madama Butterfly was splendid to watch.

The same as La Bohème, Madama Butterfly has just began its tour of the UK with many more dates seeing it through until April 2020. Personally, I highly recommend this piece. I thoroughly enjoyed the whole show.

Click here for more information on upcoming venues and tickets.

Puccini’s La Bohème (An Ellen Kent Production) – REVIEW

Puccini’s La Bohème (An Ellen Kent Production)

New Theatre, Oxford

 

Reviewed by Jade Prince

Seen January 24th, 2020

★★★★

Arguably one of the most romantic operas ever written, Puccini’s La Bohème sees a young poet and seamstress meet and fall in love. It’s a story of struggles with poverty and health and how this blossoming romance holds under the pressure.

This was a nice production however there were a few things that I could not overlook. I was toying between giving La Bohème three or fours stars. Having now seen another Ellen Kent production, four stars for this is the correct choice. In reflection it would have been far too harsh to give this moving production three stars.

The main purpose of the opera was met. It was vocally beautiful and heartbreaking. It started off rather quiet. There were definitely sound issues. Everything felt a little lost on the stage. The vocals, the acting and the orchestra. Thankfully as the show progressed it started to assert its dominance.

My main critique of the show is how ‘DIY’ it felt. The set and costumes looked so cheap even from a distance. In a way I’m glad we had the surtitles because it distracted from those factors. It’s harsh, I know but it all screamed cheap and very nearly overpowered the show.

Alyona Kistenyova who played Mimi provided endless emotion and constant vocals throughout. She definitely dazzled more in act 1…of 3. The other cast members, although vocally sound, faded into the background. It is a shame but I suppose the opera is all about the music and the voice. These are the main components that carry you on that huge emotional journey. It definitely did that.

All in all, I really enjoyed the evening. I know it seems like a heavily criticised the show. I think for me, an opera is this huge grand experience and unfortunately, this production of La Bohème missed the mark and didn’t match my expectation. Dare I say it felt like a high school production. A good one! But still very much a high school production with a few professional voices dotted through.

This production of La Bohème has just began it’s UK tour and there are plenty of dates left to catch it. More information on upcoming venue and tickets can be found here.

 

King Kong – REVIEW

King Kong

Broadway Theatre, New York

 

Reviewed by Jade Prince

Seen June 4th, 2019

★★★★

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

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

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

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

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

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

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

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

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

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

 

Lorna Dallas: Stages – REVIEW

Lorna Dallas: Stages

The Crazy Coqs, Live at Zédel, London

Reviewed by Mark Sykes

Seen March 6th, 2019

★★★★

Lorna Dallas has had an illustrious career spanning many decades, but has only recently returned to the stage after a 20-year hiatus. From Broadway to the West End (and many locations in between); from Show Boat to Hello Dolly! (and countless others), Lorna Dallas has ‘been there, done that’  – and then some! The journey from being a small town girl in Illinois, to a world-renowned stage performer is what provides the setting in Lorna’s latest one-woman show called Stages.

The show sees Lorna on stage alongside her Musical Director on piano, Chris Denny. Stages begins its journey in Lorna’s childhood years in Illinois and her parent’s initial disapproval of her having any thoughts of a singing career. Her opening number of “There’s No Business Like Show Business / A Glamourous Night” instantly proved that age hasn’t dampened those soaring soprano vocals and Lorna immediately had the audience (sprinkled with some familiar showbiz faces) enthralled.

The show, directed by Barry Kleinbort, was littered with songs written by some of the most famous names in music, such as Irving Berlin, Stephen Sondheim, Cole Porter, Kurt Weill, Kander & Ebb, etc. What stood out for me though was many of the songs were not the usual fare that you would usually hear in this type of show. Each song had been perfectly curated to fit Lorna’s life story, both on-stage and off, with each having a specific personal meaning to her. 

The singing career of Lorna Dallas really began when she won a singing contest whilst still in high school. With 20,000 contestants participating, that first showed the pedigree that she had and which would provide the initial foundation for the lengthy career that was to follow. 

Songs such as “Blues In The Night” (by Harold Arlen and Johnny Mercer) and Cole Porter’s “Never Give Anything Away” (with additional lyrics by show director Barry Kleinbort) continued Lorna’s journey. Songs were interjected by fascinating stories and anecdotes, many amusing but with some striking a more personal note. “Poor Little Hollywood Star / At The Crossroads” was another song for Lorna to display her vocal skills, and it was here that she impressively proved that she could still hold a note.

There is certainly an eclectic mix of song choices in Stages, but it was obvious that much thought had gone into their selection. I suppose none more so that Jerome Kern and P.G. Wodehouse’s song “London, Dear Old London” from their 1922 musical comedy The Cabaret Girl. This fitted well with Lorna’s 2-year stint in Show Boat starring alongside Cleo Laine, and a time that she fell in love with this great city.

The highlight of the evening for me had to be Lorna’s performance of Larry Grossman & Hal Hackaday’s “Empty”. It was a stunning rendition of such a beautiful song; unbelievably, the song was cut prior to the opening of the 1970 Broadway show Minnie’s Boys. Lorna also sang one of my personal favourites, “Teach Me Tonight”, written by Gene de Paul and Sammy Cahn. Whilst the song was written in 1953 (well before I was born!), Lorna’s interpretation still feels fresh – and it also provided the opportunity to shine the light on Chris Denny’s keyboard skills with a lovely solo spot. 

The raw emotions of the evening came to the fore with Ivor Novello & Christopher Hassall’s “My Dearest Dear”. The song has a deep personal meaning for Lorna and it left a deep imprint on the hearts of the audience as well. It was a special moment of the evening.

The evening ended with Anthony Newley & Herbert Kkretzmer’s “If All The World’s A Stage”. It was a perfect way to round off a wonderful journey through time. From a small town in Illinois, to shows such as The King And I and even a Royal Variety Performance in front of Her Majesty, the Queen Mother, Lorna Dallas has come a long way. For me it was as much about the personal tales used to segue the song choices as it was the actual songs being performed; but putting them together lead to perfect combination of music and chat.

The fact that Lorna can continue to deliver shows like Stages to sell out audiences, and importantly provide a fresh interpretation on songs that go back to the early decades of the 20th century, is proof of her pedigree and staying power – the likes of which is such a rare commodity in the 21st century.

Brendan Cole: All Night Long – UK TOUR (Review)

Brendan Cole: All Night Long

New Theatre, Oxford

Seen November 5th, 2018 

Reviewed by Jade Prince 

★★★★

If you watch Strictly Come Dancing religiously, then Brendan Cole is a familiar name in your household. I like to think he warmed your hearts every Saturday night…that was until he got the boot! 

He is still doing what he loves however he isn’t static anymore. Brendan is now touring the UK with his very own show. A show you can see he has put his all into. Dazzling the audience with the classic dance genres you’d expect, from the Rumba to American Smooth to Jive with fabulous vocals and a 13-piece band to accompany. 

This is not a show I would have normally considered seeing. That being said, I really enjoyed it. It started off a little shaky and I was sat there thinking, “Oh! What have I done? Why am I here?”, but it did not take long for Brendan to convert me! Yes, the opening number was shaky. There was a near miss on stage when the spacing went out the window and a rather anticlimactic quick change. But the show itself was very much like a great red wine, it got better with time. Each number topped the one before. 

It definitely was not the set up I was expecting. I very much thought I’d be watching group dance, after group dance, after group dance. Obviously, it was very dance based, its a dance show! But it was split into bitesize sections and kept the audience engaged. It was a continuous change of solos, duet work, vocal performances and extravagant group numbers. 

The choreography was incredibly varied. Occasionally, from my limited experience of watching live dance, the steps can feel very repetitive from number to number. Not in this show. I’d say that no style of dance neighboured a similar style of dance in this line up. My favourite dance of the night had to be the Argentine Tango to ‘Skyfall’. It was mesmerising and a stunning demonstration of dreamy teamwork between Brendan and Faye Huddleston. 

In between the dance numbers brought a more intimate vibe to the show. Just the audience and Brendan. The script was cheesy in places however the sass it what killed me! It was vicious but delivered in such a  nonchalant way. 

Certain numbers where the music worked better with the addition of the lyrics as a pose to the backing track saw Ian Mackenzie and Jenna Lee-James came into play. I was very impressed with these two. Their vocals were on point and suited every style. It was a really nice touch to have breaks in the show for the dancers where both Ian and Jenna could have their own moments to shine. 

Aside from the couple of messy legs, it was a really enjoyable night. If you love watching strictly as a family you need to come along and see this with them. A night of great entertainment. Mr. Brendan Cole will surely warm your heart. 

Be sure to keep an eye out for Brendan’s new show which will be quickstepping its way across the UK in early 2019. Click here for tickets, venues and the latest information on “Brendan Cole Show Man Tour”

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.

Francesco De Carlo: Comfort zone – REVIEW

Francesco De Carlo: Comfort Zone

Soho theatre, London 

 

Seen May 19th, 2018

Reviewed by Jade Prince 

★★★★

With a title like ‘comfort zone’ I was expecting to be thrown out of my own comfort zone however I was pleasantly surprised I wasn’t.

Instead, you learn about Francesco’s own experience in leaving his own comfort zone, Italy, his home country. He brought to the stage his move from Italy to Britain and the challenges/cultural differences he faced along the way but now he is facing his biggest challenge yet…Brexit.

Francesco started the show off by focusing on Brexit and his take on the situation. I have to say, his theory on why Brexit is happening was hilarious! But, yet, simple enough. He came into the country. He hadn’t been here long and then BOOM, England are going. I mean, I didn’t question it too much. Francesco even admitted himself that he has a track record of causing government upheaval. Ha!

It was a really enjoyable show. The audience, including myself, loved it and we were all howling with laughter.

Something I really did notice was that there was no awkwardness at the start of the show. I’ve seen a few comedians now and it is so typical for the audience to be reserved at the start. Gauging the other audience members, the performer and what a safe reaction level would be. However, in this scenarios, Francesco walked out and you knew exactly what you were going to get.

I wouldn’t say that his material was out of this world and 100% original but his delivery was what made it. He focused an awful lot on the stereotypes associated with Italians and the British which was perfectly fine. Once again, a lot of those points you were very much expecting but there were a few in there that caught everyone off guard. But it was so brutally honest.

Overall, I really enjoyed the night. It was easy laughter in response to light hearted humour. There was nothing too offensive or too outrageous thrown into the mix. I would definitely love to revisit Francesco on his next tour!

Follow Francesco on twitter!

He’s also got himself all fancy with a website and everything! It’s one with a mailing list. Just saying. For you to keep up to date with upcoming shows if you fancied it!

Editor’s note: I’m so sorry with that very last section. I’ve been watching far too much RuPaul’s Drag Race. I have no shame! 

A Spoonful of Sherman (UK tour) – REVIEW

A Spoonful of Sherman (UK Tour)

Greenwich Theatre, London

 

Seen March 27th, 2018

Reviewed by Jade Prince

★★★★★

A Spoonful of Sherman retells the story of the talented generations of the Sherman family. Starting with Al Sherman and his success in the 30s and 40s and then slowly moving on to Robert and Richard Sherman who followed in their father’s footsteps, most commonly known as the Sherman Brothers. We are taken on the journey through the highs and lows they faced and the incredible music they left behind to enrich the world. With music from Disney classics such as Chitty Chitty Bang Bang, Mary Poppins and The Jungle Book to some good oldies, this show is perfect for every member of the family. There is something so wonderful about it which taps into the heart of so many different reasons.

I was blown away from the onset. Everything about this show is wonderful. I knew from the first note sung that we were in for a treat! I need to talk about the harmonies. Oh why word. They were impeccable. They were able to capture the decades so wonderfully. You were transported right back to the 30s and then slowly taken on the journey up to the present day. No gimmicks. Just pure talent. It was so refreshing to see such a raw show which was so polished. It has the west end wow factor with the set and talent yet doesn’t rely on a band or elaborate set pieces. Just two pianos, five narrators (two of which play the pianos), a few props here and there and the change in lighting to create such a beautiful piece of theatre.

When I first looked at the list of musical numbers before the house opened, I was slightly overwhelmed. I had a real worry that this show would go on for hours and hours considering 55 numbers are squeezed in. 55?! I have to say that they have crammed so much of the good stuff into this show. It didn’t feel long at all and had such a great flow. You really hear every thing from every milestone in the Sherman family’s history. The song medleys we phenomenal. They really helped to move the show along and gave it great pace. It all seamlessly blended together.

The first act was all very new to me. I don’t typically listen to music from that era but it was great to hear. It wasn’t until the end of act 1 where I started to get rather emotional and nostalgic. Those where the songs that I grew up with! To quote Robbie Sherman, the creator of the concept of the show:

“If you grew up with Mary Poppins then Mary Poppins was in your DVD player or VHS and you watched it over and over again. This was your baby sitter. A personal friend.” <— The full interview can be found here.

I could not agree more. This show will honestly touch everybody. Those from a young age who are only just being introduced to those Disney classics, to those young adults who grew up with Disney as their babysitter and to those middle-aged and older who might have heard the older Sherman songs but are also experts on the well known Disney numbers thanks to their own children and grandchildren. It is a beautiful family outing which connects every generation.

I also need to take a moment to appreciate the set. Wow! What a set that was! It was so aesthetically pleasing but yet so diverse for this show. It was a white box but without looking like a white box. When the tone of the number changed, so did the set with the help of the lighting. I clearly remember how drastic the change was from “There’s a Great Big Beautiful Tomorrow” to “Wind’s in the East”. It was able to go from a really jolly song to something a lot darker in mood. Gabriella Slade did such a wonderful job! It allowed the pianos to blend in so perfectly and allowed their movements to become part of the show.

Overall this show is stunning and I would urge everyone to see it. Take your family and have a great night out. I will definitely be racing to see it again when it stops in my home town at the end of April. Good, old fashioned entertainment that won’t break the bank.

It is such a stunning legacy to the Shermans and a beautiful was to learn the history of such an iconic family who have touched billions of lives.

All information of the ticket websites for various theatres, dates and stops on the tour can be found here. I have included the current upcoming dates and locations below.

–There is also a cheeky little link to a giveaway we are holding if you are quick and catch it in time! Continue down to the bottom of this post for the link–

Upcoming UK & Ireland tour dates:

5-7 April 2018 – Grand Theatre, Swansea

15-17 April 2018 – Queens Theatre, Hornchurch

18-20 April 2018 – Shanklin Theatre, Isle of Wight

24-26 April 2018 – Octagon Theatre, Yeovil

30 April – 1 May 2018 – Wyvern Theatre, Swindon <–My next dates planned! 

7-9 May 2018 – Lincoln Theatre Royal, Lincoln

14-15 May 2018 – Playhouse Theatre, Weston-Super-Mare

16-18 May 2018 – Northcott Theatre, Exeter

31 May – 1 June 2018 – Everyman Theatre, Cork

2-3 June 2018 – Pavilion Theatre, Dublin

 

We currently have a giveaway active on our twitter page. Click here to enter.