Priscilla Queen Of The Desert (UK Tour)

Priscilla Queen Of The Desert (UK Tour)

New Theatre, Oxford

–Gifted–

Reviewed by Jade Prince

Tuesday 24th August 2021

★★★★

Theatre is back! I am late saying those words because I haven’t had the chance to get to the theatre since everything started opening back up and it feels marvellous. 

What was even more marvellous was having Priscilla Queen of the Desert being the show to come back to! It was such a great show filled with everything camp, bright, colourful, sparkly and accompanied with complete bops (yes, I have just said bops!)

Based on the 1994 movie with the same name, Priscilla Queen of the Desert drops you in the heart of the Australian outback where Priscilla carries Tick, Adam and Bernadette in style to Alice Springs where they are set to perform. The journey is filled with several surprises, new relationships, and small towns where the flamboyant drag lifestyle isn’t welcomed with open arms. 

I have to say the script was my favourite part. It was so quick-witted that I found myself still laughing at the joke just delivered and missed the next one being fired! I always appreciate intelligent humour. So often can shows pack in crude joke after crude joke causing the audience to think ‘here we go again’ but this script was very different. There were the crude jokes and many innuendos but there was also a large number of really clever one liners that caught me off guard. Obviously with humour the delivery is paramount and this cast definitely delivers the humour. 

The choreography began to get a little repetitive but this was forgiven with the amount of energy the cast put into it. There were a couple of costumes that caught my eye but not always in the good way. I love drag and all of the glitz and glamour associated with the wardrobe so my eyes were very much analysing every piece on stage. There were a few numbers where, to me, the costumes detracted from the choreography and looked bulky not allowing for fluid movements. Within the cast there was a great diversity of body types which in my opinion you don’t get to see as often on stage especially for female cast members so that was incredibly refreshing. With this I feel as if the wardrobe department neglected some of the costumes with focus on the trench coats that made appearances several times during the show. It didn’t appear they were all tailored to the individual bodies leaving some cast members looking a little drowned in the coats. 

However, apart from that little nag there literally wasn’t anything else to fault. It was such a fabulous night out and one that I would highly recommend for people who have missed the theatre and are a little apprehensive about going back. The whole auditorium was filled with such energy that it was very easy to forget what this past year and a half has entailed. There is no way you can sit there and not feel happy with the songs that flood the theatre. The story does take some dark turns but I loved the fact that as soon as the opening bars of the next number were heard, a subtle murmur through the auditorium started with the realisation that although the scene was sad, the music irony wasn’t going to let it stay there. 

I think at the moment this is something we all need as well as delivering the message that every show is echoing: I will survive. If that isn’t the message we all need at the moment then I have no idea what we need. 

Priscilla Queen of the Desert will be at New Theatre Oxford until 28th August 2021 before continuing with its UK Tour. 

Information and tickets for New Theatre Oxford can be found here.

Information, venue and tickets for the rest of the tour can be found here. 

Stay safe, wear a mask and enjoy the theatre! 

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.

 

Amour – REVIEW

Amour

Charing Cross Theatre, London

 

Reviewed by Jade Prince

Seen May 8th, 2019

★★★

Did I ‘amour’ this show?

Amour I did not but that’s not to say I hated it. In fact, I’m on the fence about it, or should I say, in the wall. Sorry, I couldn’t help myself!

‘Amour’ takes place in the 1950s in Paris. I mean, with that title, it couldn’t really take place anywhere else?

The story focuses on Dusoleil (Gary Tushaw) who appears very comfortable in life. Comfortable. Nothing out of the ordinary. Working as a civil servant, passing the time writing letters to his mother when his mind isn’t wandering and daydreaming about Isabelle (Anna O’Byrne). All of this changes one night when he discovers he possesses the ability to walk through walls. This new ability provides him with the courage of not only helping the less fortunate but to win the heart and save Isabelle from her controlling marriage.

There was something about this show which had me feeling pretty, ‘meh’. Although reflecting on each individual component, I’m struggling to but my finger on what this show was lacking.

Individually, the artist direction for many features was beautiful and whimsical however collectively, the spark didn’t ignite.

The traverse stage set up was a unique decision (although this was probably swayed by the previous show that played at Charing Cross Theatre). I personally don’t think it lent itself well to the story. It definitely restricted what we saw on stage. If the stage/venue had been bigger, I think the traverse stage would have been wonderful. Direction-wise, it was clear that time and thought had been put into the actor’s movement. Each side of the audience was catered for and at no point did I feel like I was watching the show from backstage.

The cast were incredible! Vocally outstanding and it was a joy to listen to all of those harmonise! It was beautiful when the score built and each character was singing there own verses over each other.

I have to say I was very surprised that it wasn’t Jonathan Lipman doing the costume design for this show. The costumes were very similar to his style. It looked like the costumes were pulled from previous shows at Charing Cross Theatre where Lipman had overseen the costumes. I understand why the Monochrome theme was selected, to be in keeping with the Parisian love story. I just really wish a different spin had been put on it. It was disappointing as its been seen in so many other shows.

Lyrically the show was very cleaver. It was sung from start to finish so it is important you pay attention. Occasionally I found it really difficult to follow as the lyrics are sung very quickly. A lot of the jokes come at those points and I found myself sat there in a sea of chuckles having completely missed the joke myself. There was the occasional play on words which made them sound rude until the whole thing came out. I really appreciated that especially with one of the riskier words!

-Now this is something I don’t normally say-

If the opportunity comes around and I get to see the show again before it closes, I definitely will. I didn’t hate it but at the same time, going in ‘blind’ and not knowing anything about the show hindered my experience. I do think a second watch will highlight a lot of things I initially missed and bring a new appreciation to the show. 

All in all, it was a very charming piece and lives up to the main promo quote provided by NY Times, ‘a bedtime story for grown ups’. Nothing too over stimulating although enjoyable at the same time.

‘Amour’ is playing at Charing Cross Theatre until July 20th, 2019.

More information on the show and tickets can be found here.

Lorna Dallas: Stages – REVIEW

Lorna Dallas: Stages

The Crazy Coqs, Live at Zédel, London

Reviewed by Mark Sykes

Seen March 6th, 2019

★★★★

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

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

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

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

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

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

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

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

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

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

Thriller LIVE – 10th Anniversary Performance – REVIEW

Thriller LIVE – 10th Anniversary Performance

Lyric Theatre, London

.

Reviewed by Katie Middlebrook

Seen January 22nd, 2019

★★★★

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

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

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

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

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

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

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

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

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

More information and tickets can be found here.

Broken wings – REVIEW

Broken Wings

Theatre Royal Haymarket, London

 

Seen August 1st, 2018

Reviewed by Mark Sykes

★★★★★

Having followed the development of the new musical Broken Wings for quite a while on social media, then obtained the concept album back in May and watched the YouTube recordings in awe of the talent on display, it was with much excitement that I visited the Theatre Royal Haymarket on Wednesday 1^stAugust 2018 for its world premiere performance.  It was a stunning portrayal of a story about love, heartbreak and tragedy, and which leaves a lasting impression on the audience.

I’ll admit that until Broken Wings surfaced as a new musical in development, I had never heard of the poet Kahlil Gibran, the third best-selling poet of all time.  But having worked in Saudi Arabia for 6 months (in part wanting to learn more about their culture), Broken Wings once more sparked my interest in the Middle East and has provided an opportunity to learn a bit more about the culture of this region.

The show has a simple stage setting – the rear half has the orchestra sat either side of a raised element.  In the first act, the older Gibran (supremely played by co-writer Nadim Naaman) is positioned here with his writing table as he narrates his story and watches on as his younger self (played by Rob Houchen) enacts his early life in the front half of the stage.  The first act introduces all of the main characters and provides the setting for Gibran and Selma to meet and form a relationship that ultimately can never be consummated.  I have seen Rob Houchen a number of times this year and he always impresses with his dynamite vocals.  He has great chemistry with Selma, portrayed by the wonderful Nikita Johal.  Nikita deserves special praise as she stepped-up from the ensemble at short notice to take on the lead role, and she performed it with a great sense of assurance and poise.

Selma’s father, Farris (Adam Linstead) and the Bishop (Irvine Iqbal) also provide focal elements of the story.  Whilst Farris can see the blossoming relationship between his daughter and Gibran, he is persuaded by the Bishop to give her hand in marriage to another – and sets in motion a sequence of events that will lead to heartbreak and tragedy.  Whilst Selma is married off to a philandering man she doesn’t love, her friendship with Gibran is rekindled via a series of illicit meetings.  Ultimately though, Selma’s pregnancy and subsequent events (no spoilers here!) provide a devastating conclusion to this love story.

The second act has the staging partly reversed, with the older Gibran at the front of the stage providing narration for some of the scenes playing out on the raised element.  I found this actually worked quite well; the lack of endless scenery transitions kept the story front and centre and continued to flow seamlessly.  Having the orchestra on the stage was nice to see (and neatly dressed in appropriate attire) and was a positive enhancement.  The only negative of the staging was the use of smoke/dry ice.  I felt it didn’t add anything to the story or atmosphere; indeed there were occasions when events taking place in Farris’s garden were almost overwhelmed by the smoke (albeit this was less obtrusive in act 2).

The music, lyrics and orchestrations are really excellent and I would heartily recommend people buy the concept album if you don’t already have a copy.  The stand-out songs are Selma and Spirit Of The Earth.  This latter song (and it’s reprise as part of the Finale) is probably the highlight of the entire show.  It brings the entire cast front and centre in an electric-charged performance that brings a lump in the throat; it compares equally to any of the big numbers in the likes of Les Miserables, Miss Saigon, etc.  Here though, I have to single out Soophia Foroughi who provides the lead vocals for this song and also plays Gibran’s mother.  I am in love with this voice!  If you watch the YouTube video of Spirit Of The Earth you’ll understand, but Soophia is one of those artists that sound even better live.  A simply supreme vocal performance.

The entire cast, including ensemble members, were excellent; there wasn’t a single weak link.  Joe Davison (Conductor) and the orchestra were also faultless; and again it was so nice to be able to see them in a West End show.

As for Nadim Naaman and Dana Al Fardan, they have created something special.  I so much hope that the four days at the Theatre Royal Haymarket is just the beginning for the stage show.  It deserves an opportunity to grow and mature, and to perhaps come back bigger and better.  Yes, I learned a bit more about Middle Eastern life, but people shouldn’t let it’s Lebanese origins put them off wanting to see this.  Miss Saigon has a love story at its heart, with Vietnam as its setting; Broken Wings has similar parallels (as do many other successful musicals).  Put any prejudices to one side and watch and listen to a genuine love story; you will be rewarded well.

Click here to see Hiba Elchikhe (Selma) and Rob Houchen (Younger Gibran) perform I know Now from the Broken Wings original concept album.

If you don’t already have the concept album, you can order it 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! 

Great British Mysteries? – REVIEW

Great British Mysteries?

Soho theatre, London 

 

Seen May 18th, 2018

Reviewed by Jade Prince 

★★★★ (so close to 5!)

Where do I start with this one.

The best place is probably stating that I loved it!

I went in and the only thing I knew about the show was that it was a mockumentary. Now that could go either way.

The first 10 minutes, I found myself in the uncomfortable unknown. Olive Bacon (Rose Robinson) and Dr. Teddy Tyrell (Will Close) were setting the scene leaving the whole audience in limbo. A lot wanted to laugh at these early jokes but were still plucking up the courage. This probably wasn’t helped by the intimate venue (but this was actually the ideal setting)

It really didn’t take that long before Olive and Teddy had the audience in the palm of their hand. I have to admit, I can be a very tough nut to crack when it comes to shows like this and for me to sit there front row crying with laughter is a rarity!

I loved the whole set up with this being the final episode of their televised series, looking back at all the highlights which were voted for by fans. You get to see the pair’s less than serious approach to uncovering the truths about the greatest British mysteries known to man.

The chemistry between Rose and Will is really what kept the show going. They were able to bounce off each other so effortlessly. Their comedic timing was on point. This is something, as a performer you either have it or you don’t. If the script wasn’t funny enough the sudden corpsing  on stage really had the audience howling. But like true professional they were able to pick right up where they left off.

Joseph Hancock directed the show and although it was very basic and clearly on a budget, the use of the screen and the projector worked really well. It really helped break the scenes up and gave Rose and Will a bit of a breather. As an audience member I do find it nice to be able to draw my attention to something else and then go back to the laughter. It was all done in such a way that you didn’t miss anything.

Nothing about this show is serious which is why it was such a delight to watch. Harmless, silly comedy. Something I haven’t seen for a while. It is clear to see why it had a sold out run at the Edinburgh Fringe 2017.

If you claim to need evidence to believe this show is good before you purchase tickets, I have one thing to say….”evidence?!…..Shmevidence!”

Just get your tickets and know you’ll be guaranteed a great night.

Great British Mysteries is currently touring a select number of venues in its preview stage. More information on the venues and dates can be found on their twitter page.

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.

Masters of Choreography: Beats on Pointe – REVIEW

Masters of Choreography: Beats on Pointe

Peacock Theatre, London

 

Seen on February 20th, 2018

Reviewed by Jade Prince

★★★

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Woman in White – REVIEW

The Woman in White

Charing Cross Theatre, London

 

Seen on December 14th, 2017

Reviewed by Jade Prince

★★★★

Another love story focusing on betrayal and greed and a secret that needs revealing. This eerily beautiful musical follows Walter Hartwright (Ashley Stillburn) as he endeavours to find out this mysterious secret after a strange encounter with the ‘woman in white’ on his travels. A simple work trip to become an in-house drawing master to half-sisters Laura Fairlie (Anna O’Bryne) and Marian Halcombe (Carolyn Maitland) turns into something more chilling.

Right off the bat this show was pretty slow to start with but thankfully the pace picked up halfway through act 1. I went into this show not knowing anything of the story. This is a Webber musical/Charlotte Jones book I have never delved into. At the interval I felt that it was very predictable both lyrically and with the story. Having seen the complete show now I still stand by what I said about the predictability of the lyrics but the story took a lovely turn.

It took a while for the show to captivate me however once it did it was beautiful. I have to be truly honest, the majority of the music didn’t do much for me. A small portion of the numbers were very nice especially when the three voices of Carolyn Maitland, Anna O’Bryne and Sophie Reeves (Anne Catherick) came together. Their voices alone were stunning.

The set was really nice and I loved the way the woman in white could just appear in the middle of the stage. This added even more to the uncertainty and chilling feel. For those who were not familiar with the story (me!) it raised the question, “is she really a ghost?”. Something my attention was drawn to (now this is me being very nit-picky) was the way the costumes were lacking in detail. For the time period they seemed very drab.

The whole cast were very strong regardless of age. The standout performer had to be Sophie Reeves (Anne Catherick). Her performance was stunning and she fit the character to a T. Vocally and visually she was mesmerising.

Overall, I did enjoy the show and I highly recommend it. The Woman in White has a very limited run at Charing Cross Theatre so be sure to grab tickets sooner rather than later! More information and tickets can be found at: http://thewomaninwhite.co.uk/ 

The show is booking until February 10th, 2018.