Reviews – Page 114 – Theatre Things

Review: Dirty Dancing at the Orchard Theatre

Published on September 6, 2016September 6, 2016 by LizLeave a comment

It’s a show that needs no introduction. Like the movie on which it’s based, Dirty Dancing the musical has been a runaway success ever since it first opened in Australia in 2004, and continues to thrill its devoted fan base to this day (this is a show that has no need to cast TV or pop stars to bring in the crowds). Now it’s back for a brand new 2016/17 tour, directed by Federico Bellone – and while return visitors may notice a few differences in the staging, the show itself retains a comforting familiarity that pretty much guarantees its ongoing success.

For die-hard fans, there’s really very little I can say by way of review, because the show lifts almost all its dialogue, music, dance moves and even some of the costumes directly from the movie – and as long as Baby gets to carry a watermelon, and nobody puts her in a corner, there’s not much for even the harshest critic to complain about. There are a few additional scenes that seem intended to provide a bit of depth, and while there’s nothing wrong with that, the truth is nobody’s going to see Dirty Dancing to hear about freedom riding or how Baby’s parents got together; the show would have gone down just as well without any of the extra content. (Well, with the exception of Johnny flashing his bum, which I think it’s fair to say most members of the audience considered an essential and long overdue addition.)

The cast, led by Katie Hartland and Lewis Griffiths, do a great job of recreating their well-known characters in both look and personality. The dance numbers are genuinely sensational and a joy to watch, particularly those featuring Griffiths with Carlie Milner, who plays Penny. And there are strong vocals from Michael Kent and Daniela Pobega, although it does feel like the show could have given these two talented singers more opportunities to shine; most of the musical tracks are taken straight from the original soundtrack, with a full-length version of She’s Like The Wind the only noticeable absence.

Roberto Comotti’s rotating set reproduces every bit of Kellerman’s camp in all its wholesome glory (the effect marred only slightly by a distracting mechanical squeak that could often be heard even over the music), while a huge video screen is put to equally effective use for other scenes – the bit in the lake is particularly creative, drawing audible sounds of appreciation from the audience.

With Dirty Dancing, you get exactly what you’d expect: an entertaining story, familiar characters, a few steamy moments, and a string of fabulous music and dance numbers. It’s also a massive cheese fest, obviously, but the show makes no effort to gloss over that fact, choosing instead of revel in it and, if anything, take it up a notch. And we wouldn’t have it any other way.

I think it’s fair to say this is a show that will have audiences singing, dancing, swooning, and having the time of their lives (sorry, I couldn’t help it) for many years to come.

Dirty Dancing is at the Orchard Theatre, Dartford until Saturday 10th September.

Review: The Gospel According to Philip, Theatre N16

Published on September 5, 2016January 6, 2018 by LizLeave a comment

For Arrows & Traps, known for their popular adaptations of Shakespeare and other classic works of literature, The Gospel According to Philip is unfamiliar territory. A brand new comedy written by Richard Melchior and Heidi Svoboda, the play couldn’t be more different to the company’s last two shows: a bloody and politically charged Macbeth, preceded by a gripping adaptation of Tolstoy’s epic novel, Anna Karenina.

So, a bit of a gamble perhaps for Arrows director Ross McGregor, but did it pay off? Absolutely.

To be more exact, The Gospel According to Philip left me wondering why it took Arrows & Traps so long to tackle their first outright comedy. Not to mention giggling all the way home over the brilliantly bonkers dance routines. (If you need only one reason to see this show, make it the unforgettable sight of Jesus Irish dancing. You’re welcome.)

The play is an irreverent re-imagining of the story of Jesus and his disciples, leading up to the crucifixion, all set down in often quite unnecessary amounts of detail by Philip, the newest member of the gang. Will Mytum, who plays the eager apostle, is irresistible from the moment he steps on stage – even before he opens his mouth, he has us laughing with his earnest expression and childlike excitement… and he only gets more adorable as the play goes on.

As in previous Arrows productions, every member of the cast excels, with most of them taking on multiple roles, and all proving themselves to be gifted comedians. Adam Elliott is full of charisma as bad boy Judas, while Elle Banstead Salim is a whirlwind of energy as feisty chatterbox Mary Magdalene (and also puts in a couple of fantastic cameos as a bride upstaged by Jesus at her own wedding, and Pontius Pilate’s Catherine Tate-inspired receptionist). Alex Stevens has perhaps the most challenging role as Paul, whose wildly homophobic language only thinly veils his private confusion and vulnerability. And then there’s Jesus, played by Pearce Sampson, master of the beatific smile, albeit often through gritted teeth, who grows increasingly frustrated as the disciples persist in asking awkward questions he can’t answer.

Which brings us to the message at the heart of a play that’s undoubtedly very funny, but has a serious point to make as well. In a scene that even the script acknowledges is a bit preachy and makes everyone uncomfortable, a smiley, likeable Devil (Olivia Hanrahan-Barnes) paints a vivid picture for Jesus of the bleak future ahead, in which human beings will commit acts of horrifying violence in the name of their faith – but even this can’t deter him from the path laid out for him. Later, Jesus asks Matthew Harrison-James’ Geordie-accented God (who has a few issues of his own to work out) why he has to die in such a horrific way, and – while clearly dissatisfied with the response – goes ahead and does it anyway, because that’s The Plan.

Perhaps it sounds like Melchior and Svoboda’s play is anti-religion, or out to cause offence. It’s true that it plays fast and loose with the Bible as we know it – although I must admit I quite enjoy the idea that the Last Supper might have consisted of crisps and rum instead of bread and wine. But ultimately, the unexpectedly sombre final speech of an older, wiser Philip is one of acceptance. Some people have faith; some don’t, and ultimately it doesn’t really matter – as long as we exercise caution. Believing something just because “it is written”, without question, is just as dangerous as believing nothing at all – and that’s a rule that could be applied to all kinds of things, not just religion.

The Gospel According to Philip is witty, cheeky, sometimes very silly and ultimately pretty challenging. And it’s been brought to life for the very first time by a company who, it seems, can turn their hand to just about anything. Including Irish dancing, apparently.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Bugsy Malone at the Orchard Theatre

Published on August 13, 2016 by Liz3 Comments

The Summer Youth Project at Dartford’s Orchard Theatre brings together a 100-strong community cast of young people aged between 9 and 19, who’ve had just two weeks to rehearse a show before taking to the stage and performing for friends, family and the general public.

Now in its seventh year, previous SYP productions have included Fame, Annie and Footloose, with last year’s Oliver! described by reviewers as “West End standard”. Does this year’s choice, Bugsy Malone, live up to its predecessor? You’d better believe it.

Bugsy is a great pick for a project of this kind, because besides being a family-friendly show with some irresistible tunes, it also has a huge amount of speaking parts; the list of characters in the programme is a page long. As a result, the Dartford audience gets to enjoy a true showcase of the vast amount of talent to be found on our doorstep. Many of the characters only have a few lines, but that doesn’t stop the actors making the most of their moment – like Thomas Gill, who has us eating out of his hand as Babyface (a.k.a. “the star of Dartford”), or Charlotte Whyte, who sparkles in her brief appearance as the spoilt diva Lena Marrelli.

Bugsy himself is played by Reece Eastgate, who owns the stage with cool confidence and charm; I’ve no doubt he’s got a great future ahead. Joseph Warrilow is great fun as Fat Sam, the incompetent gang boss and nightclub owner, while Calum Page’s slick, ruthless Dandy Dan wouldn’t look out of place in a remake of The Godfather.

There are some fantastic vocal performances too, most notably from Hollister Jacob as wannabe singer Blousey Brown, and Olivia Clark, who not only has a beautiful voice, but on Saturday afternoon also proved her professionalism as she powered through Fizzy’s solo number, Tomorrow, despite some distracting sound interference.

I could name everyone… but we’d be here all week. Suffice to say, every single member of the cast gives it their absolute all, and knowing the short time they’ve had to prepare only makes the achievement all the more impressive.

Directed and choreographed by Richard Peakman, who’s worked on the last five SYP productions, with musical direction from Melanie Crouch, the show dazzles most in its big musical numbers, during which the entire cast fill the stage and auditorium with an irresistible energy and enthusiasm. The finale is particularly infectious, with neither cast nor audience wanting the show to end.

Unfortunately this review is coming towards the end of the three-day run (I was meant to be there for opening night but had a train disaster), but if you have time to grab a ticket for the final show tonight, I really recommend it. Colourful, energetic, funny and joyful (not to mention the most child-friendly gangster story ever written – imagine how much better the world would be if all guns just squirted cream instead of bullets), the production is a wonderful testament to the power of theatre to bring people together – and for those of us who are regulars, it’s a refreshing reminder of the pleasure it can bring to so many.

Bugsy Malone has its final performance tonight, 13th August, at the Orchard Theatre, Dartford.

Review: Ctrl+Alt+Delete at Camden People’s Theatre

Published on August 10, 2016January 6, 2018 by LizLeave a comment

Ctrl+Alt+Delete, written and performed by Emma Packer, is a solo show introducing us to Amy Jones, a bubbly, optimistic young woman who adores her granddad, loves the Spice Girls, and writes repeatedly to her idol Nelson Mandela, never once considering that he might not reply. But there’s a darker side to Amy’s story; she’s been mentally and physically abused by her manipulative, violent mother throughout her childhood and teenage years, for reasons that she’s never been able to understand.

The piece is beautifully written, reflecting Amy’s love of creative writing; the language evokes some stunning images and often sounds more like poetry than prose. At times, the show flows almost like a stream of consciousness, jumping back and forth in time as both Amy and her mum share their memories with the audience. Packer plays both women, keeping the two totally distinct in accent, tone of voice and even appearance; while Amy has a wide-eyed, earnest expression, her mother wears a constant snarl as she remembers the many people who’ve angered her – above all, her young daughter – and the cold, calculating way she’s taken her revenge. Even when she finally reveals her motivation, there’s very little redemption in store for this character.

Alone at the centre of a bare stage, with only a chair for company, Emma Packer’s compelling performance absolutely commands our attention. Whether she’s laughing with her friend about Simon Cowell’s trousers, or tearfully remembering the death of her grandad (an event hinted at but never fully explained), we’re with Amy all the way. It’s at the end of the show that things start to go slightly off course, as the focus suddenly switches from Amy’s personal journey to a broader political statement, in which parallels are drawn between the betrayal of an abusive parent and the lies of those in power that have led to everything from the London riots to Brexit. It’s not that the metaphor doesn’t make sense – it just happens very suddenly and, frustratingly, interrupts a story that isn’t quite over yet, and in which we’ve become increasingly absorbed.

As the story of a young girl struggling to understand why her mother – the one person who should love her unconditionally – seems to despise the very sight of her, Ctrl+Alt+Delete is a powerful show. As a political statement, though there’s no doubting Emma Packer’s passion, it feels slightly clumsy and a touch heavy-handed in its conclusion. That said, there’s a lot of food for thought in this story about abuse on many levels, and an important message in there if it could only be worked in a little more smoothly from the start of the show.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Harry Potter and the Cursed Child at Palace Theatre

Published on August 8, 2016January 6, 2018 by Liz2 Comments

It’s not been an easy few weeks. Ever since I was lucky enough to be at a preview performance of Harry Potter and the Cursed Child, friends have been asking questions – some blatant, others a bit more subtle – to try and find out what happens.

Unfortunately for them, I was handed a yellow #KeeptheSecrets badge on my way out of the Palace Theatre. And this is something I take extremely seriously, so my lips have remained firmly sealed – and this review will be no exception. No spoilers here, I’m afraid.

But here’s what I can say about the eighth Harry Potter story: it’s awesome. Created by the dream team of J.K. Rowling, playwright Jack Thorne and director John Tiffany, Cursed Child is funny, sad, scary, dramatic, magical and jaw-dropping, with all the suspense and excitement of a new story, but also the comforting familiarity of stepping back into a world we thought we’d seen the last of. This means that while it stands independently as a new chapter, if you’re not up to speed on the events of the books, I’d recommend doing a bit of research before you go – if only so you can join in the universal audience reactions to certain events. (There’s something pretty special about hearing 1,400 people gasp in perfect unison.)

The production also boasts a fabulous cast, led by Jamie Parker, Paul Thornley and Noma Dumezweni, who are spot on as Harry, Ron and Hermione. The trio are just as we remember them – Hermione the high achiever, Harry the unwilling legend, and Ron… who’s just Ron, and still my favourite – but now grappling with grown-up problems and emotions. Meanwhile the children are, naturally, having adventures of their own (well it is Hogwarts, after all), and Sam Clemmett and Anthony Boyle step effortlessly into the new roles of Harry’s son Albus and Draco Malfoy’s son Scorpius, two characters living in the shadow of their fathers’ past. While some cast members may have more lines than others, though, this show is very much a team effort, with many actors doubling or even tripling up on parts (several of them instantly recognisable from the books and movies), and not one of them disappoints.

Oh right, and there’s magic. Any fears that the magic might have been a bit lame without the benefit of CGI were laid to rest within minutes, and the main question anyone was asking by the interval of Part One was “But… but how?!” Things happen on that stage that literally can’t be explained by Muggles like me – so I won’t even try.

Perhaps what’s most impressive about Cursed Child is that in many ways, despite the big cast and the amazing effects, it doesn’t feel like a huge-scale production. Some scenes are actually incredibly simple, encouraging us to use our imaginations to flesh them out – and even for those of us sitting way up in the gods, there’s a certain intimacy about the play that shows director John Tiffany really understands how attached his audience are to the characters and story. At the risk of sounding cheesy, it’s almost like everyone in the theatre is part of a big family, all there to catch up with mutual friends. The show is an experience that begins the moment we step inside and receive a warm welcome (and later, welcome back) from the staff, and the theatre itself even feels a bit like Hogwarts, with its twisty stone staircases and slightly creepy sculptures. I’m actually not surprised everybody kept the secrets during the show’s previews – by the time you leave and receive your badge, you’re well and truly a member of the club.

Now that the script’s been published, no doubt spoilers will start to leak out, but my advice, if you’re planning to see the show, is to avoid them. Don’t read the script; don’t ask questions. Just wait until you can experience Cursed Child in all its spectacular brilliance… and thank me later.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉