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Review: Scrooge and the Seven Dwarves at Theatre503

Published on November 29, 2016January 6, 2018 by Liz3 Comments

I’ll be honest; I wasn’t really feeling the Christmas love when I arrived at Theatre503 last night; even being handed a glass of mulled wine and a mince pie didn’t quite do the job. Lucky then that the Sleeping Trees were more than up to the challenge of unearthing my festive spirit.

In this year’s pantomime, Scrooge and the Seven Dwarves, the comedy trio made up of Joshua George Smith, John Woodburn and James Dunnell-Smith, are determined to make good on last year’s fiasco, when they forgot to book their 30-strong cast of actors. Surely something that disastrous couldn’t possibly happen again…?

You see where this is going.

Over the course of the next two hours, this hilarious tale brings to life a mash-up of Dickens and Disney, with Santa thrown in for good measure. Unlikely hero Ebenezer Scrooge is transported to Fairytale Land by Santa’s mother, charged with saving the day after the Wicked Witch steals all the Christmas spirit. I could tell you more – but I don’t want to ruin it, because it’s the twists and turns that make this story so fabulous; you literally never know (and it often feels entirely possible that the actors don’t either) what’s going to happen or who’s going to appear next.

I also fear I wouldn’t be able to do justice to the unique genius of Sleeping Trees’ creations, which include a depressed Mary Poppins, a gurning Wicked Witch and an overenthusiastic Broomstick, accompanied from a corner by composer and musician Ben Hales, who besides being a brilliant and versatile performer, also carries off a series of ridiculous hats (and an even more ridiculous Act 2 costume) with effortless style.

Scrooge is a family show, and although the audience last night was largely composed of grown-ups (in age, at least), I can imagine children adoring it – not least because they get to throw stuff, sing songs and join in with all the usual pantomime madness. In the intimate space at Theatre503, the banter flows easily and naturally between audience and actors, with the front row being particularly hot seats in that department…

Though the attention to detail and comic timing are second to none, like all the funniest comedy it’s not always clear what’s planned and what just sort of happens in the moment. The actors, who are clearly having a blast, seem frequently as amused as the audience, but also have the quick instincts of true comedians, enabling them to respond to whatever mayhem goes on (last night’s show, for instance, featured an incident which, if it was in fact unplanned, was the best example of falling with style I’ve ever seen).

This is my first pantomime of the season, and while the others may enjoy bigger budgets and household names, they already have a huge standard to live up to. Face-achingly funny, with an imaginative and endearing story and songs that are far too catchy (24 hours later, I’m still singing the closing number), this is an absolute must-see that I shall be recommending repeatedly to anyone who’ll listen for the rest of the holiday season. Merry Christmas…

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: Sunny Afternoon at the Orchard Theatre

Published on November 16, 2016November 17, 2016 by Liz1 Comment

Sunny Afternoon won a bunch of awards when it opened to rave reviews in 2014, with fans of all ages going crazy over it (I know of someone who saw the show over 100 times). When I finally got along to see the show in the West End earlier this year, I enjoyed it a lot – but didn’t fall for it quite as hard as most other people seemed to.

I’m not sure what was different this time. Maybe it was because I was closer to the action, maybe because I knew the songs a bit better. Maybe I was just in a better mood, who knows. Anyway, whatever it was – I’m now officially a convert. In fact I’d go so far as to say this is the best jukebox musical out there (sorry, Jersey Boys fans), and certainly one of the best shows we’ve seen at the Orchard this year.

Written by Joe Penhall and Ray Davies, and directed by Edward Hall, the show charts the Kinks’ often bumpy ride to stardom, and includes all the familiar hits – You Really Got Me, Dedicated Follower of Fashion, Waterloo Sunset… – and a few unfamiliar ones too, at least for those of us who weren’t around at the time. There’s an enjoyable mix of full-on 60s rock ‘n’ roll and quieter tracks like Sitting in my Hotel and This Strange Effect, including a gorgeous a cappella rendition of Days, which give the cast an opportunity to show off their incredible vocals.

But although Sunny Afternoon follows what we might call the standard formula of the jukebox musical – humble origins, rise to fame, trouble at the top, feel-good finale – the story and its characters are also sufficiently interesting in their own right to ensure the show’s appeal extends beyond fans of the band. Feuding brothers, a shotgun wedding, breakdowns, break-ups – there’s more than enough here to keep anyone entertained. It’s also unashamedly British; the Kinks were London boys through and through (and actually got banned from America at one point), and it’s difficult to watch the show without feeling at least a little bit patriotic.

Ryan O’Donnell and Mark Newnham lead the cast as the Davies brothers: Ray, the sensitive genius songwriter, and Dave, the band’s guitar player and full-on rockstar. Their troubled relationship with each other and those around them is the main focus of the story, but not to the exclusion of the other band members; they each get their moment in the spotlight too – Andrew Gallo wows the crowd with a spectacular drum solo, while Garmon Rhys is thoroughly adorable as permanently petrified bass player Pete. They’re supported by a cast of talented and versatile actor-musicians, who swap smoothly in and out of a multitude of roles (and wigs) as managers, fans, parents and more, so it seems like there’s a lot more of them than there really are.

Sunny Afternoon is a colourful (in more ways than one) celebration of the Kinks’ legendary music. But there’s more substance to the show than a lot of jukebox musicals, and maybe that’s why it’s been such a huge hit. Or perhaps it’s just because it’s disarmingly good fun. Either way, it’s one of the best of its kind and definitely worth checking out.

Sunny Afternoon is at the Orchard Theatre until 19th November.

Review: We Live By The Sea at Arts Theatre

Published on September 30, 2016January 6, 2018 by Liz1 Comment

We Live By The Sea, the latest production from Patch of Blue, opened to universal acclaim in Edinburgh this summer, before the company were invited to open the Fringe Encores Series in New York. Now they’re back in London, and having finally seen the show everyone’s been raving about, all I can say is… I get it.

Patch of Blue have worked with The National Autistic Society to bring us the story of Katy (Alex Brain), who’s 15 and lives on the coast with her older sister Hannah (Alexandra Simonet). Katy has to greet strangers by tapping their shoes three times, she can’t stand physical contact and she has an imaginary dog called Paul Williams (Lizzie Grace). She’s also incredibly lonely – until 17-year-old Ryan (Lloyd Bagley) arrives in town. What follows is a poignant and charming tale about an unlikely friendship and how sometimes changing how you think about things can make a whole world of difference.

As ever, the attention to detail in this production is exquisite. This is a company that do their homework, and always aim to bring us a true picture, without any attempts to glamorise or conceal anything (even the fact that it’s theatre – “now we are going to do what is called a montage” was perhaps one of my favourite moments). It’s important that we see past Katy’s autism – and we do; Alex Brain is utterly enchanting, her performance revealing a creative and affectionate young girl, who sees the world with a childlike innocence and vulnerability that make you just want to go and give her a hug… And yet at the same time, the play makes no secret of the fact that doing so would probably earn you a slap. Similarly, the devotion between Katy and Lizzie Grace’s Paul the dog is heartwarming to watch, only for us to come crashing back to earth as Paul explains he’s only perfect because he’s not real.

Alexandra Simonet perfectly captures the realism of the play in her portrayal of Hannah, who seems far older than her 19 years, and is caught between affection for her sister and resentment at everything she’s had to give up to care for her. And the unexpected realisation that Lloyd Bagley’s Ryan – a more complex character than he initially appears, whose story remains something of a mystery – might be getting as much out of the friendship as Katy and Hannah, forces us to reconsider our own assumptions.

We Live By The Sea continues the work begun by the fantastic The Curious Incident of the Dog in the Nighttime, educating audiences about the experience of living with autism. But while Curious Incident does so with spectacular effects, Patch of Blue prove that far simpler techniques can have just as much impact. In addition to live music composed by folk band Wovoka Gentle, Alex Howarth’s production uses sound and light effects to give us an insight into what life’s like for someone with autism in moments of stress; flashing lights, loud noises and overlapping voices combine to create a deliberately uncomfortable effect, which has us squirming in our seat and longing for it to stop.

Yet again, Patch of Blue have created something very special. Heartbreaking, challenging and inspiring, We Live By The Sea offers us a different way of thinking about autism, immersing us in Katy’s world instead of the other way around, and celebrating her as a person without ever shying away from the often harsh reality of her life. It’s a beautiful piece of theatre, and one that everyone should see.

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: 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.

Interview: Born Mad, Sister

Published on August 18, 2016August 18, 2016 by LizLeave a comment

Born Mad is a cutting-edge music theatre company run by director Rebecca Hanbury and composer Alex Groves. In 2014, their first show, Psyche, invited audience members to experience a one-on-one performance that was described as “disorientating and beautiful”. Now, following a sell out première at the Spitalfields Summer Music Festival, Born Mad return to London’s Ovalhouse with their latest work, Sister, a show that combines frank verbatim accounts with live electronic music and song.

“Sister is a show all about the relationships that we may take for granted,” explains Rebecca. “Whether it’s a parent, a sibling, a partner or just our friends, we’re all connected to our loved ones by some pretty unshakeable bonds. Sometimes it’s easy to neglect them or take them for granted, and I suppose part of the reason why we made this show was to celebrate these relationships – the ups and downs, the challenges we all face and the memories we make together.”

Sister, Born Mad, Ovalhouse (4) — Photo credit: Ludovic Des Cognets

The show’s based on real accounts from women across the country, all with a common theme of sisterhood. “The topic of Sister was born out of a shared interest in family, the passing of time and the creation of memory. We also wanted to create work that had complex female characters at its core. We started by interviewing people that we knew, but the project quickly gained momentum when we started to put call-outs for participants via our social media outlets. We were soon overwhelmed with responses, and ended up speaking to nearly 50 women and girls. Three stories really stood out to us, so they form the core of the piece, woven into a tapestry of many other stories.

“In terms of the way that we told these stories, we were inspired by verbatim works such as London Road and John, and wanted to see what would happen if we coupled this super-naturalistic text with our brand of electroacoustic music.”

Rebecca and Alex have been working together for over four years, since meeting at university: “We were both interested in finding a more dynamic way of creating music theatre – bringing the composition of the work into the rehearsal room and playing around with music, text, design and staging all together before putting things down on paper. We’re also both interested in devised theatre – where the work is born out of a direct collaboration between artists as opposed to more traditional writer/director dynamic – so we brought the flexibility and energy involved in bringing together a devised work into a more musical world, and our style has been developing ever since.

“We want to tell contemporary stories in unusual ways, combining our love of music, technology and gripping narratives to bring to life very human stories on stage. Our work aims to combine fast-paced story-telling with a richly textured sound world of live vocals and electronic music, creating shows that appeal to both the head and the heart, and leaving our audience with a new outlook on the world around them.”

Sister, Born Mad, Ovalhouse (5) — Photo credit: Ludovic Des Cognets

Born Mad are no strangers to Ovalhouse, and have fond memories of showing Sister there while the piece was still in development. “It feels really good to be back!” says Rebecca. “As an emerging company, we really appreciate the support of organisations like Ovalhouse as we wouldn’t be able to experiment and play and create truly boundary-pushing work without them.

“We had so much fun rehearsing the piece there back in May and the team were great, so we can’t wait to get the show back up and running. It’s come on quite a long way since then – most importantly, we’ve now got the beautiful designs of Georgia de Grey (set and costume) and Ben Jacobs (lighting), which bring the piece vividly to life. We also still had lots of questions about how we were going to end the piece in our last showing so, unless you saw the première back in June, there’s a few surprises waiting for you!”

The company hope that Sister will encourage audiences to reflect on their own relationships: “We hope people leave with an awareness of what they mean to those who love them and maybe even a desire to reach out and heal old wounds. Sister may shine a spotlight on a single type of relationship but we hope that everyone coming to the show will leave with a new perspective on their own lives.”

Book now for Sister at Ovalhouse from 6th-10th September.