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Review: I’m Getting My Act Together and Taking It on the Road at Jermyn Street Theatre

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

The announcement that I’m Getting My Act Together and Taking It on the Road – which for ease of typing, let’s shorten to Getting My Act Together – was to be revived caused a fair bit of excitement in London musical theatre circles. Written by Gretchen Cryer and Nancy Ford, the show gained something of a cult following during its three-year run off-Broadway from 1978, and now a new generation gets to see why, thanks to Matthew Gould’s irresistible production at the intimate Jermyn Street Theatre.

The wordy title, it turns out, is actually a concise summary of the plot. Pop star Heather Jones is marking her 39th birthday with the opening night of a new act, but much to her manager Joe’s horror, her music’s taken a new direction while he’s been away. Leaving behind the banal pop songs that launched her career (and got her to 89 in the charts), Heather’s decided to stop hiding and reveal herself to her audience as the strong, independent woman she really is.

Unfortunately Joe, a well-meaning misogynist, doesn’t know how to sell – or indeed, even talk to – a strong, independent woman like Heather. The ensuing battle of wits is a very personal and angry one, and it soon becomes clear it’s not the new act Heather needs her friend to accept, but the new her (or rather, the her she’s always been but is only now able to show). Along the way, the show opens up a discussion about relationships and gender equality – and though Edward Iliffe’s cosy nightclub set and colourful costumes leave us in no doubt we’re in the 1970s, it’s a discussion that’s nonetheless just as (if not more) relevant today.

Though Getting My Act Together can at times lean a little towards the heavy side, particularly in the dialogue, this is balanced out by some fabulous musical numbers, which range from the uplifting anthem Natural High to the heart-breaking ballad Lonely Lady, and flawless performances from every member of the talented cast. Landi Oshinowo is a joy to watch as Heather; not only are her vocals stunning, but she brings a twinkle and charm to the part that soften the anger in her words. This is not just a bitter divorcee having a rant about men, but a woman who’s proud to have finally discovered who she is and longs to share that knowledge with her old friend (incidentally, Old Friend is another of the musical numbers, and it’s beautiful). The fact that Heather also has a feisty streak only makes her more attractive and enjoyable to watch.

Oshinowo receives excellent support – both emotionally and vocally – from Rosanna Hyland and Kristen Gaetz, as her back-up singers and friends Alice and Cheryl. Along with the other members of the band (Alice Offley, David Gibbons, Rich Craig and musical director Nick Barstow), the two singers radiate an infectious joy and enthusiasm for the music, its message and Heather herself. Meanwhile, Nicolas Colicos cuts a lonely figure as Joe, the only character on stage not fully in support of Heather’s new direction. It would be really easy to see him as the enemy, but Colicos’ performance is warm, funny and at times vulnerable enough that it’s hard to dislike him, even at his most outrageously sexist.

Though the subject matter of Getting My Act Together may not be everyone’s cup of tea, there’s no doubt this is a great production; an energetic cast, pitch perfect performances and the irresistible score are more than enough reason to overlook a few outdated and uninspired passages of dialogue. It seems this is another revival that was well worth waiting for.

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: Let It Be at Orchard Theatre

Published on June 27, 2016June 28, 2016 by LizLeave a comment

There’s a line in the movie Sliding Doors: “Everybody’s born knowing all the Beatles lyrics instinctively. They’re passed into the foetus subconsciously along with all the amniotic stuff. Fact, they should be called The Foetals.”

Well. I don’t know about all the amniotic stuff, but after watching Let It Be at the Orchard Theatre last night, it’s pretty clear that the good people of Dartford not only know all the Beatles lyrics, with a little bit of encouragement they’re also more than willing to joyfully belt them out.

Let It Be is essentially the ultimate Beatles tribute show; fresh out of the West End, it crams in over 40 classic hits spanning the Fab Four’s career. Unlike other musicals based on pop bands, like Sunny Afternoon or Jersey Boys, the show is not so much a retelling of the Beatles story as a massive celebration of their music. Basically it’s what I imagine a Beatles reunion gig would be like, if such a thing were possible – complete with friendly banter between the band members and plenty of chat to the crowd (including John Lennon’s infamous “rattle your jewellery” quote from the 1963 Royal Variety Performance).

The cast is made up of Emanuele Angeletti, Paul Canning, Paul Mannion and Stuart Wilkinson, along with Michael Bramwell, who lurks at the back of the stage playing all the additional instruments on the later hits. Each performer is a talented musician and singer, with the additional challenge of reproducing the individual mannerisms and style of the band members. I’ll leave it to the generation who remember the originals to judge their success on that score, but they looked pretty good to me.

Let It Be is more than just a tribute to the Beatles, though; it’s a celebration of a whole glorious era in British history – so each time the cast leave the stage, we’re treated to news footage, TV commercials and a compilation of other music from the intervening years. And with each costume and hairdo change, we’re reminded once again what an iconic part of our history the Beatles are.

With the concert vibe comes a much more relaxed atmosphere than we’re generally used to in the theatre; taking photos and videos is encouraged, as is the use of social media throughout the evening, and getting up for a dance every now and again is almost compulsory – not that I noticed anyone complaining about that. And of course the show ends in a big singalong (I won’t ruin it by telling you which song, although you may be able to hazard a guess).

Let It Be is big, fun, loud, and makes you feel proud to be British – which, let’s be honest, is something we all need right now. With a cast who look and sound the part, and a soundtrack of classic hits, it’s no surprise the show has become a global sensation. And it’s a great opportunity to test that Foetals theory; I certainly saw nothing to disprove it last night.

Let It Be is at the Orchard Theatre until 2nd July 2016.

Review: Blind Man’s Song at the Pleasance

Published on May 5, 2016January 6, 2018 by Liz1 Comment

I’ll be honest – I had mixed feelings going in to Theatre Re’s Blind Man’s Song last night. On the one hand, I was looking forward to something a bit different. On the other, as a general rule I like my theatre with words – the more the better.

There are no words in Blind Man’s Song. But as it turns out, none are needed. The show uses a combination of mime, dance, sound, illusion and original music to tell a moving and surprisingly powerful tale of love and loss, which is accessible enough to follow what’s going on but still leaves room for each individual to interpret it in their own way. The main character, a blind musician (Alex Judd), leads us on a journey into the dream-like world of his own memory (or is it imagination…?), in which a chance encounter between two strangers is just the start of the story.

Two mannequin-like figures (Guillaume Pigé and Selma Roth), their faces covered, bring this world to life while the musician plays. In the absence of facial expressions, it’s the music and movement that convey the emotion of the piece – and in doing so reveal how much it’s possible to share without words. The combination is so evocative that we can feel the joy, passion, rage and grief of all three characters, as the music skips, swells and storms around them.

Said music is all original composition for violin and piano by Alex Judd, making effective use of the loop pedal to create layers and waves of sound. A simple theme, picked out with one finger on the piano, is repeated throughout the show, finally taking its place at the heart of the blind man’s song for the spine-tingling finale. Meanwhile, in harsh contrast, discordant sound effects – a rattle of metal against metal, a loud feedback tone – interrupt to break the spell and go on just long enough to make us uncomfortable, in a reflection of the musician’s own internal struggle.

The show was conceived and directed by Guillaume Pigé, one of the faceless figures who cover the stage with a fluid grace, at times in slow motion and at others with surprising speed. There’s creative use of the sparsely furnished set; I particularly enjoyed the conversion of the bed into a train. Like the performers, the bed and the piano are rarely still for long, giving the piece a feeling of perpetual motion and urgency.

Blind Man’s Song is proof, for me at least, that sometimes it’s good to step out of your comfort zone; I left the Pleasance feeling genuinely moved by the beauty of the story, music and performance. Who needs words?

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: Into The Hoods: Remixed at the Orchard Theatre

Published on March 9, 2016March 9, 2016 by Liz1 Comment

Think you don’t like hip hop? Think again…

When one of my friends told me I had to go and see ZooNation, I was a bit sceptical, to say the least – it’s really not my sort of thing. But I’m always happy to be proved wrong (where theatre’s concerned, anyway), so when I heard the company were coming back to the Orchard, I figured I’d give them a try. And I’m really glad I did.

Into The Hoods was ZooNation’s first full-length show back in 2006. Since then it’s become the West End’s first hip hop dance show, won What’s On Stage and Olivier Awards, and formed part of Nelson Mandela’s 90th birthday celebrations. Into The Hoods: Remixed is, as you might expect, a new, revamped version of the hit show; it follows two children on an adventure in the Ruff Endz Estate, where they must collect various items from a host of familiar characters… with a twist. Spinderella longs to be a DJ, if she can only get away from her ugly sisters. Singer Lil Red gets tricked into signing with Wolf, who runs Big Teef Records. Rap-on-Zel is kept locked up by her father, the landlord of Beanstalk Towers. And then there’s Jaxx, who lives in the basement (get it?).

As a company, ZooNation, led by director Kate Prince, aims to make hip hop accessible to a wider audience, and there’s no doubt from the enthusiastic crowd response that Into The Hoods does exactly that. Musical director DJ Walde’s soundtrack has something for everyone, covering decades and countless different styles; there’s even a Charleston segment at one point. Rewriting fairy tales for a new generation – the items the children are looking for include ‘an iPhone as white as milk and a hoodie as red as blood’ – the show skilfully intertwines them into a story that has romance, drama and plenty of humour (the retirement home routine is particularly brilliant) yet always remains completely family friendly. And the cast, who range in age from just 16 to 37, are not only incredibly talented, but have an irresistible energy that seems to have no limits. You get the feeling they could cheerfully go on all night – as could the audience.

There’s a fantastic family atmosphere up on stage; everyone gets their moment in the spotlight, and no one performer outshines anyone else. The ensemble numbers too are genuinely a joy to watch – there’s nothing better than sitting back and watching a company who work together so well. In the same way, the lighting, set and video backdrop all combine perfectly with the choreography to create a seamless, polished production that’s easy to follow and really great to look at.

I officially stand corrected; Into The Hoods is a fantastic show, whether or not you think of yourself as a hip hop fan. And ZooNation’s company ethos is also to be admired – they believe passionately in investing in young people, and run various projects specifically aimed at nurturing young talent. If the brilliant performers on stage tonight are anything to go by, they’re definitely doing something right.

Into The Hoods: Remixed is at the Orchard Theatre until 9th March.

Review: Shakespeare As You (Might) Like It at Rosemary Branch

Published on January 24, 2016January 6, 2018 by LizLeave a comment

Wait, what just happened?

Honestly, I have no idea how to sum up what I just saw. Shakespeare As You (Might) Like It is a mish mash of party, cabaret and game show, with bits of serious drama thrown in for good measure. After enjoying free stoops of wine and sweet treats, unsuspecting audience members are called on to read lines, ring bells and pass parcels, and are occasionally hauled on stage to join the mayhem – all whilst wearing paper hats, found inside the party bags that are handed out at the door.

The fact that every single person willingly put their hat on, though, is a testament to the infectious enthusiasm and joy of both the show and its performers. Shook Up Shakespeare’s Roseanna Morris and Helen Watkinson are a natural double act, bouncing off each other (sometimes literally) as they engage in witty banter, play energetic party games, sing Shakespeare-inspired songs (written by Shane Rutherfoord-Jones) and reenact a few of the Bard’s best loved scenes.

It does all get a bit manic, and even slightly alarming, from time to time, and it’s never completely clear what’s planned and what’s just ad libbed on the spot – although I suspect it’s a mixture of the two. The two actors throw absolutely everything into their performance, backed by their ‘one-man, one-wo-man’ band, who often look as bemused as the rest of us.

The show is described as a ‘Quad Centenary Wake’ and is a light-hearted tribute to the great playwright, poet and party planner that was William Shakespeare. I’m not sure what he would have made of it, but hopefully he would have been entertained – and perhaps only mildly outraged by the criticism of his poetry (which we established, through extensive research, ‘doesn’t even rhyme!’). Despite a scene that seems to suggest otherwise, these ladies clearly know their Shakespeare plays, and it’s fun to try and spot all the references to his works casually dropped in throughout the show.

If you’re a diehard fan of ‘straight Shakespeare’, these guys may not be for you; they’re unconventional, unpredictable and often very, very silly, mixing scenes from different plays with wild abandon. Equally, if you dislike audience participation, you may not feel entirely comfortable – although in reality nobody’s asked to do anything too terrifying.

But if you enjoy a bit of randomness, you fancy some light entertainment with a Shakespearean flavour, or you just like the occasional stoop of wine and ‘much ado about muffin’ (I did enjoy that one, I must admit), then they may be right up your street. This particular show ended its run at the Rosemary Branch Theatre this evening, but keep an eye on Shook Up Shakespeare to see what’s coming up next.

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… 😉