musical – Page 4 – Theatre Things

Review: Side Show at the CLF Art Cafe

Published on October 4, 2018July 20, 2019 by LizLeave a comment

First performed in 1997 – a couple of decades before The Greatest Showman earwormed its way into our lives – Side Show is based on the true story of conjoined twins Daisy and Violet Hilton. Like the recent monster hit movie about the life of PT Barnum, Bill Russell and Henry Krieger’s musical is a story about being different, but takes a rather darker and more grimly realistic approach than Jackman and co.

As the star attractions of a travelling show, the two sisters – conjoined at the hip – dream of stardom (Daisy) and romance (Violet). But while they experience brief glimpses of both, the two never get to live the one dream they share: that of a normal life. Instead they find themselves ruthlessly exploited by everyone around them, while they’re constantly torn between their desire to be alone and their fear of being apart.

Pint of Wine’s revival, at the suitably unconventional Bussey Building in Peckham, immerses us instantly in the sights, sounds and atmosphere of the side show. A lot of attention has clearly gone into the production’s design, with Lemington Ridley’s increasingly glamorous array of costumes plotting the sisters’ rise to fame, while a simple but effective set from Roberta Volpe proves you can do a lot with some wooden bleachers and a couple of screens.

The cast for Dom O’Hanlon’s production are generally strong, with stand-out vocal performances from Matthew James Nicholas as Terry, the twins’ manager, and Lauren Edwards as the sweet-natured Violet. She and Katie Beudert work well together, capturing in both performance and appearance the differences between Violet and Daisy’s personalities, and managing with ease the physical demands that come with being attached to another performer.

As Violet’s love interest Buddy, Barry O’Reilly excels in the dance numbers – including an impressive solo tap routine – and Alexander Bellinfantie is vocally strong as the sisters’ friend and protector Jake. Both seem less confident with their spoken dialogue, however, and we never quite get to the bottom of their character’s complex emotional struggles around their feelings for Violet.

Meanwhile the ensemble give an accomplished performance, particularly as the other side show acts, who step up to support their friends against their bullying adoptive father, Sir (Stephen Russell). In doing so each gives us a glimpse of their distinct personality, and a reminder that they’re not just attractions to be stared at, but real people who live, love and dream like everyone else. In fact, they’re considerably more human than the journalists, doctors and audiences – the other parts played by the ensemble – who view Daisy and Violet as little more than objects to be exploited.

The musical numbers are performed well, led by musical director John Reddel’s excellent band, with the opening number Come Look at the Freaks and Terry and Daisy’s Act 2 duet Private Conversation among several highlights. The vaudeville routines are great entertainment, and Act 1 comes to a poignant close with the cast’s heartfelt rendition of Who Will Love Me As I Am? This song in particular taps into an emotion we can all identify with – the need to be loved and accepted just as we are – but it also represents something Daisy and Violet seem destined never to have. The show’s sombre conclusion might be more realistic than most, but that doesn’t stop us from feeling a bit unsatisfied by the resignation with which the twins accept what lies ahead.

Pint of Wine’s debut musical theatre production, while not perfect, is a welcome opportunity for London audiences to discover a little-known show – as well as the true story of two fascinating women who, while certainly unique, in a lot of ways really were “just like everyone else”.

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 October 2, 2018July 20, 2019 by LizLeave a comment

Guest review by Debika Cutts

It is the summer of 1963 and 17-year-old Frances “Baby” Houseman is on holiday with her family in the Catskill Mountains when she meets the broody and sexy dance teacher Johnny Castle. The classic coming-of-age love story that follows, made this one of the most iconic films to come out of the 1980s. Women all over the world fell in love with Patrick Swayze/Johnny Castle. The soundtrack generated two multi-platinum albums and the songs are loved and listened to by all generations.

The film was first adapted for stage in 2004 and has had worldwide success as a touring production, including two stints in London’s West End.

I always feel a bit nervous about going to see the stage production of a film that is so well known and well loved, so was approaching this evening with slight trepidation. Can a stage adaptation capture the moments that make this cult 1987 film so special? Were we going to “have the time of our lives”? (Sorry – had to do it!)

Kira Malou is outstanding as Baby. Not only does she have the dancing skills and looks of Baby but she perfectly demonstrates the hesitant but strong nature of the character. Her initial attempts at dancing with her arms flailing about is brilliant. Michael O’Reilly certainly has the fantastic dance skills and body for this Dartford audience to appreciate, especially when he takes off his top and gives us a glance of his bare bottom! His acting at times feels slightly wooden to my ears but I am comparing him to Patrick Swayze perhaps. He has a tough act to follow but pulls it off with great confidence and skill. The choreography flows incredibly well and the chemistry between the pair is a pleasure to watch. It is a very steamy performance and Gillian Bruce’s choreography works extremely well to ensure the dancing lives up to the name of the show!

The ensemble, sets and outfits are so fantastic and believable that as an audience member, I really felt as if I was being transported back to the summer of 1963. A kaleidoscope of colour throughout the performance – swinging, twirling, gyrating bodies, knickers flashing… I felt part of that whole mood and I could see that the audience around me felt it too.

Ex Moulin Rouge can-can girl Simone Covele as Penny Johnson deserves a special mention – her movements and flexibility are dazzling and the spins she performs are mind-boggling! And Lizzie Ottley’s hula scene as Baby’s sister Lisa is a highlight. Sian Gentle-Green’s voice as Elizabeth stands out in this performance, as well as Alex Wheeler for the iconic duet that accompanies Baby and Johnny’s final dance.

Classic lines such as “I carried a watermelon” and “Nobody puts Baby in a corner” are delivered to a satisfied audience and the practising of the famous “lift” in the lake has great lighting/projections which have been done cleverly. I was initially sceptical on how they were going to manage to pull that scene off, but they have.

The production has indeed stayed faithful to the film. It can be said that it is too loyal in some respects. It does feel as if the entire film has essentially been moved onto the stage, which makes it somewhat predictable for me. But perhaps that’s exactly what the audience wants judging by the reaction – from wolf-whistles to laughter, gasps of delight to clapping and dancing. I am pleased that there are a couple of welcome additional scenes which demonstrate the politics/civil rights movement of the time, including Martin Luther King’s speech. It gives the times more context.

For fans who want to see their beloved film recreated faithfully on the stage, this is certainly the right performance to come and watch. There isn’t anything ground-breaking but I don’t suppose there needs to be – the audience come away happily nostalgic and it certainly has the right feel-good factor on a cold Monday evening in Dartford!

Theatre Thoughts: 8 ways we can all #BeMoreMatilda

Published on September 29, 2018September 30, 2018 by LizLeave a comment

It’s almost eight years since a little but mighty show called Matilda first opened in Stratford-upon-Avon. Based on the novel by the legendary children’s author Roald Dahl and with music and lyrics by Tim Minchin, the award-winning musical moved in to the West End’s Cambridge Theatre the following year, and has been delighting audiences of all ages there ever since – many of us more than once.

Why this universal appeal? Well, perhaps it’s because even though the central character – Matilda Wormwood – is only five years old, she’s the kind of person most of us wish we could be. Not only is she much cleverer than a lot of grown-ups, she’s also braver, kinder and has a far clearer understanding of the difference between right and wrong, as well as a greater willingness to step up and fight when she sees something that’s not fair. There’s a lot we can learn from her – so to celebrate the show’s (almost) 8th birthday, here are 8 ways we can all #BeMoreMatilda…

1. Don’t let other people write your story

It’s your life – so stop worrying about what other people think, and live it the way you want. She may only be five years old, but Matilda already knows who she is and what she likes, and she isn’t about to let her horrible parents, or her evil (and slightly unhinged) headmistress, tell her she’s doing it wrong.

2. Turn off the telly and read a book

Despite the best efforts of Mr Wormwood to convince us that books rot kids’ brains and make them boring, put bookworm Matilda next to her TV addict brother Michael, and there’s only ever going to be one winner… (All together now: “Backwards!”)

3. Sometimes you have to be a little bit naughty

It may be true that two wrongs don’t make a right – but it’s also true that you can’t always beat injustice by sticking to the rules. If Matilda teaches us anything, it’s that sometimes you have to think outside the box and get creative – even if it does mean being a little bit naughty.

4. Learn to speak another language

Speaking another language is a great skill to have – it can help you get a better job, make new friends, see the world; there’s even evidence it can help delay the onset of conditions like dementia. But most importantly, you never know when it might come in handy to save your family from the Russian mob.

5. Work on your power pose

Matilda has a number of signature power poses, and she may well be on to something, as apparently there’s scientific theory proving a good power pose can do wonders for your confidence. Also, let’s be honest – it’s quite fun.

6. Never let a little thing like “little” stop you

Nobody proves better than Matilda that size isn’t everything. She may be tiny, but she doesn’t let that stop her taking on her huge, hammer-throwing headmistress, Miss Trunchbull – who, like most bullies, is also a massive coward. And she’s not the only one; inspired by her example, it’s the “revolting children” who ultimately come out on top.

7. Be proud of being a girl

Guess what, Mr Wormwood? Not having a “thingy” isn’t the end of the world… 😉

8. If it’s not right… put it right

A particularly powerful one to end on. Whether it’s destroying library books, force feeding chocolate cake to a small child or, er, murdering someone’s dad and stealing his house, Matilda knows when something isn’t right, and she won’t let anyone get away with it. If we all took a leaf out of her book and stood up against injustice wherever we saw it, just imagine what a very different – and much better – place the world could be.

Want to #BeMoreMatilda? Why not start by booking your tickets to this funny, inspiring and ever so slightly bonkers show – visit matildathemusical.com to find out more.

Review: Hamilton (Lewis) at the King’s Head Theatre

Published on September 8, 2018July 20, 2019 by LizLeave a comment

As you may have heard, a little show called Hamilton opened last year in the West End. It’s been fairly successful, and it’s no big surprise that it’s already been the inspiration for more than one comedic parody. One of these is Hamilton (Lewis) by Fiona English and David Eaton, freshly returned from Edinburgh to the King’s Head, which tells the somewhat less epic story of – you guessed it, British Formula 1 star Lewis Hamilton.

Born and raised in Stevenage, young Lewis (Letitia Hector) wants only one thing: to become world champion. Until 2007, when he’s taken on by Big Ron Dennis (Jamie Barwood) to join the team at McLaren, and meets his villainous teammate/rival Fernando Alonso (Louis Mackrodt), who advises him to “drive less… smile more” and focus instead on building his brand. Cue a seven-year celebrity romance with the only Pussycat Doll anyone ever remembers, Nicole Scherzinger (Liberty Buckland), which gets them on the cover of Hello! magazine but otherwise proves wholly unsatisfying on both sides. Driven by an increasingly obsessive ambition to regain his world champion title at all costs, Hamilton loses sight of what’s important and – well, that’s it really; it’s hardly a spoiler to reveal that this story doesn’t end in a deadly duel.

A pre-show disclaimer from the cast makes it clear we shouldn’t get our hopes up too much; after all, it took Lin-Manuel Miranda over four years to write Hamilton, and who has that kind of time on their hands? Instead, Benji Sperring’s production openly plays to its disadvantages, turning its lack of budget, actors and stage space into a running joke. Similarly, there’s no hesitation about admitting that compared with the charismatic Hamilton (Alexander), Hamilton (Lewis) is considerably less interesting, and much of the humour takes aim directly at the characters; nobody comes out of this story in a particularly positive light.

The main joke, though, is obviously the references to Hamilton. Some of these are blatant, others more subtle – but while the story can and does stand alone, the nods occur frequently enough in both script and musical numbers that to fully appreciate what’s going on, you probably need to have at least listened to the Hamilton soundtrack once or twice. Taking such a universally adored show as its inspiration pretty much guarantees a warm reception from an audience who are quickly able to spot the successful jokes, and willing to forgive when a few of them fail to land.

The production’s biggest success is its excellent cast, who deliver strong vocal performances even as they embrace the madness, hamming it up to outrageous levels in the name of comedy. There’s nothing more enjoyable for an audience than seeing the actors having a good time on stage, and this cast are clearly enjoying themselves immensely.

If you turn up at the King’s Head expecting Hamilton, you’ll be disappointed on several different fronts. But then again, Hamilton (Lewis) never claims to be Hamilton – in fact the cast take great pains to point out to any lawyers in attendance that it definitely isn’t. Chaotic, silly and 100% unendorsed, it nonetheless makes an enjoyable pit stop while you wait for your next chance to buy tickets to the original.

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: Summer Holiday at the Orchard Theatre

Published on September 5, 2018July 20, 2019 by LizLeave a comment

Long before the Inbetweeners movie was even thought of, there was Summer Holiday, the classic 1963 film in which Cliff Richard and The Shadows enjoyed a far more innocent – but apparently just as action-packed – European adventure. I suppose it was only a matter of time until someone made a stage version of the film, and it’ll come as no surprise that Michael Gyngell and Mark Haddigan’s musical works, for the most part, very well.

The story is pretty simple, and very much of its time. Four lads (Ray Quinn, Billy Roberts, Joe Goldie and Rory Maguire) driving through France in a red London bus happen upon three gorgeous girls (Gabby Antrobus, Alice Baker and Laura Marie Benson) with a broken down car, and gallantly offer them a lift to their singing engagement in Greece. On their way to Athens they pick up various other damsels in distress, including a sobbing bride-to-be who’s late for her wedding, and runaway singing starlet Barbara (Sophie Matthew), who’s fled from her overbearing mother and agent (Taryn Sudding and Wayne Smith) in search of a simpler life. Not at all surprisingly, despite the best attempts of Barbara’s mum to put a spanner in the works, they make it to Greece in time, and everyone pairs off neatly, falls in love and lives happily ever after.

What the show lacks in originality (and political correctness), it fortunately more than makes up for in sunshiny entertainment value. Directed and choreographed by Racky Plews, it’s a feel-good ride crammed with slick dance numbers and a catalogue of classic hits including Living Doll, Do You Wanna Dance and Bachelor Boy, concluding with an extended and very well-received singalong medley of Cliff songs.

All of this is performed by a multi-talented all-singing, all-dancing cast whose energy and perkiness never flag – but as good as they certainly are, the stage really belongs to leading man Ray Quinn. Not only does he do a pretty accurate Cliff impression but his vocals are spot on, he’s a fantastic dancer, and he has no problem at all charming the pants off everyone in sight (himself included, at one point).

Lads’ holidays having “evolved” slightly since the 1960s, the show naturally feels rather tame to a 2018 audience – although the various excruciating attempts of the British characters to communicate with their European hosts remind us that some things (sadly) never change. It may not be the most memorable story, but it’s hard to fault the show in terms of performance – and as the evenings begin to draw in, anything that makes the summer last that little bit longer is just fine by me.