musical – Page 8 – Theatre Things

Interview: Elliot Clay, The State of Things

Published on September 1, 2017September 2, 2017 by LizLeave a comment

The State of Things is a new British musical, written by The AC Group’s artistic directors Elliot Clay and Thomas Attwood. Inspired by their own schooldays nostalgia and the current political situation, it’s the story of a high school band who find out the school is being forced to cut its music course. The show follows the young people’s fight to save their course, as they learn to live and love in austerity Britain.

“Myself and Thomas – the show’s book writer and director – grew up together, so The State of Things is semi-autobiographical, based on our own experiences and encounters with austerity both at school and at home,” explains Elliot. “Arts funding, both in schools and in general, seems to be falling every day the current government is in power. I’ve had people contacting me on Twitter, some of them music teachers, expressing their dismay at the effects of austerity on funding in schools, particularly in creative subjects.

“It’s also a musical about young people in the north, written by young people from the north – it’s these stories that need to be voiced. I hope that the story we tell will, at the very least, open up a discussion with members of our audience, no matter where they sit on the political spectrum. Theatre alone can’t change the world, but it can affect the way people think, talk and vote.”

As composer and lyricist, Elliot’s been enjoying the chance to work with different musical styles: “In terms of musical inspiration, it was a chance to write in styles that you usually wouldn’t find work in a musical. Because all the songs in the show are the songs that the ‘band’ have written, it allowed me to draw on inspiration from The Rolling Stones, Adele, The Beatles, Coldplay, and of course put in some crazy guitar solos!”

Following The AC Group’s acclaimed productions of Macbeth and Side By Side By Sondheim, the company are looking forward – with a little trepidation – to returning to the Brockley Jack Studio Theatre, this time with an original piece: “In the words of Stephen Sondheim – ‘excited and scared’!” admits Elliot. “It’s a real privilege to shape every artistic detail of the production, but we couldn’t do it without the brilliance of our creative team and cast.

“I’m incredibly lucky to be working with a supremely talented cast of young actors, all of whom play multiple instruments live on stage every night. It’s such a joy telling this story and sharing the stage with them.”

Surprisingly, the show has only been in development for three months. “Kate Bannister, the artistic director of the Jack Studio let us know in May that there was potentially a free slot for a production in September, and we instantly knew we wanted to write and stage The State of Things,” says Elliot. “Since then the ensuing three months have been a wonderful, crazy and thrilling blur.”

The AC Group was founded by Elliot and Thomas in 2014, when they staged a sell-out musical theatre concert in Covent Garden, with a cast and orchestra of over 50. “Since then we’ve been lucky enough to stage revivals such as the 40th anniversary production of Side By Side By Sondheim at the Jack Studio and Theatre Royal Drury Lane, and Macbeth, which was nominated for 2 off-West End awards – alongside developing our new writing. It’s been an exciting journey so far and we’d love to see you at the premiere of The State of Things.”

Book now for The State of Things at the Brockley Jack Studio Theatre from 7th-23rd September.

Review: Hairspray at the Orchard Theatre

Published on August 31, 2017 by Liz1 Comment

If you want a show that’s guaranteed to entertain, you need look no further than Hairspray. Flying the flag for anyone who’s ever felt they don’t quite fit in, it’s the story of an American teenager with a heart of gold, who refuses to believe she can’t live her dreams just because she doesn’t look like all the pretty girls on TV. Dancing her way into the nation’s hearts, Tracy Turnblad inadvertently becomes the leader of a civil rights movement, campaigning for racial integration – because the alternative simply doesn’t make sense to her.

In a weird way, it’s almost depressing that we still need shows like Hairspray. It would be great if we could sit back and enjoy the feel-good story, safe in the smug knowledge that these are yesterday’s problems. Unfortunately, as recent events have demonstrated, the two big issues addressed by the show – body shaming and racism – are still just as topical today as they were in the 60s (when the story’s set) or the 80s (when it was written).

Perhaps that’s why two of this production’s most memorable moments both come from Motormouth Maybelle – Act 1 finale Big, Blonde and Beautiful, and the electrifying I Know Where I’ve Been. Then again, it could just be because Brenda Edwards, who plays Maybelle, is vocally incredible. Either way, her solos certainly stand out in a musical that’s full of show-stopping moments – among them the sweet comedy duet between Matt Rixon and Norman Pace; it’s a number known for improvisation and innuendos, and this partnership don’t disappoint. And let’s not forget the fabulous finale, which wraps everything up in a neat, glittery bow, and does so with such energy and joy that you can easily put aside how utterly unrealistic it all is.

Newcomer Rebecca Mendoza, making her professional debut as Tracy, proves herself not only a talented singer and dancer but also a gifted comedian; her adoration of Link (a suitably charming Edward Chitticks) is particularly fun to watch. At the other extreme is the villain of the piece, unashamedly racist TV producer Velma, who’s played with great relish by Gina Murray; it’s only a shame we don’t get to hear more of her amazing vocals.

As well as a great cast who are all worthy of mention, Hairspray also boasts a toe-tapping 60s-inspired score by Marc Shaiman and Scott Wittman, brilliant choreography from Drew McOnie and dazzling set and costume design by Takis (not to mention impressively huge hair). The whole show is a riot of colour and vivacity, with plenty to enjoy for younger audience members but a healthy scattering of naughty jokes for the grownups too.

And at the heart of all this fun and froth is that serious message, summed up so succinctly by Tracy herself: “I just think it’s stupid we can’t all dance together.” It might sound like a massive simplification of a huge and complex problem – and it’s true that the show doesn’t exactly offer an in-depth debate of the issues – but in a world that increasingly feels like it’s going backwards, every little helps.

Hairspray is at the Orchard Theatre until 9th September.

Review: Little Shop of Horrors (Summer Youth Project) at the Orchard Theatre

Published on August 10, 2017 by LizLeave a comment

For a second year running, the Dartford Summer Youth Project has selected a show that’s new to me. Following last year’s brilliant Bugsy Malone, this summer they’re back with Little Shop of Horrors, the classic horror comedy about a man-eating plant by Howard Ashman and Alan Menken, in a production that brings together a community cast of young Dartfordians aged between 9 and 19. The story follows shop boy Seymour, who finds himself in possession of a “strange and interesting” plant that makes him rich and famous – but at what cost…?

The show might be considered a bit gory for kids (it does, after all, involve an abusive relationship, murder, dismemberment and a psychotic dentist) and it had to be sanitised a little for this production. But the horror is all very tongue-in-cheek, and the jokes are pitched so that a lot of the humour can be appreciated by adults whilst sailing over younger heads. There’s also a valuable lesson for all ages to be taken from this cautionary tale about the dangers of putting personal gain ahead of moral values.

I have two main conclusions from this evening’s opening night performance. First, I’ll be keeping a much closer eye on my plants from now on. Second, director Sean Hollands and the rest of the SYP team have pulled off another triumph. After just two weeks of rehearsal, Little Shop of Horrors is slick, professional and features several young performers who could easily give seasoned stars a serious run for their money.

This is particularly true of the principal leads – Ethan Oswald, Olivia Hallett, Luke Walden and Mikey Stevens – who all look and sound like they’ve been on stage for years. Each of them has at least one big musical number, and absolutely nails it, with my personal highlights Mikey Stevens’ hilariously deranged Dentist! and Olivia Hallett and Ethan Oswald’s gorgeous duet, Suddenly Seymour. There’s also some brilliant voice acting from Thomas Bassett, the voice of Audrey II, who succeeds in giving us the shivers without once appearing on stage, and impressive vocals from the chorus of glamorous Ronettes.

The principals lead a huge company of over 100 children, all of whom get to be involved throughout the show as they pop up frequently in aisles and on balconies performing dance routines choreographed by Mel Simpson. This sometimes messes with the audience’s view of the stage a bit – but it’s hard to mind that too much when the children are obviously having such an amazing time.

And that’s the genius of the Summer Youth Project. Yes, this is a fantastic production that showcases some outstanding young talent, but more importantly it’s giving each and every one of the children on stage an experience they’ll never forget – the chance to be part of a production led by a professional creative team, performing for a huge audience of friends, family and strangers in a proper theatre. But it’s not just a treat for the kids; their enthusiasm and delight is infectious, and you don’t have to be a parent or even know anyone involved to feel proud of what they’ve all achieved, or to appreciate the hard work they’ve put in. This is something that’s easy to take for granted when watching a professional company for whom it’s just another day at work, and sometimes we need a reminder of why we go to the theatre in the first place: to be entertained. And on that score, Little Shop of Horrors more than delivers.

Little Shop of Horrors continues at the Orchard Theatre until Saturday 12th August.

Review: The Quentin Dentin Show at Tristan Bates Theatre

Published on June 25, 2017January 6, 2018 by LizLeave a comment

It’s the golden rule of capitalism: to convince a customer that your product will make them happy, you have to first make them realise how very unhappy they are without it. Science fiction musical The Quentin Dentin Show by Henry Carpenter takes this concept to infinity and beyond; now directed by Adam Lenson, the show introduces us to bored (and boring) couple Nat and Keith, who become the unwitting subjects of the universe’s most bonkers marketing scheme when they find a mysterious golden microphone in their living room. At the helm is Quentin Dentin – or at least the synth currently in possession of that name – whose only job is to sign them up to The Programme and make them both happy forever (although what that actually means is removing their souls, but you know, same difference). Naturally, Quentin isn’t doing this for nothing; he’s in line for an upgrade if he can seal the deal, so is willing to do just about anything to sign his subjects up.

In case you were wondering, this is all absolutely as bizarre as it sounds. Luke Lane steals the show with a gloriously over-the-top portrayal of TV host/preacher/mentor Quentin, backed by his two robotic “friends”, creatively named Friend 1 and Friend 2 (Freya Tilly and Lottie-Daisy Francis). Behind their beaming smiles, cheery singalongs and energetic choreography, there’s a decidedly sinister undertone about this trio as they skilfully manipulate Keith and Nat into signing their lives – and more – away.

Shauna Riley and Max Panks do a good job with necessarily flimsy characters, whose bemusement quickly gives way to acceptance of their own unhappiness and rejection of the dreams they thought they had. It’s a bit hard to believe Nat and Keith would so readily succumb to a strange man who appeared out of their radio, and nor do we ever find out why they’ve been chosen as Quentin’s latest subjects – but by this point we’re so far through the looking glass anyway that it’s best to just go with it.

That said, there is still a nugget of harsh truth about humanity’s constant search for happiness to be found amidst the manic grins, talking microphones and inflatable fish (don’t ask) – and the show’s unexpectedly bleak ending leaves us to wonder rather despondently if finding the meaning of life through artificial means really is the best future we have to look forward to.

Though there are only a couple of songs that are particularly catchy – among them a Hey Jude-esque final chorus that I still can’t get out of my head – all the musical numbers are enthusiastically performed by band and singers, with sharp, synchronised choreography from Caldonia Walton. In fact, movement in general throughout the show is crisp, polished and perfectly timed, down to the simplest turn of a head at just the right moment.

The production does suffer from a few sound issues; with the band on stage throughout, there are a couple of numbers where it’s hard to make out all of the lyrics, and there’s also an odd disconnect between the intimacy of Nat and Keith’s living room and the fact that they’re talking to each other in it through radio mikes. The show would perhaps work better in a slightly larger space – it certainly has the larger than life personality required to fill a bigger stage.

The show’s been described as “The Rocky Horror Picture Show for the new millennium”, and the influence of Richard O’Brien’s show is obvious (ordinary couple stumble into the path of a charismatic but unhinged stranger, who makes them question everything they thought they knew about themselves). Whether Quentin will ever reach the same levels of cult fandom I couldn’t say, but there’s no denying the show makes for an entertaining – and slightly bewildering – evening out.

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: Evita at the Orchard Theatre

Published on May 31, 2017August 6, 2017 by LizLeave a comment

Sometimes it’s a bit of a shock to realise how long the shows I grew up with have been around (which in turn makes me feel old… but let’s not go there). While Evita – written by Andrew Lloyd Webber and Tim Rice in 1976 and first performed in the West End two years later – isn’t one I saw on stage until my 20s, I do remember watching the movie version starring Madonna and Antonio Banderas all the way back in 1996. Back then I didn’t necessarily follow all the political context of the story, but I loved the music and was fascinated by the rags to riches tale of a teenage girl from a rural town, who rose to become First Lady of Argentina and “Spiritual Leader of the Nation” – only to die from cancer at the age of just 33.

Now Evita is back on tour, and bringing the story of Eva Perón, second wife of Argentine dictator Juan Perón, to a new generation. Starring Wicked‘s Emma Hatton and Italian actor Gian Marco Schiaretti – who recently played Tarzan in Stuttgart – this lavish production from Bill Kenwright is both entertaining and educational, a love story with added politics, and a great deal of style. And whether or not you follow all the ins and outs of Argentine history, it’s a fascinating insight into how a celebrity with no knowledge of politics can power their way to the top by sheer determination. Which makes you wonder if we’ll all be watching an equally tragic – for different reasons – show about Trump in 40 years’ time (if so may I suggest a working title of Covfefe: The Musical).

Not entirely surprisingly, West End star Emma Hatton gives a commanding and vocally flawless performance, just as much when Eva’s crumpled on the ground in the last days of her life as when she’s at the height of her power, performing the show-stopping Don’t Cry For Me Argentina to an adoring crowd. Alongside her, relative newcomer Gian Marco Schiaretti more than holds his own as the omnipresent Che, hitting just the right mix of Latin charm, arrogance and helplessness – and some impressive, not to mention unexpected, high notes. The two have excellent support from Kevin Stephen-Jones as Perón, Oscar Balmaseda as Eva’s first lover (and ticket to the big city) Magaldi, and Sarah O’Connor as the unnamed Mistress, a seemingly minor character who nonetheless wows the crowd with one of the show’s best-known numbers, Another Suitcase in Another Hall.

With Bill Deamer’s lively choreography that takes inspiration both from the Latin American setting and the oppressive atmosphere of a military dictatorship, and an imposing set designed by Matthew Wright, Evita transports us to 1940s Argentina in a dazzling and fast-moving spectacle that only begins to slow down when its protagonist does. 40 years old the show may be, but the passion and energy of this production prove there’s plenty of life in Evita yet.

Evita is at the Orchard Theatre until 3rd June then continuing on tour.