BEAUTIFUL: THE CAROLE KING MUSICAL, Aldwych Theatre, Wednesday 18th February, 7.30pm

Broadway’s latest import is a biographical musical about one of America’s greatest songwriters and it’s a lovely tribute to the natural woman.

The Cast of Beautiful

Beautiful tells the story of Carole King, from her successfully selling her first song as 16-year-old Carole Klein, her many years as a writer behind the scenes, her relationship with Gerry Goffin, through to her performance at Carnegie Hall in 1971. As well as telling the story of King, we meet and hear songs from Barry Mann and Cynthia Weil.

Firstly I should point out that this is a jukebox musical, which is where the soundtrack consists of already existing songs, normally with a theme throughout, in this case the music of King, Goffin, Mann and Weil. However, many jukebox musicals make up a story to fit around the music, and the book is often very thin such as We Will Rock You and Mamma Mia!. Actually based on the story of the writers themselves, this was not the case and is a rare example of a good jukebox musical.

Ian McIntosh and Lorna Want

The set is great, with incredibly smooth transitions. Derek McLane has done a wonderful job by making the set look brilliant, and help forward the piece but never distract from the story and what is happening. One of the best parts of the set is the piano, which is on a track, that moves and rotates it to put it where it needs to be for each room. Seeing as this is about the songwriters, there is hardly a moment where the piano isn’t on stage and this is a great way of moving it instead of having people push it around. Most essential is the sound design, which is executed brilliantly by Brian Ronan. Alejo Vietti’s costumes, like the set are appropriate, great but never distracting. Overall, the choreography isn’t groundbreaking, but I wouldn’t expect it to be, with Josh Prince’s steps marrying the music. Altogether, Marc Bruni has directed a great piece of theatre.

“A rare treat in the form of a good jukebox musical”

The book is actually good! Whilst this isn’t the first biographical musical, it is the first one that I’ve been impressed by (Jersey Boys didn’t work nearly as well as this). Douglas McGrath has created a script that is often funny, with moments of seriousness and some highly touching scenes. Working with the wonderful music, each song is in the perfect place in the show. Highlights include ‘On Broadway’, ‘Some Kind of Wonderful’, ‘Walking in the Rain’, with signature songs ‘You’ve Got a Friend’ and ‘(You Make Me Feel Like) A Natural Woman’ being some of the sweetest moments in the show.

Katie Brayben

The cast are just right too. Alan Morrissey makes a great Gerry Goffin, and even though there are times when you hate him, he is still very likable. Lorna Want and Ian McIntosh make a great pair as Cynthia Weil and Barry Mann. All three of them, along with the ensemble, have beautiful and very impressive voices. But the star here is understudy Joanna Woodward as Carole King. I have to admit I was concerned when I wasn’t getting to see Katie Brayben but Woodward put all my worries to rest in her first performance as King. The likeness to King is uncanny so if Woodard is this good, I can only imagine how wonderful Brayben will be when I return (which I most certainly will!)

This is a show full of high production values that never distract from the characters you see. The sound is wonderful and it’s rare that you’ll hear this many pop songs of this caliber anywhere else. A rare treat in the form of a good jukebox musical, this is a tribute to King that is appropriately titled Beautiful. A fun night for all involved, I expect this show to run for a long time to come.

Photo credits: Brinkhoff Moegenburg

A VIEW FROM THE BRIDGE, Wyndham’s Theatre, Wednesday 18th February 2015, 2.45pm

The Young Vic production of Arthur Miller’s tragedy makes its way to the West End, bringing intensity and high drama with it, along with some storming performances.

Phoebe Fox, Mark Strong and Nicola Walker

A View From the Bridge tells the story of Eddie Carbone, a longshoreman. He lives with his wife, Beatrice, and his niece, Catherine. When Beatrice’s cousins from Italy come to stay and work illegally, they exploit Eddie’s hospitality, and one pushes his boundaries, especially with Eddie being highly protective over Catherine. We are told, by the narrator in the form of lawyer Mr. Alfieri, from the start that the story will end in tragedy.

“Strong’s performance is colossal”

Presented as one two-hour act, this is one of the most intense productions I have ever seen. The design and lighting by Jan Versweyveld is beautifully minimalistic, with only one door at the back for entrances and exit, and a barrier surrounding the actors that they also sit on at times. There is also seating on stage to emulate the ‘in-the-round’ staging when it was at the Young Vic. Whilst the lights do occasionally change to match the mood, it is very subtle and works wonders. Throughout the piece there is music playing, often very quiet but it is always playing, with an occasional drum beat at moments of high drama. This keeps the piece flowing and the intensity up throughout. One thing that I noticed was the actor were all bare foot, except for a moment where Catherine briefly puts on high heels and at the start with Alfieri addressing the audience. However, Alfieri takes off his shoes before he enters the space, which I thought was a nice touch. Tying it all together is Ivo Van Hove’s wonderful direction. One of the highlights of the piece is where the immigration officer comes (spoilers, but the play has been around for almost 60 years) and instead of the characters running about, we have Alfieri speaking the stage directions aloud. This was the perfect moment for this, if done at any other point in the play it wouldn’t have had nearly as much impact.

The Cast of A View From the Bridge

The performances here are insanely good. Everyone here deserves their place on the stage, with highlights from Emun Elliott as Marco and Phoebe Fox as Catherine. But the standout here is Mark Strong as Eddie. Strong’s performance is colossal. He brings the raw power to Eddie that is required to feel for this character and by the end you have seen his transition into a monster. I was sat right at the back of the theatre and even from there I was entirely drawn to Strong. He has a hold on the audience that is currently unrivaled in London’s dramatic theatre.

This is only an 8-week strictly limited engagement so grab a ticket whilst you can for this highly acclaimed production. A world class performance from Mark Strong added with the world class direction from Ivo Van Hove make for this world class play.

Photo credits: The Guardian, Love Theatre, Jan Versweyveld

THE RULING CLASS, Trafalgar Studios, 16th February 2015, 7.30pm

Jamie Lloyd’s Trafalgar Transformed: Season 2 continues with Peter Barnes’ black comedy starring a highly athletic James McAvoy.

James McAvoy and Kathryn Drysdale

The Ruling Class tells the story of Jack Gurney, who inherits the title of 14th Earl of Gurney after his father’s passing. Jack has a huge Messiah Complex, is a possible paranoid schizophrenic and due to him also inheriting his father’s large estate, he gets caught in the middle of a power struggle with his family.

The production is fantastic and works wonderfully in the space. The Trafalgar Studios are big enough to accommodate high production values and effects but also small enough to keep the show intimate. Soutra Gilmour’s set is brilliant, with flowers that appear from the floor being a particular highlight. The lighting design is superb, with Jon Clark capturing the aesthetic beautifully. The production had a few showy song and dance numbers, adding to the surreal nature of the piece. Whilst not the most complicated and intricate choreography (which it didn’t need to be), Darren Carnall’s steps and movement help with the progression of the story. It is all tied together with Jamie Lloyd’s excellent direction, which is no surprise (to quote my Urinetown review) as “it seems that everything Jamie Lloyd touches turns to gold”, with The Ruling Class keeping this in check.

On James McAvoy:

“One of the most versatile young actors working right now”

The play itself is wonderful. Whilst the majority of the play is comedic, particularly in act one, there are a fair amount of highly dramatic scenes, which managed to fit in well. The mix of comedy and drama is crafted with care by Barnes and it pays off. Be the piece funny or serious, it is always sharp. This is the wittiest play I have seen in a long time, with some of the wittiest writing and language I’ve seen in an even longer time. Even though the play was originally performed in 1968, it seems as fresh today, which is a credit to the late Barnes.

James McAvoy

The cast are all brilliant, working like a well oiled unit. The rapport between performers in the piece is absolutely necessary as it heavily relies on comic timing, with the execution being pitch perfect all the way through. Standout performances come from Anthony O’ Donnell as manservant Daniel Tucker, who bring a great energy to the highly comical role, Kathryn Drysdale as Grace Shelly, an actress put up to help Jack through his madness and (what I’m assuming is, couldn’t tell because of make-up and costume) Forbes Masson as another schizophrenia with a Messiah Complex at the end of the first act. However, the star here is James McAvoy as Jack, proving to be one of the most young versatile actors working right now. He is incredibly athletic, prancing about the stage and throwing himself every which way. He has full control over his voice and is a highly commanding stage presence. There’s a reason he draws in a good crowd and this is a full showcase of his abilities.

To conclude, if you see anything that resembles a ticket, grab it whilst you can. This razor sharp comedy with some stellar performances, particularly from McAvoy is not to be missed!

Photo credits: The Standard, Love Theatre, The Telegraph

DI AND VIV AND ROSE, Vaudeville Theatre, Saturday 14th February, 7.30pm

Originating at the Hampstead Theatre in 2011, Di and Viv and Rose makes its way to the West End with some brilliant performances.

Jenna Russell

Amelia Bullmore’s play tells the story of the three titular girls and charts their life, starting by them moving into a house together at university and spanning decades, with the audience seeing glimpses into their lives along the way. You have Di, a sporty lesbian, Viv, a career driven academic and Rose, a promiscuous yet sweet young girl. You see how they bond, change and grow as the years go on.

“The way Bullmore allows the characters to grow is welcomed, as you really do care for these three girls”

A recurring piece of the set is what we first see, three light frames on black surfaces. These are here to cover set changes but are also used as standing points for the three actors to keep the play going. The entirety of the first act, excluding the opening in front of the frames, is set within the house. The set, and majority of the play, is entirely naturalistic, with what appears to be a student house, from the wallpaper to the sofa to the shelves and kitchen hole in the wall. The second act set consists of three walls, the side ones with doors, with tables and chairs appearing and disappearing based on the scene. Paul Wills’ set is fully utilised and works wonders for the piece. The sound design incorporates door sounds and the stereo system and with impeccable timing and panning, it adds to the already clear naturalism.

Tamzin Outhwaite

Bullmore’s script is largely comedic. She appears to be a master at dropping bombshells when you least suspect them, with two moments (which I won’t spoil) hitting the audience really hard, to which I heard the entire theatre gasp. However, even in some of the heavier moments in the play, there are elements of comedy, which are fed in at just the right level, not too much to ruin a moment, yet not too little so the joke is lost. This isn’t easy so I admire Bullmore for that. Whilst initially the characters appear to be stereotypes, the way Bullmore allows the characters grow is welcomed, as you do really care for these three girls, particularly with the writing in act two, which is a step up from before.

“All three have their moments of comedy and drama that are pulled off equally well”

Not having read the play, I don’t know if the were written stage directions or if it was one of Anna Mackmin’s directorial choices, but there were a lot of pauses, mainly in the first act. Whilst some of them had purpose, others didn’t and it slowed the pace of the play. I reckon it might have been a times trying to be too naturalistic, but I can cope with a few pacing issues when I’m watching this perfect trio.

Samantha Spiro

The cast were just fantastic with wonderful chemistry. All three have their moments of comedy and drama that are pulled off equally well. I am once again shown that Jenna Russell can do no wrong, as the ditsy character of Rose, that could easily be a secondary character at times, is possibly the one you first care for the most. She is fun, loving and sweet, but not in a two-dimensional way. Her charisma fills the theatre. Just like the other two, she is always changing and growing. Samantha Spiro is appropriately cold as Viv but still has her moments of fun. Even though it’s tough to like her due to the nature of the character, you still care, particularly come act two. Tamzin Outhwaite, who has been with the play since Hampstead is wonderful as Di. When her big moment comes in act one, she captures the necessary emotion (I won’t say what) and girth needed, and she is particularly strong here in act two. You can tell that Outhwaite has been with this play the longest as every move, line and expression is pitch perfect.

Whilst the play takes a bit to get revved up, once it does, it hits hard, in both a dramatic and a comedic sense. ‘It’ll make you laugh, it’ll make you cry’ really does apply here, with something for everyone. If for no other reason, catch this cast working together because it has moments of pure magic.

Photo credits: Johan Persson, Visit London, WhatsOnStage, Love Theatre

MISS SAIGON, Prince Edward Theatre, Friday 13th February, 7.30pm

The heat is on! I see Miss Saigon for the second time since it was revived and it’s just as wonderful as I remember!

The Cast of Miss Saigon

Miss Saigon tells the story of Kim, a young girl orphaned by war. She takes a job with the seedy Engineer as a barmaid. She falls in love with an American GI, Chris, but the two are torn apart by the fall of Saigon. This epic love musical is set against the backdrop of the Vietnam War and is based on Puccini’s Madame Butterfly.

I was expecting great things from Miss Saigon, both times I saw it. The first time was two days after its press night, after hearing spectacular things about it and it lived up to the hype. I decided to return to see the cast before it changed over and because certain elements from my previous viewing were hazy. I was not disappointed.

“Whilst musically it’s not the most difficult score, it is more than epic”

Firstly, the design is spectacular. Totie Driver and Matt Kinley deserve a standing ovation for this spectacle of a set, with Bruno Poet’s lighting complimenting it perfectly. The big draw to Miss Saigon is, of course, the helicopter, which is executed very well. I remember from my first time seeing it that it was a little shaky, but that was early in the run so whatever the problem was then has obviously been fixed. It comes in so smoothly, a full size helicopter. I never saw the original production so this had a huge effect on me when I first saw this spectacular theatrical feat. Laurence Connor has told the story clearly with no messing about, his direction was highly suited to the production.

Eva Noblezada and William Tao

The score has become iconic since it’s premiere and is still as fresh as ever. Claude-Michel Schönberg has captured the sound of Saigon whilst keeping it Western enough for London audiences. Whilst fairly straightforward, it has its moments of complexity that are welcomed and applauded. Alain Boublil and Richard Maltby, Jr’s lyrics match the score to a tee, presenting this tragic love story elaborately. Whilst musically it’s not the most difficult score, it is more than epic and is draining to perform, so a very big well done to the cast.

On Eva Noblezada:

“One of the brightest young stars in musical theatre”

Here I saw a few understudies, which was welcomed, especially since I had seen the main cast before. The people I came to see were here so I was happy. I saw Dale Evans as Chris, a promising young performer with a pitch perfect voice. He portrays Chris with sincerity and passion in all the right places, matching that of Alistair Brammer. Kurt Kansley filled in as John, and whilst not reaching the power and intensity that Hugh Maynard does, he did a very good job holding his own. Ethan Le Phong fills in brilliantly for Kwang-Ho Hong as Thuy, bringing a fresh approach to the role. Rachelle Ann Go is fantastic as ever as Gigi, showing a great sense of vulnerability during her spotlight moment in ‘The Movie In My Mind’.

Jon Jon Briones

The two stars here are obvious, Jon Jon Briones as The Engineer and Eva Noblezada as Kim. Briones give so much energy to the character of The Engineer from the word go. You know the character is sleazy, but you love him anyway, which is because of Briones’ interpretation. He exudes comedy, but never overdoes it. He is a master of working the audience, best displayed in showstopper ‘The Ameican Dream’. Noblezada is perfect as Kim. She has a fragility to her performance that is absolutely necessary of the character, yet she is fierce when it is demanded. Noblezada has a voice that soars above all, especially for a girl of 18. As I said in my review of her performance in Georgia Stitt’s show, I hope she becomes as much of a sensation as Lea Salonga did before her as she more than deserves it as one of the brightest young stars in musical theatre.

So if you haven’t already seen the show, this needs to change and soon. Catch Eva Noblezada and Jon Jon Briones whilst you can (I would imagine the cast will change around May), because if this production heads to Broadway, which it should do, they will more than likely be going with it. It is equal balance substance and spectacle, which is rare in theatre nowadays, so get down to the Prince Edward ASAP!

Photo credits: Love Theatre, Michael Le Poer Trench, Matthew Murphy

CITY OF ANGELS, Donmar Warehouse, Thursday 5th February 2015, 7.30pm

One of the acknowledged great musicals of the 20th Century returns to London at the Donmar Warehouse and it soars!

Hadley Fraser

City of Angels tells to story of writer Stine and his creation, private investigator Stone. Stine has been commissioned to write a screenplay for the film adaptation of his Stone’s story, but the studio executives keep interfering and making changes, much to Stine’s annoyance. The musical weaves the plots of the colourful real world of Stine and the black and white film with Stone, with Stine trying to keep the worlds separate but sometimes blurring the line between the two.

“Powerful, joyous, light, dark, the score has everything you could want in a musical”

This is one of the most ingenious productions I have ever seen. I have never managed to see anything at the Donmar before (except the cinema broadcast of Coriolanus) and my expectations for the space were more than surpassed. Even sat right round the edge of the Circle, I still managed to get the full experience of the production. Every member of the creative team should be applauded as everything ran so smoothly. However most of the praise must go to lighting director Howard Harrison and director Josie Rourke. There is never a moment where you question which world you are in, you always know exactly what is happening. When the two worlds begin to collide in ‘You’re Nothing Without Me’, with Stone and Stine fighting for space of the stage, the lighting to show the two worlds is brilliant. This is possibly the best sequence in any show I’ve ever seen.

Tam Mutu and Hadley Fraser

Cy Coleman’s score is wonderfully complex. Heavily jazz influenced, it is one of the most difficult vocal scores I have ever come across. It has some incredibly tight harmonies that could go wrong with just the slightest mix up, and it is performed to perfection, particularly by the Angel City 4 quartet of vocalists. Powerful, joyous, light, dark, the score has everything you could want in a musical. The lyrics by David Zippel are hilarious, witty and sharp to match both the eclectic score and the laugh-a-minute book by Larry Gelbart.

“From the second he opens his mouth, you realise Mutu was born to play Stone”

The cast is perfect from the leads down to the smaller roles. Samantha Barks is beautiful as Mallory/Avril, channeling Marilyn Monroe crossed with Jessica Rabbit in her solo number ‘Lost and Found’. Peter Polycarpou makes a fantastic studio executive that keeps the laughs coming with his quick delivery. Rosalie Craig is excellent as Gabby/Bobbi, with her rendition of ‘Every Breath You Take’ being one of many highlights in the show. Rebecca Trehearn works wonders with whoever is onstage as Donna/Oolie. Hadley Fraser is a Stine for the ages, adding his own flavour to this great role, both self-contained and expressive at once.

Tam Mutu (foreground), Kadif Kirwan and Marc Elliot

As great as the entire cast is, the show belongs to Tam Mutu. From the second he opens his mouth, you realise Mutu was born to play Stone. He embodies the character, including the dry humour and wit that comes with it, and by gosh can he sing. He looks like Stone, he sounds like Stone, he is Stone. He is going to be great on Broadway as the title character in Dr. Zhivago, but I hope he returns to the UK soon so we can witness more of his sheer brilliance.

It’s a crying shame that this production has to end its run, but I would be incredibly shocked and surprised if it didn’t get a West End transfer, especially from how popular it was. Keep your eyes peeled for the resurrection of this classic and definitive production because if it does return, tickets will sell out fast.

Photo credits: The Guardian, The Standard

JOE ICONIS: LIVE IN LONDON, The Bridewell Theatre, Wednesday 4th February 2015, 7.30pm

New York composer Joe Iconis makes his UK debut to a small but appreciative audience.

Joe Iconis at 54 Below

This concert was a very small scale show in the hall of The Bridewell Theatre. Iconis explained that he was in London on his honeymoon and decided he would like to put on a ‘low-key’ show. He told us that he knew one of the tutors at the Canterbury Institute for Performing Arts (CIPA) who acted as a producer to help put the show on. I happen to go to university with a handful of ex-CIPA students which allowed me access to tickets before they became widely available. For the very cheap price of £9 I got to witness the UK premiere of many of Iconis’ songs.

Prior to the concert, I only knew four songs by Iconis, the two featured in TV show Smash, along with ‘Blue Hair’ and ‘Joey is a Punk Rocker’ from The Black Suits. I was pleased to hear all four of these songs, as well as being introduced to many other songs. His music is fairly ‘poppy’ with some rock influence (although only a piano was present), with a theatrical undertone to all his work. A recurring theme in his songs is comedy, with there only being about three songs that didn’t get a laugh. Sometimes the comedy is clever, sometimes the comedy is silly (‘Velociraptor’ being a prime example), but at all times the comedy is funny, which is the most important thing.

The majority of the songs were sung by Iconis himself, and whilst not the most gifted singer, he performs the hell out of each song. The first song he performed, called ‘The Whiskey Song’, is unsurprisingly intended to be performed to appear drunk. Iconis did this so well that I thought nerves might have caused his to drink and he actually was drunk! However, when the song finished, I realised he wasn’t, and he talked to us for a while, and went straight into character for the next song, showing his versatility. Not much needs to be said about his piano playing as it is on point all night, being played with swagger and grace.

Joe Iconis

Now onto the guest performers. The most frequent guest was the wife of Iconis, Lauren Marcus. A gifted singer and actress, she connected with each song and had great comic timing. The other ‘established’ guest was Jenny (didn’t catch the surname, I have a set list but it only has first names on). She had a very high, sweet tone to her voice, and came on right at the end to perform a song with Marcus and Iconis. The rest of the singers were made up of current students at CIPA. Renee sang ‘Joey is a Punk Rocker’ with a bit of a croaky start, and after a bit of water, continued with the rest of the song. We then had Aaron sing ‘The Answer’, which showed off the impressive range of this young lad. Natasha then showed off her comedic timing, almost matching that of Marcus, with the song ‘Blue Hair’. We then had Amy and Emily sing ‘Play the Princess’. I’m not sure which one was which, but the taller one with red hair is going to be a star. She looked the part for starters and had an incredible voice to match it. Give her five years and she’ll be on a West End stage for certain. We then had a duet with Marcus and Aaron, the latter appearing later as Marcus’ cat. He performs deadpan well and the two of them have great chemistry. Marcus also performs a duet with Terri-Ann, and they have equally great chemistry. The night wraps up with the entire cast singing ‘The Goodbye Song’, a huge anthem-like song. There is some good talent among this bunch, and plenty of potential should they choose to go forward in this career.

Excusing a few slip ups and forgiving the venue, which didn’t have the best acoustics in the world, it was a rather enjoyable night. Very relaxed and informal, as a cabaret should be. I hope we see Mr. Iconis doing some bigger scale shows over here as his music deserves to be heard by a wider audience than the 100 (give or take) that were there.

Photo credits: YouTube, Playbill, Monica Simoes, The Write Teachers

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, Playhouse Theatre, Saturday 10th January 2015, 7.30pm

Originally posted on 12th January 2015 via Tumblr

The musical adaptation of Pedro Almodóvar’s comedy finally makes its way to the London stage, and it is worth the wait!

Seline Hizli, Tamsin Greig and Anna Skellern

Women on the Verge of a Nervous Breakdown tells the story of Pepa, an actress in Madrid. It takes place over three days in which Pepa’s lover leaves her and she cannot get in touch with him. This leads her down a long spiral along with a few other women, each having their own crisis including living with a terrorist and an ex-husband moving on. As you can imagine, anarchy and hilarity ensue.

“The piece is messy yet controlled and that works for the totally insane story”

I should point out that I went into the theatre with some quite low expectations. I knew (and enjoyed) parts of the score before and was excited to see Tamsin Greig, Anna Skellern and Willemijn Verkaik. So why was I expecting the worst? When originally on Broadway in 2010, the production didn’t go down so well. I knew revisions had been made for this version but I was still concerned. However, after a slow first 10 minutes, thanks to Bartlett Sher’s brilliant direction, all my concerns were put to rest.

The Cast of Women on the Verge of a Nervous Breakdown

The first thing I should talk about is the sound. Performed by an onstage band, David Yazbek’s wonderful Spanish-influenced score fills the theatre perfectly. Paul Groothius and Tom Marshall have done a phenomenal job on the sound design, with a perfect mix for the band. It probably sounded even better to me as I’d witnessed the awful sound in Bat Boy at the Southwark Playhouse earlier that day. Peter Mumford and Anthony Ward have done equally great jobs on the lighting and sound design respectively.

“Lane’s book is witty, fast paced and hilarious to match the score”

As I said before, Yazbek’s score is strong in Spanish influence. It works perfectly to advance the story and doesn’t stop the action like some scores can. Highlights include ‘Model Behavior’, ‘Madrid’ and ‘On the Verge’. Jeffrey Lane’s book is witty, fast paced and hilarious to match the score. I believe one of the main issues with the Broadway production was that it was rather messy. The piece is messy yet controlled and that works for the totally insane story, down largely to Sher’s direction and the execution by the cast.

Tamsin Greig and Ricardo Afonso

The cast is brilliant. Just brilliant. Tamsin Greig is a star and has the pipes to match it. I’ve never seen her in anything and not loved her and this is no different. Her comic timing is perfection. Ricardo Afonso as the Taxi Driver (that also acts as a sort of narrator) has a voice that soars to match the band and it sounds wonderful. Anna Skellern plays Candela to simplistic perfection, with her rendition of ‘Model Behavior’ being one of the highlights. Everyone else in the cast was brilliant but Greig and Skellern stood out above the rest.

So there we go! What had so much potential to be a trainwreck turned into something beautifully manic, and I wouldn’t want the production to be any tidier than it was. If you are looking for a fun night at the theatre, then this is a great choice, particularly thanks to Greig. A great comic musical, but with a limited run so catch it whilst you can!

Photo credits: The Independent, The Guardian

BAT BOY: THE MUSICAL, Southwark Playhouse, Saturday 10th January 2015, 3.00pm

Originally posted on 11th January 2015 via Tumblr

Bat Boy returns to London, although it seems it should have stayed in the cave.

Lauren Ward and Rob Compton

Bat Boy tells the story of Edgar, the titular Bat Boy. He is discovered in a cave in a town called Hope Falls in West Virginia, the sort of town where everyone knows everyone. He is hated by the townsfolk but is taken in by the Parker family, who teach him how to be a model citizen, but they can’t always control him. I won’t say too much more of the truly insane yet brilliant plot in case you do go to see it at some point in your life.

I should point out first of all that last year at my university, Bat Boy was the final project for the then-third years, so I saw many of my dearest friends perform it. It was incredible, particularly for a non-drama school production, and it was the same standard as some London professional productions I’ve seen. Because of this, and also from seeing In the Heights at the Southwark Playhouse and hearing amazing things about Dogfight, I was expecting a wonderful show. However, in life we have to learn to live with disappointment.

Before I talk about the disappointments, I will talk about the score. Written by Laurence O’Keefe, probably best known in the UK for Legally Blonde: The Musical, it is one of my personal favourites. It’s a simplistically complex rock score, with highlights being Comfort and Joy, A Joyful Noise and Three Bedroom House. I would highly recommend a listen to the Original Cast Recording, and not the 2004 London one which made some debatable changes.

Whilst I did see only the second preview of this production, this is much more than can be fixed (this will probably be one of my shortest reviews). The set is one of the cheapest looking sets I’ve ever seen, with a few sections falling apart mid show. The sound design was not great in the slightest. The band sounded good, but were way too overpowering for the cast. The lighting, whilst not bad, was very basic. Most of the set changes were done with a video, which was more like a glorified PowerPoint presentation. The pacing of the show made it seem over long and like it was dragging. The show should move much faster than it did.

One of the biggest faults I found was the seating arrangement. When I saw In the Heights, with surrounding seating, I was sat in the back row (of about 5) in the middle and could see everything. This was staged end on and I was sat in the middle of the third row. I missed a lot of the action as its so low down. It was equally tiered the whole way back so I imagine the view would be similar for those further back, which is down to bad planning.

Rob Compton

Rob Compton

The one saving grace of this production was the cast. Lauren Ward as Meredith Parker shines. Simon Bailey, who has been fantastic in everything I’ve seen him in, juggling multiple roles with ease and giving full commitment to each one. Matthew White as Dr. Parker is a sound actor but not the best singer. Georgina Hagen is committed to the role of Shelly, but the way she plays the character just doesn’t seem right to me. This does not detract from her acting and singing abilities, which are great, I just think she was miscast in this role. Rob Compton as Bat Boy is the star of the show. His mannerisms, energy and voice suit the character of Edgar perfectly and he gives it his all.

This is one of the first productions in a long time that I’ve advised people to avoid, which is a shame. Bat Boy is a fantastic piece if done correctly but if I were you, stay at home and listen to the soundtrack. However, if you do go and see it, hopefully they’ll sort out the issues I’ve mentioned and you’ll get to see some brilliant performances, including Compton’s Bat Boy, who I’m convinced is going to move on to bigger and better things. But I’m sure you’ll see these brilliant performers in something much better soon enough, so save your money.

Photo credits: West End Frame, London City Nights, Partially Obstructed View

THE SCOTTSBORO BOYS, Garrick Theatre, Saturday 18th October 2014, 2.30pm

Originally posted on 31st October 2014 via Tumblr

Shout! The Scottsboro Boys transfers to the West End, and it is sensational!

The Cast of The Scottsboro Boys

The show, which runs as one act, is based upon the true events of nine black boys in 1931 on a train in Alabama who are wrongly accused of rape. Being taken off the train and thrown in jail, a trial is arranged for them. They manage to avoid being lynched but are put through many other trials and situations. Throughout these events, their friendship grows. The musical is presented as a minstrel show, with the actors playing multiple characters other than the titular group.

“I have never seen a full cast this broadly talented”

The score, which is the final collaboration of the legendary Kander & Ebb, is largely ragtime based. It is also mostly jolly, which often opposes the subject matter. Susan Stroman assists with this through her brilliant direction and choreography. One number, ‘Electric Chair’, is a tap number about what you’d expect. I found myself smiling at the fantastic music matched with the stellar choreography, only to then realise how dark the piece actually was, with the actors deadpan face, with arms and legs flopped as if they were puppets on a string. This tone is carried throughout, never being sure if I should be smiling or not.

James T Lane, Forrest McClendon and Dex Lee

The whole cast is exceptional. Just exceptional. I have never seen a full cast this broadly talented. Each and every single one of them executes the choreography effortlessly and they all work together so well, physically and vocally. Led by the fantastic Brandon Victor Dixon as Hayward Patterson, with standout performances from Colman Domingo as Mr Bones, James T Lane as Ozie Powell/Ruby Bates and Dex Lee as Charles Weems/Victoria Price. Lane performs Ruby with the most energy I have ever witnessed, but whilst playing Ozie (SPOILERS) after a life changing event, I’ve never seen a more intense performance of that kind. Lee is a very close second to Lane’s energetic performance, whilst Domingo, as required, is the most versatile performer here and switches between characters seamlessly.

I urge you all to go and see this show. You won’t be sure whether to be tapping along or feeling uncomfortable at times, but this is one of the most thought provoking, spectacular pieces of theatre currently in the West End. It is a great example of cast and creative coming together as one. Catch this almost-perfect show with this beyond-perfect cast whilst you can!

UPDATE (06.02.15): I saw this show again a couple of days ago and it still remains as the best musical I have ever seen. The show closes on 21st February 2015, I cannot stress enough that you NEED to see this show.

Photo credits: Johan Persson