Tag Archives: vaudeville

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
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.

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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
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

FORBIDDEN BROADWAY, Vaudeville Theatre, Saturday 25th October 2014, 3.00pm

Originally posted on 26th October 2014 via Tumblr

As a self-proclaimed theatre geek, I knew I would enjoy Forbidden Broadway. I did not expect to be crying with laughter at the sometimes scathing parody phenomenon.

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Anna-Jane Casey, Damien Humbley, Ben Lewis and Christina Bianco

For those unfamiliar with the Forbidden Broadway franchise, it began Off-Broadway in 1982 as the brainchild of Gerard Alessandini. The cabaret revue parodied Broadway musicals of the time and has since been rewritten many times to keep up with changing theatre trends. It has also spawned a wide range of cast recordings, most recently Forbidden Broadway Comes Out Swinging! earlier this year. As well as musicals, it parodies theatre personalities; actors, composers and producers. This production tended to be focused on current and upcoming West End shows, with a few exceptions towards certain ‘classic’ shows and people.

“All of them are versatile performers with excellent comedic timing”

Transferred from the tiny Menier Chocolate Factory to the cosy Vaudeville Theatre, the staging was fairly simple. Surrounded by sparkling ribbons with a stage featuring nothing more than an upstage left grand piano, played fantastically by Joel Fram, and mobile microphone stands, it works perfectly for the piece. It doesn’t distract from the performers and the content, which is totally necessary for a parody cabaret.

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Anna-Jane Casey, Ben Lewis and Damien Humbley

Among the copious amounts of parodies, we see Matilda (Trunchball as a producer singing “Exploiting Children”), Miss Saigon (an extended sequence culminating in Cameron Mackintosh describing how to make the “Americans Cream”) and The Book of Mormon (Matt Stone and Trey Parker describing how they destroyed Broadway). We also see jabs at certain people such as Stephen Sondheim (the conducting of an audience sing along of “Into the Words” to prove that his music is melodic) and Robert Lindsay (“Dirty Rotten Star” addressing stunt casting). The act 1 finale parodies Les Miserables amazingly well, mostly in relation to the length of the show and the revolve, having the actors try to jump onto it but are then constantly rotating around the stage. The parody of Once contained my favourite line of the night (“My ovaries are aching with Eastern European joy”) as well as a cast corpsing when the only offstage actor abruptly appeared on stage to scream “POTATO” in an Irish accent. I was alerted that the actors are allowed to play around with the material to keep is fresh and I believe this was a perfect example of that.

On Christina Bianco:

“It is impossible to take your eyes off of her”

The casting of this show is nothing short of perfection. All of them are versatile performers with excellent comedic timing. Anna-Jane Casey does a fantastic Liza Minnelli, Elphaba and Frankie Valli. Ben Lewis struts his stuff as a convincing Hugh Jackman and Robert Lindsay. Damien Humbley, who I loved in Merrily We Roll Along, does everyone from the Phantom to Miss Trunchball to Mandy Patinkin and seems to glide through them all with ease.

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Christina Bianco

However, the star of the show is undoubtedly Christina Bianco, YouTube sensation and Off-Broadway Forbidden Broadway alum. Watching her stomp onstage as Matilda Wormwood was just the start of her impeccable performance. Her first big solo moment comes in the form of a spot on Kristin Chenoweth impersonation as she deliberates whether to go back to Broadway of do “One Night With…Diva” shows. She also does an incredible Idina Menzel impression, with the lyrics addressing her singing style, saying to just “Let It Blow” and follows that up with an uncanny appearance as Bernadette Peters. Either with Bianco on stage alone or with her cast mates, it is impossible to take your eyes off of her. I hope the London stage gets to see much more of her.

Whilst everyone might not understand every single reference, there is something for everyone in this show, even if you’re not familiar with any of the shows I just mentioned. It is a great shame that this show cannot be as constant as it is in America as I’d love to see how it grows and updates with the changes in the West End. There is less than a month left of this brilliant revue, so catch it whilst you can!

Photo credits: Alastair Muir, YouTube