REVIEW: Fishbowl @ Kings Head Theatre

Reviewed by Charlotte White

So we go straight in with a conversation about whether George called his neighbour Hatty over for sex or not. George is adamant there is a leak in his ceiling, but Hatty thinks there is something more going on, but is there? Or is it simply just, a leak?

Fishbowl, a play by Jenna Kamal and directed by Alice Wordsworth and Erin Blackmore is a truly simple yet quite brilliant piece of live theatre. Essentially we watch as the only two characters in the play discuss various issues at 4 in the morning.

George is played by Nick Cope who portrayed the awkward but loveable character in such an endearing way and did such a great job of showing us as the audience how everything in life can be affected by so many little things. Felicity Green took the role of Hatty and I felt her performance had such a natural flow about it (much like the play in general). I particularly enjoyed her little cardio work out dance break!

I wasn’t expecting the show to make you think about so many things in life. As the show appeared so much like a casual conversation it made it more relatable and made you reevaluate things in your own life as you were watching it. Lots of quite deep elements of life were discussed. For example, does change only come from conflict? Or can it come from positivity?
I liked the fact that these deeper moments were contrasted by witty one liners and again some great dance moves from Hatty!

Fishbowl is a thought provoking, clever, unique piece of theatre with a natural flow that makes it that much more enjoyable to watch.

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REVIEW: Ms. Estrada @ The Flea Theatre

Reviewed by Annie Zeleznikow

The Flea Theatre that houses this production can be found off the beaten path in Tribeca, in a twist of oxymoronic fate this company is creating edgy and thought-provoking shows in the heart of the industrial upper class. This funky company introduced themselves by providing single pieces of paper, rather than a playbill. It was announced before the show began that this was a deliberate decision and that all other information can be found online. Their dedication to conservation is an interesting and thoughtful act towards global sustainability.

The show began with a disclaimer from the writers,The Q Brothers Collective. They astutely noted that they were all male, some gay, some of colour. The sensitive themes explored in Ms Estrada warranted the warning. The cleverly written prose professed profanity, and ultimately set the scene for a production that challenges and entertains.

Another visual that struck me before the show began was the DJ, Marguerite Frarey. Rather than having an orchestra, Ms Estrada had a band of one. Frarey would often shout and boo as the story developed. She was the first character you meet, and she remains a constant throughout. Frarey at times could be compared to an all mighty presence, watching the events of the show unfurl.

Ms Estrada focuses on a young woman’s experience through college. Written with dark humour and a clever sense of self-awareness, Liz Estrada (Malena Pennycook), a new college student, seeks the “power to change the system”. In an attempt to prevent the “Greek Games”, a sexist male competition focused on stereotypical frat games, Estrada convinces her fellow female classmates to withhold sex. With the support of her roommates and mentor (Jenna Krasowski), Estrada shows the Dean (Ben Schrager) how damaging the Greek Games are.

The songs in Ms Estrada are clever and catchy. With a flair for rap, the show slowly moves towards more traditionally female musical genres as the story progresses. “Ring the Bell” is a catchy earworm, as Estrada and the female rebels reprise the song whenever they are confronted. Estrada and her empowered peers rename themselves “Womxn with an X”, and flaunt their feminine power with some complex and intricate choreography. The boys begin losing matches and they complain to the Dean with a song that appears to find inspiration from Lin-Manuel Miranda and Macklemore. The show continues with a compelling blend of rap and pop.

Estrada’s compelling fight against an unrelenting torrent of sexism is remanent of Rob Thomas’ Veronica Mars. Young women are fighting for equality, and the stories focus on the struggle and success of these women. The storytelling and incorporation of Ms Estrada exudes a quirkiness similar to that of the charming Veronica Mars.

This masterful adaptation of the Greek Classic Lysistrata brings modern life to an ancient play. The in-house ensemble of The Flea Theater, The Bats, shine in this complex and captivating show.

4stars

Ms Estrada is playing at The Flea Theater until 28th April. You can buy tickets here

 

The Rockstar Experience: Jesus Christ Superstar Live

Written By Annie Zeleznikow

I had bought special students tickets to a show on at the public theatre. I didn’t know what they were for, it seemed interesting enough and I sure it would be a fun afternoon. But as soon as I got an email in my inbox about Jesus Christ Superstar Live I sent my friend a Facebook message:

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And of course, we decided to go to JCSS.

The first time I saw JCSS my older sister was dressed as a risqué maid, and there were chain-linked fences on stage. Surprising as it seems, the grunge of this university production wasn’t far off from the progressive and powerfully produced show that NBC aired on Easter Sunday.

I was assigned priority standing room. This meant that I was going to be on my feet from 4.30pm until about 10.30pm when the show ended. My friend was celebrating her birthday, so there was no way I was taking anyone else. We had a lot of time to chat and talk about our expectations and how we had been since we last saw each other. We also had lots of time to hype up the show we were about to witness.

It was a long journey from our home on the Upper West Side to the heart of Brooklyn. From a fabulous location in Brooklyn, the audience was transported via bus to Williamsburg. There I was meet with a strange sense of irony, as we elevated Christ in the heart of a large Jewish community. I was somewhat embarrassed to be celebrating Christ on the second day of Passover (which I had celebrated the night before), but my love of Theatre overwhelmingly won out.

The show began with the gorgeous and youthful Brandon Niederauer rocking out on his electric guitar among the scaffolding and fellow musicians. With one minute to go, I waved frantically at Neiderauer, sending forth my best wishes to him and the cast. Ensemble members crouched down in front of us, and we all started chanting in an attempt to prove that we were going to be an amazing audience.

Brandon Niederauer JCSS

The show begins with the ensemble, draped in black and grey clothing, crowding around our Jesus, John Legend. Legend emerges on the stage bathed in light, his gentle features Christ-like in the flood of brightness against the post-apocalyptic backdrop of our Jerusalem. Just as Andrew Lloyd Webber and Tim Rice would have wanted, the crowd, including me, screamed at the opportunity to reach out and touch Legends’ hand. This sort of response was evoked whenever Legend sang and derived from a primitive need to glorify the star. Legend produced the reaction from the crowd that one would expect for Christ. Legend has received mixed reviews, but in person, all I saw was a Christ-like vocal God. I was only privy to Legends’ smooth and delicious voice, which although sometimes faltered but never failed to impress the hoard of adoring fans that I had become a part of.

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Despite Legend’s larger than life character, Brandon Victor Dixon stole the show and the hearts of the audience as Judas. The Broadway veteran rocked the same trendy dark and slightly sinister-like clothes as the ensemble as he belted out some soulfully moving and powerful numbers. He comfortably reached vocal heights that Legend struggled to project. Dixon let his inner rock star shine, he was clearly moved by the audience that was cheering along any vocal riffs and challenging vocal pieces. Dixon carried the brunt of the story and played a huge narrative role in this revival of Christ’s story.

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Watching the show from the crowd distorted the story significantly, there wasn’t a storyline, rather a collection of intensely emotional songs. Instead of living through the last days of Christ, I found myself jumping up and down at a rock concert that ended with the Star floating away. The tall heads in front of me and the overbearing cheers and screams from my peers meant that the brilliant vocals were often drowned out. Although our adoration moved the cast to perform with greater gusto, the best place for an audience member to be was at home on the couch. Luckily NBC has made Jesus Christ Super Star Live readily available to those who live in the US.

As the announcement comes that there will be a national tour of JCSS, it dawns on me that although this was a delightful piece of artistic creation, the money aspect of this live production, and the widespread viewing of the Easter show, was a very purposeful decision. It will soon be possible for those of you living in the US to soon see Jesus and Judas fighting it out live. Until then please enjoy this fabulous gift NBC has given us.

Watch Jesus Christ Superstar Live Now- https://www.nbc.com/jesus-christ-superstar/video/jesus-christ-superstar-live-in-concert/3689643

Buy Tickets for Jesus Christ Superstar Soon- https://www.ticketmaster.com/Jesus-Christ-Superstar-tickets/artist/843994?list_view=1

 

 

 

 

 

REVIEW: Mirrors @ Leicester Square Theatre

Reviewed by Alex Kirk

Written and performed by Siobhan McMillan, Mirrors is a clever and humorous take on the classic Snow White story.

In Snow White, the Evil Queen discovers that there is another maiden in the land who dares to be fairer than she, and begins a hunt to kill her. In Mirrors, the Evil Queen is one of many personalities living inside the head of an enthusiastic yet entirely unoriginal and naive YouTube vlogger called ShyGirl, with a grand total of 30 subscribers.

When she is stood up by her ‘boyfriend’ (who merely uses her for sex and shows no romance at all), she becomes Shivvers – our ‘Evil Queen’ – a much more confident and down to earth character, who guides us through the story when her mirror tells her that she is no longer the most gorgeous woman alive, and begins her pilgrimage to kill her.

McMillan’s writing is clever and endearing, using mystical fairy-tale language to narrate the story, interjected with insults and stereotypes more commonly found in Facebook memes and ‘trash’ humour; the first woman that Shivvers believes is her new enemy is given the name ‘Bitchface’, and later in the play we hear all about another character’s love for chips and hummus (which was served to the audience after the show!). McMillan gives a strong performance throughout the play, in all of her characters, sometimes switching between them on alternating lines. She gives a masterclass in characterisation.

Gabi Maddocks’ direction is brilliant as well, and utilises the space superbly. The Lounge at the Leicester Square Theatre is a highly intimate space, and yet every single corner of the room is used throughout the show, thoroughly gripping your attention. The fairy-tale language in McMillan’s script parallels the fake oh-so-perfect world that YouTube vloggers pretend to have, and Maddocks’ direction heightens this further with some brilliant comedy moments – a personal favourite moment being ‘magical’ bubbles coming from a techie blowing very loudly at the back of the theatre. This is a production that is very self-aware and embraces its innocence and intimacy, and it is this that makes it such an endearing piece of theatre that will have you invested in ShyGirl’s journey.

Snow White parallels aside, I cannot compare this show to anything else. It’s thoroughly unique, totally personal, and I really enjoyed it.

4stars

REVIEW: V For Victory @ Stockwell Playhouse

Reviewed by Kayleigh Place

V for Victory starts off set in the 1940s just after the war starts between Britain and Germany and is about how the Nazis took over Jersey. I have never seen the film, read the book or watched the musical, I knew nothing about what this rendition was going to entail.

The programme took the form of a ration book which I thought was a nice touch and had a summary of the musical’s premise. I learnt upon arrival that it was the in-concert version of the musical so all emphasis was on the songs. When I entered the theatre, there was a very atmospheric 1940s scene already on stage.

The staging was fantastic, the use of the wooden crates for each scene and the transition of moving them about the stage was hardly noticeable and was conducted very fluidly.

 

They start with the open song which I cringed and flinched at as one of the actors, I believe it was Klemens Koehring, was completely off key and out of tune with the rest of the cast, I hoped that it would not be like that the whole way through! Luckily his solo was beautiful, as was the rest of his performance. I am therefore putting this down to not warming his vocal cords up properly before the show.

However, there was another song that had the same effect; Leanne Coupland, who played Judy, when she sang her solo I nearly put my fingers in my ears! Throughout there was the one note that she consistently missed and I noticed her voice wavering on some notes. It was less noticeable when the cast sang together but, being sat at the front, I could hear it rather well, unfortunately.

I do have a good point to say about the singing; the duet between Georgina Rose Hanson (Liz Edward) and Ben Eagle (Bailiff Edwards) was fantastic! The song was so intense with the overlapping lines and the cues which were so well timed, I would go back just to hear them sing it again!

Considering there was not a lot of dialogue, you could tell there was a lot cut out, everything still flowed nicely. You could see the love story between Thomas and Liz, Liz’s anger at her dad for not standing up to the Nazis for Jersey, how Captain Gunther Scheider was becoming to hate the Nazis and what they stood for because he joined the army to protect his country not enslave. I felt even though it was shortened I still managed to connect with each character, understand their backgrounds, thoughts and feelings.

One of the things the irritated me the most throughout were the costumes. They were great. The cast was dressed appropriately for the era the shoes, the stockings, the hats, the braces, everything was well thought about. But they clearly forgot their IRON! All the guy’s shirts were creased from the beginning and the girls’ dresses looking like they had been retrieved from a bag stuffed with clothes to go to a charity shop! The Captain’s Nazi jacket, although one of the items that wasn’t creased, it did not fit him correctly. You could tell that it was way too big and it looked like a child wearing his dad’s suit jacket!

The acting was spectacular especially from Aaron Bannister-Davis who played the main character, Thomas Carter. The emotion and the facial expressions he used felt like it was real life and at times I almost forgot that I was sat in a theatre. It felt as though I was his friend and I was there to help him through his pain and to stand by his side as he rose up against the Nazis to take our homeland back.

Overall the show itself was great, but there is a lot of room for improvement. I would happily see this again if I could be confident that the quality of the singing had improved. If you like historical musical and don’t mind the odd good song being ruined but are up for an emotional, heartfelt storytelling, I’d strongly recommend you see this.

3-stars

REVIEW: Banana Crabtree Simon @ Drayton Arms Theatre

Reviewed by Leyla Damirel

“Banana Crabtree Simon” – these are the three words that Alan is told to remember. These three words are also the title of a new, one-man play that I was given the lucky chance to review. The play follows the character of Alan and his ongoing condition of dementia.

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Other than that, I knew nothing of the play, and went in with an open mind, although I was intrigued as to how the actor would captivate and keep the audience’s attention all on his own – it is a great deal of pressure for one person to captivate the audience and tell a story and keep the audience interested with no other cast members to help, but CJ de Mooi (Alan) managed to capture it perfectly. His characterization is flawless – in a short amount of time, you can see an almost healthy 50-year-old man in front of you deteriorate with his condition to a man who is rapidly becoming weaker as his memory fades. At one point in the show, Alan is under the sure belief that he is once again a little boy who has just attended his sister’s funeral. The way this scene was portrayed was breath-taking – I was not watching a man perform as a man with dementia. I was watching someone who truly did have dementia. The lines between acting and reality were completely blurred.

From the word go, you’re thrown right into the heart of the story; granted this is not necessarily a high energy show, if you’re expecting grand sets and orchestrations, this show is not one for you, but if you want to truly get invested into a story and really feel something, then this is right down your street. The simplicity of the setting and the lack of ‘theatre glamour’ adds to the intimacy of one man telling you his dementia journey, and being able to see his dementia increase as the show gets on is truly something special. I feel if the play were to transfer to a larger theatre, the intimacy would fade and the effect the play had on me would be lost. The use of music throughout the show only adds to the mood – as the play becomes more intense and tense, the music builds and only adds to this; every aspect of the production of this show has been accounted for, so while at face value it may seem that this is a simple play about a man with a degenerative condition, when real attention is paid to the finer details, they can truly be appreciated and the hard work that has been put in behind the scenes which is often overlooked, can truly be noticed. A beautifully heart-breaking piece of theatre, I know for a fact I shall never be forgetting the time I went to see Banana Crabtree Simon.

5stars

Banana Crabtree Simon runs until 14th April 2018. Tickets and more information can be found here.

Eight Powerful Shows that I Love

Written by Annie Zeleznikow

I have seen a lot of theatre throughout my life. I was lucky enough to have parents who valued theatre, and grandparents who could afford tickets for us. I travelled a lot as a child and my dad took great pleasure in finding shows in strange and wonderful locations. My life has always been filled with show tunes, and so here is a sneak peek into some of my favorites, and some stories about why they mean so much to me.

8) The Sound of Music

The loveliest musical. Julie Andrews is truly a fabulous gift to the world. I think the best way to sufficiently explain my love for this show is to first watch this recreation, made by Lin-Manuel Miranda’s father, Luis.

This was a musical that taught me the value of perseverance. Maria and the Von Trapp’s feared for their lives, so they climbed mountains and escaped, all while singing.

When I was about 13 my family went to Saltsburg. This is where the movie was shot, and where the story is based. There are Sound of Music tours, and we went on one. It was magical, we danced and sang where Ms. Andrews had danced and sung. The story came to life as we ran across the fountain and looked across the mountaintops. The Sound of Music is a movie that I have watched countless times, and I know I will continue to watch it, as it never gets old.

7) Guys and Dolls

When I was in twelfth grade I spent one weekend procrastinating. This was a week before a major exam. And I spent both Saturday and Sunday watching guys and dolls. I watched it on repeat. I watched it over and over again. It took me away from the chaos of my life, and it gave me an escape. I got to watch Marlon Brando fall in love, again and again. And the music was an enchanting combination of cabaret, soulful ballads, and sappy love songs. It was the perfect distraction from a horrendously stressful time. And it brought me such joy and relief from the stress of the real world around me.

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6) 13

This was the last musical that I participated in during high school. And I loved it. It was my introduction to the wonderful Jason Robert Brown. I had never really been exposed to a pop style musical before this show. The quirky characters fill the show with clever songs and funny numbers. The ballads are fantastic, and the lyrics are catchy. I was so lucky to be involved in such a fun show.

NOTE: While trying to find photos to add to the article I found the whole show, which was recorded and put on YouTube. Please enjoy my minor role as a preppy (chorus member), that’s me in the green blouse.

5) 1984

A most terrifyingly moving play. I saw this during my first week living in NYC. It was powerful and overwhelming. At one point the house lights went up, and it was clear that this terrifying dystopia that was created within the show was seeping into the real world. It was powerful and moving and I thought it was amazing.

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4) The Mountaintop

This was a play about the final day of MLK’s life, and it was my first introduction to MLK and the Human Rights Movement that occurred in the US in the 60’s. The Melbourne Theatre Company produced this show in 2013. I saw the play with my grandmother, sister, and cousins. My grandmother would buy season tickets to the theatre each year for my sister, cousins and myself. There were many amazing and powerful plays during the years that we went to the theatre, but when I started writing this list The Mountaintop jumped out at me. I remember it concluding with a video montage. And the montage included footage of Obama, and I started to tear up. The contrast of MLK and Obama was powerful and provoked powerful emotions within.

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3) Kinky Boots

My mums favorite. No way around it. She adores Callum Francis, the Australian Lola. We speak of him like an old friend, we speak about how he is doing, where he is living etc. I took a class called LGBT Community through the Life Span. During one class we were asked to write up different thing that affected how LGBT communities are viewed. I proudly wrote “Kinky Boots”, and although some of my classmates laughed, the Professor acknowledged it, this show impacted worldviews, and empowered people to live and be themselves. This show brought LGBT rights to the forefront, exclaiming to the world that we should all “Be who you want to be.” The unconditional acceptance in this show acts as such a powerful tool. Each time I’ve seen the show I’ve had an involuntary grin on my face.

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2) Dear Evan Hansen

This is one of the most powerful shows I’ve seen. I, like most audience members, found myself in tears. After all, Evan just wants to connect, and I can understand that. He gets caught up in a lie that he can’t escape, and he just wants to be seen and loved. I felt connected to Evan. The pop music is also a pleasant addition to the wonderfully classic repertoire of my favorite musicals. I keep coming back to this show. Each time I get excited about a new musical that opens in NYC, I get drawn away by Dear Evan Hansen, I find myself wanting to see it again and again. Despite the high costs. Each time I’ve seen it it’s been dynamic. All parts of this show make a mark; the music, the story, the acting- each connect to a deep part of me.

Dear Evan Hansen

1) Hamilton

I really owe so much to the genius work of Lin-Manuel Miranda. Although I was brought up with musicals, my obsession with the genre didn’t blossom until I heard the exquisite lyrics of Miranda’s tantalizing show. I am not American and knowing the history of America didn’t excite me in the same way it might excite a history teacher in the US. But this show lit a flame under me. And my desire to see the show quickly turned deeper and became an unquenchable thirst for Miranda’s materials. I moved to New York. I waited in line for 7 hours. I saw Hamilton. From my bedroom in Melbourne, Australia, I had made it! Hamilton is everywhere now. Rapping “My Shot” to the 4-year-old that I picked up from school brought me joy, and I hope to continue doing it. My favorite TV shows make jokes about how hard it is to get tickets. NYC appreciates and loves Miranda, and I do too.

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6 Ways To Afford Theatre in NYC!

Written by Annie Zeleznikow

Ah, the bright lights of Broadway! My eyes are drawn to the flashing lights of the star-studded posters. My heart is drawn to the warmth and depth of the shows. My ears a drawn to the sweet warbles of the casts. But alas, I have the budget of a graduate student (for I am a graduate student).

I moved to NYC from Australia late August 2017. Since then I have seen over 30 shows. “How is this possible?” I hear, through the gasp of college students all across Manhattan. It took some waiting, a little know-how and a lot of good luck. This article will take you through my favourite ways to get decent* Theatre tickets for one of the most expensive cities in the world, New York.

Note: Most of these are ways of getting tickets the day of the show!

1) Digital Ticket Lotteries

One of the best ways to get good tickets to shows for cheap is winning the digital lottery for shows. There is a whole range of websites that provide this service for individual shows, and each show has a different policy! Lottery tickets are usually the BEST seats, so it is well worth the 30 seconds it takes to fill out the forms online. However, for shows like Hamilton, there are hundreds of thousands of people entering each day. A lot of shows have a separate website for their lotteries, but below are some websites with multiple lotteries in the once place:

  1. https://lottery.broadwaydirect.com/
  2. https://www.luckyseat.com/lottery.php

2) In-person Lotteries

Something that is similar, but has a different process is the In-person Lottery. You will P1013243mormondraw.jpgusually get those sweet seats, without the huge odds against you! The only problem is that you have to have the free time to wait around for the draw before the show! Below are some shows that offer in-person lotteries:

  1.  Book of Mormon (2 ½ hours before curtain up)
  2. Mean Girls (2 ½ hours before curtain up)
  3. Once on this Island (2 hours before curtain up)
  4. Wicked (2 ½ hours before curtain up)

3) Rush Tickets

Rush Tickets, although far from the best seats, do offer great value for money. These tickets are offered just when the box office opens (for most shows during the week this is 10am). Depending on the popularity of the show, you might want to get to the box office at 8am, or if the show is not doing well, just stroll in any time after 10am! I have gotten front row tickets, where I missed whatever was happening in the back, but I didn’t care because I was inches away from Christian Borle’s face. Below are some shows that offer Rush Tickets:

  1.  Anastasia^
  2. Angels in America
  3. The Band’s Visit
  4. Beautiful (during the week only!)
  5. Carousel
  6. Chicago
  7. Come From Away
  8. Escape to Margaritaville
  9. Farinelli and the King
  10. Hello Dolly^
  11. The Play That Goes Wrong
  12. School of Rock
  13. SpongeBob SquarePants^
  14. Waitress
^ From experience, you won’t need to get there before 10am.

4) Standing Room Tickets

Shows that sell out will often have Standing Room tickets. If you don’t mind standing for the whole show, you can get a great ticket with an orchestra view. I found that Kinky Boots was made more interactive with standing room, as my mum and I danced to the BN-RJ672_NYSTAN_GR_20161227154525funky music while enjoying the show. Shows that offer Standing Room tickets when they sell out include:

  1. Book of Mormon
  2. Chicago
  3. Come From Away
  4. Farinelli and the King
  5. Hello, Dolly!
  6. Kinky Boots
  7. Once on this Island
  8. The Phantom of the Opera
  9. School of Rock
  10. Waitress

5) TodayTix

My favourite app TodayTix always provides me with quick and easy accesses to affordable tickets. Not to mention the numerous in-app Lotteries and Rush Tickets available! The app neatly compiles the best shows offering discounted tickets on and off Broadway. Visit TodayTix here.

6) The TKTS Booth.

Finally, there is the well-loved TKTS booth. Although I have not utilised this wonderful tool, it is the best way to get good tickets last minute. The tickets are a little out of my price range, but you will often find good value for money. TKTS is run by an organisation called Theatre Development Fund (TDF) that provides discounted (properly priced) tickets to teachers, students and many more professional for an annual cost of about $30. TDF, and other subscription-based discounts can be worthwhile if your living in NYC and hope to see lots of theatre!

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Although at times stressful, I have found all these methods to bare results. It is important to enter lotteries every day if you want to win, it’s only a matter of time. It is essential to remember that if there is a will, I’ll find a way- inside the theatre. You may not always get the best seats, and you may not always get into the show that you want, but it will always be an adventure. And it’s an adventure that you will treasure.

REVIEW: Myth @ The Other Palace

Reviewed by Nathan Deane

Only in the workshop process, Myth is a new rock musical based on the Greek legend Orpheus. The show is presented semi-staged and aims for a full run in the near future.

The show tells the story of Orpheus, a rock-star in his band The Argonauts, with bandmates Jason and Theseus. The Moirai (fates) have their eye on Orpheus and change his fate. They get his band a record label at Underworld Records overseen by Hades and his right-hand woman Medusa, tempt Orpheus with “viper”, a harmful drug, and eventually lead his girlfriend, Eurydice, away from him, leaving Orpheus to quest through the underworld to find her.

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The show was spectacular from start to finish. Before going in to the show, I wasn’t really educated on the stories of Orpheus so it was a pretty strange introduction to the myth, I’ll admit. However, I’m a sucker for rock musicals, so seeing a brand new British rock score was incredible.

The music, book and lyrics, by Sam Cassidy were refreshing and vocally challenging. While it is a rock musical, Cassidy mixed various other styles into the score, most notably rap. This made the music extremely interesting and the cast were working their asses off to sing the score perfectly, which they did.

Orpheus, played by Joel Harper-Jackson, was an extremely well-written character. He has quite an intense character arc, and Harper-Jackson plays the role perfectly. His vocals were pretty insane, and he acted the part flawlessly.

The three fates, Atropos, Lachesis and Clotho, played by Jodie Jacobs, Jodie Steele and Eloise Davies, respectively, provided powerhouse vocals throughout the show and basically narrated the story, overseeing act one and most of act two. These 3 characters were my favourites as they got the best songs and provided the tightest harmonies on the London theatre scene right now.

Matthew McKenna played Hades, the comedic antagonist of the piece. He was smooth and charming, yet truly villainous at heart. McKenna was hilarious and this role was absolutely perfect for him. His sidekick, Miss M, also known as Medusa, was played by Zoe Birkett. Birkett provided a seductive, sassy feel to Medusa and some of her lines had me laughing out loud.

Diana Vickers played Eurydice, Orpheus’ girlfriend. Vickers played the role well, providing vulnerability but also strength at points. The fact that she is hardly seen after act one is incredibly sad, as Vickers’ talent deserves to shine, but she does get to showcase, she gives everything she’s got.

This show is absolutely incredible. It’s unlike anything I’ve seen, and it’s deserving of a longer run.

5stars

Myth runs at The Other Palace until 17th March 2018. Click here for tickets and more information.

 

Olivier Awards Nominations: MY PREDICTIONS

Written by Nathan Deane

It’s not common practice to predict nominations for awards ceremonies. But the 2017-2018 theatre season in London was so great that the Olivier Eligibility is one of the best things I’ve ever seen. I feel like I have to tell everyone (is predict the right word? Oh well.) what I hope is nominated for the Theatre section of the Oliviers this year! I’ve limited myself to 3 or 4 nominations per category. These are not the official nominations; just my predictions/wishes.

Best Revival

The Birthday Party – Harold Pinter Theatre

Frozen – Theatre Royal Haymarket

Glengarry Glen Ross – Playhouse Theatre

Stepping Out – Vaudeville Theatre

New Play

The Ferryman – Gielgud Theatre

John – National Theatre (Dorfman)

Lady Day At Emmerson’s Bar & Grill – Wyndham’s Theatre

Pinocchio – National Theatre (Lyttleton)

New Comedy

Labour of Love – Noël Coward Theatre

Mischief Movie Night – Arts Theatre

The Miser – Garrick

Musical Revival

42nd Street – Theatre Royal Drury Lane

Follies – National Theatre (Olivier)

On The Town – Regent’s Park Open Air Theatre

New Musical

Everybody’s Talking About Jamie – Apollo Theatre

The Grinning Man – Trafalgar Studios

Hamilton – Victoria Palace Theatre

The Toxic Avenger – Arts Theatre

Entertainment & Family

Dick Whittington – London Palladium

Five Guys Named Moe – Marble Arch Theatre

The Hunting of the Snark – Vaudeville

Affiliate

The B*easts – Bush Theatre

tick, tick…BOOM! – Park Theatre

Room – Theatre Royal Stratford East

Disco Pigs – Trafalgar Studios 2