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“The Real Thing” review

My next show takes me just up the road from yesterday show and to the “Old Vic” to watch “The real thing”. A show which was in its final week with a closing date of 26th October 2024.

The Old Vic 24th October 2024

This production is a revival of Tom Stoppard play which has seen multiple version both sides of the pond since its incarnation in the early 80s. With actors such as Felicity Kendal, Glenn Close, Maggie Gyllenhaal and Ewan McGregor playing the title roles. This version is directed by Max Webster and has a running time of two hours and thirty minutes. Before I took my seat in the theatre I managed to grab and drink and relax in “Penny at the old Vic”. Which is the Old Vic bar/cafe/restaurant which along with the rest of the building has been majorly redeveloped since 2018. I then took my seat in the stalls of the Old Vic auditorium row J seat 26.

View from stalls row J seat 26

The show isn’t so much a play within a play like some productions, it is more a few scenes of a play within a play. With a few scenes within the production in hindsight clearly being the scenes from a different play. This quickly becomes obvious as the actors suddenly morph from one charecter to another. During the first half sometimes these transitions are not that obvious but as the character development builds the differentiation becomes more clearer. The first act charts the first of the affairs, this being between Annie (Bel Powley) and Henry (James McArdle) behind the back of their respective parters of Max (Oliver Johnstone) and Charlotte (Susan Wokoma). We learn that Henry is a playwright while Charlotte and Max are actors in his play. We learn of a convicted criminal of Brodie. In whom Annie seems to care about after meeting on a train journey to London. Act one concludes with the what once an affair now love between Henry and Annie who are now together.

Act two jumps forward to Henry and Annie still together but now Annie wants Henry to rewrite Brodies (Jack Ambrose) play which he has written. Through the second act we learn from different characters that Brodie cannot write and the play is unworkable in its current form and that Henry will have to rewrite it. The next potential affair comes to afray once Annie obtains an acting role in Glasgow where she meets the young Billy (Rilwan Abiola Owokoniran). It’s is never confirmed if this affair is a physical one as suspected by Henry or just flirtation. The show concludes with Brodie (Released from prison), Henry and Annie watching their play which has been turned into a TV play with Annie and Billy staring in the title roles. We now have the next potential affair between Annie and Brodie however in conclusion learn that it was Annie fault that Brodie was improsioned and therefore the relationship was based on guilt and not love. We then end with Annie and Hnery relationship back in tack and therefore love again.

The set was totally static with only props being moved around stage by the what appears as stage Crew. They really were stars of the shows. The scene changes were theatrical brilliance with the stage hands who gradually become more and more involved in the changing scene and end up doing a full dance routine during one of the second act change overs. I was glad to see that they came and took a bow at the end of the show. They were not credited so I can only assume they were not actors but they really did add to the show and almost bring in a more modern feel. A nice touch for a show written and based in the 80s. The scene changes were emphersied by the music tracks. As each scene change seem to be triggered by a new record being placed and played on the centrally located record player which was located down centre stage. The way the music built throughout room from what appeared to be playing just on stage to ending up playing across the whole theatre sound system was very well done and very slick and aided the scene transistions.

The lighting design also helped with these scene transitions. As it never fully went dark which allowed us to see the stage crew work their “magic”. And move the props around to physically set the scene for the next part o the play. The overall mix of very strong lighting and the bold blue set also aided to provide a modern twist and feel to this 80s play. There was one particular stage crew involvement which stood out to me. This was to conclude the first act when Annie is sat on the arm of a sofa and then one stage crew member appears and starts to swing the floating lightbulb in large circles around Bel Powley. The way the lights dimmed and the swaying relocation n the plain but bold set was very impressive.

Overall the play was written very well with some parts of the dialogue being very good. The quality of the script can also be emphasised by the basic and staticness of the set. Which meant that it was just the script driving the story and engaging the audience. However there were some aspects of the script which did feel a little dated which is expected of a play that was written and based in the early 80s. However this was counteracted by the direction of Max Webster and the on stage crew who as before modernised the whole feel of the play. Once you hear or read more about Tom Stoppard personal life the script becomes a lot more relevant and understood. Esppecially around the theme of a struggling playwright who is also struggling with personal relationships.

Now for the main title roles and first James McArdle playing Henry. He was very good overall and was able to bounce off of Bel Powley perfectly. Which allowed them to really delve into the script very well. He was able to portray the humour in relevant parts while still keeping the necessary drama and intensity which were required in many scenes throughout the play.

Now for Bel Powley who was portraying Annie. I have been aware of Bel Powley for many years even from the late 2000s when she stared in the children’s TV show “M.I. High”. People of a certain generation will be well aware of the show. More recently I and everyone I know who watched was so impressed by her role in the Anne Frank based Disney plus show “A small light”. I was so pleased to see that Bel was able to transfer these brilliant on screen performances to the stage. Which was excavated seemlessly along with her very unique voice which worked very well for this chrecter and this play as a whole. She along with the script was able to take you on the up and down rollercoaster of love, affairs, love and affairs again. I have not seen Bel perform on stage perform but was very impressed and hope to see her tread the boards in future London or New York shows.

Overall I give this show 3 out of 5 stars. It is a good play which charts the love, affair, love, affair and love again rollercoaster which comes from this 80s Tom Stoppard play. With a great new direction approach and a brilliant performance from Bel Powley.

Further information on this show and the Old Vic itself can be found on their website.

“A face in the crowd” review

My first show back in London after by broadway trips takes me to the “Young Vic” on The Cut just down the road from “The Old Vic”. I dont see many shows at the Young Vic with the last show being Nora: A dolls house which included Amaka Okafor in the cast who I met at a NT event a year or so before.

The Young Vic 23rd October 2024

Today’s show is one of many that are closing within the next few weeks which are on my top watch list. As a result expect quite a few reviews over the next week or so. The show in question today is “A face in the crowd” which opened on the 12th September and will be closing at the Young via on 9th November 2024.

The show is a new musical with music and lyrics by Elvis Costello. The production is directed by Kwame Kwee-Armah who has been the artistic directory at the Young Vic since 2018. The musical is based on the 1950s film of the same name and has a scheduled running time of two hours and thirty five minutes. Once again it is a story and film I have never heard of before. So as I took my bench seating in row F seat 12 within the main house (biggest theatre space at the venue) having no prior knowledge and did not know what to expect. I was disappointed that there was no programme. I understand the environmental benefits however if I see a show I would like and expect a programme as souvenir. Instead you can obtain a “Free sheet” which list all the cast and creative details. This is also available online here.

View from Main House Row F seat 12

Here is a very quick overview of the show. A full blowby blow show synopsis can be found the Young Vic website here. Act one depicts the very quick rise to fame of Lonesome Rhodes (Ramin Karimloo). Who is a drunk interviewed from jail by Marcia Jeffries (Anoushka Lucas) for her unsuccessful radio show “A face in the crowd”. She gives him the name of Lonesome Rhodes and his career goes from strength to strength after capturing the heart of the radio listeners. This escalates to a TV show in Chicago which continues to grow his name and reputation. Act one concludes which Rhodes being approached by presententail candidate Senator Fuller.

Act two follows the campaign trail for Fuller in which Rhodes is pulling the strings and attempting to make Fuller more popular by being more like Rhodes. During this time Rhodes exhibits some very strong local and international political views. Crescendoing with Rhodes becoming far to arrogant and opinionated and believes that he should be the vice president. It is up to Marcia who built him to break him by making his mic live at the end of broadcast so everyone can hear his true opinions on the lovable public. This concludes the show with Rhodes a broke man again and back were he started. All while there is an underlying relationship between Rhodes Marcia even during his on screen marriage to Betty Lou (Emily Florence)

The main points raised in the story around presidential campaigns and public especially American public opinion and the ability and or attempt to be manipulated all seems very relevant with the current presidential election campaign currently happening in America. Also the main point of building someone up on TV to then only bring them crashing down. Was a clear representation of the cancel culture that currently exists. I dont know if this was pushed more for this production or if it was the same in the original film in which the musical is based on. Either way it made the story seem very relevant even though it is set in the 1950s

I did forgot how small of a theatre space the young theatre main space was. As a result any seat within the auditorium is a good view. The stage itself especially for this production is pretty small. This meant that there was not much opportunity for large set pieces or changes. Instead there was very good use of props throughout the show. The scene changes were depicted by a few sliding backdrops however the props were heavily relied on to bring the scene to life. Along with the use of lighting which was very effective in the theatre space to set the scenes especially in the pool scene halfway through act one. The use of the TV directors booth above the stage was a very good use of the limited stage space. Instead of going outwards the designers went up. Due to this limited space there was very good use of the actors within the dress circle (Upstairs seating) space to highlight the audience members especially in the first act for the radio show. Again lighting was key to making this work. A standout moment for me within the theatre aspect of the show was when Lonesome started travelling through the audience seating while shaking hands during one of the campaign rallies. It really did give the audience a lift and gave the whole environment and authenticity/ feel that we were at an American presidential candidate campaign.

I was very impressed with the amount of costume changes that occurred throughout the show. It was the one aspect of the production that gave it a large scale theatre prodcution vibe that is needed and expected for any show running in London. On top of the amount of costume changes the ensemble cast which is not a large number managed to depict many characters, some four or five throughout the whole show. It is due to the amount of multiple characters per actor that meant that they relied on the costume department and variation to asssit with the authenticity and storytelling. There were a few more expected musical theatre dance routines during some of the numbers which relied mainly on the three supporting women of the ensemble cast.

As mentioned before I did not know the story and did find especially in the first half that time seemed to progress very quickly within the story without it being very clear to the audience. There was sometimes hints during some of the dialogue however sometimes weeks and months seem to pass within the same scene without it being very clear. This was not so much of an issue in the second act. Which made the first act feel a little rushed like it was just setting the background story for the second act.

I did find the songs within the production were not necessarily used to progress the actual story being told. Perhaps due to the what seemed rushing of the narrative. This is a shame as when you watch a musical you expect the songs to be telling and progressing the story and the acting in between just a segway to the next song. For this production that was not the case. The songs sometimes added to the story but most often that not just elongating a point that was already made. The general music and lyrics were OK, I personally only really liked a handful of the songs. One being the title song “A face in the crowd” and “A town called riddle” which Ramin himself has uploaded a version to his YouTube channel which can be found below.

“A town called Riddle”

I do have to say the finale track which is a version of “A face in the crowd” lead by (Anoushka Lucas) and then supported by the whole cast really was a rousing finale and a proper musical theatre experience. While talking about the music I was a bit disappointed as the live band located to stage left were not used enough in my opinion. I always find it intriguing when a band is on or just off stage. Which is very common in small theatre spaces or small set productions, like “Come from away” for example. So i was excited to see them appear just as the house lights went down. However disappointed to see them quickly disappear after the opening prologue. We would only see them return around three times through the whole show mainly at the end and start of each act. The rest of the time what I can only assume was a backing track was the source of accompaniment to the onstage performers. It seemed like a wasted opportunity for what is being sold as a musical production.

I have to be honest the main reason in wanting to see this show was for Ramin. I dont normally agree with people who see or want to see a show for one person because everyone in the cast deserves the recognition. However Ramin was the main driver for me and he did not disappoint. The casting of the Ramin for the role of Lonesome Rhodes is perfection. He absolutely embodies this characters from the start as a waste of space jail drunk through to his mighty rise and inevitable downfall due to his delusions of grandeur. At each stage Ramin somehow convinces you that Lonesome is at that stage of his life. Having said that, as usual and as expected the highlight and the best part of the whole production is Ramin vocals. Which are as usual out of this world. Every time I see him perform I still can not understand how he can sound so unique but suit so many different musical theatre productions. Think Phantom, Les Mis and this now show. The tone and power is unbelievable and really did make the show. There was many points especially during the first act when Ramin sat and supported his amazing vocals with just a guitar. Again perfect casting it did make me harp back to Ramin YouTube channel “ARoamingIranian” in which he has been uploading videos for years in a very similar style. I imagine the casting director had a fairly easy day once Ramin said yes.

The other main characters was Marcia Jeffries’s portrayed by (Anoushka Lucas) . Her voice was good however it seemed the songs were written not in the normal musical theatre range and seemed a lot higher than normal. As a result the more softer parts of her songs is where she was able to shine. Betty Lou played by Emily Florence become a pivotal part of the story and to stepped out of the main ensemble to have some dedicated songs which were performed brilliantly.

Overall I give this production 2.5 out of 5 stars. The story seemed rushed in the first half and did not rely enough on the songs for a musical production. Ramin Karimloo saved it for me and if you can get a cheap ticket take it to see Ramin perform. It was an enjoyable 2.5 hours of theatre for an OK musical on a small staging.

More about the show and the Young Vic itself can be found on their website.

Sunset Boulevard on Broadway

And now for my last show of this trip to Broadway and I really did save the best till last. My final show was “Sunset Bulovard” at the St James Theatre. This is the hottest ticket in town after recently opening for previews on 28th September 2024 with opening night scheduled for 20th October 2024 after its triumph run in the West End , winning pretty much everything that it could. The success was so huge that I was unable to get a ticket for the West End run so was very happy when I managed to secure a Broadway ticket. Currently the show is scheduled to run until 6th July 2025, however there will be no surprises if this gets extended.

The St James theatre 12th October 2024

While waiting in the entry line outside the theatre the theatre staff welcomed us all and exclaimed that this is the best show in town. When taking my seat in Mezzanine Front Center Row B Seat 109 within a very dark auditorium I was wondering if this show was going to live up to the hype and was Nicole Scherzinger really that good. All these questions and more will be answered within this review.

View from Mezzanine Front Center Row B Seat 109

As most people are aware this is a Andrew Lloyd Webber classic musical. With the book and lyrics from Don Black and Christopher Hampton. However this particular version had an ace up its sleeve in the form of director Jamie Lloyd.

I have to admit that I have never seen a production of Sunset Boulevard in the past. I was obviously aware of some the absolute classic musical tracks from this show but did not know the story or context in which they were in within the story. I have to be honest I forgot how many classic musical songs come from this production. So for those like me who don’t know the story is a basic brief synopsis of the show.

Left: Alternative cover Right: Modern Playbill cover

We open with a body a bag and Joe Gillies (Tom Francis) emerging from it reporting there has been a murder. We then change time frame to see Joe a struggling script writter trying to get a studio to take on one of his pieces of work. It is here we also meet Betty Schaefer (Grace Hodgett Young). While trying to outrun people chasing him for money Joe ends up in Norma Desmond’s (Nicole Scherzinger) house. We learn that Norma was a huge movie star however now a nobody and lives in her house with her security man Max Von Mayerling (David Thaxton). Norma is trying to make a come back and persuades Joe to help her with her script she is writing. The relationship escalates and Norma seduces Joe after attempting suicide. Act one ends with a very muted and depressive News Years eve party.

Act two opens with the now infamous street walk in which Tom Francis (Joe) wanders the backstage area and streets of the theatre while performing Sunset Boulevard live. While Norma and Joe along with Max are living together Paramount studios call to talk to Norma she is convinced it is about them taking up the script however we later learn it is to buy her car. We discover that Max is protecting the delusional Norma as we find out that he was in fact Normas first wife. Norma then learns of Joe and Betty affection for each other. In a finale crescendo to act two and the show. Joe attempts to leave Norma and tells her the truth that she is now a washed up actor and her new script will never get made. With this Norma shots and kills Joe (The murder we opened with).

From here on out I fear that it may be a short review as it lives up to the hype and awards and more. This production was outstanding and the director of Jamie Lloyd is an absolute genius. I will now try and attempt to justify this view.

First of all this is like no production let alone musical I have ever seen before, and I seen a lot shows. It wasn’t a concert musical but then it was not a traditional musical or even a more modern musical. This can not be categorised and has to be put in its own class and league. I think it is this reason why it has and will be so successful. I believe this all comes down to previous mentioned genius director Jamie as well as the amazing score and lyrics underpinning it.

There was no staging and for me to speak so highly of a musical with no staging that is not a concert musical is praise in its self. Most of the time it is the actors on a very large black empty stage with just some very good use of lighting and spotlights to concentrate the eye. As well as lots of dry ice. The lighting design or should I say the spotlight design is brilliant. The only changing feature of the set is the drop down video screen that takes up the whole backdrop of the stage.

It is this video screen which engulfs the stage which plays the live fed video feed from the onstage handheld camera operators. These camera operators are the stars of the show on their own. I have seen lots of shows (Network) and some musicals (Bat out of hell) use on stage handheld camera to livestream to a big screen. But i have never seen it done the way this production does it. The quality and clarity of the close up is so extreme you can see the individual hairs on the actors beard along with the scale of the screen make it so impressive. It allows every seat in the auditorium to have the best view regardless of your physical location within the theatre. Jamie Lloyd relies so heavily on these to portray the feeling of each face on screen. I can not speak highly enough of how effectively this was used. As mentioned before this format also allows the ability to have the infamous live walk through the streets of whatever city the show is playing in. One small piece of direction which I really appreciated was as a character left the story towards the end the actor physically removed their radio mics a very small but impactful move.

The effectiveness of this lack or set and camera work is only achievable because the score and lyrics are so good. The quality of the songs especially the more popular and famous ones allow the director to have the ability to strip it back and just listen to the songs. Like all Andrew Lloyd Webber musicals you find the score repeating its self throughout the production but this is a classic ALW approach and does not distract from it being an absolute classic of not only his but musical theatre as a whole.

The costume like the set are basic and understated with simple black and white outfits. With only Joe changing his costume once he becomes part of Normas life.

Before I discuss each of the main actors individually a quick mention of the ensemble. Which as expected was brinllient again there were a few but not so many traditional musical theatre ensable routines. But when there was they were executed perfectly. One such routine which stands out to me was the scene in which the whole ensable are lined up on chairs and stand up and then sit down exactly in unison to leave two random meembers standing to perform their line. The accuracy of these movements resempbled more of the rocketts Christmas show at rockfella that a musical.

Now for the main cast. Betty played by Grace Hodgett Young was brilliant and supported Tom Francis brilliantly. A surprising standout for me was David Thaxton playing Max Von Mayerling not only his amazing low voice but is acting and an ability to act with a camera a matter of centimetres away from your face.

Now for the main stars of the show apart from the director. Tom Francis playing Joe Gillis. There is no surprise that Tom along with a lot of the cast have revived their originated roles of this particular production from the West End to Broadway. He did not disappoint at all the vocals the acting the stage presence. We’re all perfection, even keeping though vocals out on the streets during the live Sunset Boulevard song. I was not really aware of Tom that much before his appearance of this role in the West End. However I along with everyone else will be very well aware of his next step in his career.

Now to move onto the title actress of the show and playing Norma Desmond, Nicole Scherzinger. Going into this show I was questioning whether she along with the whole production would live up to the hype and the awards that it gained in London. I can confirm that she DID. I had not seen her in any of her another stage shows such as Cats so was unsure how she would be able to cope “acting” a musical. I am always very wary of star casting especially in musicals. But in this age i am happy to stand corrected Nicole vocals were out of this world. The ability to stand centre stage with a spotlight and some dry ie and receive not one but two standing ovations mid way through the show just highlights how power her voice was. The first standing ovation came shortly into act one following “With one look”. Have never seen an audience reaction like it in a theatre easpically mid way though the show. It wasn’t until the end that I remembered that she has to to do this 7 or 8 times a week, highlight such power. Not only power but feeling and was seeing it as a musical theatre show and acting through the song like a real musical theatre superstar. It was not only the singing but her whole portrayal of Norma from the deranged to the funny to the vulnerable were all clear to see from Nicole. And unlike on normal musica theatre there was nowhere to hide as her face was the size of the stage thanks to the on stage cameras. I have to mention the casting team who casted Hannah Yun Chamberlain who played young Norma. The likeness to Nicole but younger was unbelievable. It even fooled the American audience who started cheering like it was Nicole during the opening scenes.

You will be able to hear all the whole cast on 25th October when the Cast recodering is released. I for one can not wait to relisten to this whole show and the brilliant cast again and again. It appears to have a total of 39 songs which is much more than any other cast recodering of this show. So I expect it to be everything you can hear during the show. Take my word for it whatever the cast sound like on the recording they sound the same if not better live.

Overall I give this performance a 5 out of 5 stars. There is no other show or production like it. Jamie Lloyd is a genius taking an Andrew Lloyd Webber score and classic Don Black and Christopher Hampton musical and making it like no other. If you can see the show see it, at least listen to the cast recording once it is released. It deserves all the hype and awards it has got and will get.

More details on this show can be found on there website.

Water for Elephants Musical

Now for my third review of this Broadway trip and my first matinee after starting this review site. Which means that it is a two show day for my last whole day in New York. The first show is “Water for elephants the musical” which is currently playing at the Imperial theatre. Which opened on 21st March 2024 and is set to close its broadway run on 8th December 2024 before embarking on a US tour.

The Imperial Theatre 12th October 2024

This show is based on the 2006 Novel by Sara Green which again I have not read or even aware of the story, so once again entered the theatre for the 13:00 start and took my seat in Orchestra Row L seat 104 not knowing anything about the story. This musical production has music and lyrics by PigPen Theatre Co and a has a running time of 2 hours and forty minutes.

View from Orchestra Row L seat 104

The show starts within a modern day circus and Mr Jankowski (Christopher Russo) who begins to regale the current circus workers the story’s of his past. We are then transported back to 1930s where a young Mr Jankowski, Jacob Jankowski (Kyle Selig) jumps on a train out of town. Without being aware that it is a circus train of the famous Benzini circus. After some convincing Jacob gets to stay a night so he can head out of town. It quickly transpires that Jacob is a nearly fully qualified vet after having to miss the final exams due to his vet father and mother dying in car crash. The circus ring leader and boss August (Paul Alexander Nolan) persuades Jacob to join the circus as their vet to look after the vast array of animals that made up the 1930s circus show. Jacob meets the circus leaders star of the show and wife Marlena (Isabelle McCalla) and her horse. Shortly after due to the poor work conditions the horse has to be put down by Jacob. This results in August having to find a new star of the show and buys the first available animal which happens to be an elephant named Rosie. While attempting to train Rosie, Jacob and Marlena start to fall in love. The first act concludes with the realisation that Rosie can perform when spoken to in Polish. A grand reveal of the whole elephant concludes the first act.

The second act involves a successes story of the new star act with Rosie. Jacob is treated to lavish parties with August and Marlena. Even though he has a new star act August continues to mistreat both Rosie and Marlena. Both Marlena and Jacob grow closer while Jacob tries to break it off for the sake of the whole circus. This is unsuccessful and August finds out about the affair and demands his right hand man Wade (Wade McCollum) to get rid of Jacob and his friends Walter the clown (Michael Mendez) and Cam (Stan Brown). Both of these were the reason Jacob was accepted on the circus train in the first place. As Jacob is with Marlena off the train, Wade continues to get rid off (Kill) Walter and Cam. The show crescendos with a large stampede of all the animals believed to have been caused by Wade due to the guilt. This stampede goes down as the greatest circus disaster of all time and destroys and kills everyone apart from Jacob, Marlena and Rosie. Who in the aftermath continue to live together for the 50 years before Marlena dies. We then rejoin at modern time in which Mr Jankowski is offered to join the new circus show and get out of his nursing home and join the circus again.

Left: Alternative cover Right: Modern Playbill cover

Now for the theatre review part.

First of all the set and props, which were surprisingly lacking for a broadway show. There was very little set design as a whole providing a very basic staging. However this show was not relying on the staging to give impact. This type of staging means that this production is very well suited to a tour production as mentioned at the start this is the next stage of this production life. This means that the touring audience will not actually miss out on any of the staging from the Broadway production. The main set/props are two scaffolding towers which are used to replicate the train. This is done very effectively due to the actors movement and lighting.

Lighting is a huge part of this production and is used instead of set design to set the scenes. As well as stage lighting, the use of shadows are very impressively used throughout this production. Not only in order to set scenes but also to portray the animals and scales very effectively.

The use of puppetry throughout this whole production is brilliant. Due to the vast amount of animals needed for the circus a few are portrayed by actors in suits but the rest are all puppets controlled by the actors. The use of these puppets for me rivals War horse and Lion King. Camel’s dog which is handled and controlled by a number of the cast is very impressive along with the other animals that make up the circus crew. However the stand out has to be Rosie the elephant herself. Who for most of the first half was only portrayed by a trunk or a leg here and there had its grand reveal at the end of act one. This reveal reminded me of the King Kong musical reveal which causes the American broadway audience to have an audible reaction. In this case of large cheers and applause. Very much like war horse you forget that Rosie is in fact a puppet and start treating her like a part of the cast as you start to feel compassion for her.

Not only is the puppetry amazing the use of physical theatre and especially acrobatics and circus style performers were breath taking. Instead of the ensemble having normal dance breaks and or supporting the songs and main characters. For most parts of the production the ensemble who I am going to call he circus performers from now on. These circus performers were the main characters and the main point of interest for the show. I really like how it replaced dance routines with circus/acrobatic routines. Unlike cirque du soleil which I have seen their Broadway show Paramour amany years ago. The routines themselves were not the purpose they symbolised and supported the show and the story. For example the death of the horse in act one is portrayed by an amazing aerial acrobatic routine performed by Nick Zelle. The whole production relied on physical theatre in which even the title principal performers of Isabelle and Kyle had to partipate in as well as perform brilliantly vocally. I can only imagine of the extra training they had to undertake in order to complete this successfully.

Before I move onto the music and lyrics and then the performers. I have to touch on some of the amazing transitions that occurred. It was these transitions that moved the show from the 1930s to modern day. They were so obvious but seamless at the same time. With either a simple light transition. Or one transition which consisted of Paul Alexander Nolan physically transitioning between August and the modern day character of Charlie by literally stepping out of the ring master costume while leaving it floating in the middle of the stage being supported by the rest of the cast.

Now for the music and lyrics and musical part of the musical theatre. For me this was not a major part of the production and unlike normal musical theatre shows, the show was not relying on the songs to progress the story, instead to just accompany it. This becomes more obvious when you look at the cast recording which is available on all major platforms. As it only has 19 songs around an hour of content for a two hour and forty minute show. I personally don’t think this impacted the production as it was relying more on the physical theatre than the songs. However I was a little disappointed as I expected a broadway musical. But it did not distract from the show at all. Having said that there were some stand out songs and musical performers. One came from Wade and his a capella country esc accompany in songs such as The road Dont make you you young. Even though it was not as in keeping with the rest of the show, i really did enjoy it. My favourite track has to be Isabelle singing “What do you do”.

One of my favourite songs of the show

Overall this was a great Broadway show not necessarily the best Musical theatre show I have seen. But the physical theatre and acrobat performances make it a great show and I recommend seeing if you can on tour or if we are luckily enough for it to come to the UK. I expect not initially West End but possible a touring production.

I give this production 3 out of 5 stars. A great story with amazing physical theatre and acrobatics with a bit of musical theatre thrown in. Not a standard broadway musical but still worth a watch.

Further information of “Water for Elephants” can be found on their website.

The Great Gatsby Musical

So now for my second review of this Broadway trip and the first of the three musical scheduled for the weekend. The first being the Great Gatsby playing at The Broadway Theatre. Like many shows and especially musicals I very rarely have seen the film or book in which the production is based on. This production is no different. Like my other musical reviews I will provide a quick synopsis overview before reviewing the musical production areas in more detail.

The Broadway Theatre 11th October 2024

The Great Gatsby opened on Broadway on 29th March 2024 and currently has not posted a closing date. I can totally understand why, I expect this show to run and run and do not expect a closing date anytime soon. I would expect them to announce a principle cast change before long. The production is considered one of the bigger newly opened musicals on broadway. Mainly because of its title leads of Jeremy Jordan and Eva Noblezada. Both in my eyes considered current Broadway megastars. For my production I had the pleasure of whitnessing the understasudy for Jay Gatsby who was played by Alex Prakken, more on this stella cast later. It has music by Jason Howland and Lyrics by Nathan Tysen and is directed by Marc Bruni.

It was another 19:00 show start which seems to be a new thing on Broadway. Again not an issue for me and somewhat prefer an earlier start. I took my seat in the Broadway Theatre in seat Orcherstra Row O seat 1. The last time I was in this particular theatre was for King Kong the musical back in 2018/2019.

View from Orchestra Row O Seat 1

Many may already know the story of The Great Gatsby, as mentioned before I did not and for anyone who doesn’t, here is a quick run down of the synopsis.

The show opens with Nick Carraway (Noah J. Ricketts) visiting his relative (Cousin) Daisy Buchanan (Eva Noblezada) with her husband and their friend Jordan Baker (Samantha Paula). We quickly learn that her husband Tom Buchanan (Pascal Pastrana) is having an affair with Myrtle Wilson (Ryan Nixon), the local garage owners wife. On one of their regular trips to the city, Nick becomes witness to Toms violent side. This prompts Nick to take up the offer from his neighbour and local rich guy Jay Gatsby (Alex Prakken) who is known for throwing lavish grand parties in his mansion. Jay Gatsby wants Nick to organise a meeting with his cousin Daisy. As Jay and Daisy met and fell in love five years prior before the war. And only recently realised that both are still alive and live locally. Act one ends with a successful meeting of Gatsby and Daisy organised by Nick after seeing Toms true side. At this meeting Nick and Jordan appear to also fall in love and are seen entering his cottage together. While Act one concludes with Gatsby and Daisy in bed together.

Act two opens to a flurry of excited and in love couples narrated by Meyer Wolfsheim (Eric Anderson). A party is arranged so Gatsby and Daisy can relive the night they fell in love five years ago. During this time we learn that Gatsby has obtained his fortune from dodgy dealings being facilitated by Meyer Wolfshiem. During the party tensions increase between Gatsby and Tom for obvious reasons. As the tensions grow they decide that Jay, Daisy, Tom, Nick and Jordan should travel the Plaza in the city. Gatsby and Daisy have confessed there love for each other and Nick and Jordan become engaged. It is at this point the story’s takes a Shakespeare tragedy esc style ending. With many turns of events which conclude with Jay and Daisy vehicle hitting a killing Myrtle who was pregnant with Toms baby as a result of their affair. On hearing the fatal news, Myrtle husband (Paul Whitty) who is now aware of the baby assuming it is Jay Gatsby’s kills Jay and then himself. The story concludes with Nick having to leave town and Daisy who also leaving with Tom to start a new life.

Left: Alternative cover Right: Modern cover

Now for the musical theatre part of the review.

Let’s start with set and prop design. Which are simply outstanding some of the grandest and best set design i have seen on broadway (Apart from Moulin Rouge which was in a league of its own). The set design was so clever with amazing use of some top quality projection. It meant that the set on stage seamlessly blended with the back screen making it appear even more grander than it was. I have not seen this quality of projection and ability to merge with the onstage set before. The use of projection was also used to portray rain which somehow seemed to cover the whole stage without the use of actual rain. Lights and projection were also used to make a stationary car appear to be moving. With lights on the wheels and the screen falling away behind it gave such a good illusion of a moving car. In some way they did not even need this trickery as the two cars on stage were amazing props. They were full size cars which moved independently of the staging. It allowed the actors to actually drive them back and forth and around the stage. Again something I have never seen on stage before. They were like life size children’s toy battery cars. Simply amazing props work and highlights the size of stage that the Broadway theatre has. Not only these amazing cars but the level of details on the set and props was outstanding. You were able to see inside details of the cottage through the door even though we never went inside for a scene.

A quick note on the costumes, which were as grand and glamorous as you expect for this 1920s themed story. But again the detail was so impressive with no costume being repeated in any of the scenes. There was even a quick change on stage.

Now for the music and lyrics which were amazing. Some proper real broadway musical theatre. There were amazing ballads from both male and females and not only the two leads by others as well as well as great ensample pieces. This orginal principle cast has already completed a cast recordering which can be found on all major platforms. I have already downloaded the whole cast recodering album. Out of the 23 tracks my stand out by far, a song which I have already replayed six times on my walk from the theatre to my hotel bar where I am writing this review is “For Her” which is sung by Jay Gatsby. On the recodering it is Jemery Jordon but for me especially for the first time hearing it while live Alex Prakken did not dissapoint and is a perfect example of why understudy’s are amazing in any production. Even though there were so many amazing songs for me “For Her” just stands out and really gave me goosebumps on the first time hearing those notes. A snippet of the song along wither another can be found on this YouTube video.

Includes my favourite  track For Her

Now to delve into the actors. I have already mentioned how impressed I was by the understudy of Alex Prakken, there are some very large Jeremy Jordan sized shoes to fill but he filled them and some. The next is Eva Noblezada who if you watched the above link you would have seen and may recognise due to her multiple award nominations over the years. Again she did not disappoint the passion and vocals were breathtaking. I was sum what surprised that it seemed the main character was in fact Nick and not Jay Gatsby as a result Noah J. Ricketts had a lot more time on stage and some great dedicated songs more than I was expecting which was performed effortlessly. While browsing the cast list before the show, the name of Eric Anderson stood out to me as I watched him in the original broadway cast of Pretty Woman a few years ago. I was surprised that he was not as heavily used in this production especially in the first half but was pleasantly surprised when he opened the second act as Meyer Wolfsheim. Overall all four main characters as well as the supporting roles and ensemble were faultless.

Overall this is an amazing new Broadway musical with everything you expect from a broadway spectacle with amazing ensemble pieces, duets, breathtaking solos. With amazing music and lyrics that hint at the 1920s era but somehow keep a very Morden broadway musical theatre feel. All using an amazing set and prop design.

I give this production 4.5 out of 5 stars. A must see for the incredible set and prop design and amazing music and lyrics. I expect to be rewatching this when it undoubtedly transfers to the West End.

Further information of “The great Gatsby broadway musical” can be found on their website.

Job on broadway

Here is my first broadway review on this site. If you have read my About me page you will be aware that a New York and broadway visit is a bi annual trip for me. Within hours of touching down in JFK and arriving at my hotel in Time Square I was making my way to The Hayes Theater which was around the corner from my hotel.

The Hayes Theater 10th October 2024

The first production of this trip was a play. The other three productions scheduled for the rest of the weekend are all new musicals. The play in question is “Job”. Which opened on Broadway on 15th July 2024 after a lot of off broadway success, The production is on a limited run and as a result closes on 27th October 2024. The show is written by Max Wolf Friedlich and stars Peter Friedman and Sydney Lemmon more on them later. Once again like many plays on the West End and Broadway this was a straight though play with no interval and a total running time of 80 minutes. As mentioned in previous reviews I am a big fan of this format especially for a production as intense as this. However having a 19:00 start time (Well 19:10, if you know you know. Anyone who has seen a Broadway show will be aware). It did mean thatI was back at my hotel bar writing this review well before 21:00.

View from Orchestra Row E Seat 111

After receiving my Playbill from the always enthusiastic usher I took my seat in the orchestra Row E Seat 111. A brief note on the playbill itself. When initially handed it I was somewhat surprise by the strange cover sheet as it differed from the norm that I have seen in the past. On closer inspection I discovered that Playbill are celebrating their 140 year anniversary and as a result had around four or five “alternative” covers. Mine was of a 70s vibe. I was pleased to eventually realise that the current/ modern playbill cover was located on the inside cover. Both version for the playbil cover can be seen below:

Left: Alternative 1970 cover Right: Modern cover

After booking the ticket a matter of hours before, during the very drawn out taxi ride from JFK to Manhattan I was luckily to obtain a single seat ticket in a very good location. This seat only added to the authentic feeling of the production. As soon as the house lights went down you are transported to be a fly on the wall to a therapist session/meeting. With a very dramatic opening scene in which the therapist is being held at gun point by the patient. I am concuios that I don’t want to provide any major spoilers for this show. Apart from the fact there is a twist at the end however I will refrain from providing the details of said twist. Just in case you are lucky enough to see this or any future version of this production.

The show running time of 80 minutes makes much more sense when you release the context of the show and also lends to the authenticity of making you feel you really are observing a real therapy session. This authenticity is also continued by the fact the staging (shown above) does not change throughout the whole production. There is no set changes what so ever. At most the chairs are moved from their original spots. Again showing what i imagine a happens in a real theory session. The set design as you can see from above is simple however very effective, I especially liked the floating ceiling mould to depict the top of the room and almost frame the whole stage.

Throughout the 80 minutes we are drip fed information about not only the patient Jane but the therapist Loyd. By the end we discover that Jane works for a big tech company and is the “first line of defence” for online filtering. The audience are given a small insight into the way the internet and social media is filtered mainly by bots. But when the algorithm is unable to come to a conclusion a human has to watch and review the content to make a final call. We learn through quite graphic description the kind of things that Jane not only has been exposed to but is expected to experience on a daily basis to produce the first line of defence. She sees it so the general public don’t. We also learn that Jane has more recently taken on confronting some of the contents creators in a vigilante esc campaigns. As the audience is slowly feed Jane’s background and experience we expectedly assume this is why she is in this therapy session because of her JOB. The big tech company who is imposing a therapist sign off for her return to office after she suffered a viral breakdown. We learn a little but crucially enough about Loyd, he is divorced with two young children a young boy and a young daughter who committed sucide at a young age. We later discover why this could have occurred.

Throughout the session/production Jane raises and mentions lots of challenges and issues that face not only her generation (Millennial) but anyone and everyone who is impacted and connected via the internet. This challenges and issues include the expectation that social media put on individuals along with racism and politics views of the class system of not only the country (US) but the world as a whole, as well as abortion. The ability to put this challenges across and develop such an intense building production all within less than 80 minutes is credit to the writer Max Wolf Friedlich. The show especially during the first half has some very well written dark humour which slowly gets turned on its head to become a very dark and intense final ten to fifteen minutes of the show. The audience go from laughs to audible gasps of realisation within the final few scenes of the show. Again I do not want to provide any spoilers but I really was on the edge of my seat for the last ten minutes. Which brings me nicely onto the ending.

The ending is left up to the audience interpretation and I can not give opinion of which way it would go without spoiling it. In one hand I like the opening ended/ open to interpretation ending as it means each audience member potentially has a different conclusion to one another. However on the other hand not having a black and white clear conclusion does make me feel like we are robed of a truly dramatic finish. Maybe the unknown is more impactful, it defenelty made me think on my short walk back to by hotel.

There is one aspect of the production I have to touch on and this is the lighting. Even though the set does not change the lighting for the most part is the same however it along with sound effects are brilliantly used to symbolise Jane’s panics attacks which occur multiple times throughout the session. The use of total blackouts outs and square light blocks on the back stage wall with load sound thuds. Transform you from the fly on the wall of the theorist office to inside Jane’s mind and the pure panic and confusion that is happening in her head during the session. The stark contrast between the office lighting and the dark thoughts in Jane’s head are really effective with the first transisation being a true jump scare for the audience.

Before I conclude the review I have to touch on and mention the two main and only members of the cast. The fact that it is only two actors on stage together from start to finish and able to create such a rollercoaster of emotions without fancy set changes or other cast members is a credit in itself. First Loyd is portrayed by Peter Friedman of Succession fame as well as lots of other stage and screen productions. He has the ability to instantly convince the audience he is a theorist but maybe with a difference. I had no doubt in the way he portrayed himself throughout the encounter with Jane that this was a theorist from his mannerisms to the amazing script. It all added to the authenticity of the production. This played perfectly opposite Sydney Lemmon who was playing the role of Jane. We easily get drawn into the trauma that Jane has and really feel compassion for her even though the opening scene is her holding her therapist at gun point. The ability of Sydney who no surprise orginaited this role to be able to take the audience on this rollercoaster thoughout the script is a credit to her.

Overall I give this production 4 out of 5 stars. You become a fly on the wall of the most dramatic therapist session you will ever experience. From laughs to audible gasps of realisation. A extremely well written 80 minute play that brings you on a roller coaster where you get to choose the conclusion.

You can check out “Job” on their website which includes all their socials

“Cake: The Marie Antoinette playlist” review

My next review and my first musical review for this site and comes in the form of “Cake: The Marie Antoinette playlist” currently (only just) playing only just at “The Other Palace”. I say only just as unfortunately this production which was originally scheduled to finish on the 10th November 2024. Is now having to close early on the 29th September. As a result it means there will no longer be an opening (Press) night. Only opening on the 13th September means this was an extremely unexpected short run and I was so glad I managed to catch it while I could. 

Playing at “The other palace” which has been a great fringe theatre space especially for musicals ever since its “St James Theatre” days under ALW (Andrew Lloyd Webber) where I have seen many productions including “The last five years”. Now under Bill Kenwright company they have not stopped this tradition of showcasing emerging musical theatre.

The Other Palace 20th September 2024

I have to be honest I am no history buff and have very limited knowledge of Marie Antoinette and the stories that surrounded her. The only thing I did know going into this production was that Zizi Strallen was in a title role. As a musical theatre fan I had to take this opportunity to see the 2020 Olivier award nominated performer in person. Achieving this nomination for her stand out role in Mary Poppins this was a very different role all together. 

The show is scheduled for 1 hour and forty five minutes with no interval. A format which is becoming more and more popular within the west end and especially within new musicals. It is a format a personally enjoy as I believe it keeps the audience engaged and forces the story to be more punchy and condensed which fits the newer musical concepts very well. 

I took my seat in row F seat 13 within the other palace auditorium. Every time I step inside this main auditorium I also forgot has intimate the space is and even a side seat on the last row will still have an amazing view. The seating chart is always very misleading however I can guarantee you can book any seat with confidence that the view and experience is the same as every other seat. Within my seat I was only a few rows back and centrally located which gave a perfect central view of the whole production. 

View from Row F seat 13

It wasn’t until fifteen minutes after the scheduled “curtain up” that the action got underway. Around ten minutes after the originally start time we had a house announcement apologising for the delay and for us to remain in our seats. It was at this point that I was concerned that this may be my first show that got cancelled on the night. However I am pleased to say this was not the case at the show did indeed commence. After seeing multiple broadway productions having a ten to fifteen minute delay was not unusual. 

As this is a musical production I am going to approach my review slightly differently by proving a more condensed synopsis before then going into the details of the musical production and its performers. 

The show is based around the four step plan of our narrator Jeanne (portrayed by Renèe Lamb) to get the money back the money her family had in her eyes taken away from them. The backdrop is Paris in 1783 on the midst of the revolution. The show progresses through these four stages as Jeanne successfully completes each one. First getting into the palace to see the queen. Which is made successful with the help of the much corrupt and in love cardinal (played by Travis Ross). Once in the palace it is time to befriend the queen Marie Antoinette and obtain one of her dresses. Which after a rather comical toilet scene is successfully. The next stage is to use the dress to convince the cardinal to give his beloved queen a large sum of cash to use as a deposit on a very expensive piece of jewally. This stage is successful this time with the help of Nicole (brought to life by Millie O’Connell, more on her later). With the large cash secured Jeanne has the choice to take it and run or go ahead with the plan and help the revolution. After securing the jewels with the deposit and unable to pay the jewellers the finale of the production is a court scene. In which all the characters are accused and taken down for trial. The fate of each now lays with Jeanne in which she names Marie as her guest partner in crime. In the conclusion Jeanne tells the audience this is “a spark that could change history” and if she has this power then why can’t you as the audience make your mark on history a light the fuse. A really rallying and motivational finale. Which given the target audience of the younger generation such an inspiring way to end the show. 

Someone with a bit more history knowledge than mean would be able to assess how this fits in with the tales of history however for me who does not know that detail it was a great 90 minute walk down Paris history during Marie Antoinette reign. 

Now to discuss something I do know a bit about the production and performers of this show. 

Firstly the set or in this production case the staging. As the set consisted of one two tier podium which moved up and down the stage throughout the production normally manually manipulated by the ensamble cast. This is not unusual for production on the size of stage that is the other palace. Many scenes were set by using largest of three screensof in which was located at the back of the stage provided a backdrop throughout. The other two screens were located on stage left and stage right. The moving podium allowed the cast to  become physically elevated during parts of the production. Each scene was set by reling on the song accomping it to set the scene. The lighting was used to add to the dance/ modern feel to the whole production with lots of strobe lighting to get the audience in the “rave” esc environment. Due to the limited size of the stage at the Other Palace the band which perched in the rafters at the top of the stage. With only the drummer, keys player and musical director visible. However having this limited playing space did not limit their performance which was able to also add to the overal modern party like environment the songs lent to.  

There were no costume changes throughout the show apart from the odd detachable skirt here and there however with the fast pace and limited staging the lack of costume change did not have any negative impact. As it allowed a lot of the characters to remain on stage or only off for very shirt periods keeping the pace and intensity very high. 

Now for the two main characters and to start with the (to me) surprise main character of Jeanne as mentioned before performed by Renèe Lamb. With the title of the show being called Marie Antoinette you would forgive me to be surprised when Renèe opens the show to tell us it is her story and continues to side bar with audience throughout. I have not seen Renèe in any other productions before however she was brilliantly casted for this role. When looking at her previous shows and roles it should not be a surprise the casting was so good for this production. With the credentials of originating Cathrine of Argon in Six and shows such as “Be more Chill”. The sass and power that Renèe had not only in the acting but the very large about of spoken word and dab that occurs throughout this production was brilliant. 

As mentioned the title character Marie Antoinette was performed by the award nominated Zizi Strallen who was able to prove her musical theatre diversity by absolutely smashing this role. Really in capturing this quirky queen character this production interprets Marie. Zizi vocals were as expected spot on as wishes was really able to bring this show closer to more traditional musical theatre with my favourite song of the whole “Champagne Dreams”. I was so pleased I could see perform this song live. If you take anything away from this review it is you should listen to that one song. Having said that I do encourage you to listen to the whole cast recording which has been released and can be found on all normal music platforms. I have to admit the days following seeing this show I have had “Two birds One stone” and Champagne nights” on constant repeat. Both songs seems to summarise the style of this show in around 7 minutes. 

It was no surprise to me when I learnt that both Renèe and Zizi originated these roles in the short Lyric run. I can see why they were reprising them as I couldn’t think of anyone better to perform these characters. 

One other cast member I have to give a mention to is Millie O’Connell. Someone who I wasn’t aware was in the show but was very pleased to see appear as Nicole. Mollie has been on my radar ever since her Anne Boleyn days in “Six”. For me her role in Soho Cinders (2019) at “Charing Cross theatre” performing “Wishing for the normal” is an absolute Morden musical theatre standout. Once again Millie did not disappoint even though not having a title role the entry she brought to the stage and during her solo song of “Turn the lights down low” was brilliant. 

Now to conclude with the music and songs themselves. As hinted during this review the songs and general vibe is not traditional musical theatre. As it mainly revolves around a lot of spoken word and rap style. Not normally my preferred genes. However as a whole package of the show within a few songs I adopted and by the end it become the norm for the show. However I was very pleased to get some light relief during some of the more traditional songs like “Chanpnge nights” which as mentioned was amazing and for me more traditional musical theatre. 

Overall I personally give this show 3 out of 5 stars. 

It’s a mix of Six and Hamilton with an essence of more traditional musical theatre. Which for me was ok but the standout performers really made it for me along with the high energy and feel good motivational ending. I believe it was unable to stick with the general London ticket buying audience because of the general Gen Z target audience. I think even myself aged early 30s was far too old for the show in general. And as I’m on the younger side of the London theatre ticket buying audience I fear this maybe the cause of the early close. I liked the intention of making a more musical theatre Six type of production however at some points feel it did loose its way and wasn’t quite sure what direction it was going in. But overall not a wasted theatre trip and I have a new cast recording to loop on repeat. 

The fuse was officially light however in my eyes being extinguished far too early. 

“Coriolanus” review

My next review is also from the National Theatre. However this time in the Olivier theatre, the largest of the three stages at the national. The play in question is William Shakespeare’s “Coriolanus”.  Which just highlights how diverse the NT scehuleing is. This production is currently in previews with opening night (Press night) Tuesday the 24th. It will be running at the Olivier until 9th November 2024. 

Young Patrons Club Night 18th September 2024

Tonight I watched the show as part of a Young patron club night. Which means I got a pre show drink event in which I had an opportunity to speak to the NT development staff and other patrons. The NT development team not only look after the Patron and supporters but also provide an amazing insight into both the production in question and also the NT as a whole. During the pre show drinks I was pre warned how brilliant this production was with the comments of “how it’s makes Shakespeare accessible from the start”, “it received a standing ovation on preview night one” and even someone stating “the best Shakespeare production I have ever seen”. Spoiler, in hind sight I don’t not disagree one bit. This was also the best Shakespeare production I have seen. And I will explain why as we go through this review.

With these amazing comments ringing in my ears I entered the auditorium with sudden unexpected high hopes. I took my seat in K 25 within the stalls of the Olivier theatre, for another 19:00 show start. With the show being two hours and fourty five minutes long, once again the early start time was very much appreciated. 

View from Row K seat 25

Before I start discussing this production in particular. I feel I should provide a caviate that I am not a Shakespeare expert and even though I have seen multiple production of the years. I do not claim to be a Shakespeare expert. Because of this I had not seen any other productions of this particular play, I am aware there is Tom Hiddleston production which was recorded for NT Live. Which according to some is much gorier than this version. As a result I did not know what this story of the play was so once again was seeing a play (especially at the National) totally blind. 

This production starts in a Museum type scene with lots of Roman relics on display. The props department at the NT really has outdone themselves with these relics. They really do look like they have been taken directly out of a real museum. I was trustfully informed that the large cat like statue was in fact made from polystyrene however looks like solid bronze. 

Shortly after this we are thrusted upon a number of very intense fight sequences. I have to call them sequences rather than a scene as a scene does not do it justice. The intensity and full out action rivals any Hollywood action film. The physicality of the fight is like no other I have seen on stage. The choreography and actual combat was unbelievable. This was tied with some amazing lighting and music which made these fights scenes a highlight of the whole production and one of the best theatrical experiences I have seen. The way they are able to replicate a slow motion film action sequence live on stage is second to none. 

It is at this point we are exposed to the rivalry between Coriolanus being portrayed by David Oyelowo (More on him later) and Aufidius played by Kobna Holdbrook-Smith. Who for me along with David were stand outs of the show. Kobna performance was amazing throughout this production. 

The set design and scene transfers throughout this whole show is amazing. The large concrete looking pillars are brought up and down to create the different scenes sets throughout the production. While also allowing very slick scene changes to occur behind them without them looking out of place in the scene. Each time they move you are exitcted to see what they will reveal. It means there is no sliding set pieces across the stage which allows the whole stage to seemlessly blend into the Olivier auditorium. Due to the nature of the NT concrete building and the set design it becomes difficult to know where the stage ends and the auditorium starts. Which makes this already large stage (the biggest of the NT) seems huge however the action does not get lost as the production is a huge as the staging. 

The play moves onto to Coriolanus victorious home coming. It is here we are introduced to some other principle cast members. It was at this stage of the production that I had to remind my self that this was a Shakespeare play. I was so surprised how quickly I was into “Shakespeare mode”. Especially compared to previous productions I have seen, I sometimes struggled to get into the “Shakespeare mode” and sometimes the dialog never clicks. However this production was the opposite within thirty minutes I was consumed and the language was not a barrier at all. Making this a truly accessible Shakespeare production. 

The victorious and hero status for Coriolanus was somewhat short lived. As the play moves to a senate meeting of the Rome leaders which quickly deteriates into a mass public forum. It is within this forum that Coriolanus goes from hero to zero as the Rome leaders have convinced the general public that Coriolanus is in fact a traitor. This creates one of the two amazing mother and son moments from which Volumnia played by Pamela Nomvete. Who was absolutely amazing being able to portray this powerful, infulantail mother and women. Who also becomes such a major part of the story. Pamela was amazing throughout the whole show really embracing the power behind this female character. Not only in the scenes with her son but in the scenes of defence of him proving she has no fear when it comes to her family. I don’t believe I have seen Pamela in any other shows but she is  definitely someone I will look out for in the future. Volumnia provided her influence over this number one solider by convincing him to return to talk to the general people who had unexpectedly turned on him. 

This successful talk around sees us end act one with a press conference in which Coriolanus erupts with great destain for the general people. The use of modern technology with live camera feeds from the on stage cast being projected onto the impressive set really making the audience feel they are in a modern press conference another example of normalising this Shakespeare dialog. The use of projection throughout the show is amazing. This use of projection starts as soon as you enter the auditorium before curtain up. Projection is not heavily used in every scene. However when it is, it adds an extra dynamic along with the tension building music. Throughout many parts of the production you feel totally absorbed by the projection and music. It is also used brilliantly during the scene transfers. 

During the interval if you stay in the auditorium you are given an opportunity to see once again the amazing props that make up the relics. I recommended having your bathroom and bar break quickly in order to see the brilliant stage management rearrange these amazing props while you wait for the second act. 

The second act opens with Coriolanus having to leave Rome after being banished due to the aftermath of the press conference. With Coriolanus gone, it is up to Volumnia to defend her son against everyone as mentioned before another stand out scene by Pamela Nomvete. We are quickly then transported to the residence of Aufidius in which Coriolanus enters via the kitchen. This part of the play concludes with the two once enemy’s forgiving each other to now become potentially friends or at least allies. Another opportunity for David and Kobna to perform together on stage and really highlight their great talents. 

With this new “United front” the leaders of Rome are concerned as news arrives that Coriolanus and Aufidius have joined forces. This forces many of the general public who turned on Coriolanus in act one to start retracting their previous negative opinion. This worries the leaders of Rome which prompts the attempt to prevent such a take over. First the father figure is sent however to no prevail. The last resort is the women of Coriolanus life appear with his son in attempt to talk him round. This produces the second mother and son conversation. Again highlighting the power and importance of the mother, female character of this play.   

The play heads to a conclusion of Corlionaus return as persuaded by his mother however he meets a tragic end. No real surprise as this play is a Shakespeare tragedy. A very intense finale of the people turning and this time physically on Coriolanus. The final scene is a very wholesome conclusion scene in which he is now a relic in a Muesem being visited by a young a child. 

I have purposely left my review of David Oyelowo until the end. There is always questions and comments when a “Hollywood” actor appears in the west end especially at the National Theatre and even more so when attempted Shakespeare. However in this case he was great and should not raise any questions. He is a natural on the stage and able to embody Corlionaus and the Shakespeare script effortlessly. Again another reason I feel this production makes Shakespeare so accessible. He is up there with some of the best actors of Shakespeare I have seen including Kinnear and Lester. I hope it isn’t long before we see David Oyelowo treading the boards again on either side of the pond. 

Overall if it isn’t clear already I really enjoyed this production and as a result I give it 4 out of 5 stars. Which really surprises me for a Shakespeare play. I highly recommend you see this production even if you’re not a Shakespeare fan or think it’s too dawnting. See THIS show if it’s only for the staging and fight scenes, you have to see David perform live. I highly expect there will be a NT Live recodering of this if I am right make sure you see it. 

The Grapes of Wrath review

How apt that the first review on my new theatre review blogging site is at the NT. If you have read the “About me” page on this site you will know that the national theatre is very special to me for many reasons and why I’m a young ambassador Pateron. 

National theatre 9th September 2024

I watched “The grapes of wrath” on the 9th September 2024 at the Lyttelton theatre within the National Theatre on London South Bank. I was sat in row O seat 22 within the stalls. So a pretty central part of the stalls of this great venue. 

View from Row O seat 22

The show had a scheduled start of 19:00 and at two hours and fifty minutes long the adjusted start time was greatly appreciated for the commute home. This is part of the new initiative the NT has started trialing with earlier starts. I was surprised to see that everyone was successfully in their seats by 19:00 and the show promptly started around five past with no latecomers within the stall seating area. I think the jury is still out on this early start time, however it is a thumbs up from me. Even if it does reduce the time in the foyle room (Pateron only members bar) at the NT. 

Before I start talking about the show in detail, which will contain some level of spoilers. The show is a Frank Galati adaption of John Steinbeck 1939 novel directed by Carrie Cracknell. 

Now for the show itself, like all shows especially at the NT I booked it not knowing anything about it apart from some of the cast members, I was not aware of the orginal 1939 Steinbeck novel. The show opens to some classic NT staging and “wind acting”…. Some of the cast caught in an atrocious storm which really did look like the stage was being blown sideways. This depicted the storms raging and ruining the crops of the south and Midwest of the early 1930’s when this play is set. It moves onto the introduction of Tom Joad portrayed by Harry Treadaway who for me was the star of the very large and talented cast. We quickly learn that Tom is returning home from prison in which he has served 4 years. After a reintroduction to the local ex-preacher we are quickly introduced to the rest of the family which consist of 11 other members. Made up of a vast array of characters including grandpa (a personal favourite character of mine during the first act) and the mum being portrayed by the very talented and multiple award winning (Tony and Emmy) Cherry Jones. A particular character who I didn’t feel had the opportunity to really show Cherry Jones ability, as she quickly faded into just one of the 12 family members. 

With the help of the on stage “Band” made up of a guitarist , violin/fiddle, steel guitar and the lead vocalist, singer song writer Maimuna Memon we are moved from scene to scene. This band not only provided a great replacement of a background sound track for each scene change. The lead singer of Maimuna was brilliant. So brilliant the NT have released a prerecord of one of the songs. You can listen to it here to get an idea of where I am coming from:

“Are we people” written and performed by Maimuna Memon

At many points throughout the show especially in the second half this band was able to provide the atmosphere needed to really take you to the time and place. For me music can add this third dimension that really brings something else to the table. It initially gave me a one man two guvnors vibe as having a live band providing the interlude is not a common practice within current plays and being in the NT with this style brought back one man two guvnors memories. With the great band used there who I had the privilege of hearing and meeting at the NT summer party back in 2019. 

The first act charts the ups and downs of the 2000 plus mile journey from the family home to California to the east where the promise of jobs and money were on the horizon. The whole journey is depicted within many scenes though out the first act all centrally based around the one car in which all 13 members are travelling within. A very restricted set with the use of props, the main one being the full size car which was able to be manovoured about the stage with the brilliant use of lighting to really make the audience feel they were on the journey with them. The toughness of the journey being shown within the loss of characters who were dying due to the conditions. During this first act we get exposed to the amazing staging which takes the whole production from a very good touring production to a real National Theatre deserving production. Suddenly graves were being created with certain areas of the stage disappearing to show the actors waist deep in the “grave”. Not only this, a “real river” well a trench within the centre of the stage with real water up to the actors chest appeared. Again providing the real illusion without the need for very grand sets of you being by the river bank with the family. The use of real fire during fire side conversations also continued to add to this authentic feel which was being created, most of the time on a fairly bland and empty stage. At one point the rain curtain along the front of the stage resulted in no need for sound effects, the audience could just empraise the waterfall cascading at the front of the Lyttelton stage. Along with this and the amazing lighting design the lack of set really did not matter. The use of touches and headlines searching across the audience only added to to this authentic view and experience. Act one ends with the success of the remaining family making it to California. 

We quickly learn with the opening of act two that the grass is maybe not greener on the other side. As we are presented with a stage full of tents and the sudden realisation that the jobs promised require no where near the the amount of people who have travelled from all across the south and midwest to furfil them. It was during this campsite scene where you really see the small details that make an NT production stand out from the rest. Including the small non existent bumps in the road of the car during act one to the small about of smoke appearing from a tent fire not even visible by the audience. During a very heated argument with someone who is promising work however seems to be supported by a very corrupt police force. The preacher is removed from the group and the campsite is brought down right in front of the audience eyes. Another amazing detail, instead of using a set piece to move off stage. The cast can be seen dissembling the tents in front of your eyes. Another way to provide the audience with authenticity and emotion that was going through these individuals who had to move camp before it was burnt down. The progression onto the other scenes in which jobs are promised along with a good wage. We quickly learn that there are others outside of the brilliant choreographed fence movement. Again no major set just a very well directed use of large props. It is these others including the preacher from act one who we suddenly discover are attempting to complete a “Stike” in order to increase the limited wages. Reading the NT programme for this production as usual gives you a great insight into this time and the history and politics which was occurring during this time. The show comes to a close with a very emotive conclusion of a miscarried mother attempting to save the life of an adult man who as described by his son is dying of starvation. The delayed applause that occurred within the Lyttelton really did highlight how emotive the final scene was and how the whole play was playing on the audience emotion with its true authenticity. Eventually as expected the auditorium erupted  into a well deserved applause.

The show closes at the NT on the 14th September and I don’t believe it has been recorded for NT live so if you haven’t seen it unfortunately you may have missed out. But I hope this review gave you some insight into it. 

Overall I give the show 3.5 stars out of 5. A very authentic insightful view of the struggles of the south and Midwest in 1930s. Showing the hope and bond that a family can have. With the NT production value adding that something extra to a John Steinbeck Adaptation.