review – Page 3 – A SPURDLE reviews

“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.

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.

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.

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.

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.

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.