Tag Archives: theatre

“The curious case of Benjamin Button” review

Tonight’s show is The curious case of Benjamin Button new musical. Which opened this run at the Ambassadors theatre on 10th October 2024 and has now extended its run to now close in May 2025. The show was originated at the the Southwark playhouse. The show has a running length of around two and half hours. The production has music and lyrics by Darren Clark and directed by Jethro Compton.

Ambassadors Theatre 13th February 2025

This was my first musical in the west end and in general for a quite a few months. With the last musical being Sunset on Broadway back in October on Broadway. I was so please to be back in an auditorium waiting for a musical to start. For this show I choose the front row (Row A) of the circle in seat 13. I choose this seat as I was aware how small the theatre is in general with a little rack in the stalls and a very high stage. You have to be so far back in the stalls you loose the full scale of the set. As a result the front row of the circle meant for an amazing unobstructed view.

View from Circle Row A seat 13

Like most people I was aware of the concept of the story of Benjamin Button however had not seen a show or film based on it including the 2008 Brad Bit film of the same name. However I was pleased to read that this perticular version was a re-imagination of the original F.Scott Fitzgerald story. As it was going to be taking place in a small fishing village in Cornwall. The reason for this is described in the programme by the director Jethro Compton as they state “home in the sense of where we feel we belong” and for as that is the heart of the story for them and North Cornwall is that place.

For some clarification here is a brief overview of this particular musicals story. Benjamin Button (John Dagleish) is born an old man much to the guilt and embarrassment of his Mother and Father. As time moves on it becomes just Benjamin and his dad (Benedict Salter) and as Benjamin grows younger he ventures out the house to the local pub “The pickled crap” in which he falls in love with the bar maid (Clare foster). The rest of musical charts their flourishing relationship through the back drop of WW2. Then through the birth of their children along with the turmoil that comes with this extrodenary  life. Highlighting the joys and issues that come with getting younger as time goes on. Charting the full life of Benjamin Button from start to finish.  

The Ambassadors theatre seems a perfect theatre for this production. As due to its small and intermediate nature it really added to the wholesomeness of the whole show. The theatre has also created its own “Picked Crap” bar outside the theatre which served Cornish themed food and drink. The set design for this production as you can see in the “view from my seat” picture was amazing. A fully authentic fishing boat/harbour design. With no set piece being changed through t the whole show. What you see at the start is the whole stage for the rest of the prodcution. The use of lighting and the odd prop changes and description from the script narration is all used brilliant to depict the changes in scene.

These scene changes seemed even slicker due to the almost magical appearance of props from hidden cubby holes in the stage floor. Which were opened to retrieved or stow the necessary props and even relevant a sandpit at one point. Along with the few actor props there was six boxes which were utilise to represent many different things throughout the play and really set the scene. All smoothly transitioned due by the whole cast who didn’t really leave the stage.

Now to talk about the cast and general production of this show. Which is very unique and not really like any other musical I have seen. The main reason for this was because the whole cast was the on stage band, ensemble and remaining characters. Which there were lots and all varied from each other. Not only were the whole cast on stage the whole production they were playing every instrument and while singing in every song. Which as this was a musical was every single scene. I was unable to list them all in the synopsis section of this review as they simply played to many characters. However they deserve a mention here so the 12 strong band/cast were Matthew Burns, Jonathan Charles, Oonagh Cox, Katy Ellis, Anna Fordham, Clare Foster, Philippa Hogg, Damien James, Elliot Mackenzie, Ann Marcuson, Emily Panes and Jack Quarton. Each and everyone of them are legitimate quadruple threat. As each was a brilliant actor, singer, musician and even dancer with some simple choreography. Along with John Dagleish and Benedict Salter as the main characters they produced an amazing folk inspired style musical.

The whole folk style of songs meant that the story was able to be explained and progressed through the lyrics. Which created most o the time lots of high energy numbers and creating a really feel good atmosphere amongst the audience. While still able to provide some real hard hitting scenes. The folk style in general fitted perfectly with the Cornish fishing village vibe while still being able to hit a huge musical theatre punch. The harmonies created by the whole cast were amazing throughout lots of the songs and add at time a sea shanty style while at other times creating an almost haunting feeling.

As well as the songs lyrics the main milestones of the story where provided in a narration style by each member of the cast. While providing the updates along with the exact time and or duration. Which kept reminding the audience of the concept of time and how precious it is no matter if you are running out of it by getting older or in Benjamin’s case running out of it by getting younger. Especially towards the end of the show the use of this narration was able to really drill home the sadness of Benjamin getting younger while everyone around him grows older. Providing a very emotional last ten minutes of the show.

One slight issue I did notice throughout the show was at times the sound levels were slightly off. Making it at times a little harder to hear exact members of the cast narration pieces. However this is to be expected hen you have around 14 cast members all mixed up moving and dancing around the stage while playing instruments live. It did not distract from the performance at all and if anything gave a more authentic feel like you were just in a pub in north Cornwall where the folk band has just sparked up.

This authentic love letter (As the director points out) to Cornwall was no more obvious than with the accents. Each character (Not actor) had they own voice while all still sounding 100% Cornish. This was without it being over the top and exaggerated and did not feel like an impersonation at all. The accents were also held throughout all the songs. This gave a truly authentic feel and meant that the transition between speaking and singing was seamless and exactly what you want in a good musical theatre production.

Another aspect of this musical which strayed from the musical theatre norm was that there did not seem to be a stand out title stand out song. With many of the second act consisting of reprises. Which is not normal in most Morden musical theatre. However as mentioned before the story was still able to be progressed easily and quickly. There is yet to be a full cast recording (I only hope this will change in the future). However there is an EP esc album on all the streaming platform which consists of three of the songs room the show. These three songs are also shown as a live recording on the Benjamin Button musical YouTube channel. My favourite of the three is linked below however I highlight recommend you check out all three.

When E`re she looked at me

Kudos really does have to be given to the director Jethro Compton for coming up with such a unique concept and amazing production. Being able to to great something so unique with the whole band being the cast on a static stage while still portraying a musical theatre production. Was pure genius as it is a musical theatre show but so unique and like none I have ever seen before.

A quick note on the costumes which were perfect for the early 1900s fisherman vibe that the set and story portrayed. Although almost no major costume changes, the subtle changes were very effective. For example the some of the earths that occurred during the show were marked by removing small parts of the costume like a skirt. It was also the costume along with some prop work which was able to dictate the younger versions of Benjamin. Again suitable changes like changing from a three piece suit to just a jacket to no jacket etc…

It was not only the costume changes which were able to dictate Benjamin becoming younger throughout the play. But the brilliant talent from John Dagleish. Who was effortlessly able to portray the de-aging process with small but effective physical changes. Which meant that you were able to witness a 80 something man become a 20 something man without really noticing it.  

The whole production reminded me of “Come from away” with a hint of “Choir of man” two great musicals. And if you like either of them you will love this. Although reminding me of these shows at certain times this production and show is like no other and really does have to be seen to fully appreciate it.

If not already obvious I really enjoyed this new musical and can’t wait for more from it hopefully in the form of a full cast recording and maybe even a live recording. More details about the show can be found on their website.

As a result I give “The curious case of Benjamin Button an unordinary musical” 4 out of 5 stars.
It is an unordinary musical to say the least. A brilliant new musical lead by John Dagleish but the whole cast who are also the band are the stand outs in his unique new musical. A must see.

“The importance of being Earnest” review

My next show brings me back to the National Theatre and for another NT Young Patron club night. This time for “The importance of being Earnest” which opened at the NT Lyttelton theatre on 28th November 2024 and scheduled to closed on 25th January 2025. However has a NT live streaming date for 20 February 2025. The show has a running time of two hours and forty five minutes. It just so happens that I watched the show tonight and will also be seeing it again tomorrow night for the NT Annual supporters celebration which will be tomorrow. It will be at this event we get to hear from some of the creatives and stars of the show. Which I am now very much looking forward to.

National Theatre 22nd January 2025

Having had this production open back in November I have only heard very good things. From not only the NT staff who one has confessed to seeing the show four times during its run. But also from other theatre going in friends who rated it their favourite show of 2024. So as I took my seat in the Lyttelton stall row K seat 14 I was hoping for good things. I was not disappointed for reason that will be explained throughout this review.

View from Stall Row K seat 14

The importance of being Earnest is a well known Oscar Wilde play first performed in 1895. However like most shows I have not seen or studied it before and as a result had no idea of the story. For those who were like me and do not know the story here is a brief synopsis.

The story of two gentleman friends one from the London Algeron Moncreif (Ncuti Gatwa) and one from the country Jack Worthing (Hugh Skinner). Both use a made up relative or friend as an excuse to spend time away from their respective places of origin. Algeron lives in a city house with his trusty butler Lane (Julian Bleach). While using his made up friend Bunbury as an escape to the country mainly from his aunt Lady Bracknell (Shereener Browne, understudy for Sharon D Clarke) and her daughter Gwendolyn Fairfax (Ronke Adekoluejo). While Jack uses Earnest a wicked younger brother who lives in the city. All this to spend time away from his ward Cecile Cardew (Eliza Scanlen) and her mentor Miss Prism (Amanda Lawrence and his butler Merriman (also Julian Bleach). All seems to be fine until Jack attempts to propose to Gwendolyn who only knows him as Earnest. Things get even funnier as Algeron attends Jacks country estate posing as the wicked brother Ernest only to fall in love with Cecile. In the background we also have the love in interest between Reverend Canon Chasuble (Richard Cant) and Miss Prism. Pure comedy ensues especially when Gwendolyn arrives at the country house. As both Algeron and Jack have their want to be engaged partners together at the same time of which neither know the men’s true identity. With an endless amount of revelations throughout the show all producing hilarious twist and turns. 

Even though the original Oscar Wilde play was from the 1890s it is surprising how relevant the topics raised throughout the play still are to this day. With topics such as relationships, status and expectation all featured and all more than ever relevant into todays world. This meant that the comedy was still has effective as it was over a hundred years ago. As a comedy play this did not disappoint with fits of laughter an inevitable result of every scene and in some cases most lines. Mainly from the brilliant text which as mentioned the modern day audience was still able to resonate with.

There was some slight modernisation in direction and script changes. This came in the form of some subtle and very funny sexual innuendo sprinkled throughout the play. The sporadic but extremely effective use of modern swear words provided some of the biggest laughs throughout the show. There was also the use of very modern songs in which some of the characters were singing acapella including James Blunt “Your beautiful” which was perfectly timed within the sene and made it even funnier. These little touches of modernisation just built on the already very funny text.

Along with the verbal comedic events, the use of physical comedy was brilliant weather it was a stagger own the seemly steep hill to the physical confrontation of the actors. Both the verbal and physical emphasis on certain words during delveiry just made a funny line even funnier. This is where credit has to be given to the director Max Webster as it was at this places and times when he could really push and rely on the brilliant cast to push comedy point through. For me personally some of the funniest movements came in the form of the audience sides or acknowledgment of the audience. It was this along with the odd forth wall breaking comment which had me laughing extremely out loud. For example comments regarding “We should move on now as we have covered the set change” were brilliant and gave it a more modern feel to the whole play.

This brilliantly directed and written play was not let down by the set and staging at all. In typical NT fashion the set design and attention to detail was outstanding. There was three main scenes/set designs. The first being in side the London house which was very grand, this was the stark contrast to the garden of the country house which was rolls of hills and flowers beds. The last scene was inside the country house in the entrance hall with two very large staircases surrounded by floor to ceiling books shelves. Each set had amazing attention to detail and on a scale which engulfed the whole stage. Each scene was perfectly framed with the ornate almost picture frame quality which can be seen in the view from my seat image above. Each scene was as slick as expected with one minute a London house suddenly after the drop of a curtain a very large garden appeared. The lighting design for all the scenes especially the contrast from the house to the very bright and vivid garden was very impressive.

Not only was the larger set pieces attention detail but as expected from a NT production the prop attention detail was outstanding. With food being mentioned a lot throughout the play the fact that most of the props on stage had to be edible and were consumed on stage again a time to much comedic effect. Just goes to show the amount of work and effect the backstage crew have to put into each production. Not only the edible props were great attention to detail the chairs and larger props were perfectly chosen and added to the whole plays era.

The most impressive part apart from the comedy brilliance was the costume. The costume department at the NT is always amazing however they really did out do themselves with this production. They costume designer Petrova Kourtellaris had a dream scenario with this prodcution. And did not disappointment. Costumes were such an important part of portraying the characters and their personas especially within Algernon Moncrieff. The most impressive part was the “Pretty Women” inspired outfit try on scene. The style for every outfit flambouent or not was perfection and really did steal the show and needed for this production. Below is a link to an NT YouTube video where you hear from some of the costume department talking about this show.

NT video on “Dressing Algeron Moncreif”

Now for a quick mention of some of the amazing cast individually. However all the cast was perfectly casted and not one disappointed in their role or participation in the production. I will mention a few of the standouts for me personally.   

Ncuti Gatwa as Algernon Moncrieff was amazing casting and was born to be on the stage and especially in this role. The casting choice here was genesis could not think of anyone who would and could play this role any better than Ncuti. This was the first time seeing him on stage and the performance was amazing, Ncuti is wasted on TV, lets hope he does more and more theatre in future.  

Hugh Skinner as Jack Worthing was perfection. Hugh has a lot of theatre and NT credits however this has to be his stand out performance. The comedic timing and physical theatre was amazing. The connection between himself and Ncuti was superb and fitted the characters brilliantly. He was able to match Ncuti all the any and at some point take over the scene from Algeron.  

Julian Bleach as two butlers of the bubbling idiot of Merrimack to the sophisticated Lane. The ability to play both butlers which were polar opposite is a true showcase of brilliant comedy acting. The equal amount of comedy he was able to bring to both very different roles shows a great talent.

On this performance Understudy for Sharon D Clarke as Lady Bracknell was Shereener Browne. Who did not disappoint and for me Sharon D Clarke was not missed at all. I was however surprised that this role was not a larger part due to the high profile casting and for it being such an iconic role.. Either way Shereener  brought enough energy and power to the role that was needed.

Eliza Scanlen as Cecile Cardew was brilliant the dialect and accent was perfect for this character and prick used some of the funniest moments with her one liners and report with Ronke as Gwendolyn.

If it is not obvious from this review, I really really enjoyed this production and it definitely lived up to the hype produced by everyone in the theatre world I know. Full details can be found on the NT website.

As a result I give this production 4 out of 5 stars. A brilliant version of the hilarious Oscar Wilde play. With simply perfection casting and amazing costumes. A great production which keeps you laughing and entertained throughout the whole show, with Ncuti Gatwa and Hugh Skinner excelling.

 

 

Titanique review

My next show is “Titanique” at The Criterion Theatre which opened in the West End on 9th December 2024 and is currently scheduled to close on 8th June 2025. Apart from this West End run the same production is continuing its off broadway production which opened in 2022 with a new cast taking over from February 4th. The show runs for 100 minutes (one hour and Forty minutes) with no interval.

Criterion Theatre 17th January 2025

As I took my seat in the stalls row J seat 15 the auditorium was filled filled with 90s and early naughty pop classics, which set the mood very well . It was one of the very few remaining tickets when I booked earlier in the day. My main driver for seeing this show was Lauren Drew and Rob Houchen as on the face of it this show would not normally be in my wheelhouse. However I was pleasantly surprised and will explain why throughout this review.

View from Stalls Row J Seat 15

The show as the name suggests is based on the story of the titanic and the film adaptation in particular. However with a major twist which is Celine Dion. The show starts with a tour round the titanic museum which is interrupted by Celine Dion (Lauren Drew). She explains she was on the titanic and this is how she remembers it. In this bizarre Celine Dion dream like world. We are whisked through the high level story of the titanic film. Still centring around Jack (Rob Houchen) and Rose (Kat Rooney) crescendoing with the iceberg portrayed by Layton Williams as Tina Turner. During the journey we meet the expected character s from the film including Roses fiancé Cal (Jordan Luke Gage), Roses mum Ruth (Stephen Guarino), Molly Brown (Charlotte Wakefield), The ship builder Victor Garber (Darren Bennett) his seaman (Also Layton Williams). On stage during some of Celine Dion bigger numbers she is supported by her backing singers (Adrianne Langley, Madison Swan and Rodney Vubya). Here is a quick 30 second explanation from the brilliant cast.

I don’t feel you can critique and review this show like a normal play or even WestEnd musical. Due to the fact it is unlike anything I have seen before and not in a bad way. The whole show does not take itself too seriously and this review will reflect that. The show consists of a wide mix match of cover songs which are semi shoe horned into the story some better than other. The songs include “River deep mountain high, beauty an the beast, the prayer” and of cause “My heart will go on”. A fully list of the songs can be found on the Titanique website here. Unlike a normal jukebox musical the songs in most cases did not develop the storyline. Due to the variation in songs and styles I was reminded of Moulin Rouge however much more camp. Unlike in a normal jukebox musical or even Moulin Rouge each song was a only a small snippet which for me left me wanted more of each one due to the supreme talent of each actor which I will discuss in more details later.

The staging was static and simply designed which was a simple stair design with open space within center stage, in which most of the performing was done. The stair design was flanked by the brilliant four piece band with two members on each side of the stage and on view to the audience the whole time. The stair designed was very well utilised for the famous end of the boat scene. The cast entered and exited of the scenes mainly via the auditorium which allowed for a simple static set design. I highly suggest if you are watching his show to watch is from somewhere in the stalls. As the performances start as soon as the actors enter the auditorium which can be well before their on stage appearance.

The lighting again like the staging was simple but very effective. The whole rear stage wall was effectively a light box which was able to change colours based o the song being performed. This along with the rest o the lighting design which a lot of the time illuminated the audience as well. This along with the lighting colour choices really added to the fun and camp vibe of the whole show and matched the energy form the actors perfectly.

The costume design was perfect for the show and Celine Dion dress was perfection for the attention seeking role that is was designed for. There was very limited use of props and like the staging was not needed due to the nature of the whole show. It was not a musical theatre production it was more a concert of amazing West End Musical theatre talent having a great time and bring the audience along with them.

Apart from the stand out singing performances there were a outranges about of references to modern day culture most of which I can not explain here. You have to see them in context which had my cheeks hurting due to the amount of laughing and smiling I was doing during the 100 minute show. The writing and delivery of the references and jokes were perfect. With a lot of fourth wall breaking audience sides and references were brilliant. To the point were it was almost a pantomime esc performances at times.

The whole cast were amazing which each actor being able to sing to perfection. As mentioned before some fo the cast were the reason for me seeing the show and they did not disappoint but also each actor on their own made the show worth watching.

Lauren Drew as Celine Dion is casting perfection the mannerisms to the insane vocals were spot on. The ability to insert herself into most scenes which code you timings and side looks were brilliant.

Rob Houchen also did not disappoint. His voice singing anything is mind blowing. If you haven’t heard of him or seen him before. I highly recommend searching for him on YouTube as there are some amazing performances at concerts and shows he has done. He has such a unique and amazing musical theatre voice whatever he sings is perfection.

A stand out performer for me not such much for their vocals but their performance was  Stephen Guarino playing Ruth. The comedic timing and delivery of this role had almost the actors on stage corpsing. It was very much the panto dame vibe but with adult humour and had me and the rest of the theatre laughing out loud most of the time he was on stage.

Jordan Luke Gage vocals as expected were amazing and is on the rise if not already there as one of our West End young musical theatre talents.

Layton Williams showed surprisingly amazing vocals as well as the expected dancing ability. Having not seen him in “Everybody talking about Jamie” I was glad to catch him live on a West End stage.   

All the actors mentioned in the synopsis at the start were amazing singers which was needed for this concert esc show. I was just gutted that each song and perofmrance did not go on longer.

Overall I give this show 4 out of 5 stars. A camp and at times panto like concert of amazing musical theatre talent wrapped around the story of the Titanic film. A show that does not take itself seriously and you shouldn’t either. It’s 100 minutes of cheek hurting fun with some great songs performed by some of our current best West End theatre performers.

More information and tickets can be purchased on the Titanique website.

 

 

 

The Tempest review

My first show of 2025 is The Tempest at the Theatre Royal Dury Lane. This was my first visit to the the theatre since it’s £60 million refurbishment that occurred over the COVID period. It opened following the pandemic with Frozen which has now given pass to The tempest.

Theatre Royal Dury Lane 13th January 2025

I was very impressed with the refurbishments of the theatre as a whole. Now when you enter you instantly get the same impression and feel of when you walk into the London Coliseum. The auditorium itself has been renovated but not modernised which is a very nice touch. The majority of the costing must have come from the foyer areas which are now unrecognisable and very impressive. The Theatre Royal Dury Lane now has to be one of if not the best theatre foyers in the West End.

The tempest opened on 7th December 2024 and is scheduled to close on 1st February 2025. However is the first in the Jamie Lloyd company Shakespeare season at the theatre royal with Much to do about nothing to follow next month. I assume an opportunity that has betrothed the Jamie Loyd company after the huge success of Sunset Boulevard with Andrew Lloyd Webber. As this was a thank you from ALW to host this Shakespeare season in one of his best theatres. My seat for this production was in stalls in seat F23.

View from Stalls Row F seat 23

I will keep the synopsis for this review very brief as it is a very well-known Shakespeare play. However, one that I personally had not studied or seen before. Which meant that I have no comparison to make for this production. 

After a storm magicked by Prospero (Sigourney Weaver) creates a shipwreck which strands the King of Naples Alonso (Jude Akuwudike), his son Ferdinand (James Phoon) and Sebastian (Oliver Ryan). Along with Gonzalo (Selina Cadell) and Prospero brother Antonio (Tim Steed). We learn of the link between Prospero and the others along with the introduction of Caliban (Forbes Masson) the monster like charecter who inhabits the island. Ferdinand instantly falls in love with Miranda (Mara Huf) who is Prosperos daughter. It is at this point we are introduced to Ariel (Mason Alexander Park) who is Prosperos sprit like servant. Stepheno (Jason Barnett), Trinculo (Mathew Horne) along with Caliban dominante the scenes which ends with their intent to kill Prosperos which fails due to Ariel’s intervention and a trap, results in them abandoning all hopes in a drunken frenzy. The finale sees Miranda and Ferdinand together and all other characters free to continue their lives as Prospero gives up on magic.

I have to mention that during this show I did encounter one of the very few mid show stops. This was due to a microphone issue which plagued Selina Cadell during her opening dialogue and continued with James Phoon at which point the show was stopped about twenty five minutes into it. However thankfully the backstage and sound Engineers were able to resolve the issue in around five minutes and the show resumed with no further issues. 

As mentioned this is part of the Jamie Lloyd company Shakespeare season. With Jamie LLoyd directing and the Jamie LLoyd company as producers. I was very excited to see what Jamie could do with Shakespeare after the huge success of Sunset Boulevard. Which as per my review here I could not speak highly enough of Jamie Lloyd genius production and direction. However I am afraid to say this production did not meet the extremely high standards I set it before hand. I will delve into why that is throughout this review. 

To start with I found the general story very hard to follow based solely on this production, I was pleased to have read a brief synopsis beforehand. Which gave me a slight fighting chance to grasp what was going on. This lack of story telling was obviously not from the writing but how it was portrayed on stage. 

The set design as per what seems to be Jamie Lloyd signature was extremely minimalist. With just a large rock formation making up the island which never moved or altered. With no other set pieces and just the rocks engulfing the whole stage including all wings and backstage again like Sunset, highlighted just how vast these theatre stages are. There was no attempt of hiding the wing or rear stage spaces as lighting rigs where visible throughout the production. This did unlike Sunset make it feel like you were watching a show not fully ready for a live audience. The large cloth shown in the view from my seat picture above was used a few times throughout the production in an attempt to give the stage and some scenes some depth which did work surprisingly well. 

As per Sunset such basic staging meant that lighting and sound were relied very heavily on. However, the lighting design for this production was very simple but was very effective and at certain stages able to create scene and mood changes with just a lighting change. Strong sound and lighting changes were able to add drama and tension throughout the show which without them there would have been none.

Again in very Jamie Lloyd fashion there were no real costume changes throughout the show. While the costume design seemed suited to the production and setting era. The lack of props also did not help with the struggling story telling. As like many Shakespeare plays there is lots of reference to props like swords and different clothing. However in this production there were no props and all references were simply mimed by the actors. Again giving to a feeling that you were watching a production that is not fully ready. The minimalist approach did not work for this Shakespeare play. The only prop throughout the whole production was a stool in which Sigourney Weaver sat on throughout most of the production. I did not strike me that this was for the story of production but more to allow Weaver to have the ability to sit down on stage.

Talking about Sigourney Weaver. I was very disappointed with her performance. Her diction and speech throughout the whole show was very poor. Which when performing in the west end is important but none more so than when attempting Shakespeare. Along with her speaking issues her general performance seemed very one dimensional. I am not sure if this is suited to the character of Prospero. Even if it was, there were definite points when the energy and enthusiasm should have changed however with Weaver it did not. Her performance is a prime example of why I have concerns over “celebrity” or famous casting. It really goes to show that film and theatre is very different. The main take away from Weaver performance was how it highlights how difficult Shakespeare is to perform on a West End stage.

Apart from Weaver there were some other very well known names from within the world of theatre. The first being Mason Alexander Park who played Ariel. Her performance was perfection. Exactly what you needed and expected from this character of the angel sprit type. Mason is more known for her musical theatre credits which were not ignored during this production. With some perfect acapella singing which provided a haunting mood to some scenes. It seemed to me that Jamie Lloyd was able to flex his creative muscles with not only the character but with Mason as an actor as well. Asking of her the singing and to spend most of the time suspended above the other actors. This character and performance really give you a taste of what could have been if more creative attention was portrayed across the rest of the production.

Another recognisable name and face to most UK audiences was Mathew Horne. I was aware Mathew has done endless theatre productions in the West End. However was still very surprised by his ability. The performance as one half of the comedy characters of Trinculo and Stephano. Was brilliant the ability to turn Shakespeare words into comedic scenes was very impressive. He was able to bounce off Jason Barnett very well and both made their scenes a pleasure to watch and some light relief during the very confusing production. They were also supported by Forbes Masson playing the monster who really came into his own with them during these scenes. 

The rest of the supporting cast including Selina Cadell, Oliver Ryan and Tim Steed were very good and exactly what I would expect from a Shakespeare production on the West End. The clarity, diction and passion was extremely good. For me some “proper” old school Shakespeare actors. 

Overall I give this production 2 out of 5 stars. It showed glimmers of what Jamie Lloyd genius could do. However even the great supporting cast and Mason Alexander Park performance could not save Sigourney Weaver in this confusing and underwhelming Jamie Lloyd company production of the Tempest.

Further details of this show and others at the theatre royal including the remaining of the Jamie Lloyd Shakespeare season can be found on the Theatre Royal Dury Lane website.

“Ballet shoes” review

My next show brings me back to the NT and once again forms part of a Young Patron club night. The show in question is “Ballet shoes” which is currently running in for previews and has its press night scheduled for tomorrow night (5th December 2024) and is scheduled to close on 22nd February 2025.

National Theatre 4th November 2024

The show is based on the best bestselling book by Noel Steatfeild from 1939. It is has been adapted for the NT Olivier stage by Kendall Feaver and directed by Katy Rudd with brilliant choreography from Ellen Kane. As I was seeing the show as part of a NT club night I did get to choose my exact seat however as usual the NT development staff did not disappoint and allocated me row K seat 37 in the stalls in which I was ready for the 7pm start for this two hour and forty minute show.

From Olivier Theatre stalls Row K seat 37

We are introduced initially to Great Uncle Matthew [GUM] (Justin Salinger) who is an eccentric professor and adventurer who is fascinated by fossils. He is suddenly burdened with having to look after his unknown great niece Sylvia [Garnie] (Pearl Mackie) with the help of the maid Miss Guthridge [Nana] (Jenny Galloway). We quickly learn of how he manages to rescue three babies during three separate exploration trips each with their own dramatic story. The babies grow up into Petrova Fossil (Yanexi Enriquez), Pauline Fossil (Grace Saif) and Posy Fossil (Daisy Sequerra). Once GUM has not returned for many years the introduction of three lodgers occur who are the actor/performer Theo Dane (Nadine Higgin), garage owner Jai Saran (Sif Sagar) and English doctor, DR Jakes (Helena Lymbery). We discover that these three professions align with the interest and talent of each of the children. Act one concludes with the children realising GUM is not returning, as they must now vow to support the house and their family. Act two depicts the continuous stage roles the children are taking in order to raise some money. This gradually delvoples to a brilliant conclusion in which each children along with their respective mentor manages to live out their dream of appearing in films in America for Pauline Fossil, training at a prostegious ballet school in France for Possy Fossil and after the dramatic return of GUM Petrova gets to have the opportunity to live near Croydon aerodrome and live and work around planes. Mackie and mechanic idiain get married.

Before I continue with the review I have to point out that this show is this years NT festive (Christmas) family show. As a result there are lots of signs of this surrounding the whole show. To start the program is not a traditional NT program as it has an activity book at the back and the cast list includes interview questions with the principle cast giving the younger audience a insight into the actor and characters. Another great difference was that the ensemble cast were mingling throughout the auditorium before the metaphorical curtain up. It was great to see actors engaging in character with the audience members and especially the younger ones with some proving ballet lessons and getting pictures taken. A small change to normal play etiquette but great for the children. During the production there were many scenes when the actors appeared running through the stalls and lower part of the dress circle. Another great way of engaging the children in the audience. As part of the concept of making theatre and this show more accessible and to inspire to the younger / next generation. The NT each year organise a great initiative in which you can donate money which will pay for a around 1000 young people tickets so a child would would not have the ability to see this show or any West End production. A great initiative to inspire the next generation. As an adult you recognise these slight differences however they do not distract or take anything away from the show. The rest of the review will be keeping this in mind.

The set design as you can see from the view from my seat image above was as brilliant as ever from the NT. The usual attention to detail from the NT production team was outstanding. Each item and fossil on the huge set was its own individual prop that looked amazing. And the detail perfection was able to portray GUM fossil obsession. This set did not really change throughout the whole show. At a few points it was used to produce the second floor of the house. Generally it was normally just used as a backdrop for all the scenes. However the transition into each scene was so slick. His was orchestrated by the brilliant ensemble cast effortless sliding in of larger prop items such as doors, beds and baths. This being accompanied by the use of again brilliantly detailed smaller props. The lighting was used to focus the audience attention on the relevant sub section of the stage where these limited props create the whole scene without the need for large set pieces. I cannot commend enough the stage management on how slick the transitions were. The effortless scene transitions meant the story was able to flow from one stage another.

One of the largest props was the full size car which was used in multiple scenes throughout the whole show. However especially came into its own in the second act when with the use of brilliant lighting design and sound somehow appeared to speed through roads at break neck speeds when in fact it was only really being pushed round in large circle by some of the ensemble cast.

Another stand out moment for me and I’m sure any young audience member was when Yanexi Enriquez playing Petrova literally flew into and over the stalls on a stage high wire. The use of dramatic lighting and music really made this a stand out part of the show.

You can’t have a show called “Ballet shoes” and not mention dancing. I am no expert when it comes to dancing and especially ballet. The dance intrudes were often but not over done and did not last for elongated amount of time. It really was a perfect way to showcase the ballet art form to not only the younger generation but the total ballet novices like myself. The dancers especially Xolisweh Ana Richards who plays the young Madame Fidolia “Katherine Federovsky” gave a real top class ballet performance. Along with Daisy Sequerra who practice and finale routines were very impressive.

A quick mention of the the costumes which were perfect for this era. They also provided some amazing on stage quick changes especially at the opening of act two.

Now for the actors, there were many main characters as mentioned in the synopsis but also a number of the actors played multiple parts. And no one more brilliantly than Justin Salinger playing the eccentric GUM but them for a large portion of the show playing Madame Fidolia the dance teacher of Possy Fossil. Both characters were polar opposites but bot portrayed perfectly.

Both Pearl Mackie and Jenny Galloway were brilliant in providing an authenticate parental and guardian figures to the children. With Mackie really showing the struggle of trying to look after the well-being but also the childhood of these three children while not being old enough to be their mother and too old to be their sister.

The stand out actors have to be Grace Saif, Daisy Sequerra and Yanexi Enriquez playing the three children. There ability to portray the ambition and caring orphans while epscailly Daisy Sequerra having to dance ballet was brilllaintly. For me out of the three Grace Saif slightly edged it for me as a stand out of the three, the characterisation Pauline Fossil was brilliant and was able to provide some humour and drama throughout the whole show.

The ensemble cast for this show really made it something special. Without them the scene transitions would have not been the same and would have resulted in a more clumsy portrayal. With them it was given a dream like flow.

Overall for me personally 3.5 out of 5 stars but for a young audience member it would be 5 out of 5 stars. It is a great family and young audience friendly show. With the expected perfection of NT production. A great introduction to the theatre, ballet and the NT for any younger audience member.

Further information on this show can be found on the NT website.

The Duchess review

Tonight’s show is The Duchess (of Malfi) at the Trafalgar Theatre. This is my first show at this space since it was refurbished during COVID. I remember seeing lots of shows in the previous theatre spaces of Trafalgar Studios one and two. So was excited to see the newly combined much larger space.

Trafalgar theatre 20th November 2024

The show in question opened on 5th October 2024 and is scheduled to close on 20th December, with a running time of two hours and thirty minutes. This production is an adaptation of John Webster original play “The Duchess of Malfi” from the 17th century. This particular production is adapted and directed by Zinnie Harris.

View from Stalls Row C seat 12

As I took my seat in the stalls of this fully redeveloped theatre in row C seat 12 I was intrigued to see how this piece of drama has been adapted for a modern stage, more on my feelings of that later. The theatre refurbishment itself is well done. It is a unique feeling for me to be able to enter a London theatre space for the first time and for it all to be new. I am personally not sure if I like such a dark design everywhere in the auditorium. But it does seem a nice way to modernize a classic theatre space. I was surprised with quite how close this seat was to the stage hence the slight fish eye lens on the image above as otherwise on camera not the whole set would be visible. However from viewpoint it was very easy to see the whole set and stage.

Now for a very brief synopsis for those like me who are not familiar with the original text. We meet a widowed Duchess (Jodie Whittaker) and her twin brother Ferdinand (Rory Fleck Byrne) and their brother the cardinal (Paul Ready). We learn very quickly of the love and bedroom marriage of the duchess and her book keeper Antonio (Joel Fry) officiated by the maid Cariola (Matti Houghton). The marriage leads to the birth of twins much to the disgust of he duchess brother. During the first at we are introduced with name projection to the remaining characters which include the horse hand Bosola (Jude Owusu). Antonio friend Delio (Hubert Burton) and his wife Julia (Elizabeth Ayodele) who is becomes the mistress under some duress to the cardinal. Act two descends into madness quite literally for some of the characters. As the duchess is tortured within her basement by Ferdinand. This progresses into a Shakespearean tragedy esc second half in which the majority of the characters are killed off all in front of the audience, Creating some of the most goriest scenes in theatre I have seen. With one traumatic murder after another. Unlike the more Shakespearean writing instead of the murder being implied or symbolized the audience have to whiteness it first hand live on stage.

The writing and whole show is trying to be a modernization of a classic drama piece from the 17th century. As a result it uses mostly old style English /Shakespeare inspired script. However occasionally slips in the odd modern day phase or slang. I see what Zinnie Harris is attempting here but it doesn’t ever hit the mark. The attempt to modernize the production is not just in the script but also within some of the theatrical embellishments that are used. Like the use of some characters singing into full on stage microphones during the first act. Once again I see the attempt however this just seems to be out of place and random within the scene instead of modernizing it. I am huge fan of the odd song within a straight play however this was not seamless enough and just stood out and felt random. The use of microphones during the second act for the dead acting to almost haunt the still alive characters was well done and did to some degree feel like it worked modernizing play but this was not enough on its own. The side stories around the the remaining characters also seemed more random than useful for enhancing the story. I could see how they were trying to portray powerful women though the duchess and maid but then equaling it with the physical power of the men. However again the way these was portrayed was not seemless enough for a modernisation of the classic text.

The gore of the second act just felt like he story telling had given up and instead of moving the story on. The shock factor of so many brutal murders happening live on stage seemed t be the whole point of the second act.

Set, good use of stairs and floating walkway during the first act allowed actors to enter the scene very smoothly and give that third dimension to the staging. The manipulation of the set to alter the stairs for a ladder and the production of a large cube to replace the basement for the torture was very good. The closing of the slits on the back way during the second act to depict the basement and removing any “natural” light was a good symbolic gesture. Use of curtain and sliding rails for scene changes were a nice way to keep the simple set basic without overwhelming it. Again a nod to the modernization which within the set design I think did kind of work and the promised has a great discussion with the set designer about how this was completed.

The use of props where effectively used to depict scene changes with most being able to be slide on from stage right and left and the large items such as the bed in the first act and then the basement “prison cell” in the second act being pulled from back stage of center stage. The use of projection during the torture scene to open act two was very effective and with the bull horn and sudden light changes really did make you sympathize with the duchess during these scenes. After the large use basement prison is moved back stage a large section of the back wall remains exposures with no set design and the raw backstage elements being shown. Again another attempted of modernization which kind of worked but again didn’t add to the scene.

The lighting was used a few times troughout the production to dramatically change the dynamic of the scene. It was also very well used during the second act to allow the dead characters to move around in a ghost like movement. The bright sunshine style lighting was well used to portray the very limited glimmer of hopes that occurred during the show mostly used around the children.

The use of lighting and general stage production was impressive especially during all the murder scenes. Which included fighting, suffocation, and lots and lots of blood splatter everywhere. Along with the sudden appearance of blood when not expected like from the bath and from body which were not shot This was an effective way to symbolize the guilt the murder was facing. At one point the blood splatter was so intense it unintentionally hit some of the front row. All this stage production was very impressive for a theatre fan.

Now to mention the star of the show and who was used to heavily it advertise the production. It was Jodie Whittaker first time on a London stage in over ten years since her role in Antigone at the NT. Her performance as the Duchess did not disappoint at all. The passion shown through the production was brilliant. At some points you could see the literal tears or turmoil in her eyes, as I said the seat was very close. I did at some point her accent dropping and her natural accent coming through. I was unsure weather this was intentional or not. As it seemed to suit the mix of old English with then modern slang and phrases.

Rory Fleck Byrne role as Ferdinand did not come into its own until the second act. While the first act was him working well opposite Paul Ready. The madness that Ferdinand slowly descended into from the start of act two during the torture scene to the full breakdown toward the end. Was brilliantly acted and the intensity matched the tension of the final crazed murder scenes.

As mentioned Paul Ready played the cardinal and was very well done. I had only seen Paul on screen in the role of Kevin in BBC`s “Motherland”. Which is a polar opposite character and role to this character. It’s already great to see an actor be able to portray such polar opposite characters however to portray this oppose role on stage, is really impressive and shows his true acting credentials.

Another stand out performer for me was Jude Owusu in his portrayal as Bosola. Who developed from a vulnerable horse hand to the key murder during the second act. His ability to portray this same character but very differently as the play progress was very good. He did perform a few audience side monologues which Gaian made gave the impression of more traditional Shakespearean type theatre. Even though they did once again seem a bit out of place to the whole plot. This is not a reflection on his performance as they were performed very well just the structure just seemed a bit random and out of place.

Another performer and role which really impressed me was Joel Fry portrayal of Antonio. I really liked his ability to become over powered and controlled by the Duchess in the first act. Which added to highlighting the strong characters of the duchess and the maid Cariola (Matti Houghton). But was also able to show the strength determination of a husband and father who literally fights for his wife and family in the second act.

The last person I am to mention is Hannah Visocchi who played “The singer” who did exactly this. During the first act this role was just supporting with a guitar the random singing that occurred . However was used much more effectively during the second act as her singing was perfectly haunting during the “ghost” type scenes one allowing the murder victims to rise form their death and move around the stage. The whole role seemed o have been designed or the second act then shoe horned into the first.

2 out of 5 stars an attempt at modernizing a 17th century piece of text. Which doesn’t quite hit the mark as it gets confused between traditional and modern English language. Saved slightly by Jodie performance and the theatrical skill of the many unnecessary and gory on stage murders.

Further information about this show and the theatre space in general can can be found the Trafalgar website

“A Tupperware of Ashes” review

My next show takes me back to the NT and to my favourite stage of not only the NT but London as a whole the Dorfman theatre. This time to see “A Tupperware of Ashes”. Which is the last show to be staged at the Dorfman before its closes for a few months. In order to complete what I have been reassured by senior NT staff as boring but very important work.

NT Dorfman theatre 15th November 2024

This show opened on 25th September 2024 and closed on 16th November 2024. It is written by Tanika Gupta and directed by Poona Ghai. I managed to grab a last minute ticket the day before show closure. Hence the seat in the circle of dorfman. However as is the beauty of the Dofrman there is no bad seat and this last minute seat confirmed it. The production had varies start times throughout its run however this particular show had the more traditional start time of 19:30.

View from Circle row N seat 48

The show depicts the whole “life cycle” of an Alzheimer’s patient. From the initial suspicion, to full diagnosis and throughout the reality of trying to care and support someone with this disease. While ending with the inevitable conclusion of death. This story is centred around a Indian family and their mother “Queenie” (Meera Syal) the Alzheimer’s patient/sufferer and her three children, oldest son Raj (Raj Bajaj), his younger bother Gopal (Marc Elliott) and their doctor sister Kamala (Natalie Drew). With auntie Indrani (Shona Gulati) and Queenie long dead husband Ameet (Zubin Varla). With the rest of the characters being portrayed by Stephen Fewell and Avita Joy but more on them later.

The set was very static however was initially and remained more traditional theatre staging. This is not the normal scene within the Dorfman however the very large set jutting into the audience and first front rows of the Dorfman pit auditorium was utlerised very well. The set main feature as seen in the image above is a very long large set of steps. Which was used very well throughout the show. Mainly for characters especially the dead husband of Ameet to appear from behind. Especially at the start and end of the show these steps cascading into the rear centre stage replicated the banks of a river in which Queenie initially was frolicking with Ameet to the ending in which her ashes were scattered from the Tupperware container.

Although not spectacular set the prop usage was brilliant. Firstly from the table which seemlessly appeared from the center stage steps. The props were used to depict the different scenes through the shows with this one table being varying representative from a doctors consultation table, to the family dining table to the visa operators desk. It was not only the use of this and other props throughout the show which were very impressive. The use of also magic/sleight of hand and stage trickery at different parts of the stage took myself by surprise. There was multiple occasions where this stage trickery was used to highlight/simluate the confusion occurring in Queenie mind. This includes Ameet sliding into a suitcase on the stage floor and disappearing, a very smooth quick change from Indrani, the sudden production/appreance of mango in Queenie hands. All this magic/ trickery was used to highlight the confusion that Queenie had and to give the audience a glimpse into her confused mind created by the Alzheimer’s desease.

It was not only the slick prop manipulation which helped the audience have a glimpse into the conufused mind of Queenie. The use of sound to muffle the supporting cast voice during some scenes, was used very effective. It really did let us feel like we were seeing the scene from Queenies perspective. The use of sound effects to replicate the sound of water and the ocean was used very effectly at the start and conclusion of the play. This use of perfect sound timings meant that the actors were able to “splash” the water around. As well as tap on the glass/window that separated the family and Queenie during COVID.

Not only the sound but the lighting also helped draw the audience into the state of confusion that gradually increase and become more common throughout the play. The use of light to flick between current real time and Queenie memory’s and story’s/interactions with her dead husband. This flick in lighting was subtle but effect to help provide that glimpse into Queenie point of view and outlook to life and the “real world” as she was seeing and experiencing it.

The whole show was very well written with comedic aspects at comedy the start and throughout. While also showing the real symptoms and side effects of Alzheimer’s and how it affects not only the patient but their supporting family around them. The events that occurred were a realistic glimpse into the harsh reality of such common but hugely effecting illness of Alzheimer’s. Many scenes depicting real symptoms from the illness that I have heard and experienced first hand from sufferers of Alzheimer’s. This ranged from the not eating, to not remember who you are, to aggression to totally alienation of the real world. Being able to write the whole “cycle” of the disease provided a a real hard hitting insight into not only the patients view point but the family who are trying to support and look after the individual.

The costume design was simple and effective to portray a real life family dynamic of Indian culture.

Meera Syal performance was outstanding. The ability to depict the gradual decline as the Alzheimer’s took hold was brilliantly done. From the simple forgetfulness episodes of a Michelin star chief forgoing the menu to the more consuming stages of the disease and the aggression that brings all the way through the the blankness and shell of the person. All these stages were displayed perfectly and gradually revived themselves throughout the show and you could see this person deteriorate in front of your eyes. Anyone who has dealt with any dementia type illness will recognise and appreciate how well Meera Syal portrays this characteristic do not have enough praise for Meera’s performance. You have to catch this show on NT @ home if it becomes available just for this performance alone.

The three actors of Raj Bajaj, Marc Elliott and Natalie Drew portrayal of the three quarrelling siblings was a perfect reflection of a family dynamic. Especially one having to deal with such a difficult and effecting disease. Each of then able to highlight the day to day practicality struggle that exists when having to attempt to care for a loved one with such illness. Including the internal turmoil of having to make that eventual call to put their loved one into a care home for their own safety. The reality and hard hitting nature of this production is only enhanced by these three actors performances.

I was expecting the show to be more based around the Indian cluture however it did not concentrate in to much detail on the culture or background. With a few scenes and costume design to remind you of the culture expection that comes from India. The start of the second act and the conclusion scenes and the reason for the Tupperware transport gave a great insight into the cultural need around the family. The main driving force of the whole show was not around the culture but the impact that this type of illness has on the individual and family regardless of your background or success.

Apart from the main family members Stephen Fewell portrayed many of the supporting characters which were critical at each stage of the show. Each character Stephen played was totally different from each other. They ranged from the expert doctor providing the diagnosis to the foreign care home worker. Each one totally believable and without his brilliant performance the show would not be the same.

Further information can be found on the NT website for this show and I hope to see it appear on the NT at home platform.

Overall it’s a real tear jerker especially if you have had any first hand experience of Alzheimer’s or any other debilitating type illnesses. Overall 4 stars out of 5, an unapologetic glimpse into the life and support needed for an Alzheimer’s patient. A whole “Life cycle” of the disease and the impact it has on the patient and the family’s trying to support them.

“The Other Place” review

Tonight’s show takes me back to the NT and the Lyttelton theatre to see “The Other Place”. Which opened on 8th October 2024 and is running at the NT until 9th November 2024. The show is written and directed by Alexander Zeldin, whose production of “Faith, Hope and Charity” back in 2019 I really enjoyed.

The National Theatre 31st October 2024

The show start time was an extremely early one at 18:30 so I was in my seat within the stall row L seat 15 by 18:15. Which I think has to be the earliest I have ever sat in a theatre for an evening performance. This is part of the ongoing trial that the NT has adopted. This production was having one 18:30 start time each week. The major Benji fit especially for this production in particular which had a running time of one hour twenty minutes with no interval meant that I was on out the theatre before 20:00.

View from Stalls Row L seat 15

The show opens with no immediate house light dim, the only sign that the show has started is the appearance of two out of the six characters. Within a few minutes we are presented with another three. We gradually learn that we are watching Chris (Tobias Menzies) the uncle to Issy (Alison Oliver). Chris wife Erica (Nina Sosanya) her son Leni (Lee Braithwaite) and Chris`s mate Tez/Terry (Jerry Killick). Everyone is awaiting the arrival of Annie (Emma D`Arcy) who is Issy Sister. Through the first section of the play we gradually learn some background to not only the characters but why they are all together. The reason is to scatter Issy and Annie dads and Chris`s bothers ashes. There seems to be lots of fiction caused by he arrival of Annie and she quickly adds to the issues by refusing to let her fathers Ashes be scattered. As the play moves through the middle and later stages we learn more about how the father died and also the relationship between Annie and Chris which stems from her childhood from when her dad committed sucuide in the garden of the same house his and Erica are now leaving in a renovating. As we learn the dark past of both the char enters and the house we expected a sinister end for someone and we this does come to furission at the final scene.

The set was fully static with no moving parts at all. Not even a rearrangement of main set pieces. It was a cross section of the back of the house. The same set shown in the view from my seat picture above was the set and the only set. All props were already within the set. The attention to detail on both the props and set staging was amazing and what I totally expect from a NT prodcution. No other theatre can do the attention to detail that the National does. From having real dirt to surround the partially renovated house and garden. To a real outdoor sensor security light which came on and off at the actors made their way from the inside to out. The set was so static and realistic that the actors did not use the wings to enter and exit the stage. Instead they walked from stage right past the first few rows and used the front stall auditorium entrance.

There were no scene changes throughout the whole show and as a result there was never a full black out instead the huge lightbox above the centre stage would angle and the stage lighting would dim. However the actors just continued to progress the scene and these moments would just extend the timeline of the play slightly so the narrative could move on. The lighting in enrol was god especially the lighting to direct the nighttime scenes within the garden which suddenly reavled some ultra realistic trees a a dark blue tinge to replicate the night sky.

Music and sound effects were used throughout the production to build tension and increase the drama of some of the more pivotial moments. Especially at the the end when the music build and builds to a defining volume while Chris starts to break down. The use of this music and sound effects along with the ongoing election that something tragic will occur really did build some very dramatic movements. Especially in the final part which did get an auidable reaction from the audience, even know we knew it was coming it was still shocking.

The play was written so well especially the way to developed not only the characters but the overall back story that led us to this one day/night for this family. There are some very comical one liners and direction which are a welcome mood lightener in what is quite a trametic play. A paly which tackles some very diffulct subjects not only around sucide but the impact that a sucide has on young family members, the invludeuls who find them. And the logistics and practicacalitys of dealing with a family member who has died let alone though sucide. The play does not shy away from these very challenges topics and instead confronts them head on.

The whole play gave you the feel and approach that you were peering through the window of a real authentic family home. This feel of peering through a real family home was up held in lots of different ways. The first was the writing as the script and delvery of it was so authentic. The long pauses while people were texting, the pause while characters went out of vision for the audience. It is these pausing which occur in real life and normally are written out of plays. The fact the set didn’t move and that someonetimes actors were out of the vision of the audience of behind a glass door in the garden. Also added to the authentic feel. The lack of blackout and no actual scene changes also added to this authentic feel. As we were with the characters the whole time and saw their day from start to finish.

All of these points gave the authentic feel that the play was going for. Along with these points the actors were also outstanding and as mentioned earlier had to deliver these roles. I will now comment on each of the six actors as each deserter there own dedicated mention.

Starting with Annie portrayed by Emma D`Arcy who from the outset was able to highlight the trauma and issues that Annie was going through and had been. Many stages throughout the play Annie is obviously so damaged and emotionally scared from the events of her childhood. Emma is able to deliver these sections so well.

The next character and actor to mention is Chris played by Tobias Menzies who initially doesn’t seem as emotionally damaged but we son learn throughout the paly the effect that the events have had on him and Tobias is able to hint at this throughout the start of the play brilliantly. The finale section of Chris medley shooting at the audience was so impactful.

Issy is played by Allison Oliver who does a brilliant job of portraying what at first seems nieve character which dlevops into raw emotion which varying outbreaks emotional brilliance Allison.

Erica is played by Nina Sosanya who you will recognise from stage and screen including Love actually. As the wife of Chris she did not have much opportunity to show the same emotion as the first charecter and actors mentioned however was able to portray the character of the wife who is just trying to get everything and ever in to progress and survive, in some cases literally survive.

The next character to mention is Terry or Tez played by Jerry Killick. Who was able to show the audience this initially joking, lighting the mood character. But even he has he opportunity to hint towards his home life trouble which a great drunk scene at 4am. Jerry Killick was perfect acting for this role and really was able to deliver the brilliant written daioglue,

The last character to mention is Leni played by Lee Braithwaite. Although not a “Main” character he was able to also provide some light hearted moments. While at certain points really showing how such events can impact family’s and indivudels who were not even around at the time. But have to deal with the aftermath. At many points Leni is used to just say what everyone is thinking.

The whole show gave me a massive NT Dorfman vibe. The static set, the lack of full black out. Really had it made for the dorfman. Now thinking about it the same staging direction was also completed in Alexander other play Faith hope and charity which did run at the Dorfman.

Overall I give this show 4 out of 5 stars. A play which lets you peer through the window of a suffering family who is dealing with the logistics and impacts of loosing a loved one. Another brilliant Alexander Zeldin play produced brilliantly on the NT stage. 80 minutes fly by.

Further information and details can be found on the NT website

“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.

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.