Review: Up the Bunty

Hey readers!
It's time for my review of Up the Bunty.
Remember the ‘Soaparetta’s’, the weekly musical soap opera that dominated British TV in the late 1970s with their saucy jokes and catchy tunes?  Neither does anyone else, but that won’t stop tyrannical producer Harry Hepworth from blundering ahead with a hastily put together theatre reunion in sunny Southend funded by an anonymous backer.  With a cast made up of past their prime, egocentric thespians and a one hit wonder, Harry needs a secret weapon to attract an audience – Bunty the Beaver.

Up the Bunty is a comedy, predominantly featuring a combination of both slapstick and dark comedy. The show's humour is quite particular, and may not appeal to everyone. Whilst some jokes are stronger than others, Up the Bunty does have a fair amount of rather amusing moments throughout. The show advertises itself as featuring comedy similar to that of the 'Carry On' film franchise, and as a result Up the Bunty is perfect for anyone with this certain taste in comedy. The show's story was interesting to watch unfold, and the numerous plot twists were certainly enough to keep the audience engaged. A lot happens throughout the course of the show, and there are very few dull moments. My only critique for the show's writing is that I feel Up the Bunty could have perhaps benefited from being 15-20 minutes shorter. The show currently stands at 1 hour and 30 minutes, and it is possible that trimming the running time a little bit may prove beneficial. In order to break up certain scenes, the show makes use of video projections of comedy skits and interviews are shown. I personally could not really see the need for the video projections, and did not feel that it added a great deal to the play. As a result, removing, or shortening, the video projections could potentially help to reduce the play's running time.

Overall, the cast of Up the Bunty are rather talented. Each portrayal is exceedingly hyperbolic, but this worked well when considering the exaggerated nature of the play. All of the six cast members put their all into the performances, giving maximum amounts of energy throughout. Additionally, they all seemed to really be enjoying themselves onstage, which in turn made them a true delight to watch. A special mention must be given to Lucie Neale, who portrayed Antigone 'Go-Go' Jones. Neale was extremely well-suited to the role, and was very believable. Jess Nesling, as Pamela Maitland, was also a particular highlight of Up the Bunty. Nesling was excellent, and convincingly pulled off a variety of different accents. In addition to this, both Neale and Nesling had excellent singing voices.

Now for my final verdict on Up the Bunty. I give Up the Bunty...

Whilst Up the Bunty did have some elements which were perhaps not needed, there are still a number of hilarious moments, aided by an energetic and talented cast of skilled performers.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

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-The Basic Theatre Reviewer

Review: Dear Evan Hansen

Hey readers!
It's time for my review of Dear Evan Hansen.
Throughout his life, teenager Evan Hansen has felt invisible: his school friends, the girl he loves, and his own family look straight through him. Having struggled to make friends, his therapist suggests Evan writes a daily letter to himself focussing on what will be good about that day, but some days he simply runs out of hope for his future. I first saw Dear Evan Hansen on Broadway in 2018 and found it to be utterly spellbinding, so I was intrigued to see as to whether the new West End production would live up to expectations.

Dear Evan Hansen's story is a fascinating exploration into mental illness, youth suicide, the impact of grief, the influence that social media has on today's society, as well as a dozen other topical themes. The show's book, written by Steven Levenson, provides a fascinating commentary on these issues, tackling such matters in an absorbing yet lifelike way. The show follows an extremely compelling story, and this is quite evident by the fact that it seems to have resonated with so many theatregoers. The characters of Dear Evan Hansen are excellently written, with each and every one being highly three-dimensional. Each character is flawed in their own way, making it far easier for audience members to connect with these personas. Dear Evan Hansen's story is also interesting to examine from an ethical point of view. As previously mentioned, all of the characters have one flaw or another, and they all make mistakes. Therefore, especially in the case of the titular character, it is intriguing to assess as to whether the character's actions are right or not. Different people will have differing viewpoints on the morals of Dear Evan Hansen, and that's what makes this show so unique. It is also important to give credit to the writers for its creativity and inventiveness. Dear Evan Hansen is an entirely original story, not based off of any other source material. In an era whereby a large portion of musicals are based off of movies, this show definitely deserves a lot of praise for its originality.

The musical score of Dear Evan Hansen is written by Benj Pasek and Justin Paul, and it is absolutely remarkable. Each song in the show is exceedingly catchy, and they will likely remain with you weeks after watching the show; both the music and lyrics are extremely memorable. Additionally, the lyrics are beautifully written and will likely touch many audience members. This element is particularly prominent in certain songs, such as 'Waving Through a Window' and 'You Will Be Found'. Songs such as these really resonate with audience members and have important messages behind them, all the while having an extremely catchy tune. The songs also prove beneficial at advancing the plot, demonstrating the strength of Dear Evan Hansen's musical score.

At the performance that I attended, alternate Marcus Harman portrayed the role of Evan Hansen and he was excellent. Harman is a brilliant actor, and really nails Evan's characterisation down to a tee. He faultlessly executes all of Evan's traits, including the character's awkward fidgeting and quivering voice. In addition to his acting, Harman also has a superb singing voice. This was evident during the climax of 'Words Fail', which he performed with perfection. Dear Evan Hansen marks Harman's professional stage debut, and it is clear that he has a bright future ahead. A special mention must be given to Lucy Anderson as Zoe Murphy, who was also incredible. Anderson's voice is utterly beyond belief, and her renditions of 'Requiem' and 'Only Us' were outstanding. She also acted the role well, and had brilliant chemistry with Marcus Harman. Similar to Harman, this show marks Anderson's West End debut. Lauren Ward, as Cynthia Murphy, was equally as phenomenal. Ward puts so much emotion into her portrayal, and it certainly pays off. She displays so much raw emotion from beginning to end, making her highly believable as a grieving Mother. Ward's performance is undoubtedly one of the show's highlights, and her interpretation of the character is the best I have seen at this point in time.

Now for my final verdict on Dear Evan Hansen. I give Dear Evan Hansen...

Dear Evan Hansen is an astonishing show unlike no other. It has a fascinating story with an absolutely enthralling musical score, as well as an outstanding cast of talented performers.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: God 2.0

Hey readers!

It's time for my review of God 2.0.
What would you ask God? What if you didn’t like the answer? In this religious satire by Kent based Blueberry Goose Theatre Group, God gives a monthly interview answering ANY question. For Ash Pentel, a troubled heavy-weight political journalist and this month’s interviewer, the right answer could be a life saver.

The story of God 2.0 is designed to make the audience question the perceived nature of God, as well as organised religion as a whole. The show seeks to tackle a wide range of philosophical issues, primarily focusing on criticisms aimed at the traits of the Christian God. For example, if God is omni-benevolent and omniscient, then why does he not use his powers to intervene and prevent human suffering? There was some interesting commentary throughout, especially in regards to the consequences of allowing human beings to have complete and utter free will. God's answers to such questions were well-scripted and interesting to listen to. I particularly enjoyed listening to the first answer,  which explored the way in which one small use of negative free will can lead to endless suffering, thus presenting the argument that free will may not be so good after all. Beyond the main story, there is also an underlying subplot throughout that God's interviewer is suffering from suicidal tendencies. The true intention of this subplot felt a little unclear however and only minimal explanation was provided. As a consequence, I would have liked to have seen this expanded upon in more detail.

God 2.0 consists of five cast members, however there were two performances in particular which stood out. Firstly, I rather admired Inez Thorn's portrayal of the first God. Thorn had a very interesting characterisation that was strikingly different to her fellow God's. She portrayed the role as being rather relaxed throughout, which made for an intriguing contrast. The strongest performance however came from Malcolm Jeffries, who portrayed God #3. Jeffries interpreted God as being quite an emotional being, which was both effective and fascinating to witness. He was well and truly captivating, and he stole the spotlight whenever he entered the stage. Jeffries really did deliver a remarkable performance.

Now for my final verdict on God 2.0. I give God 2.0...

Whilst the subplots could have been developed further, God 2.0 does give a fair amount of interesting commentary, as well as some excellent performances.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Different From The Others

Hey readers!
It's time for my review of Different From The Others.
It's 1919, World War I has ended, men are holding hands in public, Moscow and St Petersburg are gay and free from discrimination and Germany, feeling the full brunt of blame is yet to establish itself. It was then that Magnus Hirschfeld, a German Sexologist and founding father of gay activism seized the opportunity to create the first pro-gay film ever to be made.

The aspect of Different From The Others that makes it so compelling is that it is based on a true story. Whilst playwright Claudio Macor has taken certain artistic licenses in order to further the narrative, the vast majority of what we see on stage is actually quite factual. As a keen historian, I found this fascinating. Despite having extensively studied this period of history, I had not previously been aware of these particular events. As a consequence, I was delighted to have my eyes opened to this significant tidbit of history. Different From The Others tells an utterly intriguing story, and it leaves you wanting to find out more. Upon leaving the theatre, I conducted further research into the events depicted in the play, as well as the characters featured. It is a thoroughly interesting piece of work, and it was an utter delight to watch.

Different From The Others consists of a small cast of six, including Christopher Sherwood, Beth Eyre, Benjamin Garrison, Jeremy Booth, Simon Stallard and Jordan Alexander. All six cast members were phenomenal; there was not a weak link among them. Each and every one of them brought something unique to the stage, and they all worked well as a collective, creating an excellent stage dynamic. A special mention must be given to Simon Stallard, who portrayed the role of Karl Giese. Stallard was highly believable in the role, and successfully conveyed the heartbreaking innocence and naivety of his character. He particularly excelled in the penultimate scene, whereby he made it quite evident the extent to which Karl was torn between his former love for Dr Magnus Hirschfield and his new allegiance to Nazism. Beth Eyre's spell-binding portrayal was also an overall highlight of the show. She had such a natural stage presence, and conjured the perfection characterisation for Anita Berber. Eyre convincingly portrayed Berber's troubled and complex personality, causing the character's eventual demise to be well and truly heart-rending.

Now for my final verdict on Different From The Others. I give Different From The Others...

Different From The Others is an intriguing piece of work, detailing a unique part of history. In addition to this, there also are a number of masterful performances.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Hansard

Hey readers!
It's time for my review of Hansard.
It’s a summer’s morning in 1988 and Tory politician Robin Hesketh has returned home to the idyllic Cotswold house he shares with his wife of 30 years, Diana. But all is not as blissful as it seems. Diana has a stinking hangover, a fox is destroying the garden, and secrets are being dug up all over the place. As the day draws on, what starts as gentle ribbing and the familiar rhythms of marital scrapping quickly turns to blood-sport.

In regards to Hansard's story, I had mixed feelings. Whilst elements of the narrative are very interesting indeed, there are parts which felt a little repetitive. The play's strongest moments come in the final half hour, when Hansard begins to move away from the political disagreements of Robin and Diana, and instead focus on their own lives and the impact of their son's death. Although this part of the play was rather depressing, it had the desired effect of a heavy emotional impact. For the first time throughout the whole play, the audience begin to feel sympathetic towards these characters in response to the grief they have undergone as a result of losing their son. Such emotion was previously missing in the play, and I was therefore appreciative of the show's ending. In regards to the negative aspects of Hansard's story, the first hour of the show does feel rather monotonous. The show features a back-and-forth argument between the married couple, with their contrasting political views and personalities severely clashing. The argument did become somewhat tedious after a while, and it felt rather prolonged. In order to combat this, I feel that the introduction of a new character, or perhaps a change of setting, could have helped to make Hansard a little more interesting.

Hansard consists of only two characters, who in this instance are portrayed by Alex Jennings and Lindsay Duncan. Both performers are perfectly cast and were a true delight to watch. Whilst both characters are somewhat flawed people, the actors still succeed in gaining our sympathy for them. Alex Jennings, as Robin, was remarkable and convincingly embodied the persona of an uptight and pompous Conservative politician. In particular, Jennings shone in the final 15 minutes, whereby Robin begins to shed his cold personality and demonstrates emotion that we had not previously seen. Lindsay Duncan, as Diana, was equally as extraordinary. Duncan has a fantastic stage presence, and was highly engaging throughout. She gave both a believable and heartfelt performance.

Now for my final verdict on Hansard. I give Hansard...

Whilst the narrative of Hansard is not perfect, the two leading performances are unquestionably outstanding and more than make up for any of the play's shortcomings. 

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: The Elixir of Love

Hey readers!
It's time for my review of The Elixir of Love.
Originally set in the basque country of Northern Spain in the 1870’s, this new English version of The Elixir of Love transposes the action to the Italian immigrant community in the Welsh seaside town of Barry Island, in 1982. As the Falklands war gains momentum and Thatcherism ravages the UK, can lovelorn poet Nemorion win the affections of the charismatic Adina?

The cast of five featured in The Elixir of Love were well and truly outstanding in every sense of the word. They had wonderful chemistry with one another and played off each other very well. The interactions that took place between them were fantastic, and they really did work very well together. In addition to this, all five performers were naturally gifted singers. The cast had minimal musical support, due to the fact that their only backing is a lone pianist. This fact further highlights the strength of their abilities, as it demonstrates the power and control of their voices. I was in awe of their talents; the cast members of The Elixir of Love simply cannot be praised enough.

As the charismatic Adina starred Alys Roberts, who was excellent. Roberts had what was, arguably, the most vocally demanding role within the show, and yet she made it look effortless. Her voice is beyond exceptional and could unquestionably fill a West End auditorium. David Powton, as the lovesick Nicky, was also remarkable, which was largely as a result of his brilliant characterisation. I felt that Powton was particularly good at showing Nicky's growing confidence as the show went on in a way that seemed genuine and believable. Themba Mvula, as Brandon, was equally as marvellous, and engaged with the audience very well. Caroline Taylor, as Gina, was also good, giving an all-round solid performance. It was, however, Matthew Kellett as Dulcamara who stole the show with his scene-stealing solo number in Act One. I found Kellett's solo to be the overall highlight of the show, which was largely as a result of his precise comedic timing and larger than life stage presence.

The story of The Elixir of Love is fairly simple and rather predictable at times, but still fun and enjoyable nevertheless. There is a lot of humour to be found within the story, somewhat reminiscent of works by Gilbert and Sullivan. Act One, in particular, was absolutely hilarious and had many audience members laughing in hysterics. The character of Dulcamara, the sleazy conman, was particularly well written and provided comedy throughout.

Now for my final verdict on The Elixir of Love. I give The Elixir of Love...

The Elixir of Love was a complete and utter joy to watch. The cast were astonishing, and I hope to see them perform again within the near future.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Voices From Across The World

Hey readers!
It's time for my review of Voices From Across The World.
Voices From Across The World' is a showcase of 2 brand new British musicals written by composer and lyricist Tim Thomas. Both shows attempt to tackle a number of important social and environmental issues, such as materialism, pollution, greedy tourism and climate change.

The aspect of Voices From Across The World which really stood out was the show's stellar cast. The actors within the show had an infectious energy which really translated well. It was clear from beginning to end how much the cast were enjoying themselves, which was a true and utter delight to see. Each and every performer put maximum levels of passion and enthusiasm into their performances, and it certainly paid off. The most striking thing about their performances, however, were how many of them had remarkable voices. There were several outstanding singers among the cast, and there were a number of excellent solo-numbers.

In regards to those who stood out, Suzie Aries was a definite highlight. Aires is gifted with a wonderful stage presence, and she was perfectly cast as Miranda. The way in which she presented the caring nature and warm personality of Miranda was very believable, making it easy to connect with the character. Chameli Meir was also outstanding, which was largely as a result of her convincing portrayal of Ganchimaya in the second act. She successfully demonstrated Ganchimaya's innocence, creating a solid characterisation in the process. Meir also had a stunning singing voice, which was evident throughout all of her solos. Last, and certainly not least, Tom Dickerson, as the Narrator, was also exceptional. Whilst the Narrator spends a fair portion of the show on the sidelines, Dickerson really comes into his element in Act Two, when he portrays the money-loving and cold-hearted Captain; a role that he excelled at.

As previously mentioned, Voices From Across The World tells two different stories. The first is a tale of London's homeless community and how they live their everyday lives called 'Ship in a Bottle'. Whilst the story was a little simplistic, it was full of heart and had a good message at its core. I would argue that it was a mostly accurate depiction of life on the streets, and it was nice to see the different bonds that were formed by the homeless community. The second story called 'Tahiti' sees a young couple venture onto a remote island, whereby they learn to live and communicate with their animal counterparts. Whilst the message of the story is well-intentioned, and starts off very strong, it does begin to lose focus a little as it nears its end and was perhaps a little too abstract. Having said that, it was still very well acted, and the actors very successfully portrayed the animals featured in the piece.

Now for my final verdict on Voices From Across The World. I give Voices From Across The World...

I was thoroughly impressed by the performances in Voices From Across The World. There were a handful of truly exceptional performers in this piece, and I am sure many of them have bright futures.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Basic Theatre Reviewer

Review: The Son

Hey readers!
It's time for my review of The Son.
As a family breaks down, a son begins to unravel. Nicolas is skipping school, lying to his family, hiding strange objects under his mattress. Is this typical teenager behaviour or a warning sign of hopelessness?

The Son is a fascinating and very life-like presentation of adolescent mental health, very clearly showing the way depression can affect juveniles and the people around them. Playwright Florian Zeller represents all of the feelings and thoughts surrounding the topic rather convincingly, and by doing so has created an exceedingly moving, yet heartbreaking, piece of theatre. The show examines the way that we should treat mental health, and how we can best help those who suffer from an illness such as depression. He makes a point of arguing we should not belittle or play down such matters as unimportant, due to the long-lasting consequences that this may have. It should be noted that Zeller had a particular talent for manipulating audience emotion. At certain points of the play the stage will be filled with joy and bliss, only to once again resolve in misery moments later. The Son really plays with our emotions throughout, and this aspect is particularly prominent during the show's conclusion. The characters within the play are also really interesting, and I particularly enjoyed the father-son dynamic between Pierre and Nicolas. Whilst not always entirely effective in his methods, Pierre is always well-intentioned when it comes to his son, and this is evident throughout.

In the titular role, Laurie Kynaston as Nicolas was absolutely perfect. He portrayed Nicolas's anxiety and depression authentically, giving a stellar performance in the process. There are moments whereby Knaston displayed glimmers of happiness, therefore creating a fascinating juxtaposition with the character's low points. It seemed that Kynaston was really able to connect with the character, which helped to make Nicolas all the more believable. John Light, as troubled father Pierre, was also outstanding. Light really captured the inner struggles that Pierre underwent throughout the course of the play, with the character trying to find the perfect balance between being a loving yet stern father. Both Amanda Abbington, as Anne, and Amaka Okafor, as Sofia, were also excellent, giving both believable and heartfelt performances.

The Son is the third play that I have seen written by Florian Zeller, and I strongly believe that this should be considered among his strongest works. Zeller has a clear talent for conveying character emotion and gaining empathy from his audience, which is quite evident in The Son. I am excited to see his future works.

Now for my final verdict on The Son. I give The Son...

The Son was superbly written and starred an extraordinarily talented cast; I would be hard pushed to find any relevant faults with the show.

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Thanks for reading!

-The Reviewer

Review: Ian McKellen on Stage

Hey readers!
It's time for my review of Ian McKellen on Stage.
To celebrate his 80th Birthday, Sir Ian McKellen is bringing his one-man show, Shakespeare, Tolkien, Others and You to the West End's Harold Pinter Theatre following on an extensive tour of London and the UK visiting venues far and wide that have had a part to play in the actor's legendary career. Taking to the stage with stories and anecdotes from his illustrious career both on stage and screen, McKellen performance reprises extracts from his most-renowned performances, which include Shakespeare's Lear and Tolkien's Gandalf from Lord of the Rings, while engaging with audience members to help craft the show.

Veteran actor Ian McKellen is well and truly a national treasure. His contributions to theatre, as well as the big screen, are undeniable and his talents are like no other. This one-man show takes the audience on a fascinating journey spanning the entirety of McKellen's life, and tells us of his backstory, his love for the theatre and how he was able to achieve success, in what many view as a highly competitive industry. He also speaks of his most famous roles, including the infamous wizard Gandalf from the critically-acclaimed 'Lord of the Rings' film trilogy. McKellen's life story is fascinating, and certainly made for interesting viewing.

McKellen has an exceedingly engaging persona, which proves vital for this one-man show. The whole experience feels very personal, due to McKellen's ability to connect with the audience. He has impeccable comedic timing, and is a master of all acting styles. During the show, he clearly demonstrates the extent of his talents, flawlessly delivering extracts from novels, poems, scenes from The Lord of the Rings and several Shakespearean monologues. If this wasn't enough already, he also performs a song from 'Cats the Musical', of which he will be starring in the movie adaptation this Winter.

My only slight criticism for this production was that I felt the first act was significantly stronger than the second. Whilst the first half consisted of a range of different works, the second half was solely focused on Shakespeare. I feel that diversifying act two may have benefitted the production, but it was still thoroughly enjoyable nonetheless.

Overall, Ian McKellen on Stage is a wonderful experience. McKellen is one of the greatest entertainers of the past century, and this one-man show serves as a clear testament to that statement. He is truly a marvel.

Now for my final verdict on Ian McKellen on Stage. I give Ian McKellen on Stage...

This was a wonderful experience, and I am thrilled to have had the opportunity to see it live.

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-The Reviewer

Review: Only Fools and Horses

Hey readers!

It's time for my review of Only Fools and Horses. 

Only Fools and Horses the Musical is based on the 1980s British television sitcom of the same name, and adapts the most popular moments from the series for the stage. It follows two brothers from London's rough Peckham estate as they wheel and deal through a number of dodgy deals searching for the big score that'll soon make them millionaires. Whilst many theatregoers will go to watch Only Fools and Horses the Musical in order to gain feelings of nostalgia, I had not seen the television show prior to watching the play. As a consequence of this, I was experiencing these stories and characters for the very first time. 

Only Fools and Horses is not a particularly deep or thought-provoking experience, but instead places its focus on audience nostalgia and light-hearted fun. On the whole, I would personally argue that the show does achieve its primary objectives. The vast majority of those attending appeared to be thoroughly enjoying themselves, proving that this musical does succeed in entertaining its audience. Whilst I myself, as previously mentioned, had not watched the television show, I can imagine that this musical would be true Heaven for die-hard fans. This production is crammed with endless references and in-jokes which only true Only Fools and Horses devotees would fully appreciate. The downside to this, however, is that it does put other theatregoers who may have only seen the occasional episode at a rather large disadvantage. Unfortunately, if you are unfamiliar with such references, then there may be, as I discovered first-hand, a fair amount of confusion.

This production takes different elements of the most popular stories from the TV show and combines them into one sole narrative. Whilst I did find the show's story to be enjoyable, I felt at times that an entirely new and original story featuring these characters may have been better suited for the stage. For example, hit West End play Harry Potter and the Cursed Child takes the much beloved characters from the book series, but tells an entirely new story in continuation of their character-arcs. I did feel that Only Fools and Horses could have potentially benefitted from carrying out something in this manner in order retain maximum creativity and inventiveness. 

The highlight of Only Fools and Horses was, undoubtedly, its stellar cast. Each performance was truly outstanding and could not be faulted in any which way. At the performance I was attending, the leading character of Del Boy was played by Chris Bennett, who was understudying. The role of Del Boy is an exceedingly demanding role, rarely ever leaving the stage, but Bennett was well and truly exceptional. By his side were Ryan Hutton as Rodney and Andy Mace as Grandad, both of which were phenomenal. Both Hutton and Mace had excellent comedic timing and created extraordinary characterisations. I have also heard that both actors were very accurate accent-wise in relation to the original characters. A special mention must also be awarded to Oscar Conlon-Morrey, who portrayed the dating agent and various other roles. Conlon-Morrey was a real stand-out and absolutely nailed each of his roles; he thoughtfully distinguished between each character both carefully and cleverly.

The scenic design, by Liz Ashcroft, was also remarkable. The set was filled with immense detail, and felt very realistic. The scenery is accompanied by a back-drop of screen projections, which have been designed by Tim Blazdell. The screen projections were equally commendable, and complimented the set nicely. 

Now for my final verdict on Only Fools and Horses. I give Only Fools and Horses...

Whilst Only Fools and Horses is by no means perfect, it is still thoroughly enjoyable. It is very much a crowd-pleaser, and I am sure it will continue to have a very successful run in London's West End.

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Thanks for reading!

-The Reviewer

Review: 9 to 5

Hey readers!
It's time for my review of 9 to 5.

Featuring a number of Dolly Parton's greatest hits, the musical is the story of three employees – Violet, Doralee and Judy – who work under their difficult boss Franklin Hart, Jr. at Consolidated Industries. When it’s revealed Judy doesn’t have any work experience, the others take her under their wing and give her a few tips about surviving in an office environment.

9 to 5 is, undoubtedly, a lot of fun and certainly takes its audience on a wild journey. Whilst at first the show seems to be a simple story about three ordinary office workers who dislike their domineering boss, 9 to 5 later takes a very dramatic turn when suddenly the three women decide enough is enough and go to desperate measures to banish their misogynistic employer. The different twists and turns that the story takes is very amusing, and as the show went on, I became intrigued to find out how it would end. The show has a real feel-good factor, which in turn means audience members will likely leave the theatre overjoyed, and ultimately, that is a very important quality for any show. At the heart of this musical are its messages of feminism and gender equality, as well as sexual harassment in the workplace. Whilst the show is well-intentioned in its attempt to tackle these issues, I did find that these elements of the story could be somewhat corny at times. There was a lack of subtly to the way such topics were handled, which is likely as to why the show's efforts to deal with such matters came across in this way. Despite holding these feelings, I still throughly enjoyed 9 to 5 and found it hard to be averse. 

This production has three leads, and those are Caroline Sheen as Violet Newstead, Natalie McQueen as Doralee Rhodes and Amber Davies as Judy Bernly. Sheen, McQueen and Davies were all phenomenal, and had remarkable chemistry with one another, creating a life-like and believable friendship onstage. All three women had excellent voices, and each had a brilliant stage presence; all of the leading performances mentioned were well and truly flawless. Brian Conley, as Franklin Hart Jr., also gave an outstanding portrayal. Conley played the 'comedic villain' role well, and had the audience in stitches throughout. Whilst all of the cast were marvellous, it was in fact stage veteran Bonnie Langford, in the role of Roz Keith, that stole the show. Langford is a gifted stage performer, and never falters in any performance that she carries out. She was utterly hilarious in this particular role, and gave a show-stopping rendition of 'Hart to Heart'. 

In regards to creativity, the choreography, by Lisa Stevens, is more than deserving of a special mention. The dance routines were exceedingly up-beat and fuelled by an energetic ensemble. They were a true delight to watch.

Now for my final verdict on 9 to 5. I give 9 to 5...

Whilst certain elements of the story were a little corny, I still found 9 to 5 utterly delightful and throughly enjoyed it from beginning to end.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: Die Fledermaus

Hey readers!
It's time for my review of Die Fledermaus.
Baseless Fabric, Finalists at the 2018 Off West End Awards for Best Opera Production, return with a new production of Strauss’ Die Fledermaus. The production will pop up in more than 30 high street venues in Merton and Wandsworth this August, with free, unticketed performances for all, as well as being adapted for two indoor performances at the Arcola Theatre as part of the 2019 Grimeborn Festival.

Classed as a 'street opera adaptation' of the classic operetta, this production of Die Fledermaus was quite unlike anything I have ever seen within my lifetime. As opposed to being staged in a theatre, Die Fledermaus takes place in ordinary settings of cafes, pubs and supermarkets, depending on the location of the performance. At the performance which I attended, the show's initial scenes took place at Ely's Department Store, Wimbledon, whereby the cast launched into this opera within the shopping aisles. After 20 minutes, the actors exited the department store, after which time we were told to follow them through the streets of Wimbledon and to a local pub. It was here that the show resumed and continued the previous narrative. After another 20 minutes, the cast, orchestra and audience once again departed; we were then led to a nearby marketplace, which is where the operetta reached its climax. The production features an immense level of inventiveness, creativity and ambition, which are all admirable qualities for any piece of live theatre. The company organising the show, Baseless Fabric, have the intention of changing attitudes to the art form and convincing people that opera can be "fun and not elitist, expensive, boring or irrelevant". The audience seemed to thoroughly enjoy themselves throughout, and as a result, I would personally argue that Baseless Fabric have been highly successful in achieving such goals. The crowd included a wide range of different ages from very young children to a number of older viewers, demonstrating that Die Fledermaus has a wide appeal and can be fun for the entire family.

Die Fledermaus consisted of only four cast members, and those were Claire Wild, Abigail Kelly, David Horton and James McOran-Campbell. All four performers were incredibly talented singers, which is something that, as an audience member, you gain more an appreciation for when in an intimate space, as opposed to a large theatre. Additionally, it was evident that the cast were really enjoying themselves during the show, which was rather endearing to watch. After all, when it is clear that the cast are having fun, it makes it a lot easier for the audience to find joy within the show as well. They all had remarkable chemistry with one another, and were a delight to watch. A special mention must also be given to the show's orchestra, who were equally remarkable.

Now for my final verdict on Die Fledermaus. I give Die Fledermaus...

I was not quite sure what to expect from Die Fledermaus, but I left Wimbledon very impressed indeed. It was highly innovative, and truly unlike anything else.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: The Lehman Trilogy

Hey readers!
It's time for my review of The Lehman Trilogy.
Beginning in 1844, The Lehman Trilogy charts the formation of the Lehman Brothers bank, as a young man from Bavaria with a big dream made a splash in New York with the help of his two brothers. From here, the play skips through  163 years of banking history, and tells of the establishment of the bank, and its doomed fate which led to the biggest global financial collapse in history, affecting each and every one of us.

The tale of The Lehman Trilogy is a truly fascinating one. The play begins with three young brothers, who have only recently immigrated to the United States of America and have very little to their name. They had very humble beginnings, and despite the odds not being in their favour, the three Lehman's were able to create a successful small business that flourished soon after being founded. The Lehman Brothers business went bankrupt when I was at a fairly young age, and as a consequence I knew very little about this company prior to seeing the play. Thanks to the detailed and insightful storytelling of the show, however, I have now gained a vast amount of knowledge regarding this particular topic. New knowledge is always welcome, and especially when it is presented in such an intriguing manner. I also admired the way in which various elements of American history were seamlessly integrated into the lives of the leading characters. Throughout the course of the show, the story takes place against the backdrop of events such as the American Civil War and the Great Depression. As a result, The Lehman Trilogy not only provides historical presentations on personal matters, but also national matters as well. The play stands at a grand total of three and a half hours, but despite its long running time, the time flies by. With the exception of the final 20 minutes, the show retains its momentum and fast pace throughout, thus ensuring that the show does not feel overly prolonged.

The adaptor of The Lehman Trilogy, Stefano Massini, has stated in past interviews that the original vision for the play included a grand total of 18 actors. This production, however, has one sixth of that and features only three actors who play over 100 roles between them. These three actors are Simon Russell Beale, Adam Godley and Ben Miles, all of which were remarkable. The play requires these actors to portray a wide range of different ages (the youngest being a toddler, whilst the oldest being gentlemen in their 90's), an assortment of personalities, a number of accents, as well as multiple women. The amount of versatility needed to successfully pull this off is astonishing, and yet these three actors give it their all, providing masterful performances. Each portrayal was incredibly distinct and unique, which in turn helps the audience to differentiate between characters. Costumes remain the same throughout the play, meaning that character differentiation relies solely on the actors. Additionally, holding the audience's attention for an extended period of time with so few actors can be challenging, and yet the three of them excel at this. They are each highly engaging, allowing them to captivate audience attention throughout.

The Lehman Trilogy is directed by Sam Mendes, who recently garnered both Olivier and Tony Awards for his extraordinary work on The Ferryman. Mendes is, clearly, exceptionally talented and I believe that The Lehman Trilogy stands as testament to that claim. He has made a number of bold decisions with this production, particularly with choosing to feature only three actors. All of these decisions have paid off, however, and it is an excellently staged production. The scenic design, by Es Devlin was also outstanding, cleverly taking the approach that 'less is more'. The revolving office scenery felt very life-like, helping to make the play feel ever more realistic. The set is complimented nicely by sensational video designs played across the back of the stage, created by Luke Halls. The projections show the changing landscape of America throughout this extended period of time, which was both effective and interesting to look at. I particularly admired the colourful screen projections that were used during the nightmare sequences, which was incredible to witness. In regards to creative aspects, I would also like to add that the inclusion of music, performed by a live pianist, was a welcome addition and worked well in serving the tone of the play.

Now for my final verdict on The Lehman Trilogy. I give The Lehman Trilogy...

The Lehman Trilogy is an outstanding play, which is largely as a result of its three actors. Beale, Godley and Miles give phenomenal performances, and the amount of versatility shown was quite something.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: Rosmersholm

Hey readers!
It's time for my review of Rosmersholm.
An election looming. A country on the brink. A rabid press baying for blood. At the centre of the storm stands Rosmer's home, the grand house of an influential dynasty. This is where the future will be decided by John Rosmer - a man torn between the idealised hope of the future and the ghosts of his past.

Rosmersholm was first written in 1886 by Norwegian playwright Henrik Ibsen, however for the new West End revival, the original source material has been adapted by Duncan MacMillan. Whilst the play still takes place in the late 1800's, certain elements of the story have been updated to cover a range of topical issues, which has been done in order to reinforce its relevance to a modern audience. The aspect of Rosmerholm's story that I personally found to be the most interesting was the character of Rebecca West, the show's rebellious young heroine. Rebecca is an exceedingly determined woman who, despite not having the right to vote, will do everything within her power to influence politics. In defiance of the men that tell her to avoid such matters, nothing will stand in her way when she decides to give assistance to a progressive and liberal political party, thus unseating the incumbent conservative government. Whilst some of her methods end up going to the extreme, her relentless strength of character makes her fascinating. Whilst those watching the play in 1886 would likely have disapproved of Ms. West, modern audiences are likely to adopt to a more sympathetic view of the character, simply viewing her as a woman ahead of her time. The power struggle and clash of ideologies that takes place between Rebecca West and conservative Governor Andreas Kroll makes for interesting viewing, and their final 'show-down' was very well-acted. The political topics explored within Rosmersholm are extremely compelling, with Ibsen and MacMillan offering criticisms on both left and right political viewpoints. The criticisms made towards politics are still highly relevant today, which shows that, even 100 years later, not all that much has changed.

As John Rosmer is Tom Burke, who performs the role with excellent skill. Burke perfectly conveys Romser's inner-sadness and lack of joy, giving a heartfelt and sincere performance. Playing such a broken man for an extended period of time can be difficult, but Burke portrayed this flawlessly. In the role of Rebecca West is Hayley Atwell, who is completely and utterly mesmerising. Atwell fully immerses herself in the role, resulting in a performance that is both believable and spellbinding. She puts an abundance of emotion and passion into her portrayal, and as a consequence her characterisation is intriguing. Giles Terera, as pompous conservative Governor Andreas Kroll, is also outstanding. Terera's demonstration of his Kroll's lack of heart and pragmatism was very interesting indeed, especially in contrast to Atwell's Rebecca West, who was more of a romantic. Terera is evidently a gifted actor, whose abilities were well-suited to this particular role.

The scenic design, crafted by Rae Smith, was sublime. From the second I entered the Duke of Yorks Theatre, I was immediately struck by the immense detail of the set. I particularly admired the decision to have the portraits of John Rosmer's relatives hung up on the wall, due to the fact that it helped to add a number of layers to the story. Throughout the course of the play, John Rosmer tarnishes his family's legacy, and it seemed at times as if the portraits were staring down at him in disapproval. I also rather admired the lighting, which has been designed by Neil Austin. The lighting gradually changes as the play goes on to show the progression of time, therefore using different coloured lights for the morning, afternoon and evening. Whilst a small touch, it really helped to make Rosmersholm feel all the more life-like.

Now for my final verdict on Rosmersholm. I give Rosmersholm...

This new adaptation of Rosmersholm is remarkable. The performances of Burke, Atwell and Terera are all astounding, and in addition to this there are also a number of masterful creative features.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: The Starry Messenger

Hey readers!
It's time for my review of The Starry Messenger.
The play centres around an astronomy teacher whose life is spiralling away from him: the planetarium he works at is under threat, his marriage is on the rocks, and he’s mourning the recent loss of his father. Though things begin to change when he meets a trainee nurse called Angela.

Unfortunately, The Starry Messenger was not my cup of tea. Whilst there are certain elements of the story which I did enjoy, the play as a whole does feel somewhat dull and never quite takes off. The writing is not particularly engaging which, speaking on a personal note, made it difficult to connect with these characters. Whilst I understand that playwright Kenneth Lonergan is attempting to convey that the show's leading character, Mark, lives an unexciting life, this does not make for particularly interesting viewing. The Starry Messenger currently stands at 2 hours and 50 minutes, which seemed far longer than it actually needed to be. The scenes relating to Mark's home life, in particular, felt rather tedious and began to somewhat drag. The play could really benefit from some trimming, and I actually think it might have been a far more engaging play had it only been 90 minutes, with no interval. Having said all of this, I did enjoy all of the scenes featuring the character of Angela, excellently portrayed by Rosalind Eleazar. Angela makes for an intriguing character and the scenes that take place in the hospital surrounding her job as a nurse were the most engaging scenes of the play. I also enjoyed the scenes whereby eager student Ian presents his teacher, Mark, with a number of harsh criticisms in regards to his teaching style. These scenes were very amusing, and were responsible for the funniest moments of the play. If the play had featured more humour such as this, then The Starry Messenger may not have been as dull. Therefore, whilst I did not like the overall concept of the play, there were a number of scenes which I did, in fact, enjoy.

In the leading role of Mark stars Broadway veteran Matthew Broderick, who is making his West End debut with The Starry Messenger. I had previously seen Broderick star in 'It's Only a Play' in New York City, where he gave a superb performance. Broderick has a very unique persona that I do not believe I have seen in any other performer; he always seems to ooze calmness and tranquility. This given quality makes him extremely interesting to watch live onstage. Whilst I wasn't entirely convinced that this was the perfect role for him, Broderick still delivers a solid performance. Despite not being one of the show's advertised stars, I personally felt that it was Rosalind Eleazar, as Angela, that stole the show. Eleazar was the life and soul of this play, and whenever she re-entered the stage, the pace really picked up. She has a brilliant stage presence, and has created an excellent characterisation for the role. A special mention must also be given to Sid Sagar, in the role of eager student Ian. Sagar successfully delivered comedic relief, which was much appreciated. The humour came easily to him, and the scenes in which he featured were very enjoyable.

Now for my final verdict on The Starry Messenger. I give The Starry Messenger...

Whilst there are certain redeeming factors, The Starry Messenger simply was not for me. In my personal viewpoint, the run-time was far too long and the writing was not as engaging as I would have liked it to be.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer