Farewell!

Hey readers!

As some of you may have seen, I am unfortunately retiring from my position as The Basic Theatre Reviewer. I have now left London to attend university, meaning that my free time is likely to be limited in the coming months. It was by no means an easy decision, but all good things must come to an end. This blog has meant so much to me for many years and I continue to thank all of those that have supported me. To celebrate my final post I decided to create a 'Top 10 Shows List', reminiscing on all the theatrical highlights I have encountered throughout my lifetime. So, for the final time, please join me as I present my Top 10 Theatre Shows of all time...

10. Ink

The first time I saw Ink was purely through chance; I was in London searching for evening plans. I stumbled past the Duke of Yorks Theatre, where they were advertising available 'day seats'; this was an offer I couldn't refuse. Little did I know that Ink would go oto become my favourite play of all time. Ink later transferred to Broadway in 2019, where I had the pleasure of seeing it for a second time.

Ink gives its audience an insight into the world of journalism and the early days of 'The Sun' newspaper. One of the most striking aspects of Ink is the way in which the writing is so well-layered. On the surface, it's an absorbing tale regarding the newspaper business. Beyond that though, Ink investigates the problematic nature of populism and the various ways it can be used to win success at the expense of others. Considering that the play was first staged in 2017, the themes were highly topical given the ongoing political climate. 

Both the West End and Broadway casts of Ink were sublime. The constant in both productions was Bertie Carvel as Rupert Murdoch, who received multiple awards for his portrayal. Every aspect of the performance was so carefully carried out, including posture, movement and hand gestures. The show is also stunning creatively; from the direction to the detailed set design and atmospheric lighting, it's all faultless. 

9. Natasha, Pierre and the Great Comet of 1812

After watching numerous clips of Natasha, Pierre and the Great Comet of 1812, I desperately wanted to see it. I had listened to a number of the songs and had immediately fallen in love with it. Thankfully I had the opportunity to see it in August 2017 during my stay in New York City, just two weeks before its planned closure. Great Comet surpassed my already high expectations, becoming one of my favourite shows of all time. 

Great Comet adapts 60 pages from Tolstoy's War and Peace, turning it into a stand-alone story containing both humour and heartbreak. I was extremely touched by the narrative, and found that the emotional journeys of the main characters really struck a chord with me. The musical score is equally as moving, and David Malloy's lyrics all feel very meaningful. It's best described as an 'electro-pop opera', which was not only an ambitious idea, but proves ingenious. 

The set of Great Comet, designed by Mimi Lien, is quite possibly the best I have ever seen; the entire theatre was completely remodelled to make the venue look like a Russian club. Beyond the designs, the cast were also a stand-out element. In particular, Scott Stangland and Lucas Steele, as Pierre and Anatole respectively, gave two of the best performances I have ever witnessed live on stage.

8. Kinky Boots

Prior to its West End transfer, I had heard a lot of hype surrounding Kinky Boots. As a result, I was quite keen to see it when it came to London in 2015 and I am immensely grateful to have had that opportunity. I adored the show so much that I ultimately went to see it one more time the following year after the first major cast change. Both of my visits to the show were truly magical!

Kinky Boots is one of the most uplifting shows I have ever seen; it has so much heart, and there are some really good lessons to be learnt from it. The show promotes acceptance, teaching us how "you can change the world when you change your mind". The musical score is written by Cindi Lauper, featuring a wide variety of extremely catchy songs that will stay with you long after you leave the theatre. I've listened to the Original Cast Recording on numerous occasions, and I still love it. 

At both viewings of Kinky Boots, there were a handful of stunning performances. Among them was understudy Arun Blair-Mangat, who was covering the role of Lola during my second trip and remains one of the best understudies I have ever seen. Killian Donnelly, who originated the role of Charlie Price, was also phenomenal, with his rendition of 'Soul of a Man' being an all-time theatrical highlight. 

7. Finding Neverland

Kelsey Grammer is among my favourite actors, and I was subsequently rather keen to see him live during his stint in the Broadway production of Finding Neverland in 2015. Whilst I thoroughly enjoyed seeing Grammer, it was the overall show itself that I was most impressed with. In spite of a mixed critical reception, I simply adored it and it soon entered my top 10 shows of all time. 

I was extremely moved by the story of Finding Neverland and shed multiple tears toward the end of the show. I felt extremely invested in the character's lives, highlighting just how well-written the show actually is. The musical score, by Gary Barlow and Eliot Kennedy, accompanies the story well and there are some very heartfelt songs throughout the course of the show. In particular, the song 'When Your Feet Don't Touch the Ground' is among the most poignant musical numbers I have ever listened to. 

The cast of Finding Neverland were all outstanding, and there wasn't a weak link among them. In the leading role of J. M. Barrie was Matthew Morrison, who was simply faultless. He was an excellent actor, a talented singer, a fantastic dancer and, to top it all off, he did a superb Scottish accent. The child actors were also very good, with Aidan Gemme as Peter proving to be a particular highlight. 

6. Sweeney Todd and the Demon Barber of Fleet Street

My first experience with Sweeney Todd was at the London Coliseum in a semi-staged production starring Emma Thompson in 2015. It was a theatrical event like no other, and I was blown away by what I saw. Two years later I had the pleasure of seeing an entirely different production Off-Broadway which was similarly special. The theatre was remodelled into a real-life pie shop, immersing the audience in the world of the characters.

As someone who is a major fan of Stephen Sondheim, I would argue that Sweeney Todd is his greatest work. The musical score is extremely haunting, with a wide range of affecting melodies that will continue to stay with you. The tale of Sweeney Todd is one of tragedy, and the main characters are extremely villainous. In spite of this you are still deeply invested in their story, signifying the overall strength of the writing. The characters are fascinating and the show is intriguing to explore from a psychological perspective. 

Emma Thompson's portrayal of Mrs. Lovett is among the best theatrical performances I have seen in my lifetime. She was utterly hilarious, and had remarkable comedic timing. Additionally, Jeremy Secomb's portrayal of Sweeney Todd was fantastic in the Off-Broadway production. Looking to the productions themselves, they were both extremely creative. They weren't at all similar, but both were phenomenal in their own right. 

5. Dirty Rotten Scoundrels

From all the entries on this list, Dirty Rotten Scoundrels is the one I have the longest history with. I first saw the show at a relatively young age in 2014 and instantly fell in love with it. I then went on to see it three more times over the next year and it never lost its charm. I even attended closing night, cheering the actors on as they took their final bow in what had become my favourite show. 

Dirty Rotten Scoundrels is one of those feel-good shows that promises to entertain and provide its audience with a great time; that may be a simple achievement to some, but it cannot be understated just how entertaining this musical was. Even after seeing it on numerous occasions, I thoroughly enjoyed each viewing. It's a brilliant story full of twists and turns, and the jokes all land faultlessly. The musical score by David Yazbek is equally as delightful, featuring a number of fun, upbeat and catchy tunes. 

Robert Lindsay's leading performance as Lawrence was extraordinary, and he excelled at everything from comedic timing to a variety of accents. Alex Gaumond, who joined as a replacement for the role of Freddie, was also superb and gave a hysterically funny performance. David Rockwell's detailed and captivating set design was yet another aspect of Dirty Rotten Scoundrels that couldn't be faulted in any way, shape or form.

4. Mean Girls

As a high schooler at the time, it should come as no surprise that I was rather eager to watch Mean Girls; a musical detailing the dramas of high school. Thankfully, I had the opportunity to watch it during my trip to New York City in Summer 2018. I was completely stunned after watching the show, and instantly connected with its themes. I listened to the Original Cast Recording numerous times after seeing it, and continue to adore it.

No matter what your social position was in high school, you are extremely likely to find at least one aspect of Mean Girls relatable to your own childhood. I could personally see myself in several of the characters, which is why I found the show so easy to connect with. Given that I was a high schooler at that time, it genuinely felt as if I had gone through similar experiences. Moving beyond the story, the musical score by Jeff Richmond and Nell Benjamin is marvellous, with over a dozen of extremely memorable tunes.

Whilst all the cast are stand-outs, it was Taylor Louderman as Regina George who stole the show. She created the perfect characterisation, giving careful thought to her way of speaking and movement. The most striking aspect of the creatives was the set, by Finn Ross and Adam Young. It consisted primarily of video projections, and they were almost certainly the best I have ever been witness to. 

3. Lazarus

I first saw Lazarus during its world premiere at an Off-Broadway venue in 2015. I liked it a lot, though it was a lot to take in on a first viewing. I later saw it again in its London transfer and it won me over from the get-go. Whilst I know this choice may be controversial, I genuinely believe it is one of the greatest musicals I have ever seen, and very few shows have connected with me in the same way since.

It has previously been claimed that the story of Lazarus is unclear, but that's one of things I love about it. There are so many interpretations you can take from the story, and all explanations are theoretically correct; Lazarus is whatever you want it to be. I personally interpreted it to be the tale of a dying man; given the circumstances of Bowie's death, this is all the more heartbreaking. The show features songs from David Bowie's collection, all of which are very evocative. To this very day, whenever I listen to the Original Cast Recording, I am overcome with emotion. 

Michael C. Hall's portrayal of Newton is one of the best musical theatre performances I have ever witnessed. It's an extremely demanding role, and it's truly astonishing to think he remains onstage for almost all of the show's run-time. Sophia Anne Caruso's portrayal of Girl was also first-rate, and her rendition of 'Life on Mars?' was spell-binding. A special mention must also be awarded to Michael Esper, who excelled in the role of Valentine.

2. Something Rotten

Similar to the way I first saw Ink, Something Rotten had a number of available 'rush seats' during my stay in New York City in 2015 and this was an offer I couldn't say no to. I had no idea what to expect, and little did I know this would be one of the best shows I have ever seen. I later went to see the show twice more; once later that very week, and the final time several months later.

Something Rotten is unquestionably the funniest musical I have ever seen. The book, by Karey Kirkpatrick and John O'Farrell, is ingenious and had the audience laughing throughout. It's an original concept too, and that in itself is commendable. From Shakespeare being a pop-star to the endless musical references, it was all so imaginative. The musical score, by Karey and Wayne Kirkpatrick, is also worthy of praise. The lyrics are extremely witty, and the song 'A Musical' is one of the greatest musical numbers that I have ever seen. 

The show is full of incredible performances, none of which can be faulted. The stand-out performances included Brian d'Arcy James, Christian Borle and Brad Oscar; all of whom were nominated for numerous awards. The three actors were extremely funny, and each had perfect comedic timing. The costumes, designed by Gregg Barnes, were also amazing, perfectly conveying the dress sense of those who lived in 16th Century London. 

1. Hamilton

After a lengthy countdown we have reached the number one spot, and the gold medal goes to Hamilton. The reason as to why I first saw Hamilton is rather unique; it was recommended to me by none other than Anne Hathaway! I had seen Ms. Hathaway in a play at the Public Theater in Off-Broadway and during a stage door encounter, we had discussed a shared love for theatre and she told me that Hamilton (a new musical making its debut at the Public) was a must-see. I eventually saw the show on Broadway and the rest is history! I then saw the show three more times (once more in NYC, once in Chicago and once in London), and I still love it.

From the first time I saw it, I instantly connected with the story of Hamilton. Alexander Hamilton was a great man and whilst it's true to say he was deeply flawed, that's what makes his story so compelling. The story has a number of meaningful messages, teaching people to rise up and fight for their beliefs, seek compromise to achieve greatness, and forgive those who have wronged you or else suffer a fall. Hamilton is also intriguing from a historical perspective, detailing not only the events of the American Revolution but also the initial stages of creating a new nation. The show is almost entirely sung-through, with a diverse musical score by Lin Manuel-Miranda rap, hip-hop and pop. The lyrics are very effective at storytelling, and there are some beautiful melodies throughout. 

In my multiple viewings I have seen a number of extraordinary performances in Hamilton, so here are some of the highlights: Lin-Manuel Miranda (Hamilton), Leslie Odom, Jr. (Burr) and Daveed Diggs (Lafayette/Jefferson) on Broadway, Daniel Breaker (Burr) in Chicago, and Jamael Westman (Hamilton) and Jason Pennycooke (Lafayette/Jefferson) in the West End. Hamilton is also incredible from a creative standpoint, and there are numerous elements worthy of praise. The most striking however is the lighting design by Howell Binkley, which is quite possibly the best lighting I have ever seen. The choreography, by Andy Blankenbuehler, and the costumes by Paul Tazewell, are also astonishing. 

And with that, my final blog post must unfortunately come to an end. It's sad to say goodbye, but the end of one chapter is the beginning of another. Once again, a huge thank you to all of those that have supported me over the years; I greatly appreciate each and every one of you. I will continue to have a presence on Twitter, and will continue to post my thoughts on various theatre shows in tweet-form. 

Until next time,

-The Basic Theatre Reviewer

Review: The Lion King

Hey readers!

It's time for my review of The Lion King. 

"The Lion King is set in the African Pridelands and tells the coming of age story of lion cub Simba. Introduced to the animal kingdom as the heir to Pride Rock by his father Mufasa, Simba's birth has unsettled his Uncle Scar who finds himself relegated down the line of succession, and he plots along with his hyenas to kill both Mufasa and Simba in order for him to become King."

I've seen The Lion King a grand total of five times; four times as a child, and now once as an adult. It was an absolute privilege to see the show again after all these years, and I still love it just as much as I did throughout my childhood. 22 years after its initial debut in London's West End, the show continues to retain its magic. Disney Theatrical Productions are renowned for producing true spectacles, though The Lion King is arguably the greatest musical in Disney history. It's one of those rare musicals that must truly be seen to be believed. The show is extremely ambitious, and the show's popularity would seem to indicate that this certainly paid off.

Creatively, The Lion King remains beyond stunning. There are a number of highly impressive features, though it is arguable that the costumes, designed by Julie Taymor, are the overall highlight. The costumes have the challenging task of making the cast look as if they were animals from the Savannah; this is a tricky job, as it must look realistic whilst also allowing the actors to give convincing portrayals. Taymor's designs are faultless however, and they go above and beyond in achieving this objective. There is so much detail used, making each and every animal feel extraordinarily life-like. Taymor also created the puppets, alongside Michael Curry, and these too are spectacular. Each puppet works so seamlessly, and at times it's easy to forget that the puppet is even there. The scenic design, by Richard Hudson, is similarly striking. The set is extremely captivating throughout and completely transports the audience to the world of these iconic characters. It skilfully displays a wide variety of locations, including Pride Rock, the grasslands and the Elephant Graveyard. The lighting, designed by Donald Holder, is yet another splendid feature and does well to reflect the mood of the piece throughout. This is one of those instances where the lighting proves beneficial to the overall atmosphere, helping to contribute to the tone of the piece. Last, but by no means least, the choreography by Garth Fagan must not go unmentioned. The choreography really encapsulates the movements of the animals, further adding to the show's creativity.

The Lion King is a very moving story, and one which has me in tears time and time again. It includes some very touching themes, particularly in relation to family, friendship and loss. These topics are universal, and it's highly probable that people in the audience will be able to relate to parts of the story. Even having seen the show numerous times before, I still thoroughly enjoyed following the tale; this in itself is a sign that the narrative is timeless. In addition to this, the musical score, by Elton John and Tim Rice, is utterly iconic and famous across the globe. There are some really powerful numbers throughout, many of which will leave you awe-inspired. A personal favourite of mine is 'He Lives in You', which was not included in the original film. This is a song that proves not only memorable, but has an extremely important message at its core. The lyrics are very stirring, and it remains one of my best-loved musical theatre songs of all time.

I saw George Asprey in the role of Scar at the young age of 5 years old and, rather astonishingly, he is still with the production after all of this time has now passed. To have stayed with the show for such a prolonged period of time, it is evident that Asprey must have great fondness for the role and this clearly comes across in his portrayal. It goes without saying that he is very experienced in the role, and it would prove very difficult to find any fault in his performance. Similar to Asprey, Shaun Escoffery joined the show as Mufasa in 2008 and has stayed with the production ever since. Escoffery's characterisation is remarkable, and he convincingly portrays Mufasa's wide-ranging personality traits. He skilfully shows the way in which the character is a strong ruler, balancing this with Mufasa's kind and caring persona. At the performance I attended, the character of Simba was played by understudy Lamoi Leon. Initially I was not aware that Leon had been an understudy, showing just how accomplished he was in the role. He communicated Simba's emotional side particularly well, making it easy to sympathise with the character. It is however Jamie McGregor who steals the show with his hilarious portrayal of Timon. McGregor's comic timing was pure perfection, and it was he who provided the majority of the show's comic relief. Not only was he a talented actor, but he was also a brilliant puppeteer. The performance was all-round outstanding, and quite possibly one of the best I have seen in my various trips to see The Lion King.

Now for my final verdict on The Lion King. I give The Lion King...

The Lion King is one of the greatest shows to have played in the West End and it's great to see it re-open its doors once more after a prolonged shut-down. Whether you're 6 or 60, this is a fantastic show for the whole family and I am thrilled I was able to see it once more.

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

Thanks for reading!

-The Basic Theatre Reviewer

Edinburgh Festival Fringe: '1700's Old Town Underground Vaults', 'Robert Temple: The Hypnotist', 'Miss Lindsay's Secret' and 'Sweet F.A.'

Hey readers!

The Edinburgh Festival Fringe is the world's largest arts festival and is well-known across the globe. Despite living in the United Kingdom, I had never actually been to Edinburgh Fringe before, so this marked a brand-new experience. I was fortunate enough to catch the tail-end of the festival, seeing four performances in the space of two days. In spite of the limited time, I throughly enjoyed myself and it was great to experience it at long last. I was particularly impressed with the wide range of different experiences available, and there really is something there for everyone. Without further ado, here are the productions that I saw during my time at the Edinburgh Festival Fringe:

1700's Old Town Underground Vaults Experience

"Visit the largest network of 1700s Old Town underground vaults and hear tales of how the poor and unfortunate lived in these former slums. Explore the candlelit vaults – once the haunt of criminals, body snatchers and witches alike! Each vault has stories of crime, disease, death and lots more, and your guide shall enlighten you with all the gory details."

The Old Town Underground Vaults are said to be one of Edinburgh's most haunted locations, and there have been several alleged sightings of ghosts throughout the past few decades. The vaults have been in existence for over 300 years, meaning that they are filled with history dating all the way back to the 18th Century. It was so interesting to unlock Edinburgh's past, exploring all that has occurred underneath the city's bustling streets. I was particularly intrigued to learn how dozens of individuals used the vaults as their place of residence, as well as the different obstacles they would encounter during their stay. Hordes of people were forced to live in these vaults, suffering extreme poverty and the continuous threat against their own safety. The tour guide did an excellent job at delivering the presentation, and was extremely charismatic. She was particularly skilled at improvisation, and conversed well with the tour group.

Robert Temple: The Hypnotist - Live & Outrageous

"Forget goatee beards and swinging watches... Robert Temple is making hypnosis great again - and there isn't a clucking chicken in sight! Whether you want to transform into the star of the show or just get "achey-face" from laughing with the people who do, Robert Temple has the answer."

Hypnosis is an extraordinary feat, and this show proves to be a fascinating display of this rare talent as well as the various ways it can be utilised. I was flabbergasted at numerous points throughout the show, and to say these skills are magical would be an understatement. Beyond the hypnosis element, Robert Temple also incorporates a comedy routine into the show. The seamless combination of hypnosis and comedy is very entertaining, and there were some extremely amusing moments. Temple himself is a skilled performer and did well to keep the audience engaged from beginning to end. He is clearly very talented in his field; he did well to judge the level of consciousness of his participants, carefully observing which participants were more susceptible to the powers of hypnosis. Temple's act is certainly unique, and I haven't seen anything like it for quite some time.

Miss Lindsay's Secret

"Come in. Shut the door. Open the box. What’s inside? Concealed for over a century, this intimate tale of a Scottish seamstress binds the gentle hills of Glenesk to Canada’s heady Klondike gold rush. Using original live music, drama and historical material from Glenesk Museum, a lively and moving local story, woven into Scotland’s national identity, reaches across time and continent. This compelling show grows from a deep respect for material culture, in an age when life stories are lost to the ether."

Miss Lindsay's Secret follows an interesting narrative, based entirely on a true story. It tells the tale of a long-lasting correspondence between two partners, detailing the history of their relationship. The majority of the play is told in an epistolary format and it very much reminded me of A.R. Gurney's Love Letters, which was recently revived in London's West End. It's a very touching story, especially when one considers that these were actual people. The tale displays a series of missed opportunities related to lost love, and parts of it are truly heartbreaking. Miss Lindsay's Secret is performed by a family of three, with the parents taking on the acting roles and their daughter providing the play's musical score with her violin. They were all very talented, and I thoroughly enjoyed their performances. It is also worth noting that leading actress Maria MacDonell wrote the play herself, signifying the wide range of her talents.

Sweet F.A.

"1916. Women’s football is fast becoming the most popular game in the land. One Edinburgh factory team fights for their right to play the beautiful game. From the producers of the five-star, sell-out A War of Two Halves – audiences can expect a similar blend of history, humour, passion and poignancy with even more live music and song. Performed in the open air on a specially-built stage within the main stand at Tynecastle Park – the play dramatises the little known truth about what happened to the women's game..."

They always say save the best for last, and that was certainly true for my experience with Edinburgh Festival Fringe; Sweet F.A. proved to be the overall highlight. Not only was the play itself excellent, but I was stunned by the surroundings. There is nothing more fitting than a play about football being set at an actual football stadium, so I commend the producers for having made this possible. It's a very interesting story, and it's extraordinary to think that it's all based on true events. I was not previously familiar with the history of women's football, so it was fascinating to explore its background and the hurdles that female footballers encountered during the early 1900's. In addition to this, the cast were all outstanding and there wasn't a weak link among them. Each and every one of them had excellent comedic timing, though they did well to convey the more serious elements of the play too. The actors had a wide range of talents, and this was the perfect play to showcase these skills. The inclusion of a musical score was also very nice and added to the overall atmosphere of the piece. 

Thanks for reading!

-The Basic Theatre Reviewer

Review: Singin' in the Rain

Hey readers!

It's time for my review of Singin' in the Rain. 

"When the transition is being made from silent films to `talkies', everyone has trouble adapting. Don and Lina have been cast repeatedly as a romantic couple, but when their latest film is remade into a musical, only Don has the voice for the new singing part. After a lot of practise with a diction coach, Lina still sounds terrible, and Kathy, a bright young aspiring actress, is hired to record over her voice."

The main attraction of Singin' in the Rain is arguably its musical score, with music by Nacio Herb Brown and lyrics by Arthur Freed. In spite of the fact that many of the songs were written 70 years ago, it's clear that they still resonate with audiences in the present day. The music is well and truly timeless, continuing to have appeal for theatregoers both young and old. Many of the songs are extremely catchy, and are likely to stay with you long after you leave the theatre. For example, the iconic titular song is unforgettable, proving to be the overall highlight of the entire show. Beyond this, there are also some very nice ballads featured throughout. The song 'Lucky Star' is particularly charming and is one of many delightful songs that the production has to offer. 

In the leading role of Don Lockwood stars Adam Cooper; a role he is greatly familiar with. Cooper first performed the role in 2004, before returning for the West End revival in 2012. He has now gone back to the role 17 years after his first performance, reprising his portrayal of this dynamic character. All these years later Cooper is still phenomenal and it's almost as if he never said goodbye. It is indisputable that he is a triple threat; he's a skilled actor, a talented singer and an amazing dancer. Cooper's talents know no bounds and he's a true delight to watch. Kevin Clifton, as Cosmo Brown, is equally as talented and delivers a similarly remarkable performance. He has an electric stage presence, and was extraordinarily entertaining. Clifton's comic timing was particularly impressive, and he provided much of the show's comic relief. Special mentions must also be awarded to Charlotte Gooch, as Kathy Selden, and Faye Tozer, as Lina Lamont, both of which were outstanding. 

The award-winning choreography, by Andrew Wright, in Singin' in the Rain, is absolutely spellbinding to behold and remains one of the production's strongest features. The tap numbers are remarkable, and the dance sequence in the titular number proved spectacular. It was among the best routines I have seen in quite some time, and was performed faultlessly by Adam Cooper. In addition to that, the Ballet sequence was yet another highlight and, in spite of its length, it was captivating throughout. The costumes, designed by Simon Higlett, were also rather grand; they were highly commendable and did an excellent job at recreating the ambience of the 1920s. They succeed in transporting the audience to the world of the characters, showing just how masterful the designs were. 

Now for my final verdict on Singin' in the Rain. I give Singin' in the Rain...

This is a delightful revival, and there are very few ways that the production can be faulted. There are some fantastic performances to behold, and the choreography is simply masterful. It also goes without saying that the musical score is outstanding, even after all these years. 

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: Back to the Future

Hey readers!

It's time for my review of Back to the Future. 

"Small-town California teen Marty McFly is thrown back into the '50s when an experiment by his eccentric scientist friend Doc Brown goes awry. Traveling through time in a modified DeLorean car, Marty encounters young versions of his parents, and must make sure that they fall in love or he'll cease to exist. Even more dauntingly, Marty has to return to his own time and save the life of Doc Brown."

Back to the Future is well and truly breathtaking; it is unlike anything seen in theatres for quite some time. The show is a complete spectacle, and not even words can be used to describe how astonishing it really is. Without giving too much away, it is a musical that must be seen in order to be believed. The special effects, designed by Chris Fisher, are among the most visually striking I have seen in any theatrical production; the show goes all-out to ensure that everything is done to perfection. The combined use of screens and illusions is awe-inspiring to behold, creating theatre magic in the process. The final sequence, in particular, was outstanding and may very well be the most technically outstanding theatrical moments I have ever been witness to. The audience were simply in amazement throughout, showing just how effective these special effects actually are. 

The book of the show is written by Bob Gale, who was similarly responsible for the film's screenplay. The writing strays true to the original movie, whilst also incorporating some new ideas for the stage. Fans seemed to be responding very well to the script, applauding at iconic lines which resurfaced in the musical. The show does well to create nostalgia, and I am sure the show will bring back some very fond memories for a lot of people. In addition to this, the story proves well-paced, and maintains its momentum from beginning to end. The musical score, by Alan Silvestri and Glen Ballard, works well too, and I particularly enjoyed the use of instrumental interludes. The inclusion of the main theme proves effective as well, further adding to the nostalgia.

In the leading role of Marty McFly is Olly Dobson, who is absolutely perfect. Dobson finds the ideal balance between putting his own spin on the character, whilst still honouring the legacy of Michael J. Fox, who originated the role in film. He proves very charismatic, and is a fantastic leading man. Dobson is joined by Roger Bart, who is equally as excellent in the role of Doc Brown. Bart brings so much enthusiasm to the role, and his energy levels are infectious. He is also skilled at comic timing, which is evidenced through the way in which he had the audience laughing in stitches at numerous points. A special mention must also be awarded to Hugh Coles as George McFly, who is making his West End debut. Cole embodies the role faultlessly and is everything you would want in an actor playing George McFly. He had an incredible characterisation, which in turn meant that it was he who stole the show.

The set, video and lighting, by Tim Hatley, Tim Lutkin and Finn Ross respectively, are among the best designs I have seen throughout this past year. They all work in tandem with another to create something really special, and the end result is visually stunning. The costumes, designed by Tim Hatley, are also remarkable and did an excellent job at conveying the different eras presented within the show. In particular, the costume designs for the school dance sequence proved to be an overall highlight and were extremely well done. 

Now for my final verdict on Back to the Future. I give Back to the Future...

Back to the Future is one of the most exciting new musicals that the West End has had in recent years. It's creatively ambitious, and that ambition more than pays off. Beyond that, there are also some fantastic performances to behold.

Thanks for reading!

-The Basic Theatre Reviewer

Review: Carousel

Hey readers!

It's time for my review of Carousel. 

"Carousel tells the story of Julie Jordan and Billy Bigelow who fall in love one summer evening. The barker of Mrs Mullins' Carousel, Billy is known for his womanising, yet settles down with Julie despite the warnings from her aunt Nettie Fowler and best friend Carrie Pipperidge. As Julie and Billy marry their relationship becomes fraught and Billy does his best to stay out of trouble, especially when his friend Jigger offers him easy access to money."

For this brand-new revival of Carousel, director Timothy Sheader has gone to great lengths to re-work the show for a contemporary audience. The musical is now set in Britain, with several changes to the book having been made to alter the character-acts of the protagonists Billy and Julie. In addition to this, the ending has also been altered slightly. Unfortunately, these changes miss the mark. I often admire when directors choose to revamp an old classic, but in this particular instance, the alterations have fallen short. The area in which this is most prominent is the character-arc of Billy Bigelow; the show's male lead. Carousel has re-invented Billy as the embodiment of toxic masculinity, now painting him as the story's villain from the get-go. This in turn removes any charm the character once had, which ultimately weakens the plot-line. Previous productions have initially presented Billy as a charismatic individual, who grows bitter over time. By portraying him as antagonistic from the first few scenes, it becomes questionable why Julie would ever fall in love with him from the start. This production has also tried to update the themes for a contemporary audience, but this too fails to make an improvement. The mismatch between old and new elements becomes confusing, and feels disjointed at times. It's clear what the director is trying to achieve, but it doesn't quite get there. Beyond this, the show's designs also have been stripped back from previous productions, though this isn't as effective as it's intended to be. This may have worked in a more intimate setting, but the sizeable nature of Regent's Park Open Air Theatre means that the show doesn't attain the personal feeling that was planned. 

Declan Bennett, as Billy Bigelow, and Carly Bawden, as Julie Jordan, were good singers, but seemed ill-matched with one another. The performers didn't have the chemistry required, making it hard to find their relationship with one another believable. Christina Modestou however is excellent in the supporting role of Carrie Pipperidge. Modestou brought a lot of energy to the piece, and really enhanced the liveliness of the production. Equally as remarkable is Joanna Riding, who portrayed Nettie Fowler. Riding had an outstanding voice, and delivered a show-stopping rendition of 'You'll Never Walk Alone'. The initial part of that song was performed a cappella, which gave Riding a fantastic opportunity to demonstrate just how talented she actually is. A special mention must also be awarded to Amie Hibbert, who was understudying in the role of Louise. Hibbert was a phenomenal dancer, and excelled during the extended ballet sequence in Act Two. 

As previously mentioned, this production is significantly stripped back, meaning that the set is minimalist. This felt like a missed opportunity, as scenic design did not live up to its full potential. There were a number of imaginative ways it could have been tackled, but the end result contained very little. By contrast, the most striking aspect of the show's creative side was its choreography by Drew McOnie. In particular, the dance sequence in The Ballet was marvellous, and proved to be the overall highlight of the entire production. It was extremely slick, and helped the show to improve its pacing.

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

This production has certainly been ambitious in its attempt to re-work the show, but I still struggle to see that these changes were worthwhile. Having said that, there are still some excellent performances here, and the choreography was outstanding.

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

-The Basic Theatre Reviewer

Review: The Two Character Play

Hey readers!

It's time for my review of The Two Character Play. 

"Fellow actors, brother and sister Felice and Clare have been on tour too long: every town looks increasingly the same until they feel they could be anywhere... Abandoned by the rest of the acting company, but faced with an audience expecting a performance, they must enact The Two Character Play. But as their gripping ‘play within a play’ unfolds, the line between reality and illusion becomes increasingly unclear; as their characters reach out to the outside world, the actors’ isolation and uncertainty grows..."

I have seen numerous plays by Tennessee Williams before, and have been rather fond of all of them. In particular, I had the pleasure of seeing the revival of Summer and Smoke in 2019 and, to this very day, it remains one of the best plays I have ever seen. Unfortunately, I failed to connect with The Two Character Play in a similar way. I found it difficult to immerse myself in the writing on this occasion, and I don't feel this is the strongest play from Williams's repertoire. When compared with the skilful dialogue featured in Summer and Smoke, as well as other Tennessee Williams plays such as The Glass Menagerie, The Two Character Play struggles to be on a par. The show has a concurrent double plot with the convention of a play-within-a-play scenario, though neither aspect of the story is particularly enthralling. It was a challenge to engage with either of the stories, and the entire concept grew rather wearisome. 

This production has been directed by Sam Yates, who has made some bold, though questionable decisions with the staging. During the first portion of the play the stage is obscured by a horizontal lighting pole, intended to display that the action is taking place behind the scenes. Whilst I appreciate the purpose, this proved to be somewhat of a hinderance. It served to alienate the audience, and made it hard to engage in the first few scenes that took place. In addition to this, the stage often felt cluttered due to the extensive use of props and video effects. This arguably took away from the writing, and made it harder for the story to stand on its own merits.

The cast, on the other hand, are by far the strongest aspect of the entire production. As the title would suggest, the play is a two-hander, starring Kate O'Flynn as Clare and Zubin Varla as Felice. They were both extremely versatile, and successfully conveyed all the various aspects of their characters. The script requires a lot of range from its performers, and they rose to the occasion with ease. I was particularly impressed with the way in which they utilised different accents. Both O'Flynn and Varla had to change from British to Southern Drawl within a matter of moments at numerous points, and they did so faultlessly. They also had excellent chemistry with one another, and complimented each other's talents. 

Now for my final verdict on The Two Character Play. I give The Two Character Play...

The Two Character Play is a little too bizarre, and the staging of this particular production may be misguided. Having said that, there are two excellent performances to behold, and their portrayals are faultless.

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

An Important Announcement...

Hey readers!

In a break from my usual format, I have an announcement I would like to share with all of you. 

I have been writing for The Basic Theatre Review since 2015; that marks over six years now! The time has truly flown by, and I've thoroughly enjoyed my time blogging. It's been such a great experience and it's been so nice keeping a record of all the shows that I've had the pleasure of seeing.

Beyond that, it's provided me with the opportunity to meet fellow theatre fans from across the globe. This blog has become bigger than I ever could have imagined, and that's all thanks to you lovely readers. So, I'd like to give a heartfelt thank you to everyone who has supported me over the years. 

All good things must come to an end, however. I will soon be leaving London to attend university, which will substantially impact my free time. As a result, it is with a heavy heart that I will soon be hanging up the mantle of The Basic Theatre Reviewer. 

I will continue to carry out my reviews for the next few weeks, and will also do something to celebrate my final blog post.

Once again, thank you. 

-The Basic Theatre Reviewer. 

Review: Joseph and the Amazing Technicolor Dreamcoat

Hey readers!

It's time for my review of Joseph and the Amazing Technicolor Dreamcoat. 

"Joseph and the Amazing Technicolor Dreamcoat is based on the Biblical story of Genesis, which tells of Joseph being sold into slavery by his brothers. It features songs like 'Any Dream Will Do', 'Close Every Door' and 'Go, Go, Go Joseph'."

This production of Joseph marks the first West End revival of the hit musical in over 10 years, and the show is certainly making a triumphant return. The new production has made a fair few alterations to the original book, with a larger role for both the Narrator and the chorus of children. Often revivals rarely change the original book, so I greatly admired this bold decision. It was very creative, and it's apparent that director Laurence Connor had a clear vision in mind when working on the show. It's intriguing to see a new take on Joseph after all these years and, for the most part, the changes work very well. In particular, I enjoyed seeing the way in which this revised version has given the Narrator more material to work with, allowing for a more interesting character. The musical score, by Andrew Lloyd Webber and Tim Rice is retained in its entirely, though it is still as delightful now as it when it was first written in 1968. The music is extremely upbeat, and the tunes are likely to stay with you long after you leave the London Palladium. The audience were up on their feet clapping along to the music at the very end, signalling just how popular the music actually is, even after all of this time. A few personal highlights from the musical score include 'Any Dream Will Do', 'Jacob and Sons', 'One More Angel in Heaven' and 'Go, Go, Go Joseph'. 

In the leading role of Joseph is Jac Yarrow, who received an Olivier Award nomination for this same role in 2019. Yarrow is perfect for the role, and there is not one flaw that can be found with his performance. He has a lovely singing voice, and his rendition of 'Any Dream Will Do' was outstanding. At the performance I attended, Yarrow was joined by Linzi Hately as the Narrator, who is currently sharing the role with Alexandra Burke. Hately first portrayed the Narraor in 1991 at the very same theatre, and has now returned to the role 30 years later. In spite of the time gap, it's as if Hately never even said goodbye to the character; she was well and truly astonishing in every sense. Hately had the audience in the palm of hands, and did well to engage throughout. She also had excellent comic timing, and successfully landed all of the Narrator's jokes. It was noticeable that Hately interacted well with the chorus of children on stage, and conveyed the necessary warmth to play the role effectively. Beyond that, she was also a skilled singer, showing that her talents are limitless. As well as the two leads, the children in the show were equally marvellous. In previous productions of Joseph, the children have only been needed to provide backing vocals, but here they are now required to perform multiple roles which are normally performed by adults. They really rose to the challenge though, and each and every one of them was exceptional. It seemed as if they were having a great time when onstage, which in turn made the whole production more enjoyable to watch.

This production is a real spectacle, and proves to be an extravaganza. It's a joy to think that big productions like this are now able to re-open their doors, and it marks a very welcome return. In relation to the creatives, the choreography, by Joann M. Hunter, was marvellous and proved to be an overall highlight. There are some big dance numbers throughout, and all of them were simply spectacular. The scenic design, by Morgan Large, was equally as wonderful. The sets were grand, and really helped to transport the audience to the world of Joseph. In particular, I was rather fond of the camel designs and felt these were very cleverly done. The costumes, also by Large, were also fantastic. They were extremely colourful, helping to add to the overall tone of the show.

Now for my final verdict on Joseph and the Amazing Technicolor Dreamcoat. I give Joseph and the Amazing Technicolor Dreamcoat...

I greatly admire the way in which director Laurence Connor has applied his vision to the show, and the changes largely work very well. It's a fantastic production, and is one for the whole family to enjoy.

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: Swimming

Hey readers!

It's time for my review of Swimming. 

"Envious of his best mate's care-free life and wild nights out, Dan suddenly splits up from his long -term girlfriend. Unexpectedly, he soon falls head over heels for Sam after a chance meeting at the pool. But for reasons he cannot explain or admit to himself, Dan keeps their new relationship a secret. Over the hot summer months, as they fall deeper in love and the truth comes out, Dan is forced to confront his prejudices and fears and ask if he must choose a lane in life."

Swimming explores the complexities of an identity crisis, focusing in on a man unsure of his place in the world and unable to place a label on himself. Alex Bower's writing does well to convey this sense of crisis, and the narrative feels very realistic. It was easy to imagine this being a true scenario, meaning that the play serves as an authentic depiction of what it's like to endure an identity crisis. Beyond this, there were some intriguing themes that were explored throughout the course of Swimming. Subject matters include masculinity in the modern day, career uncertainty, and the nature of commitment and choice. In its short run-time, the play covers a lot of ground, but does so effectively. These themes are universal, and it is highly likely that many audience members could sympathise with at least one of the obstacles suffered by the main characters. In addition to that, the dialogue itself was also excellent. The conversations that take place are all very engrossing, making it easy to immerse yourself in the story. As previously mentioned, it is easy to imagine these very same discussions taking place in real life, so I greatly admired the realism.

The cast were all very convincing in their respective roles, and there wasn't a weak link among them. In the leading role of Dan is George Jones, who was particularly skilled at portraying the internal conflicts endured by the main character. Dan is an extremely complex figure, and this was clear through Jones's portrayal. It's interesting to note that, even though the character is deeply flawed, you can't help but be drawn to him. A special mention must also be awarded to Andy Sellers as Ant, who was equally as remarkable. Sellers's characterisation was rather endearing and, even though Ant is similarly flawed, he was easy to sympathise with. By the end of the play, it was Ant I felt most sorry for, which is in part due to Sellers' outstanding portrayal.

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

Swimming is an engaging piece of writing, and one which had me invested from beginning to end. The acting is also marvellous, meaning that it's an all-round excellent piece of theatre.

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