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

Review: Hymn

Hey readers!

It's time for my review of Hymn. 

"Benny is a loner anchored by his wife and children. Gil longs to fulfil his potential. They form a deep bond but as cracks appear in their fragile lives they start to realise that true courage comes in different forms."

Written by Lolita Chakrabarti, Hymn is an intriguing tale that covers a wide variety of important themes. There is great depth to the writing, with many different layers to it. The topics explored provide plenty of food for thought, and will likely leave the audience with many things to contemplate. In particular, It was particularly interesting the way in which Hymn explores masculinity and mental health. The play delves into how men are often expected to repress their emotions, making them hesitant to display vulnerability in the face of hardship. The writing seeks to challenge these stereotypes however, with one of the two main characters embarking on a journey to embrace his emotional side and seek counselling for his personal struggles. The exploration of life and death, as well as how they interconnect, was also very interesting. The two characters of Hymn are brought together by death, but are subsequently torn apart by it shortly thereafter. This serves as an effective metaphor, and goes to show that life really does come full circle. The characters of Gil and Benny are very well written, and it is enjoyable seeing how they develop such a strong bond throughout the course of the play. At first they seem worlds apart from one another, and yet they grow to really admire each other as the narrative goes on. This tale of an unlikely friendship is very endearing, and proved extremely heartwarming. 

Hymn is a two-hander, starring Adrian Lester as Gil and Danny Sapani as Benny. The two actors are absolutely phenomenal, and their performances are worth the ticket price alone. Lester and Sapani have such good chemistry with one another, and their brotherly bond felt extremely authentic. Gil and Benny grow closer and closer as the play goes on, and the two actors did well to show how the relationship developed over time. They really immersed themselves in the roles, and their characterisations were very believable. Beyond that, it was particularly impressive to see just how versatile they were in their acting. Both Lester and Sapani were excellent at portraying the more serious natures of their characters, but also presented the comedic elements without fault too. It is worth noting that the play features music, requiring the two actors to sing at numerous points throughout. They were just as skilled at singing as they were acting, and this too was highly impressive. 

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

Hymn is an excellent piece of writing, confronting a number of important subject matters. The main attraction to this play however is the two leading performances, both of which are beyond remarkable.

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: Anything Goes

Hey readers!

It's time for my review of Anything Goes. 

"Anything Goes is a musical set on a cruise liner heading from New York to London, but it’s not all smooth sailing. Sometimes destiny and the path to true love needs a bit of guidance, including a crew of singing and dancing sailors and disguises. Will stowaway Billy Crocker and heiress Hope Harcourt have their happy ending? Anything goes on board this ship."

After a time where theatres have been closed for an extended period of time, people are understandably in need of some escapism from the real world. If this is you, then look no further than Anything Goes; the perfect musical to lift your spirits. This production is pure fun from beginning to end, and is the ideal show to welcome theatregoers back to the Barbican Centre. It's so entertaining, and a genuine delight to behold. Anything Goes is a musical comedy, and the book is genuinely hilarious. The jokes all land really well, and they had the audience in stitches at numerous points. It is worth noting that the musical first debuted in 1934, and yet the piece is timeless. The fact that the show had such a positive response from its audience would seem to indicate that, even after all these years, Anything Goes is still a crowd-pleaser. The humorous story is accompanied by an excellent musical score, composed by the late Cole Porter. The music has an old-fashioned charm to it, which makes it very appealing. It will undoubtedly bring nostalgia to many, but will also introduce Porter's music to a whole new generation of theatre-goers. 

Each and every cast member featured in Anything Goes is beyond exceptional. From the leading performers to the ensemble, they are all extraordinary. In the leading role of Reno Sweeney is Sutton Foster; a character she first portrayed 10 years ago on Broadway, and for which she received the Tony Award for Best Leading Actress in a Musical. Foster is often deemed 'Broadway royalty', and it is easy to see why. Every aspect of her performance was faultless; she was a skilled actress, a talented singer and a phenomenal dancer. Foster has such a good command of the stage, stealing the spotlight upon each entrance. In this production she is joined by Robert Lindsay, who stars as Moonface Martin. Lindsay is similarly remarkable, and was particularly adept at comic timing. He's extremely charismatic and, similar to other productions he has starred in, was an absolute delight to watch from beginning to end. A special mention must also be awarded to Haydn Oakley, in the role of Lord Evan Oakleigh. Oakley too was hilarious, and delivered each joke flawlessly. His solo musical number 'The Gypsy in Me' was very well performed, and proved to be one of the show's many highlights.

The choreography has been crafted by director Kathleen Marshall, who has returned to the show after having worked on the Broadway production in 2011. At that time, Marshall received a Tony Award, and that should come as no surprise to those who watch this production. The choreography is spellbinding, and among the best I have seen in quite some time. There are some big production numbers throughout the show, and they are all stunning. The scenic design, by Derek McLane, is also excellent and really added to the overall presentation. It was extremely detailed and felt very life-like to how an actual cruise liner would appear, making it easy to immerse yourself in the world of the characters. The costumes, designed by Jon Morrell, are also marvellous. From the sailor suits to the glitzy gowns, each costume was sensational. 

Now for my final verdict on Anything Goes. I give Anything Goes...

This production of Anything Goes is a stellar revival of an excellent musical. It's extremely entertaining, and proves to be a delightful show with some incredible 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