Review: Waitress (Broadway - July 2019)

Hey readers!
It's time for my review of Waitress.
Waitress tells the story of Jenna Hunterson, an expert pie maker stuck in a small town and a loveless marriage. Faced with an unexpected pregnancy, Jenna fears she may have to abandon the dream of opening her own pie shop forever… until a baking contest in a nearby county and the town's handsome new doctor offer her a tempting recipe for happiness. Supported by her quirky crew of fellow waitresses and loyal customers, Jenna summons the secret ingredient she’s been missing all along – courage. I first saw Waitress on Broadway in June 2016, and later watched it a second time when it transferred to London's West End earlier this year. Whilst in New York City I ended up seeing Waitress again because, as the old saying goes, "third time's the charm".

With a book written by Jessie Nelson, Waitress has an exceedingly compelling story, which is mainly as a result of its larger than life characters. The show features a number of characters that are highly relatable, thus making them interesting. These qualities make it easier for the audience to become immersed in their world, and by the end of the show I always find myself really rooting for them, particularly Jenna and Dr. Pomatter, to find happiness and success. The book also has a number of interesting moral dilemmas, and asks its audience to give consideration to what is viewed as right and wrong. The show features an extra-marital affair at the centre of its plot, and whilst by conventional standards this would be morally unethical, there are likely to be many in the audience that actually want this couple to end up together. Nelson's book is excellently written, and certainly makes for interesting viewing.

Waitress's musical score is written by American singer-songwriter Sara Bareilles and, like Jenna's pies, it is absolutely irresistible. I first listened to the music of Waitress in 2016 and even after listening to it far over a dozen times, I have yet to tire of it. There are a number of extremely catchy and memorable tunes within the score that are likely to stay with you long after you leave the theatre. In addition to this, there are also a number of beautifully written ballads. A few of my personal favourites from Waitress's score include 'Never Ever Getting Rid of Me', 'Bad Idea', 'You Matter to Me' and 'She Used to Be Mine'.

In the leading role of Jenna currently stars Shoshana Bean, who was exceptional. Bean gave an all-round excellent performance, and her voice in particular was remarkable. As Jenna's best friends, Becky and Dawn, Charity Angél Dawson and Caitlin Houlahan, respectively, gave wonderful performances. Both actresses mentioned are clear examples of perfect casting; Dawson and Houlahan are so well-suited to their roles and have perfectly mastered their portrayals. Bean, Dawson and Houlahan all had magnificent chemistry, and it was easy to believe their roles as best friends to one another. Portraying Dr. Pomatter is Erich Bergen, who may be familiar to some as 'Blake' from the CBS political drama 'Madam Secretary'. Having now seen three actors take on the role of Dr. Pomatter, it was great to see Bergen really make the role his own. He excels at the comedic element of the role, maximising the character's awkward nature in order to create humour. Bergen is also a gifted singer, and his duet with Shoshana of 'You Matter to Me' was utter perfection. Now, last but by no means least, a special mention must also be awarded to Noah Galvin as Ogie. Galvin is the youngest incarnation of Ogie that I have seen, and I personally felt that having a youthful Ogie worked very well indeed. Galvin really put his own spin on the role and provided a characterisation that I had not seen in prior portrayals of Ogie. I admired his fresh take on the role and thoroughly enjoyed his performance. The entirety of the Waitress cast are all excellent and I cannot praise them enough.

Even after seeing Waitress for a third time, I still found the show to be as charming as ever. Shows can often be just as enjoyable, if not more, when seeing them again and this is particularly true for Waitress. This cast were excellent and maintained a great chemistry; they were a delight to watch.

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

Waitress boasts an excellent book, brilliant musical score and numerous outstanding performances, consequently making it a highly enjoyable show. 

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: Be More Chill

Hey readers!
It's time for my review of Be More Chill.
Based on the cult sensation novel by Ned Vizzini, Be More Chill is the story of Jeremy Heere, your average, nothing-special teenager at Middleborough High in New Jersey. That is, until the day he finds out about "The Squip." Thus begins a journey that pits Jeremy's desire to be popular against his struggle to remain true to his authentic self. This original musical comedy looks at modern issues like depression, bullying, and anxiety through the lens of sci-fi films of the 50s, horror flicks of the 80s, and teen movies of the 90s.

The musical score of Be More Chill, by Joe Iconis, is one that I was actually quite familiar with prior to entering the Lyceum Theatre. I first started listening to the Off-Broadway Cast Recording of Be More Chill in late 2018, and instantly adored the music. In addition to this, I later garnered the Original Broadway Cast Recording when it was first released in May of this year. Iconis's score features a number of exceedingly catchy and memorable songs that I could simply never tire of. Despite having already listened to this music over a dozen times, I still thoroughly enjoy it. Furthermore, I would say that this in itself is testament to Iconis's talents at composing music. A few of my personal favourites from Be More Chill's musical score include the titular song 'Be More Chill', 'The Pants Song', 'Voices in My Head' and lastly, but certainly not least, the infamous 'Michael in the Bathroom'.

Leading the cast of Be More Chill is Will Roland, who portrays the show's protagonist Jeremy. Roland demonstrates in his portrayal that he is both a capable and talented actor, and felt very believable as Jeremy. As Jeremy's best friend Michael is George Salazar, who has been with the production since its first production in New Jersey in 2015. Salazar is an immensely talented singer, which is evident by his show-stopping number that takes place in Act Two, 'Michael in the Bathroom'. Salazar has also crafted an excellent characterisation, perfectly conveying the character's anxious nature. Jason Tam, for his portrayal of the SQUIP, is also outstanding. From the second he enters, Tam immediately commands control of the stage through his large presence. He embodies the character well, and was a skilled singer and dancer.

The lighting, designed by Tyler Micoleau, was also commendable. Throughout the show, lighting was used in order to reflect mood and atmosphere, which was particularly evident when the SQUIP made his first appearance. The costumes, designed by Bobby Frederick Tilley II, are a stand-out feature of this production. Filled with colour and light, the costumes seemed well-suited to the show's tone. The design for the SQUIP costume was distinctly good, due to its unique nature.

Be More Chill is a very unusual show, and it might not necessarily appeal to everyone. It's certainly unlike anything I have seen for quite some time. I, however, admire the show's ambition and gladly welcome its creativity. Be More Chill has accumulated a large fanbase since it first opened, which certainly speaks volume to the impact that this show has on people.

Now for my final verdict on Be More Chill. I give Be More Chill...

Be More Chill has an excellent musical score, a number of remarkable performances and should be praised for its level of creativity. 

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: Tootsie

Hey readers!
It's time for my review of Tootsie.
Based on the 1982 movie starring Dustin Hoffman, Tootsie tells the story of a talented but difficult actor who struggles to find work until an audacious, desperate stunt lands him the role of a lifetime.

Tootsie's book, written by Robert Horn, has received almost universal acclaim and has been the garnered Tony, Drama Desk and Outer Critics Circle Awards. The book is completely deserving of such praise, and them some. The show is centred around mistaken identity, following a highly entertaining and imaginative concept. Not only does Horn execute the show's story flawlessly, but he is also able to find endless amounts of humour from within. From start to finish, the show is filled with quick-fire jokes that never tire. It is utterly hilarious and had the entirety of the audience laughing in hysterics. I personally found that the jokes were reminiscent of humour found in popular and much-loved sitcoms, such as hit 1990's television show 'Frasier'. In addition to this, I also admired the way in which Horn has decided to tackle a number of difficult gender issues that we currently face in the modern day. Whilst not a central plot point, such topics are handled in a nuanced and subtle manner which I personally considered to be careful and considerate. Horn has done wonders with the book of Tootsie, and can be credited for large portions of the show's success.

The musical score of Tootsie is written by David Yazbek, who is also known for writing the score of the recently closed award winning musical 'The Band's Visit'. Yazbek's lyrics, in particular, are superlative. Finding lyrics that can both rhyme and create comedy is quite the skill, and yet Yazbek is more than capable of fulfilling both of these requirements. His lyrics are extremely witty, which is quite evident in the songs 'What's Gonna Happen' and 'Jeff Sums It Up'. As well as comedic musical numbers, Yazbek is also very good at composing more heartfelt songs, as shown by the number 'There Was John'. After seeing Tootsie, I am fairly confident in asserting that David Yazbek could write for any genre. The musical score for 'The Band's Visit' is an entirely different musical style, and yet Yazbek has excelled at writing for both types of music. It is quite clear that he is an exceedingly skilled composer.

In a dual role he seemed born to play, Santino Fontana leads the cast as Michael Dorsey and Dorothy Michaels. In every aspect of his portrayal, I genuinely believe Fontana was faultless. Comedy clearly comes easily to him, which is evidenced by the fact that his comedic timing is second to none. His facial expressions, in particular, were extremely funny. Furthermore, Fontana is also a very talented singer. He boasts an incredible vocal range which allows him to alternate between Michael's deeper singing voice and Dorothy's high falsetto. Lilli Cooper, as Julie Nichols, was superb and created a really good chemistry with Fontana's Dorothy. She too has a lovely voice, which becomes clear through her renditions of 'There Was John' and 'Who Are You?'. Sarah Stiles, in the role of the neurotic actress Sandy Lester, gives a performance that is both entertaining and hilarious. She completely nails the role, and her number 'What's Gonna Happen' is one of the show's highlights. John Behlmann, as Max Van Horn, was also outstanding. Behlmann has a difficult role to play, portraying a dim-witted and dense wannabe actor that eventually falls in love with Dorothy. Despite this, Behlmann has mastered the role and was simply perfect in every way. The scene in which Max declares his love for Dorothy was the funniest scene in the whole show, which was largely thanks to Behlmann's brilliant delivery. Finally, last but by no means least, a special mention must be given to Andy Groteluschen, who portrayed Michael's best friend Jeff Slater. Groteluschen and Fontana create a fantastic dynamic when together onstage, and the Act Two opening song 'Jeff Sums It Up' was a delight. The ensemble of Tootsie are all splendid, and there are a number of very talented dancers among them.

The costumes, by William Ivey Long, were expertly designed. Tootsie is Long's 74th Broadway show, which certainly speaks volume to his level of skill. Dorothy's costumes, as well as the hair and make-up by Paul Huntley and Angelina Avallone respectively, were stunning and were essential in ensuring that Michael's transformation was as believable and realistic as possible.

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

Whilst this review is already quite prolonged, I could continue to rave about Tootsie for even longer. I adored this show, and I look forward to its transfer to the West End in 2021.

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

Thanks for reading!

-The Reviewer

Review: Beetlejuice

Hey readers!
It's time for my review of Beetlejuice.
Beetlejuice tells the story of Lydia Deetz, a strange and unusual teenager obsessed with the whole “being dead thing.” Lucky for Lydia, her new house is haunted by a recently deceased couple and a degenerate demon who happens to have a thing for stripes. When Lydia calls on this ghost-with-the-most to scare away her insufferable father and his new girlfriend, Betelgeuse comes up with the perfect plan, which involves exorcism, arranged marriages and an adorable girl scout who gets scared out of her wits. Plus singing and dancing, of course.

This quirky and eccentric musical may not appeal to everyone, but I personally found Beetlejuice to be an extraordinarily entertaining piece of theatre. The show follows a fun and enjoyable story, whilst retaining a quick pace from beginning to end. The book, by Anthony King and Scott Brown, is excellent and had me laughing in stitches. The humour within the show is somewhat dark, and often relied on a number of one-liners. I often find that it will take a lot for me to laugh out loud, but Beetlejuice was truly and utterly hilarious. I also appreciated the writers ability to carefully balance the amount of comedy with the more sadder moments of the show. Whilst one scene will have its audience in hysterics with laughter, the next scene may have a  particularly poignant and tear-inducing moment. I was highly impressed with the book of Beetlejuice and thoroughly enjoyed watching this unconventional tale unravel.

As well as the book, I was also fond of the vast majority of the musical score, which has been written by Australian singer-songwriter Eddie Perfect. The songs featured with the show are exceedingly catchy; even one week after watching Beetlejuice for the first time, the songs have yet to fade from my memory. A few of my personal highlights from the score include 'Invisible', 'The Whole Being Dead Thing, Parts One and Two', 'Say My Name' and 'Home'. The songs were all excellently carried out by the remarkable cast and marvellous orchestra.

The cast is led by Alex Brightman, who portrays the mischievous titular character. Brightman is not someone that I would have immediately thought of when casting this role, and as a consequence this is a good example of inspired casting. Brightman appears well-suited as Betelgeuse, which is largely as a result of his precise comedic timing and high levels of charisma. Right from the get-go, he puts maximum levels of energy into his performance, giving it his all from beginning to end. By his side is Sophia Anne Caruso, who portrays gothic teenager Lydia Deetz. I had previously seen Caruso's remarkable performance in Lazarus, and I am pleased to say that she was once again outstanding. She is an immensely talented singer, and arguably has one of the most astonishing voices on all of Broadway. In addition to her singing abilities, Caruso is also a talented actress, excelling at both the comedic and more sadder parts to the character of Lydia.

The scenic design, by David Korins, is largely centred around a haunted house which has three different renditions that change as the show progresses. At first the scenery depicts the original home of the Maitland couple, which Korins himself has described as a "bleached country chic". It then changes to a more zany appearance once the Deetz family arrive, and soon after it changes yet again to an ominous black and white appearance in order to mirror the clothing of Betelgeuse. The three variations are both visually and structurally ingenious; it was clear that a lot of thought had gone into the process of creating this particular aspect. Both the costumes, by William Ivey Long, and lighting, by Kenneth Posner, were also stunning and highly creative. All three of these particular aspects complimented the show's tone and mood nicely. The special effects featured in Beetlejuice were also rather impressive, and in particular the uses of levitation tricks and the appearance of the giant sandworm were quite remarkable.

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

Whilst I understand Beetlejuice will not be to everyone's liking, I personally adored it. It had an exciting book, an enjoyable score, a number of outstanding performances, as well as a number of ingenious creative aspects; as a consequence, I believe that Beetlejuice is worthy of a five-star rating.

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

Thanks for reading!

-The Reviewer

Review: King Kong

Hey readers!
It's time for my review of King Kong.
Based on the 1932 novel, the stage production of King Kong is a contemporary take on the classic tale of Beauty and the Beast. The story follows a young actress and a maverick filmmaker as they voyage from the bustling streets of 1930s New York to an uncharted island to capture the greatest wonder the world has ever seen. King Kong is a larger-than-life encounter with a legend that’s always been too big to contain.

The main attraction of this musical is, arguably, the 2,400-pound and 20-foot-tall puppet star used to portray the titular character of King Kong. The puppet's limbs are operated by 10 different actors, whilst three "voodoo operators" control more robotics involved with the character off-stage. The puppet is a true spectacle and immediately steals the show upon its entrance. It is unlike anything that has ever been done on Broadway before, and the creative team behind this project should be commended for ambition and determination to create this. A particular highlight of the puppet's design are the different facial expressions that King Kong uses, which was exceedingly helpful in ensuring that the character was as life-like as possible. Whilst suspension of disbelief may be required in order to forget the somewhat visible puppeteers, it is still awe-inspiring. Earlier this year, the production received a Special Tony Award for the design of the King Kong puppet, which I would agree was well deserved. 

Whilst impressive creatively, the show is not as successful in regards to its book, which has been written by Harry Potter and the Cursed Child author Jack Thorne. Whilst Thorne is an immensely talented playwright, his book for King Kong was not flawless. The story starts out very strong and sets the scene for an interesting narrative, but it then begins to falter as the first act progresses. The dialogue begins to become somewhat drawn-out, causing the show's pacing to drastically slow down. Having said this, the pace does pick up again with act two, whereby the book seems to become more compelling.

Christiani Pitts, in the leading role of Ann Darrow, was excellent. Pitts has a remarkable singing voice, and gave an all-round outstanding performance that I would not be able to fault. As well as Pitts, Erik Lochtefeld also deserves a special mention for his portrayal of the character Lumpy. Lochtefeld gave an exceedingly heartfelt performance, and conveyed the most well-developed characterisation within the show. The entirety of the ensemble were also all exceptional, and it was evident throughout that there were a number of extraordinary talented singers and dancers among them. 

The scenic design, by Peter England, mainly consisted of a backdrop containing a number of different screen projections that changed depending on the location of the scene taking place. All of the screen projections featured a vast amount of detail and were of the highest possible quality. The lighting, by Peter Mumford, was masterfully designed. This particular design aspect is particularly effective when used to place King Kong into the spotlight, whereby the lighting is used to conceal the puppeteers controlling the puppet star. The choreography, by Drew McOnie, was yet another highlight. The choreography was most impressive during the show's opening musical number, whereby a large crowd of New Yorkers hastily dance through the city's busy streets. The choreography remained action-packed and exciting throughout the show, which in turn reminded me of McOnie's previous choreography for London shows such as In the Heights and Jesus Christ Superstar.

Now for my final verdict on King Kong. I give King Kong...

Whilst the book is not quite as good as it could have been, King Kong redeems itself in a number of different ways. The puppet star is jaw-dropping, whilst the majority of the cast and creative aspects were also excellent.

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: Ink (Broadway)

Hey readers!
It's time for my review of Ink.
Set in London, 1969, the brash young Rupert Murdoch purchases a struggling paper, The Sun, and sets out to make it a must-read smash which will destroy - and ultimately horrify - the competition. He brings on rogue editor Larry Lamb who in turn recruits an unlikely team of underdog reporters. Together, they will go to any lengths for success and the race for the most ink is on. I had previously seen Ink during its run in London and absolutely adored it. After seeing it the first time, Ink instantly became my favourite play of all time. As a consequence, I jumped at the opportunity to see it once again whilst in New York City.

Ink's story is gripping from beginning to end, giving its audience a fascinating insight into the world of journalism and the early days of 'The Sun' newspaper. Despite Ink being set in the 1960's, the play's recurring themes of using populism and mass media in order to attract high levels of popularity is still something which is likely to resonate with audiences today. Similarities have been made between the show's main character, Larry Lamb, and Facebook founder Mark Zuckerburg, both of whom created forms of media that would empower millions of people. Using populism in this manner can also be seen in modern politics as well, with the rise of politicians such as Nigel Farage and Donald Trump, both of whom have run on populist platforms and have claimed to speak for the masses. Whilst Ink does set its focus on journalism, its wider themes can be applied to a number of different aspects of society. I personally find the play to be thrilling from beginning to end, and even watching a second time my attention did not drift once. I was fully focused from beginning to end, and despite knowing what would happen, I still remained on the edge of my seat. James Graham's writing simply cannot be praised enough.

In the leading role of Larry Lamb, Jonny Lee Miller was exceptional. He provides an electric performance, and retains exceedingly high levels of energy from start to finish. Miller perfectly demonstrates the character's rising ambition, and cleverly portrays the effects that working in the world of journalism has on Lamb. It was a truly intriguing performance. Bertie Carvel, in the role of Rupert Murdoch, was equally outstanding. After first seeing Bertie in the role, he has since won both an Olivier Award and a Tony Award for his portrayal of the infamous media mogul, both of which are well-deserved awards. This performance is mesmerising, with Carvel nailing the role down to a tee. Every aspect of the performance is excellently and carefully carried out, including posture, movement, hand gestures and voice. Carvel has a very engaging persona, making him an absolute delight to watch. The entirety of this cast are marvellous and, despite the fact that the majority are American actors, their English accents were perfect.

The direction by Rupert Goold was sublime, who has helped to ensure that the pacing of Ink remains fast and upbeat throughout. I can remember stating in my previous review of Ink that the staging of this production was among the best I had ever seen, and a year and a half later I continue to stand by that statement. The scenic design, by Bunny Christie, encompasses a landscape of battered metal desks, stacked on top of each other in the form unsteady hills and valleys. The set was filled with immense detail, and felt very true to the style of a 1960's office. Christie also designed the costumes, which are also rather admirable and well-suited to the setting of the play. The lighting design, by Neil Austin, recently garnered a Tony Award and deservedly so. The lighting perfectly reflects the mood of the piece at several moments throughout the play, therefore helping to further the atmosphere.

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

Even after a second viewing, Ink remains my favourite play of all time. The intelligence of Graham's writing is really quite something, and believe that the themes explored within the play will continue to resonate with audiences for many decades to come. In addition to the writing, each and every single performance is flawless, whilst the direction and creativity also remain superlative. I simply cannot rave about Ink enough. Sadly, this production has now closed, but hopefully it will be making another appearance within the near future.

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

Thanks for reading!

-The Reviewer

Review: Betrayal

Hey readers!
It's time for my review of Betrayal.
Betrayal centres around the seven-year extramarital affair between two characters, Emma and Jerry, who would meet in secret at a flat without the knowledge of their significant others. Playwright Harold Pinter has said before that Betrayal is the one play that most resembles his own life, which is largely as a result of his of his own experiences with extra-marital affairs.

The story of Betrayal is an interesting one, and involves a number of rather interesting concepts. The idea that Jerry maintains a strong friendship with the character of Robert whilst continuing to have an affair with his wife is rather intriguing, and certainly makes for interesting viewing. The themes explored within the play include hidden emotions and veiled motivations, and their self-absorbed competitive one-upmanship, face-saving, dishonesty, and self-deception. The play does have elements of psychology within, providing an in-depth analysis of the thoughts and feelings of the three main characters. The characters of Robert, Emma and Jerry are all very well written, and the dynamics created between them are fascinating to watch. Each of them have very unique relationships with one another, and it is interesting to see how this changes over the course of the nine years.

Tom Hiddleston, in the role of Robert, was outstanding. He was excellent at finding the humour within the role, whilst also excelling during the more dramatic moments of the play. Hiddleston is gifted with a natural stage presence, and seemed well-suited to this particular role. Zawe Ashton, as Emma, gave a flawless performance. Ashton has crafted out a very good characterisation, and it was particularly interesting to watch the electric chemistry that she had with both Hiddleston and Cox, therefore emphasising the impact of this love triangle. Last, but by certainly no means least, Charlie Cox as Jerry was equally as marvellous. In his portrayal, Cox perfectly combines both the hopeless love Jerry has for Emma along with the immense guilt he feels towards his best friend. All three performances were well and truly excellent, and all were a delight to watch.

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

Betrayal was a very interesting piece of theatre; it has an intriguing concept, and this particular production featured outstanding performances from all of those involved. I was very glad I had the opportunity to see it. 

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