Review: Die Fledermaus

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

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

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

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

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

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

Thanks for reading!

-The Reviewer

Review: The Lehman Trilogy

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

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

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

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

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

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

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

Thanks for reading!

-The Reviewer

Review: Rosmersholm

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

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

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

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

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

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

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

Thanks for reading!

-The Reviewer

Review: The Starry Messenger

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

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

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

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

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

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

Thanks for reading!

-The Reviewer

Review: Frankie and Johnny in the Clair de Lune

Hey readers!
It's time for my review of Frankie and Johnny in the Clair de Lune.
In this new Broadway production, Audra McDonald and Michael Shannon, two of the most acclaimed actors of their generation, bring the bruised dreamers of Terrence McNally’s classic romance to new life. Frankie and Johnny in the Clair de Lune is a portrait of a lonely waitress and a short order cook whose first date turns into a one-night stand – and maybe more.

The story of Frankie and Johnny in the Clair de Lune is quite interesting for the most part, which is a factor that I would largely accredit to the show's intriguing main characters. Both Frankie and Johnny are somewhat tragic figures, with both of them having suffered several grievances in their pasts. Their conversations detailing such backstories are quite compelling and make for interesting viewing. They are both quite ordinary people, which allows audience members to easily find ways in which they can relate to these characters. Their discussions about searching for love and happiness come across as heartfelt and genuine, which is also another way in which it becomes easier to connect with Frankie and Johnny. As well as the well-written characters, I also appreciated the humour which author Terrence McNally has inserted throughout the play. There are some genuinely funny moments, which are also aided by the precise comic timing of the two leading performers.

In the leading role of Frankie is six-time Tony Award winner Audra McDonald, who has an electric stage presence. I thoroughly enjoyed her performance, which was largely as a result of her natural ability to demonstrate all of the different elements of Frankie's personality. McDonald perfectly portrays the comedic side, as well as the more tragic element of the character. She goes through a roller-coaster of emotions as the show progresses, and McDonald flawlessly conveys this every step of the way. Starring opposite McDonald is Michael Shannon, in the role of Johnny. For his performance Shannon has perfected the portrayal of a rather intense character, which is something that he has mastered skilfully. He seemed so believable in this role, and it really felt as if he truly did care a lot for Frankie. Shannon has fully immersed himself in this role, and it is evident that he is a very gifted actor. The two actors have brilliant chemistry with one another and worked brilliantly together. They created an interesting dynamic as Frankie and Johnny and were exceedingly compelling to watch.

In regards to creativity, both the scenic and lighting, designed by Riccardo Hernández and Natasha Katz respectively, were superb. They contributed nicely to the overall atmosphere of the play, and the lighting, in particular, was especially effective when representing the sunrise.

Now for my final verdict on Frankie and Johnny in the Clair de Lune. I give Frankie and Johnny in the Clair de Lune...

In my personal opinion, at the heart of Frankie and Johnny in the Clair De Lune is not so much the writing, but more so the actors that portray the two leading characters. In this particular production, the two actors in these roles are phenomenal; without them, I doubt I would have enjoyed this production anywhere near as much as I did.

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

Thanks for reading!

-The Reviewer

Review: The Prom

Hey readers!
It's time for my review of The Prom.
A high school student named Emma wants to take her girlfriend as her date to the prom at her local high school in Edgewater, Indiana, to the shock horror of the school's PTA members. She is therefore excluded from the celebrations and a motley crew of Broadway actors (desperate for some positive publicity) come rushing to her aid to fight a noble cause (albeit originally for self-centred motivations).

The book, written by Bob Martin and Chad Beguelin, is able to capture the perfect balance between comedic elements and more serious matters. The Prom is a true musical comedy in every sense of the term, and yet despite the show's humorous nature it still explores some important issues relating to LGBT rights that are still divisive within America. Throughout the show there are dozens of exceedingly amusing moments, and in particular there were some rather comical one liners which had me laughing out loud. As previously mentioned though, not only does the show make you laugh, but it also makes you feel and experience a wide range of different emotions. There are several moments of The Prom which are tremendously heartwarming, and the show's overarching message of acceptance is both moving and uplifting. The one aspect of The Prom's storyline which I found distinctly moving was the unlikely friendship that forms between characters Barry Glickman and Emma Nolan as the show progresses. Barry is a narcissistic award-winning Broadway actor, whilst Emma is a shy and unconfident high-schooler from Indiana. The two characters seem worlds apart, and yet the two of them forge a beautiful friendship and learn a lot from each other; consequently, this is one of the many examples as to why The Prom is so heartening.

Featuring a wide array of different styles, the musical score of The Prom, written by Matthew Sklar and Chad Beguelin, is excellent. There are a number of old-fashioned, theatrical and big musical numbers, whilst there are also several modern songs reminiscent of pop music. In addition to this, there are some rather nice ballads featured within the score. A few of my personal favourites from The Prom's score include 'Dance with You', 'Tonight Belongs to You', 'The Lady's Improving' and 'Barry is Going to Prom'.

Usually the role of Barry Glickman is portrayed by Brooks Ashmanskas, however at the specific performance I attended,Josh Lamon was carrying out understudying duties. I was not disappointed in the least however, due to the fact that Lamon was astonishing. He has such an infectious energy whilst performing and really gives it his all throughout. Furthermore, Lamon has excellent comedic abilities, and is also a talented dancer. I am thrilled to have had the opportunity to see him perform in this role. Starring opposite Lamon is Tony Award winner Beth Leavel as Broadway diva Dee Dee Allen. Leavel's comedic timing was impeccable, and her rendition of 'The Lady's Improving' was extremely amusing. She is also a remarkable singer, delivering two show-stopping musical numbers. Caitlin Kinnunen is equally outstanding, giving a nuanced portrayal of high-schooler Emma Nolan. Kinnuen delivers a genuine and heartfelt performance, giving the character a sweet innocence that makes the audience want to root for her. She too is a gifted singer, which is particularly evident during the number 'Dance with You'. Despite having singled a few performers out, the entirety of the whole cast are absolutely stunning.

The choreography, by Casey Nicholaw, was well and truly extraordinary. The dance sequences carried out during the school prom were utterly mesmerising to watch. I was quite surprised to find out the The Prom's choreography was overlooked at the Tony Awards, as I personally feel it is unquestionably among the best I have seen within recent months. The costumes, designed by Ann Roth, were also wonderful and worthy of much praise. I particularly liked the displayed contrast of costumes; whilst the older characters wore glitzy, glamorous and old-fashioned tuxedos and dresses, the younger characters wore exuberant displays of brightness and colour. It created an interesting contrast, and it was apparent that a lot of thought had gone into these designs.

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

The Prom is a remarkable production; it boasts an enjoyable feel-good story, an up-beat musical score and a very gifted ensemble of actors. 

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: Ain't Too Proud

Hey readers!
It's time for my review of Ain't Too Proud.
Ain't Too Proud follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and unmistakable harmonies, they rose to the top of the charts creating 42 Top Ten Hits with 14 reaching number one. The rest is history — how they met, how they rose, the groundbreaking heights they hit, and how personal and political conflicts threatened to tear the group apart as the United States fell into civil unrest. This story of brotherhood, family, loyalty, and betrayal is set to the beat of the group’s many hits, including “My Girl,” “Just My Imagination,” “Papa Was a Rolling Stone,” and a dozen more.

Having not grown up in the era of Motown, the music of The Temptations is not as familiar to me as it would be for fellow audience members. My only exposure to such music is through my Mother, as well as the recent Motown the Musical, which had a successful three year run in London's West End. Despite not being too familiar with the music prior to entering the Imperial Theatre, however, I still very much enjoyed a number of the songs. A few of my personal favourites of Ain't Too Proud's musical score included 'My Girl', 'Get Ready' and 'Just My Imagination', all of which were unforgettable. I was also rather fond of the Supremes Medley, which served as a good, however brief, diversion from the main story.

Throughout history there have been over 20 singers to join the Temptations. As the band's leading singer observes early on in the show, “sometimes Temp stood for temporary.” Ain't Too Proud, however, largely focuses on the "Classic 5" line-up, which consisted of Otis Williams, James Harkness, Melvin Franklin, Eddie Kendricks and David Ruffin. These well-known singers were portrayed by Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope and Ephraim Sykes, respectively, all of which were exceptionally talented. All five performers are triple threats; they were talented actors, gifted singers and skilled dancers. Portraying real well-known people such as these can be a difficult task, and yet they are more than capable of pulling it off. Each and every one of them threw themselves into the role and embodied their characters flawlessly. After watching the show, I took the decision to listen to a number of Temptations songs, and in comparison the performers sound very much alike to their real-life counterparts. Their natural ability to harmonise with one another was also rather impressive. Furthermore, their dance abilities were superlative. The choreography is quite intricate, but they completely nailed each and every routine. A special mention must be given to Ephraim Sykes, who was able to pull off striking scissor splits. These five performers really were outstanding, and were likely the main reason as to why I enjoyed Ain't Too Proud as much as I did.

My one slight criticism for Ain't Too Proud is its book. There were certain elements of the story that felt somewhat cliched in comparison to other biographical jukebox musicals. Having seen Four Seasons musical 'Jersey Boys' and Kinks musical 'Sunny Afternoon', I couldn't help but notice the similarities between the storylines. Such similarities may be unavoidable however, due to the fact that the majority of musical groups have origin stories that are much alike. Despite this, I still felt it was a marvellous production.

One of the show's best aspects is its choreography, which has been created by Sergio Trujillo. Trujilo recently won a Tony Award for his work on the show and deservedly so. This up-beat and fast-paced choreography was awe-inspiring. It is intriguing to watch, and faultlessly carried out by a talented ensemble. The costumes, designed by Paul Tazewell, were magnificent. They were well-suited to the era in which Ain't Too Proud is set, thus helping to transport the audience back to the 1960s and become fully immersed. The lighting, designed by Howell Blinkey, was also admirable and was particularly impressive during the use of spotlights, which made the show feel as if it were a real-life concert.

Now for my final verdict on Ain't Too Proud. I give Ain't Too Proud...

Whilst I took certain issues with the book, I simply cannot deny that it is a remarkable production. For me personally, it was the cast full of triple threats that were worth the ticket price alone; they really were quite something. 

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

Thanks for reading!

-The Reviewer