Review: The Height of the Storm

Hey readers!
It's time for my review of The Height of the Storm.
The Height of the Storm is visiting several theatres across England, including my local theatre in Richmond, before opening at the Wyndham's Theatre in London's West End. This piece is written by Florian Zeller, who's work I am previously familiar with. In 2016, I had the opportunity to see Zeller's 'The Father', which I thought was a masterpiece so I was excited to see what his latest work would bring.

The Height of the Storm follows André and Madeleine, a married couple that have been in love with each other for over fifty years. This weekend, as their daughters visit them, something feels unusual. A bunch of flowers arrives, but who has sent them? A woman from the past has turned up, but who is she? And why does André feel like he isn't there at all? The aspect of Zeller's writing that I will always have admiration for is the realistic way in which he portrays Alzheimer's disease. As someone who has had family members who suffer from such such an illness, I appreciate the fact that Zeller's writing truly does give the audience a truthful insight into what Alzheimer's disease can be like. I do however feel that The Height of the Storm is somewhat of a clone of his previous work, The Father. The Height of the Storm deals with the same issues in a rather similar light, once again portraying an elderly gentleman suffering with Alzheimer's and the way his daughter(s) copes with this. In addition to the resemblance between the two storylines of The Father and The Height of the Storm, the leading character is also named 'André' in both pieces. Having said this, I did feel as if The Height of the Storm was not quite as effective as The Father was. Whilst both pieces search to create a sense of confusion amongst its audience, The Height of the Storm is particularly puzzling; leaving the theatre I heard several audience members discussing the play with one another, each attempting to make sense of what they had just seen. It is an exceedingly perplexing play, and one that would more likely become clearer on second viewing.

Leading the cast of The Height of the Storm are Jonathan Pryce and Eileen Atkins as André and Madeleine, the elderly married couple who have remained in love with one another for over fifty years. Both Pryce and Atkins give captivating performances, skilfully portraying the difficulties of Alzheimer's disease. Portraying the kind-hearted and concerned daughters are Amanda Drew and Anna Madley, as Anne and Elsie. Both Drew and Madley are giving stellar performances; they are both, as are all the cast, a delight to watch onstage.

The featured star of The Height of the Storm is, drum roll please... EILEEN ATKINS!

Eileen Atkins is excellent in the role of Madeline. She excels in both the sadder parts of the play, as well as the more comedic elements to her character. Atkins's performance is flawless.

Now for my final verdict on The Height of the Storm. I give The Height of the Storm...

Despite the fact that The Height of the Storm felt too similar to Zeller's previous work, I still cannot help but admire his realistic take on Alzheimer's disease. In addition to that, the cast are all also phenomenal, and for these reasons I have decided to award this production with three stars.

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: My Fair Lady

Hey readers!
It's time for my review of My Fair Lady.
My Fair Lady is a musical that I have always had an interest in seeing, however prior to the 2018 Broadway revival there has not been a production of this show in either London or New York since I was born. Despite this, I did get the opportunity to see a touring production of Pygmalion, which My Fair Lady is based off of, in 2014 and I thoroughly enjoyed it. Luckily, on my recent trip to New York City I was finally provided with the opportunity to see My Fair Lady - my final show of the vacation!

My Fair Lady follows pompous phonetics professor Henry Higgins, a man so sure of his abilities that he takes it upon himself to transform a Cockney working-class girl into someone that can pass for a cultured member of high society. His 'subject' turns out to be the delightful Eliza Doolittle, who agrees to speech lessons to improve her job prospects. Henry and Eliza often clash, before forming an unlikely bond. It is a charming tale, taking its audience back to the Edwardian era. Looking back on the story from a modern lens it is what many would call a 'rags to riches' story, and it could potentially be compared to present-day stories such as Pretty Woman, which has recently opened on Broadway. The character of Eliza Doolittle is particularly interesting; as the musical progresses we see her go from a low-paid flower girl to a strong, independent and respected individual.

The score of My Fair Lady is also charming. Similar to the book, the score is interesting to listen to from a modern perspective, due to the fact that is it so uniquely different from what can be heard in contemporary musicals. There are many great songs within this score, with my personal favourites being 'With a Little Bit of Luck', 'I Could Have Danced All Night' and 'On the Street Where You Live'.

Lauren Ambrose usually performs in the role of Eliza Dolittle, however at Sunday matinees alternate Kerstin Anderson takes the reigns of the role. Anderson was utterly outstanding in this role and was a true pleasure to watch. She makes the character development of Eliza crystal clear, evidently showing the dramatic changes that the character goes through on her rise through society's ranks. Anderson's voice is also excellent, performing a flawless rendition of 'I Could Have Danced All Night'. Opposite Kerstin Anderson's Eliza was Harry Hadden-Paton, as Professor Henry Higgins. Hadden-Paton is sublime in this role, giving a tremendously engaging performance. I particularly enjoyed his characterisation of the role, which clearly demonstrated both the stern side of the character as well as his softer side. A special mention must also be given to Adam Grupper, who was understudying as Colonel Pickering. I had previously seen Grupper understudying in Fiddler on the Roof, during which he performed in the leading role of Tevye. As Pickering, Grupper gives yet another terrific performance. I also quite enjoyed Diana Rigg's performance as Mrs. Higgins, who despite limited stage time, gives a wonderful performance.

The set designs, which has been created by Michael Yearn, are immensely detailed. When I first laid my eyes upon the house of Professor Henry Higgins, I was awestruck. It is apparent that barrels of both thought and energy have been placed into creating this monumental scenery. The costumes designed by Catherine Zuber, which recently earned this production a Tony Award, are also highly impressive. They too are highly detailed, perfectly recreating Edwardian-era costumes. The choreography, by Christopher Gattelli, and orchestrations are also remarkable, with both aspects nicely complimenting the score.

The featured star of My Fair Lady is, drum roll please... HARY HADDEN-PATON!

Harry Hadden-Paton is giving a masterclass of a performance as Professor Henry Higgins. He has perfectly embodied the character, flawlessly creating a great characterisation by using voice, physicality and mannerisms. This is currently one of the best performances on all of Broadway!

Now for my final verdict on My Fair Lady. I give My Fair Lady...

My Fair Lady is an old classic and it is safe to say that this production has done the show justice. With memorable performances and incredible designs, this was a delight to watch!

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: Frozen

Hey readers!
It's time for my review of Frozen.
I viewed the movie of Frozen in 2013 when it was first released and I thoroughly enjoyed it. I have been following this show's progress since it was first announced to be in early development in January 2014, up until its opening on Broadway in February 2018. In regards to previous Disney Theatrical Productions, I adored The Lion King, whereas Aladdin was not my cup of tea. I am pleased to say that I was pleasantly surprised with Frozen; this is yet another hit for Disney Theatrical Productions.

Inspired by Hans Christian Andersen's fairy tale The Snow Queen, Frozen tells the story of fearless princess Anna who embarks on an epic journey, alongside a rugged iceman, his loyal pet reindeer and a naive snowman, to find her estranged sister Elsa, whose icy powers have inadvertently tapped the kingdom in an eternal winter. The storyline of Frozen combines everything needed for the prefect fairytale; there is good and evil, royalty and poverty, and finally, magic and enchantments. The book, written by Jennifer Lee, has adapted the story for the stage well, ensuring that none of the magic is lost in the transition from the big screen to Broadway. Additionally, I felt that the book, in certain ways, makes a larger effort than the movie to explain the character's motivations throughout the piece. An example of this would be the newly added song 'Monster', where the character of Princess Elsa's thoughts and feelings are truly made crystal clear; a certain clarity that was not as prominent in the original film. I also admired the way in which the book cleverly includes jokes for both younger and more mature audience members, fully ensuring that frozen is a show for the entirety of the family.

The score of Frozen, with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, is equally impressive. There are some truly both wonderful and powerful ballads within the score, as well as some highly memorable and catchy tunes. The gripping lyrics compliment the music nicely, which is clearly evidenced during 'Let It Go', which is a particular favourite of mine. Other favourites of mine include 'Love Is an Open Door' and 'Monster'.

At the performance that I was was attending, principal cast members Patti Murin and Caissie Levy, who usually perform the roles of Anna and Elsa respectively, were absent and in their places were Aisha Jackson and Alyssa Fox. Jackson, in the role of Anna, had a tremendous energy, providing a fun-filled performance. By being so energetic, she perfectly captures the bubbly nature of Anna's personality. Alyssa Fox also provided a stunning performance as Elsa, performing stunning renditions of 'Let It Go' and 'Monster'. As the individualistic, resourceful and selfless ice-seller Kristof, Jelani Alladin is full of charisma. Alladin appears to be completely at ease in this role, having the necessary talents for the character. John Riddle, in the role of Prince Hans, also gives yet another outstanding performance. Riddle has a delightful stage presence and portrays the different personalities of his character effectively. In order to bring joyful snowman Olaf to life in this production, a puppet is used by an actor, Greg Hildreth, who performs in the role whilst still manoeuvring the puppet. Hildreth skilfully created the same facial expression as those on the puppet, allowing both the performer and the puppet to transition into the same character. Hildreth gives an exceedingly lively performance and expertly brings to life this beloved snowman.

Creatively, Frozen is spectacular. The sets, created by Christopher Orm along with Finn Ross who provides the video design, are truly something special. They successfully carry out the difficult task of bringing the village of Arrendale to life, helping to transport Frozen's audience to this snow-filled kingdom. The costumes, which were also designed by Christopher Orm, are are also stunning and perfectly recreate the outfits worn by the characters in the original movie. The lighting, designed by Natasha Katz, worked exceptionally well. The effectiveness of the lighting can be seen during the Act One Finale, where Elsa is able to make a dazzling costume change as a result of a clever change in the lighting. The choreography, by Rob Ashford, is also yet another wonderful aspect of Frozen, with all of the dance numbers being flawlessly carried out by an ensemble of very gifted dancers. Now, last but not least, the puppetry design, by Michael Curry, is undoubtedly one of the best features of this production. The puppet used for Sven the reindeer allows the character to truly come to life onstage; I had not seen such convincing puppetry since War Horse.

The featured star of Frozen is, drum roll please... JELANI ALLADIN!

From the moment Jelani Alladin appears on stage, he steals the show. He's highly charismatic and gives a very engaging performance. This is Aladdin's Broadway debut and I hope that this will be the first show of many!

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

The decision to give Frozen four stars was easy for me. This production is full of Disney magic and everyone of all ages will be able to enjoy this spectacular musical!

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 Saintliness of Margery Kempe

Hey readers!
It's time for my review of The Saintliness of Margery Kempe.
A friend of mine in New York City (@BroadwayBobNYC) invited me to join him to watch The Saintliness of Margery Kempe, in what would be my first (and only) visit to Off-Broadway throughout the duration of my time in the USA.

The Saintliness of Margery Kempe follows the true-life misadventures of the 14th century English woman, who views herself as remarkable. She begins her career by joining forces with Satan and buying a brewery. When this does not go as planned, she makes the decision to become a saint instead... although there is still one minor issue: she has absolutely none of the qualifications for the job. I did enjoy certain elements of this story, and I simply cannot deny that Margery Kempe did indeed have a rather unique life, especially for a woman living in 14th century England. However, despite following an interesting life-story, The Saintliness of Margery Kempe often felt it was dramatically longer than it needed to be. Several scenes throughout the duration of the play tend to drag on, causing this piece to feel somewhat long-winded. The production currently runs at 2 hours and 10 minutes, including one 15 minute intermission. To ensure that the production keeps a fast pace, I would personally remove the 15 minute intermission and trim the show down to 1 hour and 30 minutes. This production has the potential to be excellent, however it feels as if its length is stopping it from doing so. If the show had had a shorter running time, then I believe that my views on The Saintliness of Margery Kempe would have been a lot more positive.

The cast consists of only 9 actors and actresses, who between them perform in over 30 roles. Every single cast member proved themselves to be extremely talented, providing many different interesting and unique characterisations. Despite the fact that I was not the greatest fan of the material, I still felt that the cast delivered all the dialogue efficiently. Jason O'Connell in particular gives an outstanding performance, porting John Kemp, Peter Poke, Friar Bonadventure and The Thief. I had previously seen O'Connell in the Off-Broadway production of Sense and Sensibility, where he also gave a masterful performance. O'Connell portrayed clear differences between the four characters, clearly demonstrating a wide range of abilities.

The featured star of The Saintliness of Margery Keme is, drum roll please... JASON O'CONNELL!

Jason O'Connell truly stole the show. Whilst I did enjoy all of the performances within The Saintliness of Margery Kempe, it was O'Connell that stood out. He has a diverse range of skills, faultlessly performing both the comedic and tragic elements of The Saintliness of Margery Kempe.

Now for my final verdict on The Saintliness of Margery Kempe. I give The Saintliness of Margery Kempe...

Despite the fact that I thoroughly enjoyed the performances of the talented cast, The Saintliness of Margery Kempe did not leave a large impression on me. Having said that, the piece certainly has potential and if it is shortened in length I believe the production would have been greatly improved.

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: Head Over Heels

Hey readers!
It's time for my review of Head Over Heels.
Despite the fact that Head Over Heels has received mostly negative reviews, a number of people have recommended it to me, declaring that despite having one or two flaws it is highly enjoyable. As a result, I decided that it was worth giving this show a try. For the first time ever, I attempted to use the 'rush' feature on the TodayTix app, where you can gain tickets for shows by being the first person to select this show by 10 A.M. Luckily, I was successful in this attempt which allowed me to see Head Over Heels!

Head Over Heels tells the story of a royal family that must embark on an extravagant journey to save their beloved kingdom and find love and acceptance. They will soon find though that everything, and everyone, on this expedition is not quite what it seems. The story is loosely adapted from The Countess of Pembroke's Arcadia, a 16th-century prose poem by Sir Philip Sidney. I personally was not a major fan of the book, which makes an attempt at combining the music of new wave band 'The Go-Go's' with early modern English. Whilst I do admire the ambitiousness of this storyline, I personally felt that it did not entirely work. In all fairness, one reason as to why the book may not have been my cup of tea was due to the fact that it did not appeal to my personal sense of humour. There are certainly many people who will find Head Over Heels funny; after all, there were people around me in hysterics. However, if the jokes do not appeal to you, then there is a small amount of the show left to be enjoyed. Having said all of this, I did like the overall messages that Head Over Heels leaves it's audience with. This musical shows us that anybody, no matter what their race, gender or size, can be beautiful. Whilst this message could have been delivered a little more subtly, I still appreciated its importance.

This show is yet another of Broadway's juke-box musicals, featuring the songs of The Go-Go's, a band that I had not previously heard of prior to entering the Hudson Theatre. The music was not personally my taste, however I have heard a fairly positive response to the score of Head Over Heels, so it appears I may in the minority with that particular opinion.

The strongest aspect of Head Over Heels is undoubtedly its stellar cast. The entirety of the cast are all extremely talented; each and every single one of them brought something special to the production. They all have such a tremendous amount of energy, helping to create a fun atmosphere. Whilst the material of the show was not to my liking, I simply cannot deny that the cast are excellent.

On the creative side of the show, it is faultless. The costumes, which have been created by Adrianne Phillips, are utterly delightful. They are everything that they need to be: bright, fun and colourful. The lighting, designed by Kevin Adams, is also rather impressive. It is used effectively throughout the musical, particularly during the scene where silhouettes are created behind a large sheet. The choreography, by Spencer Liff, is also brilliant, with all of the dance sequences being delightful to watch.

The featured star of Heave Over Heels is, drum roll please... ANDREW DURAND!

Andrew Dunard, in his performance as Musidorus, is utterly hilarious. Despite the fact that for the most part the show's humour did not appeal to me, Dunard's great characterisation of the nervous shepherd did make me chuckle.

Now for my final verdict on Head Over Heels. I give Head Over Heels...

Whilst I was not the greatest fan of the book and score, the show does have several redeeming qualities and therefore I award Head Over Heels two stars.

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: Summer - The Donna Summer Musical

Hey readers!
It's time for my review of Summer - The Donna Summer Musical.
This will be surprising to many people, however prior to Summer venturing onto Broadway, I had never actually listened to any of Donna Summer's music, nor had I ever heard of her. However, despite not being familiar with the music, this looked as if it would be a fun show, so I was able to get rush tickets to see Summer - The Donna Summer Musical!

Told through the dramatic lens of her final concert, Summer: The Donna Summer Musical presents the variety of different complexities and conflicts that this songwriter and singer faced in her meteoric rise – and descent. Donna Summer, undeniably, had a fascinating life story and one which works well for the stage. She was a determined, hard working and exceedingly interesting woman. Despite facing dozens upon dozens of hurdles throughout her life, she simply kept going and going. Having said that, whilst the book gives us a decent glimpse into her fascinating life story, it does feel as if some parts were rapidly glossed over. The musical is of a very fast pace, therefore not allowing the audience to soak in important parts of Donna Summer's life. For example, the show abruptly ends soon after Donna Summer is diagnosed with lung cancer, meaning that the audience are not given the opportunity to see how this diagnosis, and her eventual death, affected her family. Additionally, I also felt that her conflict with the LGBT+ community could have been more prominent within the show, as well as her dysfunctional marriage with her first husband.

The music featured in Summer - The Donna Summer Musical is excellent. As I mentioned, I was not previously familiar with Donna Summer's music, so it was a great experience to hear all of these well known classics for the first time. Her songs are fun, catchy and lively; it is clearly evident as to why her music is as popular as it was. Additionally, all of the numbers are marvellously performed by a sublime ensemble, led by the incredible LaChanze.

And that leads me onto the cast of Summer. The character of Donna Summer has been split into three different roles, each demonstrating a different aspect of her life: Diva Donna, Disco Donna and Duckling Donna. In the role of Diva Donna stars LaChanze, who I had previously seen perform in If/Then on Broadway several years ago. LaChanze is the glue at the centre of the show. She is a gifted singer and is highly believable in both of her roles. At the performance I was attending, Ariana DeBose who usually portrays Disco Donna was absent, and therefore Afra Hines was understudying in the role. Hines is a stunning triple threat; she's a talented actress, a skilled singer and an astonishing dancer. If I had not had prior knowledge that Hines was an understudy, I would not have been able to tell. She could easily assume this role full time. Finally, as the youngest version of Donna Summer, it is Storm Lever that steals the show as Duckling Donna. Lever is a force not to be reckoned with. She has a unique powerhouse voice, and I would even go as far to say she is one of the best singers currently on a Broadway stage. Lever is an utter joy to watch, not only proving she can sing like no one else, but also demonstrating she is an extraordinary actress and dancer as well.

The featured star of Summer - The Donna Summer Musical is, drum roll please... STORM LEVER!

This is a difficult selection, as LaChanze, Afra Hines and Storm Lever all gave astounding performances, however I ultimately chose Storm Lever. Lever excels in this role, giving both an energetic and moving performance. A great Broadway debut!

Now for my final verdict on Summer - The Donna Summer Musical. I give Summer - The Donna Summer Musical...

Whilst the book was somewhat weak, it is still an interesting story with great music and an exceptional cast and therefore I have awarded Summer three stars!

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: Pretty Woman

Hey readers!
It's time for my review of Pretty Woman.
Pretty Woman began previews shortly before I set out for New York City, and opened officially two weeks after I arrived. The film of Pretty Woman is one of my Mother's all-time favourites, and therefore we were very fortunate to get rush seats for this musical on her Birthday!

In this modern take on Cinderella, a prostitute and a wealthy businessman fall for one another, forming an unlikely pair. Whilst on a business trip in Los Angeles, Edwards, who makes a living, buying and breaking up companies, spontaneously picks up Vivian and hires her to stay with him for the weekend. The two of them soon grow close, only to discover there are significant hurdles to overcome as they try to bridge the gap between their very different worlds. Pretty Woman is a classic rags to riches story, and one I personally found to be delightful. In the character of Vivian we find the ultimate under-dog; she may be down on her luck, but she has big dreams and is determined to make them a reality. The book of Pretty Woman, written by Garry Marshall and J. F. Lawton, gives us the perfect fairytale. More than anything, it is fun and entertaining and I am sure it will leave most audience members in good spirits.

Samantha Barks, who will be known to many as Éponine from the movie adaptation of the musical Les Misérables, takes on the role of Vivian Ward and is complete and utter perfection. As Vivian, Barks is charming, charismatic and an overall joy to watch. She is a triple threat, due to the fact that she is a talented actress, a gifted singer and a skilled dancer. Samantha Barks truly shines as the titular 'Pretty Woman'. Playing opposite Barks as Edward Lewis is Andy Karl, who I had previously seen give outstanding performances in both On the Twentieth Century on Broadway and Groundhog Day in both the West End and on Broadway. Yet again, Karl gives another extraordinary performance. Similar to his co-star, Karl is full of charisma. As demonstrated in the other shows he has previously starred in, he is naturally funny, and if that wasn't enough, he also has a very good voice.

The scenic design, which has been created by David Rockwell, is wonderful. I would imagine that this was a particularly difficult set to create, due to the variety of different locations required, however it really was excellent. Both the hotel lobby and penthouse sets were particularly well crafted. The costumes, designed by Gregg Barnes, are genuinely stunning. The costumes created for Vivian are particularly striking; specifically her iconic red dress.

The featured star for Pretty Woman is, drum roll please... SAMANTHA BARKS!

Samantha Barks is a true star! She has embodied the role of Vivian unbelievably well and has every aspect of this character down to a tee. What a great way to make a Broadway debut!

Now for my final verdict on Pretty Woman. I give Pretty Woman...

Pretty Woman has a wonderful story to it, along with some delightful performances and stunning scenic and costume designs. Looking back at my time in New York City, Pretty Woman was one of the best shows I saw during my vacation.

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