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

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