I’ll be honest, the premise of this musical really didn’t grab me. A pop concert style show about the six wives of Henry VIII? I mean how is that going to work? Well all I can say is that it not only works but it is one of my new favourites.
Originally written as a student show by Toby Marlow and Lucy Moss, we are drawn in to a reality tv style competition between the “Six” to decide which one was dealt the worst hand.
We rock through Catherine, Anne, Jane, Anne Catherine and Catherine’s tumultuous lives with the legendary king, while the audience is given some educational vignettes by the humorous historical harem.
It’s an absolute blast with funny and yet well crafted songs, performed with vigour by an ultra talented cast. Rock ballads and high tempo original pop songs are woven into a show, which eventually becomes a modern rallying call for feminism as the woman realise they are only famous because of their association with the infamous king.
This is one of those shows that will leave you uplifted and invigorated an absolute must see this autumn.
Six is running at The Arts Theatre until 14 October.
Photo by Idil Sukan
There’s something so joyful about American teen musicals. And with the huge success of Mean Girls on Broadway and Heathers here in London, the fun & frothy musicals with a strong female protagonist at their centre are back with a bang.
But there’s one that helped to forge the genre forward when it first hit the stage back in 2007 and that’s Legally Blonde. The musical, based on the novel and 2001 film, became both a cult and commercial success and has continued to enthrall audiences on the amateur circuit. But there was still a hunger for another professional production, and with the UK tour in full flight and conveniently landing in Wimbledon, I thought I’d see if this hilarious girly musical still had what it takes to stand up with the new pretenders.
But unfortunately, with this production at least, Legally Blonde just isn’t in the same league.
The music, by Laurence O’Keefe, who also composed the score for Heathers, is catchy and lyrically hilarious, but there’s just no oomph behind the comedy in this production and the action feels far too slow and lazy. The cast are of a decent standard and Lucie Jones as the heroine Elle Woods is vocally superb, but without the pacy comedy aspect fully explored, it all feels too forced.
And the set design is of such a poor standard, you would be forgiven for thinking you are at a village panto; it’s all badly painted backdrops and clunky set pieces which further slows the pace.
Perhaps if you don’t know the show and are looking on this production with fresh eyes you will be mildly impressed, but I was just left with a feeling of disappointment.
Legally Blonde is at the New Wimbledon Theatre until 23 June.
Now look, I’m going to be honest and tell you that when I first heard the concept for David Haig’s new West End play Pressure, it didn’t immediately grasp me. An adaptation of a true story about a weatherman in world war two didn’t sound like the type of thing that would get my stagey juices flowing.
But I’m happy to admit I was wrong. Haig’s play is an absolute masterwork of drama, with lovable characters, humour, and a really heart-warming storyline running throughout.
Set just before the D-day landings, we are flung into the planning centre for the invasions, which it is hoped will end World War II. The only problem is that the British weather, as usual is so unpredictable, it could be the difference between success and failure and the lives of thousands of service personnel.
So, General Eisenhower (played with absolute aplomb by Malcolm Sinclair) enlists a weather expert in the shape of Group Captain James Stagg, played by Haig; an intense, somewhat gruff perfectionists, who is determined that his theories are correct. They are assisted by general dogs body, but all-round wonder woman Kay Summersby, played by Laura Rogers, who as well as being a dab hand as a mechanic, provides succour for Eisenhour in an electric relationship. Rogers is a bit of a scene-stealer at times, so good is her portrayal of this strong woman, who yearns for the affection of her superior.
The story really is absolutely fascinating and I found myself gripped from beginning to end. Couple that with some outstanding writing by Haig, which brings out every ounce of humour and some truly stunning performances from the lead cast and you’ve got a winner with this one. Highly recommended.
Pressure is running at the Ambassadors Theatre until 1 September.
There are few performers who successfully make the switch from West End stardom to solo success. Going from playing a part to exposing your real personality to an audience is no mean feat, but Louise Dearman makes it look easy.
In a one-off concert at The Other Palace last week, the singer, who is perhaps best known as the only British actress to have played both witches in Wicked, enthralled a near sell-out audience not only with her out-standing vocal ability, but also with her natural aptitude for comedy.
The show comes after the release of Louise Dearman’s new album. Entitled For You, For Me, it’s an album that is packed with some fantastic versions of some of her favourite songs, along with tunes that fans have asked her to perform.
Louise began the concert with a mention of the album and hilariously made reference to the title sounding like the famous Chuckle Brothers’ catch phrase. And alongside performing a plethora of well-known standards, the songstress continued to add mirth between each musical gem, to a point where I ached from laughing by the end.
But really we were all there for the music and Louise Dearman showed her versatility by performing a hugely varied programme to perfection.
Musical highlights included a powerful rendition of “Burn” from Hamilton, a glorious version of Carol King’s “Beautiful” and a fabulous Donna Summer medley, which the enthusiastic crowd were encouraged to sing along to.
Louise Dearman is a born performer and all-round entertainer, whose solo career, will undoubtedly continue to soar and I’m sure I’m not the only person, who would love to see a return to the West End in the not too distant future.
It’s easy to forget just how much impact Carol King has had on pop music. The composer wrote over 100 Billboard Top 100 hits. And the musical about her life and featuring some of her back catalogue became both a Broadway and West End hit. Now touring the UK and being staged in Wimbledon this week, the show hasn’t been pared down for the tour and with an arsenal of recognisable songs, still remains a fantastically entertaining piece of theatre.
King’s is a somewhat simple story in truth, a young girl who strives for musical greatness, but who prioritises love and family along the way. She is played with absolute charm by BrontéBarbé, who brings a real innocence and vulnerability to the role along with some truly stunning vocals. Her husband and collaborator is given a charismatic rendering by Kane Oliver Parry and the often fractured relationship sizzles whenever they are onstage. They are supported well by Amy Ellen Richardson and Matthew Gonsalves as song writing contemporaries Cynthia Weil & Barry Mann and by a fantastic ensemble who energetically portray pop starts of the era from Neil Sedaka to The Drifters.
This is a great show for fans of 60s music and with a story that is, at times heart-breaking, but ultimately liberating at its core, remains a relevant piece of theatre.
Beautiful is running at the New Wimbledon Theatre until 26 May.
Photo by Craig Sugden
With the increased discussion about what feminism in society, a play looking at its meaning to three generations of women is a brave study. And with Katy Brand’s new comedy you get an interesting insight into the journey British women have come along over the past 50 years.
In 3Women, we are given a snapshot of the lives of a baby boomer, her granddaughter, a millennial, and a member of the forgotten generation X on the eve of her wedding. It’s an interesting mix and Brand has taken the extremes and squashed them together in a sometimes-uncomfortable watch, with fractured relationships laid bare and parental guilt put on display.
But with Brand’s humour infused and some exceptional performances from the three lead cast, there are some moments of real brilliance.
Anita Dobson thrives as the hardened mother figure, whose constant disapproval of her daughter leads to some hilariously caustic one-liners, while Debbie Chazen plays the lovable bride to be with real charm. And Maisie Richardson-Sellers teenage swagger is brilliantly done.
There is however times when the trio feels a bit too caricatured and the story too contrived, but overall, this is a relatable play, with some very funny and clever writing throughout.
3Women is running at Traflgar Studio 2 until 9 June.
As Shakespeare’s works go, Much Ado About Nothing has to be one of the silliest. But its simple, superficial characters and ludicrous storyline make it much easier to plonk into any setting.
And that’s what Simon Dormandy has done at the Rose Theatre Kingston. The production, which opened in the middle of a spring heat wave this week, is pertinently set at a luxury spa on a Mediterranean holiday island. Think MAMMA MIA! mixed with Made in Chelsea and you’ll get the idea. It’s all about mafia culture and the patriarchal society, which works extremely well as a contemporary piece, with the story, becoming a complex mishmash of romantic comedy and Godfather-style intimidation between warring family factions.
But it’s in the humour where this play will really win you over, and despite the occasional bit of over exuberance; the comedy is done with real flair.
Leading the way is television star Mel Giedroyc, who will soon begin rehearsal to join Broadway star Patti Lupone in the West Production of Company. And Mel shows her mettle with this performance, with perfect comedy timing and a good grasp of the character of Beatrice. She is well matched by John Hopkins as Benedick, whose clowning is excellent. But this is very much an ensemble production and from the dastardly Don all the way down to the lowly musicians every inch is wonderfully thought out.
Special mention must also go to designer Naomi Dawson, whose multi-layered set is awe-inspiring.
For Shakespeare lovers and theatre beginners, this is a production that’s a must see.
Much Ado About Nothing will run at the Rose Theatre Kingston until 6 May 2018
I’ve seen a few productions of Kiss Me Kate before, both professional and non-professional and to varying degrees of success. That’s due to the fact that although on the surface it appears to be a classic musical comedy, with extracts of Shakespeare’s The Taming of the Shrew interwoven, it takes a clever director and talented cast to ensure the action is crisp and at a good pace.
So, I have to admit that the prospect of seeing a school production didn’t fill me with much hope. But I couldn’t have been more wrong. The Brit School’s Kiss Me Kate was a classy, slick and captivating presentation.
And that’s in no small part down to the commitment of the cast. Filled with vibrancy throughout, the ensemble totally nailed it and you could feel and electricity reverberating around the auditorium during the big company numbers.
With so many accomplished and mature performances I can’t mention everyone, but particular congratulations must go to Tyler Baker, who led the cast with a masterful portrayal of Frederic. Vocally majestic, with unbelievably astute comic timing, I can’t find enough superlatives to describe his excellent performance. A depiction, which many professionals would be proud of; Tyler is definitely a star of the future. He was well matched by Mollie Pizzoferro, who’s glorious voice and waspish charm made their scenes together utterly enchanting. So mature were their performances, that set malfunctions merely allowed them to further explore their repertoire, leading to some fantastically funny and fast ad-libs.
I must also give huge congratulations to director Simon Stephens, who extracted every inch of humour from the book and to Corin Miller, whose choreography was breathtaking. The dance break in “It’s Too Darn Hot” really upped the ante and had audience’s pulses racing. I loved the use of sheet music to create a shuffle sequence too.
Steven Geraghty’s band also added to the professional feel, and although the set looked hand drawn, it just added to the charm of the piece.
All in all, The Brit School’s production of Kiss Me Kate was a real winner and i’ll be keeping my eyes out in the West End for these stars in future.
When you watch the classic black and white film version of Brief Encounter you are struck by the simplicity. There are no modern effects or over complicated plots just a solid story great characters and a fabulous soundtrack.
And in adapting the movie for the stage Emma Rice has managed to perfectly capture that beautiful simplicity, with a breath-taking and visually stunning production.
The show has enjoyed successful runs in Birmingham and Salford, but now comes to London and has found the perfect home at the Empire Cinema Haymarket. The adaptation marries the 1936 play Still Life and the 1946 film, so a cinema feels like its perfect home. And as an added bonus, the seats are much more comfy than at many of the traditional old West End theatres.
And Rice’s meticulous attention to detail with this production will leave you on the edge of seat throughout. Every ounce of heartbreak and comedy are worked through to their maximum potential, with the tiniest little element pounced upon.
And the ingenious mixture of projection by Jon Driscoll and set by Neil Murray frame this ensemble piece with a clean, fresh and yet impressive backdrop allowing for some visually stunning set pieces.
The story revolves around a couple (played by Isabel Pollen and Jim Sturgeon) who after a chance meeting realise they have fallen in love and begin a torrid affair.
But quite apart from the love story at the centre of the action, there are an abundance of incidental characters that take on a huge part, with the station staff becoming the stars of the show. Beverley Rudd’s blousy cafe owner and Dean Nolan’s stationmaster make a handsome pairing as do the young whippersnappers Lucy Thackeray and Jos Slovick. But the real genius is the fact that they also all multi role with lightning quick changes and provide most of the music too; a mixed soundtrack of classic love songs.
The clipped English accents of the lead characters and stiff upper lips are very of their time, but they actually add to the affectionate pastiche of the performances.
All in all Brief Encounter is a truly beautiful piece of theatre and a definite recommendation.
Brief Encounter is running at the Empire Cinema, Haymarket until 2 September.
Photo by Steve Tanner.
The funniest standup routines always feature material, which is relatable. There’s something very comforting about laughing at mutual misfortune after the event. The shared suffering evokes a strange kind of empathy, which is extremely satisfying.
And Naomi Sheldon has managed to completely capture this feeling in her one-woman show at Trafalgar Studios. Good Girl isn’t a standup routine, but more an amusing collection of anecdotes put into a one-act theatrical production. But for anyone who didn’t necessarily tread the conventional path as a teenager, the stories Sheldon depicts will provoke a fond and, at times, uncomfortable retrospect.
It’s a very genuine and earnest narration of a girl, who has often struggled to vocalize her frustrations and confusions about the adult world and as Sheldon is both the writer and performer, it is very brave to showcase some of the confessional material.
But what Sheldon perfectly portrays is the comedy and tragedy of everyday life. I’m sure most of us are able to look back on our teenage years and laugh at some of the woeful decisions we made. And judging how bad you’re feeling based on how much ABBA it takes to cheer you up is something I’m totally down with.
Good Girl is an outstanding piece of observational theatre that manages to find both the humour and heartbreak in our human experiences.
Good Girl is running at Trafalgar Studio 2 until 31 March.