Once On This Island

          I cant imagine why its taken so long for Once On This Island to return to the London stage. Ten years in fact. With a reasonably short running time and toe-tapping calypso, it makes for a fun theatre experience. Its based upon the novel 'My Love, My Love' by Rosa Guy, which has been described by Dante J.J. Bevilacqua as a Caribbean re-telling of Hans Christian Andersen's "The Little Mermaid with a dash of Shakespeare's Romeo and Juliet.". Using the structure of Haiti's rigid class system, it tells the story of a poor girl from one side of the island who falls in love with the aristocrat from the other side whom she nurses back to health.

          I can only say thank you to The British Theatre Academy for bringing this magical production back to the London stage. I know a lot of people are put off going to see a 'student production' but rest assured you will not be disappointed. Its also a shame, but a fact, that some people are likely to compare this production to the 2017 Broadway revival. I went into this though with an open mind, ready to be blown away.

          And oh was I blown way. What an absolutely stunning show. Yes its not to the scale or quality you'll find on Broadway, but its bloody close. The cast were all amazing with some interesting costume choices. I might add I'm sure the cast will all go on the have successful careers in theatre, if this show is anything to go by. They all worked well with each other and with the audience around them, using the traverse staging to the full. This is a style of staging I always think is tricky for actors, but they seemed to embrace it with open arms. I have to also complement Andrew Exeter on his sublime lighting that really enhanced to fantastic work of the actors but also complemented Lee Proud's direction and choreography.

          There are a couple of the actors however that I feel need a special mention. Firstly Aviva Tulley as Erzulie. She has arguably the most touching and emotional songs 'The Human Heart', which occurs almost two thirds of the way through the show. This role was originated by Andrea Frierson-Toney on the Broadway stage in 1990 and by the American sole singer P. P. Arnold when it came to the West End in 1994. In the 2017 Broadway revival this role was played by the legend that is Lea Salonga. Aviva in this production is undeniably absolutely stunning, and in my opinion is just as good as Lea Salonga (if not maybe a little better). I was moved to tears by her rendition of the song and I will forever remember her performance. It was so real and honest the whole audience was silent, captivated by her voice which had a real maturity in its soulfulness. I would recommend the show on her performance of this song alone. Secondly I'd like to mention Chrissie Bhima who plays Ti Moune. Another amazing singer who made this one of the most realistic characters I've seen on stage recently. She has to portray a whole range of emotions in a short space of time and she did this with complete and utter ease. Her voice was refined and powerful, allowing her to bare her emotions to the audience and other cast members with complete conviction. Even when she wasn't the focus of the scene (which was very rare seeing as she was on stage the majority of the time) I couldn't take my eyes off her. These two women, Aviva and Chrissie, will undoubtedly make successes of themselves on the stage and I really wish I get to see them perform again. They wouldn't seem out of place if you threw them onto the West End stage tomorrow.

          As for the men in the cast there are two who stood out over the rest These were Sam Tutty and Elliot Gooch as Daniel and Armand respectively. Both were performers who kept my attention and for all for the right reasons. Constantly in character and making themselves stand out in scenes, they also had great chemistry together and you could tell they were having fun on stage. Sam Tutty had charm and a bit of a cheeky twinkly in his eye, while his voice is mature while also having an innocence about it. All of which is perfect for the character of Daniel. He also had great chemistry while performing with Chrissie Bhima and their harmonies where a joy to listen to. I felt it took him a few moments to become comfortable on stage but when he did he never looked back. Elliot Gooch just seemed at home on the stage from the word go, and was a bit of a cheeky chappy throughout. I now know he's graduated from Bird College with a 1st Class BA (Hons) in Professional Dance and Musical Theatre and I'm really not surprised. Before the show started cast members were interacting with audience members, and Elliot trying to sell a couple of girls bamboo was the first to catch my attention (and make me laugh). He seemed completely at ease and was always someone my eye kept going back to. He kept my attention, even when he wasn't a major component of a scene. He just owned that stage. 

          I also cant really go without mentioning Jonathan Chen in the role of Asaka. Now I'm just going to get it out the way and say it. He's not as good as Alex Newell in the 2017 Broadway revival. Jonathan if your reading this, I'm sorry but its true. But please don't take that as me saying that it wasn't a great performance. That couldn't be further from the truth. It was a wonderfully joyous performance, full of the comedy and over the top sassiness. It took a while for Jonathan to feel comfortable in his role, and many times I could detect he was shaking. Performing in drag can be a very nerve racking experience, take my word for it, and so I wasn't surprised by his nerves. Not to mention he must have had Alex Newell's performance in the back of his head. I'm happy to say though that he hit every note and immediately after his big number, Mamma Will Provide, I could see the relief on his face. It was also nice after the song to see that the rest of the cast seeming to tap him on the back, touch his arm or give a nod as if to say 'Well done. That was great'. I couldn't agree more with them. He had nothing to worry about. My only issue was the makeup. It wasn't over the top enough and just seemed very understated in my opinion. I believe though that Jonathan did the makeup himself, so I hope he will get better as the production continues and as he gains experience. I also had an issue with the costume, not just for Jonathan but all the Gods in fact. I know there is obviously a limited budget for a production such as this, but I feel the Gods could have had a bit more time spent on their design. They all had removable headdresses which at times seemed to become a little cumbersome or they struggled to get them on quickly. Don't get me wrong they were good, but I'm sure they could have been much better if a little more effort had been put into them.

          Overall, this is a stunning performance. Not just by the main cast but the whole ensemble, all of whom put 100% into their performances. You could see this by the fun they all seemed to be having and the sweat dripping from them at the end of the show. How marvellous to see a new generation of performers enthusiastic about what they do, who all clearly love it with a passion. I hope they never loose that. My only wish now is that Once On This Island transfers to the West End, bringing some on the current cast with it. I know that I have seen stars of the future today. 

You don't have long, as the show is only running at Southwark Playhouse until 31st August.

To purchase tickets to the show, or to find out more information, please click here.

There's also currently a production touring North America, so for info or tickets please click here.

UPDATE!!! - SAM TUTTY HAS BEEN ANOUNCED AS PLAYING THE TITSL ROLE IN DEAR EVAN HANSEN IN THE WEST END. FOR TICKETS AND INFORMATION PLEASE CLICK HERE

Man Number Five

          This show, which will be at Edinburgh Fringe from the 19th - 24th August (2019), promotes itself as a one woman show exploring 'themes of romance, consent, sex, comedy and women'. It also says that the rise of the Me Too movement makes this piece highly relevant. I was intrigued when I was invited along for a preview performance. 

          I unfortunately must say I was slightly disappointed by the performance. The preview took place at Ram Jam Records, a lovely award winning live music, comedy and theatre venue in Kingston Upon Thames. In fact it is the only pub theatre space in Kingston. It has a wonderful atmosphere with lovely background music playing from the moment I entered, with the soft glow of candle light. It refers to itself as "Kingston's best kept secret", though I'd say maybe it was even London's. I would go so far as to say its one of the nicest pub theatres I've ever been to, seating just 60 people in what it refers to as 'Jazz club style'. I was shocked to find just 8 people were in the audience for this show, one being the director and two being the actresses parents. I decided I shouldn't let this formulate an opinion in my head before the show started, but I wasn't overly impressed after it was over.

          The work portrays the real life story that leads to the writer and actress, Julia Bentley, being sexually abused. She says she was desperate to release something that had held her back for so long. I know that this piece was probably exceptionally hard for her not only to write but also to perform. I in no way want to diminish her experiences or how she may have felt at any given time, but I need to look at this objectively as a piece of theatre.

          Julia performs the piece perfectly. She displays pain, anger, confusion and lust spliced with comedic moments of joy. She really portrays the conflicting inner most thoughts of a women exceptionally well. Not that I'm overly familiar with these thoughts seeing as I'm a man. The show felt exceptionally disjointed at the start, and I found it hard to follow. It was setting up the situation and character, but it was done in a very confusing way. After a while the show, and Julia, got into the flow and I began to be able to understand the show a lot better. She exposing the sex positive attitude of modern women and stamping all over the term 'slut shaming'. Why cant a woman date multiple men at the same time? "You need to have five men at any one time - one for ever weekday". Different men fulfilling different needs but being just as annoying and complicated as each other.

          Julia is currently studying a BA in Acting and Contemporary Theatre at East 15 where she says her passion for writing has been ignited. I'm sure with a little improvement and finding her true voice her writing will massively improve. At the moment though, its very obviously a piece written by someone fairly green in the writing world.

          The more I settled in the more I understood what was happening and how things were going. I just think the writing needs some more development. Saying that though, the ending was phenomenal. Its just a shame it could all be that way. The last five minuets or so were full of raw emotion that was exceptionally hard hitting, very moving and brutally honest. I felt her pain, anger and confusion. The girl with the power becomes powerless. Just as you have been beaten by the emotion and left in shock, Bentley askes the question; "When did no become a turn on? No. That's not sexy, right?"

          Overall a competent piece, though I feel the writing needs a little more development. An exceptionally poignant work that I feel is coming at a time where women are feeling more empowered to speak out about their experiences. I'm sure this will be one of the most emotionally shocking pieces of theatre at Edinburgh Fringe this year, and I wouldn't be surprised if its one of those pieces people cant help but talk about.

You can find out more and book tickets for the performances of this show at Edinburgh Fringe, here.

For other 2019 Edinburgh Fringe shows and performances here.

Parenthood

          I was asked to attend the press night for this so was given a ticket, but believe me when I say that I wont hold me back from being honest.

          I was unfortunately disappointed by the show. The sound system in the theatre was shockingly bad. It was constantly crackling throughout the fist half of the show, and occasionally during the second half. The general acoustics of the building left a lot to be desired. For the majority of the songs I was really straining to hear the lyrics. When I could hear them, they were a mixture of over the top blue humour but also some genuinely witty phrases..

          Until the 27th July (2019) Parenthood is showing at The Space on the Isle Of Dogs in London. The Space is a theatre and community arts centre housed inside a converted church. The space itself is lovely, comprising of a small intimate theatre along with a reasonably priced bar/café/restaurant, that has an outside seating area. However, a musical, even one on such a small scale as Parenthood, really isn't appropriate for such a space. I came a couple years ago for a play involving just two actors. It was an interesting show and very much something I feel is far more appropriate for a space such as this. The only real negative with The Space as a venue, is its location. Its not the easiest place to get to and is relatively far out of central London. There's not really much to do in the area while waiting for the show either, meaning one is almost required to use their café. Although reasonably priced its extremely small, so can very easily get busy quickly. Oh, and I believe there is no air conditioning inside the theatre. Normally not an issue in London but in the heatwave the city is currently experiencing, its something my fellow audience members and I (and from the sweat on their faces I’d say some of the actors also) would have been very much appreciative of having.

          The set for the show was simple, with a few coloured blankets on the floor, a crib and about 25 or so scaled up versions of the wooden block with letters on you find in the toy boxes of small children learning to spell. That was it. The blocks were cleverly used throughout, to create seats/steps/surfaces for different scenes. The show followed what could only be described as the life cycle of a parent, form wanting a child all the way to being a grandparent. Although I enjoyed the majority of the music, there were some phrases that made me wince. A little to crass for my liking. There were some members of the audience however who were absolutely cackling with laughter. It almost seemed as if the writers were trying to invent funny situations, rather than pick up on real situations which are funny when you look back at them. From the rather crass song in which men brag about having a massive 'baby maker' and 'strong swimmers' to the mother complaining how annoying the baby is and how she's so pissed off with it. I get that these are all emotions that parents go through, but they didn't seem to be strung together well. The show at times felt disjointed, with the couples that had been set out at the beginning seeming to not be of any relevance at all until the closing number.

          At the beginning, the performers struggled to find their voice, though once they relaxed into the show they were in fine form. This wasn't helped by the shoddy tech work, which I believe was provided by the venue rather than the show. As I mentioned earlier, the cracking of mics was at times overpowering, but also wrong sound levels or mics being activated late meant some performers full vocals were unable to be appreciated by the audience. This was unless like me your were close to the stage. The lighting also left a lot to be desired, with the stage often plunged into darkness for what felt like an eternity, when actors had been in place almost as soon as the light went out.

          I think though there were a couple of actors that stood out for me. The first was Heather Broderick. An absolute breath of fresh are on one of the warmest nights. She was absolute comedy gold, yet bought believability every time she stepped on stage. Jordan-David Copping was also great though he did seem to take a little while to gain his confidence and get into full voice, but once he was one could only describe him as a bit of a cheeky chappy. I think Jordan Brown was also good, though he seemed to find it hard to connect with the audience, always looking just slightly over our heads. Astra Beadle was another that stood out, with good connections with the other performers and the audience as well as being in fine voice throughout.

I think this show has lots of potential, but was let down by the venues sound and lighting systems. The actors didn't seem relaxed but they have a good show. It just needs a bit more work and then I'm sure it would be perfectly adequate for some light evenings entertainment.

To find out more information or to book tickets, click here

(I'm giving this star rating due to the failures I encountered. It could have easily been higher if everything had gone better from the technical side of the show)

Mouthpiece

          I'm in two minds about Soho Theatre. Its a nice theatre space, thought the foyer is extremely small and the bar gets very busy. This makes the time waiting to be let into the theatre itself rather annoying/awkward. Soho Theatre has three performance spaces; Soho Theatre, Soho Upstairs and Soho Downstairs. By having these three spaces, it means multiple shows are able to start at similar times, which only adds to the overcrowded and cramped conditions of the waiting areas. Staff are always lovely, and do the best they can in the conditions in which they have to work. As I said, the theatre itself is lovely. The seats in the main theatre space are a little close to one another, though overall its a good environment to watch theatre. With roughly 150 seats the theatre has a wonderful intimate feel, and the seats have a good enough rake that views of the stage aren't impaired. This means shows like Mouthpiece can really grab you by the scruff on the neck and shake you about.

          The show started slightly slow and didn't grab my interest from the start. However, by the end I was hooked. I was committed to the story, and was interested to see where it led. The performances by Lorn Macdonald and Neve McIntosh were brilliant, and I was convinced they were real people. With histories, lives, troubles, dreams and aspirations. The set, or lack there of, didn't distract from but only enhanced the bleakness of the story. This was an extremely clever choice by the designer Kai Fischer and director Orla O'Loughlin. The play has been exceptionally written by the Scottish playwright Kieran Hurley, probably most known for his award winning play Beats (which was also performed in the Soho theatre back in 2013).

          The show was hard hitting and emotional. Not something I always enjoy but I was so in the mood for it on this occasion. A lot of the time I just want something light and fluffy, but this time around I was in for something that just punched me in the stomach. This didn't disappoint. Mouthpiece is one of the most honest and true pieces of theatre I've seen in a very long time. It brings up important messages of lack of support there is for those considered destitute of in the lowest section of society. It shows how manipulative society and people can be. But it also, in some small way, gives hope that with just a little support people can flourish and prosper. Now the show rips this to shreds, but the original message in no way gets lost.

          Kieran Hurley has gained a new fan. I'm very much looking forward to his future projects, including a new film based on his play BEATS which is to be released later this year. Interestingly the film stars the actor from this show, Lorn Macdonald.

For more information and to buy tickets, click here.

Come From Away

          When I explained to people that I was going to be seeing a musical based on events that occurred on September 11th 2001, I had some very confused looks. I fully understand where these looks were coming from. Its not about the actual terrorists attacks in new York City or Washington, but instead the events that unfolded in the town of Gander in Newfoundland Canada. Gander is a smallish town with a population of around 11,500. On September 11th, after the terrorist attacks and the closure of US airspace, 38 plans carrying almost 7,000 passengers were diverted to its airport as part of Operation Yellow Ribbon. Why Gander, well it has a large international airport that was used in the past for planes making transatlantic flights when they needed to refuel. Most planes don't need to do this anymore, so the airport was no longer the hive of activity it once used to be.

          This is a show full of comedy but also at times is completely heart wrenching. The story, understandably, follows a very linier pattern, with moments of narration be multiple characters, to explain what's happening and fill in some gaps. These moments push the story along nicely. There are however moments I found it very hard to understand exactly what characters were saying. Mind you in the first song of the show, 'Welcome To The Rock', one of the first lines is:

Welcome to the rock if you come from away

You probably understand about a half of what we say

          I should have guessed I might have an issue understanding some things. Not that this affected me enjoying the show however. I just took it as part of the show.

          When looking up information about the show, I mistakenly got the impression the show was focused on the character of Beverley Bass. She was one of the pilots of a diverted aircraft that landed at Gander. Coincidentally she was also the first female Captain for American Airlines. Rachel Tucker expertly performs the role, though it would be unfair to the rest of the cast to call her the lead. By no means do I wish this to undermine her performance as she was engaging and full of energy, also giving the sensitive nature of the subject the respect it needs. Her role was a sort of anchor for the show, every now and again showing what she was up to in a way to place the show at a specific time or to gage what was happening.

          There was in fact no main character whatsoever. All the characters had equal representation within the musical score as well as script. In fact that's one of my main take aways from the show. Its very much an ensemble production, something almost unusual on the stage at the moment. How nice it was to see such a thing. There also wasn't a bad, or less than adequate, performer in the entire cast. Again, something unusual though not unwelcome. In fact I cant really criticize any cast member at all. All performed there roles perfectly and with such enthusiasm it was infectious. I would like though to give a special mention to Jenna Boyd, who plays Beulah Davis. She was a complete breath of fresh air, bringing the most laughs and continually making me smile. I connected with her. I will be watching out for her in the future.

          Anything based on the events of the 9/11 attacks is bound to me moving and emotional. The story shows the best of human kindness and of all things that are good with humanity. There were a couple of moments I was moved to tears. Not at all during tragic or sad moments, but at times of true kindness. One was when people were trying to communicate with a couple who spoke no English and so were very scared of the situation as they had no idea what was going on. The person started communicating by pointing to lines from the Bible. If you know a line from the Bible, you can find it no matter what language the Bible happens to be in as it will always be in the same place. This completely moved me and really touched my heart.

          The show is just sublime. A fantastic piece of theatre that I'm sure will go down in theatre history. It turns one of the most shocking moments of recent history into one of the most uplifting and empowering stories of human kindness and our resilience in the face of adversity. I would happily go see this show over and over again, and I couldn't recommend it more.

          The show is currently showing on Broadway in New York City and the West End in London. It is also currently touring the USA and is currently playing in Toronto Canada until September 29th 2019. It will also be opening in Melbourne Australia in July 2019.

For information on the Broadway production and US tour, click here

For information on the London production, click here

For information on the Canadian production (booked to run until Sept 2019), click here

For information on the Australian production, click here