Wild About You - Review

Theatre Royal Drury Lane, London

**

Music & lyrics by Chilina Kennedy

Book by Eric Holmes

Directed by Nick Winston

Rarely have such a platinum-plated cast delivered a tale of such unfathomable mediocrity.

All of the actors Eric McCormack, Rachel Tucker, Oliver Tompsett, Tori Allen-Martin, Jamie Muscato and Todrick Hall are vocally magnificent, representing the cream of British (McCormack excluded) musical theatre talent. Nick Barstow’s 10-piece band are fabulous too.

It is just that Eric Holmes’ book and Chilina Kennedy’s lyrics are the shallowest cliche-fest to have made a West End stage in many a year.  Olivia (Tucker) wakes up in a hospital ward as the curtain rises, with her memory wiped. The show then begins an exploration of her piecing together the reconstruction of her life. Frankly, it may well have been a better story if she’d stayed asleep.

The second act is a shameless steal from Rodgers and Hammerstein’s Carousel, albeit without that pair’s creative genius. The actors are left with little to do other than (beautifully) sing songs that it is impossible to care about.

Thankfully only on for 2 nights, Wild About You is over now.

Heathers The Musical - Review

Theatre Royal Haymarket, London


***


Book, Music and Lyrics by Kevin Murphy and Laurence O’Keefe 
Directed by Andy Fickman

Carrie Hope Fletcher and Jamie Muscato

Following a sold-out run at The Other Palace earlier this year, there’s been a lot of hype surrounding Heathers the Musical, with a strong fandom out in force and social media buzzing with (mostly) glowing comments. Based on the cult 1988 film written by Daniel Waters and starring Winona Ryder and Christian Slater, Heathers is a dark and entertaining tale of teenage angst, love and quest for popularity and arrives at its new home at the Theatre Royal Haymarket with high expectations all round.

For many teenagers high school is a time of angst and self-doubt and that’s certainly no different for Veronica Sawyer (Carrie Hope Fletcher), a teenage nobody who desperately dreams of ditching the bullies and fitting in at Westerberg High. Thanks to her knack of forging hall passes she’s soon taken in by three of the most popular (and cruellest) girls in school, The Heathers, although she finds out that popularity is not all it’s cracked up to be. She meets new boy in town, Jason ‘J.D.’ Dean, unaware that her relationship with the outcast will have grave consequences for everyone. 

Directed by Andy Fickman, Heathers is a dark musical packed full of humour and memorable numbers, with impressive choreography by Gary Lloyd, a versatile set (designed by David Shields) and enviable costumes to whisk you straight back to the 80s. 

While there is a realism in the show’s portrayal of teenage desperation for popularity, there are moments when it all feels deeply unsettling. The narrative brushes with sensitive topics including teenage suicide, sexual assault and high school killings that sit awkwardly when contrasted with the real-life tragedy of such events.

Fletcher lives up to expectations, delivering a misguided Veronica who is endearing yet flawed. Her performance is strong throughout in both acting and song, especially when she belts out Dead Girl Walking. Equally impressive is Jamie Muscato as the dry-humoured, troubled psychopath J.D, and the pair have great chemistry, as evidenced during their duet Seventeen. They’re both supported by a strong cast including Jodie Steele, T’Shan Williams and Sophie Isaacs as Heathers Chandler, Duke and McNamara respectively. Despite the cruelness of their characters, the trio are given one of the show’s catchiest songs, Candy Store. There is memorable work too from Jenny O’Leary as Martha, Veronica’s kind-hearted childhood best friend, with her sweetly sung number Kindergarten Boyfriend sure to tug at heart strings.

Despite its flaws, this is a technically well delivered show that is likely to be popular amongst die-hard fans and newcomers alike.

Runs until 24th November

Reviewed by Kirsty Herrington

Photo credit: Tristram Kenton

Dogfight - October 11th - A brief return to London

As Danielle Tarento's award winning production of Dogfight returns to London's St James Theatre for one day only on Sunday 11th October, here is an opportunity to re-visit my my interview from last year with the show's acclaimed star, Laura Jane Matthewson. Read on....  

Laura Jane Matthewson - A Star Is Born

STOP PRESS NOVEMBER 30 2014

This article was originally published on October 30 2014

Exactly one month later, Laura has won the Evening Standard Theatre Award for 2014 for her performance as Rose in Dogfight at London's Southwark Playhouse theatre. Read on to learn a little more about this sensational new talent to grace the stage...

This week the newest sensation to hit London's musical theatre scene, Laura Jane Matthewson was crowned champion of the Talent 2014 competition by Michael Ball. After winning all her heats Laura was thrilled to receive some top notch goodies plus a thousand pounds too. Not a bad haul - but for this young actress, the true spoils of her entering Talent 2014 had been gained some months ago, when heat-judge Danielle Tarento laid eyes on her for the first time and signed her up as leading lady for her London premier production of the off Broadway hit Dogfight.

Dogfight was always going to be a "marmite" musical. Tackling a troubling subject: the mysogynist, sexist and abusive antics of a group of US marines pre their Vietnam deployment, a small handful of critics hated it. But they were just a few. The morning after press night the reaction to the show was "rave" - and in the first time that I can recall for a fringe production, Matthewson  was repeatedly singled out for buckets of praise. Libby Purves formerly of The Times and now perhaps the most respected independent critic on the circuit devoted half of her review to Mathewson whilst other notable pundits such as Baz Bamigboye of the Mail and The Stage's Mark Shenton also waxed lyrical. As the ripples of amazement crossed the Atlantic, even The New York Times added their penn'orth in praise of Laura.

So - as Matthewson was only last week preparing for her competition final and as Sunderland FC had just been thrashed 8-0 by Southampton, (though albeit a proud Wearsider, she did confess, in a shrimp-like state of embarrassment, a total ignorance of that humiliating score-line, explaining that "football's not her thing") I grabbed the opportunity to ask her a few questions.

The reviews of Dogfight predominantly described you as a newly-graduated (from the Royal Academy of Music) arrival on the professional scene. Was that an accurate description?

Actually it's a bit far from the truth! Whilst I was certainly new to the London stage, for the last five years (in fact ever since winning The Panto Factor) I have had regular professional roles. My first part was in a Sevenoaks pantomime, opposite former EastEnders star Leslie Grantham (who was an absolute delight to work with) and since then I have done panto every year along with numerous TIE gigs and other out of town productions.

"Dog" is a vile description of a woman. At the core of Dogfight is how a group of young men get their kicks out of debasing women and labelling them as ugly. Putting the show's politics aside, how humanly challenging was it for you to play such a role?

It's never written anywhere that Rose (my character) or that any of the women in the show are ugly. Within the parameters of 1960's America they are required to to be perceived as unconventionally attractive. For Rose, the breakdown said that the role needed somebody a bit overweight and as I have never been a stick-thin leading lady anyway, that's fine. She is somebody "quite plain and reserved but with heart", a phrase that I loved.

Rose almost has a light from within. The more that you get to know and like her, the more that she becomes attractive, which is sort of what happens with everybody in real life. You know when you meet somebody that looks beautiful and then they turn out to be a horrible person and immediately become less attractive? I don't think that the Rose is an ugly girl, she is just not "stick-thin Miss America" and neither am I.

The show stirred up a hornets nest of reactions amongst some critics. Tell me about that.

I completely agree with one of the cast members, Ciaran Joyce who played a marine, one of the marines who said he didn't  understand why people were coming to see the show and complaining about the misogyny, suggesting it was like going to see Les Mis and then complaining that it's set in France.

I feel that Rose comes out as triumphant. The show doesn't condone the dogfights - it simply acknowledges that they exist amongst some of the armed forces, and continue today. A serving US serviceman saw Dogfight and commented on its authenticity.

What was it like to read the reviews of Dogfight and find some of the harshest critics in the land raving about your performance.

Before the show I didn't really care that much what people were going to say. I was already in love with the entire project and what Matt Ryan (the director of Dogfight) was doing with the show and I think that even if the reviews had been less favorable, it would have just gone over my head.

To have that praise though was like the cherry on the cake. I was feeling  like I'd won the lottery and I'd think that this is just hilarious that they think I'm this good! I would never be naïve enough, because of the five years that I have spent leading up to this,  to think "This is going to last forever" or "This is my big break. I have made it now" or "This is", because above all, I know that these moments come but that they can also disappear overnight. When the New York Times mentioned me in an article I thought"This is perfect. Thank you!", but really, as the notices came in I was like, "That's so lovely... I'll share that on my Facebook... My Dad will be dead proud."

And what for the future?

Dogfight has really opened doors for me and in addition to musical theatre parts I am now being considered for film and television work.

This sounds cheesy, and so often what I say sounds like a cliché, but I was thinking this the other day, about the appreciation I have for this job.  I was remembering some of the TIE I did, in particular a show about the history of Olympia. We were going around schools, doing three shows a day and setting up the set ourselves and taking it back down. There was one day, when I was with a cast of four people, where we all had to get changed in a Maths cupboard behind the stage. The central heating was on full blast and we were sweating and disgusting, and I was having the biggest laugh ever and I was like, "Guys, how lucky are we that we are being paid to do something that we love? This is just amazing."

I just think that just sums it up. If you can be happy doing that, then everything else is a bonus. Those reviews were like winning the lottery.

NOW READ MY 5* DOGFIGHT REVIEW OF THIS CAST, LAST YEAR

Dogfight - Review

Southwark Playhouse, London

*****

Music and lyrics by Benj Pasek and Justin Paul
Book by Peter Duchan
Directed by Matt Ryan

Laura Jane Matthewson and Jamie Muscato

In 1991 the Warner Brothers movie Dogfight, starring River Phoenix and Lili Taylor, told of a quirky poignant romance between Rose and Eddie, born out of the cruellest of games. Set up by a group of young Marines the night before they deploy to Vietnam, the dogfight demands each Marine competes to bring the ugliest girl they can find to the party. It makes for a harsh dynamic that is uncomfortably recognisable.

In 2012, the young composing duo of Benj Pasek and Justin Paul, together with bookwriter Peter Duchan translated the compelling saga into an off-Broadway show that opened to rave reviews. Their cast album followed some months later (reviewed here on its UK release) but it has taken until now, and the inspirational vision of Danielle Tarento arguably the most dynamic of London’s off-West End producers, to carry the show across the pond.

The Southwark Playhouse cast bring a wonderful energy to Pasek & Paul’s vibrant and exciting compositions. Making her professional debut, Laura Jane Matthewson shines as Rose, an unsophisticated, naive country girl with an innocent  purity. Never sentimental, she displays an intelligence and strength clearly demonstrating that innocent doesn't mean stupid. She continually challenges Eddie about his anger and bad language, going on to beat him at his own game in a hilarious second act exchange. Jamie Muscato plays a multi faceted Eddie, as Rose draws his vulnerable softer self out from the on-display tough, angry, bullshitting Marine, deserted by his father as an infant. Both voices singing with technical brilliance and soul-searing intensity.

Eddie is well supported by his buddy marines, notably the bespectacled Bernstein played by Nicholas Corre and Hardman Boland played by Cellen Chugg Jones, all three bonded by Bee tattoos. Amanda Minihan, not long stepped off the Arcola’s wonderful Carousel gives a beautiful depth, warmth and musicality to Rose's mother, whilst Rebecca Trehearn plays hooker Marcy with perceptive humour and fantastic vocals.

Duchan’s book makes judicious use of the movie's simply crafted screenplay. George Dyer conducts a tight, nuanced band enhanced by some beautiful string playing, fully releasing the score as the cast deliver punchy lyrics, lush harmonies, and some beautifully judged pianissimo moments. Impressive choreography by Lucie Pankhurst with some carefully detailed and seamless scene links holds the story. Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show, the performances are stunning and the writing sparkles. 

The House of Mirrors and Hearts - Review

Arcola Theatre, London


***


By Eamonn O'Dwyer and Robert Gilbert
Directed by Ryan McBryde

Gillian Kirkpatrick

'Pain can blind us, twist us, change us – sometimes for better, sometimes for worse'; writes Eamonn O'Dwyer in the programme notes of his new musical playing at the Arcola Theatre. House of Mirrors and Hearts is an ambitious piece, looking to investigate the oppressive nature of grief associated with loss and its destructive impact on a family unit. It is a chamber musical of intense intimacy, but often shuts the audience out more than it draws us in. It's a shame, as the space feels perfect for the subject matter and yet it is somewhat undermined by some unsympathetic characters and predictable narrative clichés.

House of Mirrors and Hearts tells the story of a fractured household. Anna and her two daughters, Laura and Lily, are left reeling after a tragedy throws their previously blissful life into turmoil. For seven years they desperately try to cling to normality, with a veritable powder keg of secrets lying beneath a fragile surface. The uneasy tension of the house is threatened by the entrance of a young intellectual lodger in the form of Nathan and the inevitability of confrontation becomes apparent as the delicate existence of the family becomes increasingly unbearable. The narrative is jagged and harsh, full of fiercely barbed exchanges and frustrated menace.

With the exception of a curious finale in which unexplained mysticism and telegraphed 'twists' rear their rather unwelcome heads, the second act picks up immensely. Director Ryan McBryde is given license to let the piece breathe, as the heavy oppression of grief is counter balanced with the discovery of love. This blossoming romance allows Grace Rowe's Laura to explore a more mature sense of identity and Jamie Muscato's Nathan to act as more than a plot device, designed to grease the wheels of the family's existential meltdown. Their cathartic bottle smashing scene is beautifully played and resoundingly resonant.

Muscato's performance throughout is impressively nuanced. His ascent to the poetic headiness of first love is utterly believable and he ensures every second of his stage time is detailed and truthful. Molly McGuire is also a highlight as the attention-seeking Lily, providing a pulsating sound with her rich voice and showing a comforting command of the stage. Her number 'Look At Me' is both unsettling and exciting, as she prowls around the stage with equal parts power and vulnerability. Gillian Kirkpatrick, as the alcoholic family matriarch, sings effortlessly and willingly provides some of the more vocally acrobatic elements of the score. Whilst I enjoyed her embittered take on the self destructive Anna, I felt it was a little too unfocused to be as effective as it could be. Her wild, gesticulative wine-sloshing was often more distracting than it was engaging.

Eamonn O'Dwyer's score has both a contemporary flair and a more traditional haunting edge, effectively blending the horror of the past with the hope for a more positive tomorrow. The songs, whilst not always tuneful, succeed in their own way; most notably during the occasions where Nathan and Laura bond through musical recitations of Alexander Thornton Grays' verse. There are some playfullly original lyrics dotted throughout the score as well, particularly in Anne's witty ode to the bottle, Something For the Pain.

After a slow first half and a group of characters that seem difficult to warm to, House of Mirrors and Hearts discovers its voice in an enjoyable second act. Relationships are allowed to develop and its message of healing through confrontation becomes apparent. It can be a challenging watch at times and with subject matter exploring the depths of human dysfunction following tragedy, this is hardly surprising. However, with some choice performances, an impressive modern score and a chance to celebrate new British writing, House of Mirrors and Hearts is worth your time. 

Runs until 1st August 2015

Guest reviewer: Will Clarkson

My Lifelong Love – An Evening with Georgia Stitt and Friends - Review

Garrick Theatre, London

*****

Georgia Stitt

Take one gifted composer, six sensational solo artists and five fine musicians. Place them on a practically empty stage and let the music do the rest. This was exactly what happened at the Garrick this week when America songwriter Georgia Stitt, for one night only, made her West End debut. 

In a cleverly arranged evening, act one comprised eleven solo numbers, with the second half a selection of songs for multiple voices. Impressive amongst the men were Jamie Muscato whose The Light Of The World was both powerful and moving. Norman Bowman joined Muscato to perform She, possibly one of the most stunning contemporary male duets written, with Bowman’s rendition of Sonnet XXIX making an excellent close to Act 1. A credit to both him and Stitt for taking some of Shakespeare’s most beautiful prose and so delicately fitting the words to music. Stitt’s confession that, having grown up in Memphis her style has been significantly influenced by the Blues, was more than evident in Simon Bailey’s incredibly cool performance of At This Turn In The Road Again, a song (along with many others) in which AJ Brinkman’s work on bass was a treat to listen to. 

Notwithstanding the testosterone-fuelled talent on stage, it was the vocal acrobatics from Stitt’s three (leading) ladies that carried the evening’s killer punch. Their talents were never bettered than when Eva Noblezada, Caroline Sheen and Cynthia Erivo combined in an electric three-part harmony for Before I Lose My Mind. Sheen is a masterclass in herself in her, notably in her powerful The Baby Song, ingeniously fooling the audience with a comedic opening, only to end in tragedy. Erivo’s velvet voice quickly evolved into the trademark musical theatre power house, especially in Stitt’s hauntingly complex number The Wanting Of You. Finally, London newcomer and Miss Saigon star Noblezada displayed innocence and vulnerability combined with her faultless vocals in Almost Everything I Need. 

Such a strong company needed no more set than the stark frame of The Garrick’s current production The Scottsboro Boys and it’s only a shame that gigs and material as good as this aren’t heard live more frequently. Let’s hope that Georgia Stitt won’t keep us waiting too long for her UK return.

Dogfight - Review

Southwark Playhouse, London

*****

Music and lyrics by Benj Pasek and Justin Paul
Book by Peter Duchan
Directed by Matt Ryan

Laura Jane Matthewson and Jamie Muscato

In 1991 the Warner Brothers movie Dogfight, starring River Phoenix and Lili Taylor, told of a quirky poignant romance between Rose and Eddie, born out of the cruellest of games. Set up by a group of young Marines the night before they deploy to Vietnam, the dogfight demands each Marine competes to bring the ugliest girl they can find to the party. It makes for a harsh dynamic that is uncomfortably recognisable.

In 2012, the young composing duo of Benj Pasek and Justin Paul, together with bookwriter Peter Duchan translated the compelling saga into an off-Broadway show that opened to rave reviews. Their cast album followed some months later (reviewed here on its UK release) but it has taken until now, and the inspirational vision of Danielle Tarento arguably the most dynamic of London’s off-West End producers, to carry the show across the pond.

The Southwark Playhouse cast bring a wonderful energy to Pasek & Paul’s vibrant and exciting compositions. Making her professional debut, Laura Jane Matthewson shines as Rose, an unsophisticated, naive country girl with an innocent  purity. Never sentimental, she displays an intelligence and strength clearly demonstrating that innocent doesn't mean stupid. She continually challenges Eddie about his anger and bad language, going on to beat him at his own game in a hilarious second act exchange. Jamie Muscato plays a multi faceted Eddie, as Rose draws his vulnerable softer self out from the on-display tough, angry, bullshitting Marine, deserted by his father as an infant. Both voices singing with technical brilliance and soul-searing intensity.

Eddie is well supported by his buddy marines, notably the bespectacled Bernstein played by Nicholas Corre and Hardman Boland played by Cellen Chugg Jones, all three bonded by Bee tattoos. Amanda Minihan, not long stepped off the Arcola’s wonderful Carousel gives a beautiful depth, warmth and musicality to Rose's mother, whilst Rebecca Trehearn plays hooker Marcy with perceptive humour and fantastic vocals.

Duchan’s book makes judicious use of the movie's simply crafted screenplay. George Dyer conducts a tight, nuanced band enhanced by some beautiful string playing, fully releasing the score as the cast deliver punchy lyrics, lush harmonies, and some beautifully judged pianissimo moments. Impressive choreography by Lucie Pankhurst with some carefully detailed and seamless scene links holds the story. Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show, the performances are stunning and the writing sparkles. 

Runs until 13th September 2014

Guest reviewer - Catherine Francoise

After Show

London Hippodrome, London

****

Once a month, the London Hippodrome’s divinely decadent Matcham Room succumbs to a midnight hour (or two) of cabaret’d magical mania, as the cast of two West End shows battle it out in a quiz/contest of wit and talent in After Show.

OK, so its not quite midnight (the show commences at 11) but the evening reflects one of the most skilful combinations of spontaneous improvised hilarity along with the immaculately rehearsed professionalism of some of the most sickneningly talented performers to be found on stage today. The July show featured Merrily We Roll Along vs Spamalot with Damian Humbley, Robbie Scotcher and Zizi Strallen representing Merrily, whilst Jon Robyns, James Nelson and Michael Burgen flew the Spamalot flag.

The smut was frequent and the gags were fast and furious (I lost count of the number of times the lyric “I’m Zizi Like Sunday Morning” was sung by the hosts, but it didn’t really matter) and the challenges that are posed to the teams are best described by the technical term “ridiculous”. Amongst rounds that were tributes to old TV game show favourites such as Bullseye and The Generation Game, there was also a Countdown round requiring words to be formed from the letters SUQMADEEK and ASSBURGER. Classy huh? Well er, embarrassingly er, yes. This reviewer could be found, from time to time, moist eyed at the hilarity of it all.

Each month features unique games inspired by the competing teams with the two specialised games of this particular evening being "Merrily We Fling A Thong", in which a marshmallow had to be knocked off an opponents head using only the flinging of a thong and Cramalot, in which opponents' mouths were increasingly crammed with marshmallows. As the stuffing increased, after each additional candy was inserted (or forced in) the stuffee had to say the word Cramalot. Its unashamedly schoolboy stuff, but trust me, it works.

Damian Humbley celebrates firing his thong into James Nelson's face

And amidst all this rather stupid mayhem, there are some quasi-serious moments of genius, when the contestants stand at the mic and sing, beautifully accompanied by the house band of Steve Holness, Elliot Henshaw and Olly Buxton. And as might be expected, the singing is simply sensational. For the most part casually clad, and with a simple intimacy that belies the outstanding standard of their performances, these skilled professionals rattle off some of their personal favourites in a manner and style that The X Factor can only dream of replicating. Memorable from this visit (though all the performers shone) were Michael Burgen’s "Debukelele" with John Robyns modestly accompanying on guitar and Robbie Scotcher’s Dancing In The Moonlight. Talented performers, singing beautiful songs, wonderfully.

Regular hosts of the night are Simon Lipkin, Jamie Muscato & Owen Visser who, as well as being gifted musical theatre professionals, also bring a polished and semi-rehearsed wit and irreverence to the night that, amidst much heckling, is great for its immediacy as well as its barbedness. They take no prisoners, but its all done amidst affectionate respect.

If you are an MT professional, then a visit to After Show is a must. If you are simply a fan of the genre, with a love for theatre, be it West End or fringe, then go. You may end up sitting next to the star of the show you’ve just seen on stage, you may end up spattered with shaving foam, or you may just end up amused and entertained. Bring your cab fare or a night bus timetable to get you home, it finishes after 1, but above all, just go. After Show is a supremely professional gig that blends meticulously rehearsed excellence with anarchic hilarity. Catch it when you can!

(Oh, and Spamalot won on the night!)

To find out more about After Show dates visit www.AfterShow.biz