A Brief Hiatus

I just wanted to quickly address the fact that this blog is very briefly on hiatus as my life has been going a bit crazy, but that I'll be back within the next couple of weeks with lots of exciting new posts.

Essentially the last few weeks have been filled with visits from family and friends, a trip to Disneyland Paris, and my first time attending Summer in the City, the UK's biggest YouTube convention. I'm currently in a mad dash to finish my dissertation before it's due next Friday and start packing to move home in the first week of September.

I should have my SitC vlog going up on my YouTube channel this weekend, but this blog is effectively on hiatus until I finish my dissertation. I just didn't want anyone to wonder what's going on. Wish me luck and I'll be back with a new post hopefully very soon! x

Interview: ASHLEY MILNE, Bad Dog (Edinburgh Fringe)

I'm so excited to have my first theatre-themed interview on this blog and especially thrilled that it's with my dear friend, Ashley Milne, the writer of Bad Dog which is currently on at the Edinburgh Fringe. Ashley is a student at the University of York and I can't wait to see what plays (and musicals) she will write in the future.

Bad Dog is on at the Edinburgh Fringe to 18 August. It is an original psychological horror exploring sisterhood and trauma. It is co-directed by Alice Lloyd-Davies and Ben Wilson and stars Sophie Lorraine Parkin as Eve and Jess Corner as Grace.

How did you become interested in writing plays?
I've loved theatre for as long as I can remember, and was acting for basically all of my childhood. At the same time, I was journalling obsessively, writing very sad poems about girls I thought were pretty and whacking out little short stories and the like. At A-Level, my Drama/Performing Arts courses involved some low-level writing and devising, and me and my good pals (Rhiannon Culley and Charlie Pittman!) ended up realising we wanted to try this writing malarky outside of school and wrote a musical called Bridge Over Oblivion. The experience of that and the support of my family and friends made me realise that if I wasn't writing for theatre, it was a big old mistake, and so I've been trying to write for the stage ever since!

(Fun fact: I did a monologue from Bridge Over Oblivion for my Acting for Non-Majors class last year.) 

What's it like studying at the University of York? 
Dreamy. I love my course, Theatre: Writing, Directing and Performance, and all the friends I've made there -- including my collaborators Alice Lloyd-Davies and Ben Wilson! -- but I mostly just really love the Drama Society for letting me play silly parts and mess around, but also for supporting my writing inside the Drama Barn and externally, by taking it to the Fringe.

What plays or playwrights are you really excited about right now? Whose work do you admire? 

No surprise to anyone who knows me at all, but I think Alistair McDowall is the most exciting, interesting playwright to come out of British theatre in the past decade; X is the most fascinating relationship drama I can think of, and I reread his Plays One whenever I feel like I'm hitting a creative wall. 

I'm also hugely inspired by the work of Lucy Prebble, Simon Stephens, Lucy Kirkwood, Nick Payne, Polly Stenham and Stacey Gregg to name a few. I wish I could be a little more eloquent as to why, I just think they've been telling incredible stories. I also think Bad Dog probably has echoes of Sarah Kane and Mark Ravenhill in there -- and by echoes, I mean blatant theft.

Sophie Parkin in Bad Dog

Can you describe Bad Dog to us?

This is the kind of question that has a tendency to flummox me, because in my head it's about some very specific things but also not very much at all. I hope it's a spooky story about two sisters trying to reconcile themselves to their past, but I also think it could probably be about quite a few other things. 

How excited are you to be bringing this show to the Edinburgh Fringe Festival? 

Just reading that sentence made my heart do a little flip. I really, really, really cannot wait to see all the incredible theatre that the Fringe has to offer, meet people who have made amazing work, and watch the amazing Sophie Parkin and Jess Corner say words that I wrote every day. 

Can you talk about its trajectory from being written to going up to Edinburgh? 

I wrote first drafts of Bad Dog to be assess for my degree, which feels like a very long time ago really. It was performed in a one night show in the University of York's Drama Barn, and we got quite a positive response, so me, Ben, and Alice decided to stay up till half three in the morning writing a pitch for DramaSoc to take it to the Edinburgh Fringe. And then the next night, we did another all-nighter making a presentation. The next day, Ben texted me at work to say it'd been selected and I cried behind the till. 

What's your favourite thing about this piece? 

The people who are working on it. I don't know anyone I trust more than Ben, Alice, Sophie, and Jess; they're all such committed, sensitive people who really bring the best out of the text and add more to it than I ever thought possible. It really is beyond my wildest dreams. 

What's been the most challenging thing about it thus far? 

I really am trying to think of a challenge and am struggling. Other than my little fears and worries about the rug being pulled out from under my feet and everyone laughing because I'm not a writer after all, and all the shaking I do anytime Bad Dog gets performed, I really have loved every moment of it. 

Sophie Parkin in Bad Dog

Why should people come see Bad Dog? 

Because a lot of people I truly believe to be the future of British theatre have worked on it. I think it'll probably suck you in for its forty-five minute running time, just because the atmosphere the team have created is so intense and nuanced and wonderful. 

Are you working on anything else right now? Anything exciting coming up? 

I'm currently nearing the end of writing my newest play, called Snort, Inhale, Dissolve to be performed in the Drama Barn next term -- also directed by Alice and starring Sophie Parkin and James Chetwood. I hope people like that one as much as they've liked Bad Dog. And I submitted some of Bad Dog sometime ago to the Royal Court Theatre and -- somehow -- managed to get into their New Writer's Programme, so that's also a fun and exciting writing thing I get to do! 

You can find Bad Dog on Facebook and Twitter and buy tickets online. You can also find Ashley Milne on Twitter. Let me know if any of you go see the show! 

Bad Dog's show poster was made by Eleanor Hibbert. Photos of Sophie Parkin by Greg Tiani. 

Review: Broken Wings, Theatre Royal Haymarket

Rob Houchen and Nikita Johal

RATING: ★★★★★

There is nothing more exciting that when you've hyped up a new piece of work to all of your friends and family and then it's even better than you expected. From the moment I first heard about Broken Wings, I was hooked. I love supporting new musicals and especially diverse work so an original musical based on the life of the Lebanese poet Kahlil Gibran sounded amazing to me.

I fell in love with the concept album and was so excited that the short four day run the musical got to do at the Theatre Royal Haymarket (my favorite theatre!) coincided with my family visiting from the States so that they could see it as well. (They're all as in love with it as I am.) In June, I got to interview co-writer, associate producer, and star Nadim Naaman for BroadwayWorld UK about the new work he'd created.

Broken Wings is an emotional, soaring musical based on the semi-autobiographical poetic novel of the same name by Lebanese poet Kahlil Gibran, first published in 1912. (If you didn't know, Gibran is the third best-selling poet worldwide.) Its book was written by Lebanese West End actor Nadim Naaman and its score by Naaman and the Qatari composer Dana Al Fardan.

It tells the story of a young Kahlil Gibran who has returned from Boston to his native Beirut to further his studies. There, he runs into his father's friend Farris Karamy and spends much of his time with him and his beautiful daughter, Selma. The two easily fall for each other, but there are barriers to their love. The themes of immigration, women's rights, religion, relationships between parents and children, and the freedom to love who you love are sure to resonate with a modern audience.

Soophia Foroughi, Nadim Naaman, and Rob Houchen

One of my favorite things about Broken Wings is that it's narrated by an older heartbroken Gibran in New York City, looking back upon his youth. I love musicals that are told in retrospect (like Phantom of the Opera and Hamilton) because I think the sense of impending trouble can add to the energy of the show. This production brilliantly staged the older Gibran in the background of many of the scenes, watching as his younger life plays out.

While the book is really rather wonderful, it's the music of Broken Wings that I fell head over heels for. The score itself reminds me of Maury Yeston's music (particularly Titanic) but with a Middle Eastern element. Many of the lyrics are clearly taken from or inspired by Gibran's poetry so they have a clear poetic influence in them. "Selma", one of Young Gibran's solos, is easily my favorite song of the whole show but I also love "'Til Death Reunites Us", "The Spirit of the Earth", and the "Prologue". You can read my review of the whole album here.

In addition to writing and associate producing the show, Nadim Naaman played Kahlil Gibran, aged 40, a role he's perfect for. His vocals are very well-suited to the music and he brought both a charisma and heartbreaking devastation to Gibran. I often found myself watching his reactions to the events unfolding before him. It's strange to think that the narrator Gibran we see had only eight more years left before his death.

The young Nikita Johal did an impressive job as the beautiful and intelligent Selma Karamy, particularly considering that she stepped up from the ensemble only a week before when the actress originally cast in the role had to pull out of the production for personal reasons. I appreciated that she somehow lent both a fragility and strength to the character and was touched by her acting in many scenes.

I've been a fan of Rob Houchen's work since seeing him as Marius in Les Mis years ago, so I was thrilled that he was playing Kahlil Gibran at the age of 18. Houchen has one of the best voices in the West End and his "Selma" was fantastic. The way that he portrayed Gibran's journey from a fresh-faced, optimistic boy to a heartbroken, melancholy man was astounding.

Adam Linstead was wonderful as Selma's father, Farris Karamy, with an appropriate warmth and lovely voice. Nadeem Crowe lent a great humor and charisma to Gibran's friend, Karim Bawab. He easily stole the scenes he was in. One of the standout performances was Soophia Foroughi as Gibran's mother (and a few other assorted roles). She has one of the best voices I've ever heard on a stage and brought me to tears with "Spirit of the Earth".

Soophia Foroughi and Rob Houchen

The cast was rounded out by a wonderful ensemble, with Irvine Iqbal as the evil Bishop Bulos Galib and Sami Lamine as his wastrel nephew Mansour Bey Galib. Broken Wings was one of the shows that is improved by the obvious love the cast has for it.

While this was a short 'semi-staged' run at the Haymarket, it boasted an impressive yet simple set and costumes. The beautiful costumes, designed by Nik Corrall, helped to ground the action in the place and time period. The set was also gorgeous with many moving set pieces that helped to fully realize the action, designed by Claudio Rosas and Mira Abad. I can't imagine anyone directing the show better than Bronagh Lagan and I'd love to see her design a large-scale production in the West End.

I loved that they gave out free programmes to everyone who came to see the show. As an American who is used to Playbills, I'm often frustrated that it's hard to learn more about the show you're seeing and who is in it without buying a programme. I thought it was a very nice gesture to give all the audience a programme so that they could learn more about Gibran, Broken Wings, and the talented people who put this show together.

Broken Wings is a beautiful well put-together musical in its own right, but the most important thing about it to me is that it brought a Middle Eastern story to a West End stage, written by Middle Eastern creators. I believe that sharing diverse stories on the stage is important, especially those by diverse creators, particularly because of how it can help people see themselves represented.

Nadeem Crowe and Rob Houchen

It was amazing to be a part of an audience that had more Middle Eastern people in it than I'd ever seen in a theatre before and know that many of them probably had grown up with knowledge of Gibran and were getting to see that part of their history represented on the stage. I felt that I actually learned about early twentieth-century Lebanon and Gibran himself and I am definitely planning on reading the novel the show is based on within the next few months.

I will never forget the way the audience leapt to their feet at the beginning of the curtain call the night I saw it, the first night of its run, or the look on Nadim's face when it happened. I hope that this show goes on to have a long life -- I'd love to see it have a full run in the West End or on Broadway, but I'd especially love to see it have a life in Lebanon and the Middle East.

Broken Wings ran at the Theatre Royal Haymarket from August 1-4. You can find the cast album featuring many of the actors from its run on iTunes. 

Photo Credit: Marc Brenner

Shows I Saw in July

It's not quite the end of July yet, but as my family are coming to visit (they get in today!) I know that I won't be seeing another show until August. I had a great month for theatre in July, seeing some incredible new shows and returning to a couple of my favorite plays.

The Light Princess - Review
I started off the month by seeing The Light Princess in Concert at Cadogan Hall with Rosalie Craig, Hadley Fraser, Louis Maskell, Gabrielle Brooks, and a whole talented cast of people. I fell in love with this beautiful feminist, unconventional fairytale and haven't stopped listening to the cast album since.

Prom Queen - BWW Review
One of the coolest things I got to do this month was go to the workshop of a new musical called Prom Queen at The Other Palace. It's based on the true story of a Canadian teen who sued the Catholic school board when he wasn't allowed to bring his boyfriend to prom. While it was clearly still a work in progress, it showed true potential and was a fun night.

The Lieutenant of Inishmore - BWW Review
This is without a doubt the most I've ever laughed in a theatre. This dark comedy is a satire on terrorism currently starring Aidan Turner (of Poldark fame). It was such a strange delight and definitely one that I'll be returning to in August.

The Diana Tapes
I interviewed James Clements, who both wrote the show and played Andrew Morton for BroadwayWorld UK, and he invited me to come see it. It's based on the story of how Princess Diana smuggled out tapes for Andrew Morton to write his tell-all biography of her. I thought it was a really interesting take on modern celebrity and the press and the cast were all fantastic.

Tartuffe - BWW Review
I already spoke last month for my love for this show but I actually returned twice in July. By the last time, I had stopped using the subtitles and was very proud of myself that I was able to understand about half of the French on my own! I was also very lucky this month because my friend Rhiannon won a backstage tour of the Haymarket and took me along, so I can say that I've been on the set for this show now.

Red - BWW Review
This is another one that I saw (and reviewed) last month and returned to this month with Rhiannon. It was possibly even more wonderful a second time around and I'm so thrilled that they've announced that they're going to stream it to cinemas across the UK and US in November. Definitely get a ticket for that -- I'll be going for round three in the cinema!

Titanic (UK Tour) - Video
After many months of wanting to, I finally saw the Titanic tour and it absolutely blew me away. I love this musical and Maury Yeston's music and this cast and production are insanely wonderful. I was particularly blown away by Niall Sheehy and Greg Castiglioni, two of my favorite actors, who are wonderful in their parts.

Mamma Mia - Review Coming Soon
I went to see Mamma Mia for their special film release celebration night and was in no way prepared for how much I fell in love with it. I had seen the film before, but the stage show is such an absolute delight and this current cast is fantastic.

Exit the King - BWW Review 
This is the only show I saw all month that I didn't like. While Rhys Ifans was fantastic and the set was really cool, I felt the show was far too long...even though it was only one hundred minutes. This is the only one that I wouldn't recommend unless you're a big fan of Rhys Ifans.

Review: OSCiLLATE, Sadler's Wells

RATING: ★★★★

Despite having been a dancer for fifteen years, I rarely go to dance shows and even though I live only a fifteen minute walk from one of the greatest dance venues in the UK, I'd never been to a show at Sadler's Wells before tonight. When I asked to review the UK premiere of OSCiLLATE, an innovative new tap show, I was thrilled.

OSCiLLATE is the first work by a British tap dance company to be performed at Sadler's Wells. It's by Old Kent Road and has been put together by founder and artistic director Avalon Rathgeb and co-choreographer Dre Torres. According to the programme, the show "explores human interaction and the effects of communication on relationships."

I've never seen tap done quite like this. While some of the moves are familiar, it has a clear influence from other styles of dance like lyrical and contemporary. There was even a number where the dancers took off their tap shoes and made the rhythmic noises with just their feet.

One of the coolest things about the show is its electronic music, which was composed for it by Kenneth Mockler. A short video is projected at the beginning which caused me to think more about the music I was hearing. It was amazing how well the electronic beats went with the tap dancing. I also enjoyed the couple of numbers that were done without music, especially the ones with spoken word narration instead.

The piece was also well-lit with the lighting helping to set the mood of the piece. I really enjoyed the number that uses lamps and how the switching off and on of them blended with the sounds of the tap shoes. Is it strange that I also loved that the tap shoes all the dancers wore weren't the typical black, but an off-white color? It seemed to emphasize that this isn't your traditional tap company.

The show is a blend of solos and ensemble pieces. I felt that the way they used partnering was really wonderful and included moves that I'd never seen before. It was great to see two women dancing together as that's rarely seen in tap.

If you have any interest in dance, OSCiLLATE is well worth seeing. In all honesty, I'm not sure I understood the full message or journey of the show, but I certainly enjoyed seeing tap done in a very different and exciting way.

OSCiLLATE is on at the Lillian Bayliss Theatre at Sadler's Wells on 24-25 July.
I was given a press ticket to review this show, but all opinions are my own. 

Review: When the Curtain Falls by Carrie Hope Fletcher

RATING: ★★★★★

Carrie Hope Fletcher's novels are always a wonderful blend of whimsical romance and heartwarming self-discovery and When the Curtain Falls is no different. Carrie's latest novel is a dual-timeline romance set in the same theatre sixty years apart. It shows off Carrie's knowledge of the theatre world and while many of Carrie's past books have included fantasy elements, this is the first with a supernatural ghostly plot line.

The main plot revolves around Olive Green, a West End actress, and Oscar Bright, a famous soap star, who are playing romantic leads in a new production of When the Curtain Falls at the Southern Cross Theatre. They struggle to navigate their feelings for each other amongst the rest of the show's cast, Oscar's insecurities as an actor, and his fame. Before long, it becomes apparent that there are spirits in the theatre. Could it be the ghost of Fawn Burrows, the beautiful young actress who played the lead in the original production of the show back in 1952 before a tragic accident? And what does stage doorman Walter Brown know that he's not letting on?

I was swept into this story immediately upon starting it and ended up reading the book in two days, staying up until 2 am each night because I couldn't put it down. Carrie's writing style is very lyrical, but easy to read. This book is less whimsical than her earlier novels but equally delightful. Some might class it under young adult fiction, but I think it would be appealing to people of many ages, particularly those who love or work in the theatre industry.

My favorite thing about the novel is the characters, both main and supporting. The villain of the piece feels real and truly frightening, while the minor antagonists are fun to hate. I loved all of Olive's friends in the cast and I'd like to be Olive's best friend myself. I found both romances really engaging; I was actively rooting for each couple, but there were enough legitimate obstacles in their way to make me question what was going to happen next.

I loved that the book has little posters for the show, When the Curtain Falls, throughout it for both timelines. I thought that was such a great design touch and it really helps you feel like the characters and the show is real.

I will add a content warning that there are some scenes of violence and a scene of sexual assault within the novel. I think that they're done very tastefully and they're absolutely necessary to the plot and not gratuitous at all, but a warning feels appropriate.

If you love or work in theatre and appreciate novels with beautiful romances, then this book is certainly a good one for you. I'm having to restrain myself from immediately rereading it and I'm recommending it to all my friends in addition to my readers. I'd actually love to see a stage adaptation of this novel one day...

Review: For King and Country, Southwark Playhouse

RATING: ★★★★

When I was at the Southwark Playhouse to see The Rink, I saw a poster on the wall for For King and Country that showed men in World War I uniforms and I went home and booked a ticket immediately after the show finished. World War I has always been one of my favorite periods to study and art written during or about it has long fascinated me. This moving play definitely didn't let me down.

For King and Country is a court room drama set on the Western Front in 1918. Young Private Hamp is on trial for desertion, a representation of the three thousand men who were tried for desertion or cowardice during the war. This production by Dilated Theatre, directed by Paul Tomlinson, is a surprisingly thrilling piece for a WWI play without any front-line action.

The play, written by John Wilson, was first performed in 1964 and was later adapted into the film King and Country. This is the first time it's been performed in London in over thirty years and it commemorates the anniversary of the war beginning in 1918 in support of the Royal British Legion.

In the play, simple Northern boy Private Hamp has deserted somewhat unconsciously and been court-martialed. When Captain Hargreaves is assigned to his defense, he quickly realizes that poor mental health (the term used at the time was "shell shock") was the cause. There is a tension that builds throughout the play as Hamp refuses to believe in the outcome that everyone else expects: death by execution.

Adam Lawrence exudes honesty and simplicity as Private Hamp, though it's clear that there is a general unease underneath his cheery surface. He makes it easy to see why the other soldiers treat him so sympathetically, as he earnestly insists that the trial might go in his favor. Lloyd Everitt, on the other hand, exudes intelligence and gives a beautiful arc as Captain Hargreaves goes from defending Hamp from a sense of duty to a belief that he doesn't deserve to be punished for something done while in a fragile mental state brought on by war. 

The supporting cast do a great job of backing these two men up, providing a range of beliefs on Hamp's innocence. Andrew Cullum plays the Medical Officer O'Sullivan who insists that Hamp is not actually suffering from shell shock but who seems to teeter on the edge of a breakdown himself. 

I was very impressed with Eugene Simon's portrayal of Padre, the young preacher sent to provide support for Hamp, who struggles to reconcile his belief in God in the face of such suffering. Best known for his work on Game of Thrones, Eugene gives a beautiful performance. Even a few weeks later, I'm still haunted by the way he cries when Hamp is told of his fate. 

Jacqueline Gunn's immersive set keeps the audience firmly set within the front lines of the Western Front, even if the action takes place within a court room. It adds to the somber mood of the play and creates a sense of the danger that lurks outside the room. Robbie Butler's lighting design and Philip Matejtshuk's sound design are best on display during the scene changes, during which the ensemble recreate snippets of battle scenes, moving through the space. 

The play has much to say about PTSD and mental health, which are incredibly relevant today, as much of it centers around different characters' opinions on whether or not Hamp truly has shell shock. It also seems a commentary on the effects that war has on men, as we see that many of the characters and not just Hamp are starting to lose their grip. 

The 306 British soldiers who were executed during World War I for desertion or cowardice were officially given a pardon by the British government in 2006. For King and Country is a touching tribute to them that forces the audiences to consider how many men died because of the war's effect on their mental health. If you've any interest in World War I, I highly recommend going to see it before it closes on 21 July. 

Photo Credit: Alex Brenner 

Review: The Light Princess in Concert, Cadogan Hall

RATING: ★★★★★

I had the pleasure of seeing the absolutely delightful concert version of The Light Princess at Cadogan Hall recently. The show's music and lyrics are written by Tori Amos with a book (and lyrics) by Samuel Adamson. This concert staging was produced by Club 11 and the Alex Parker Theatre Company, whose work I always love.

When I saw that Hadley Fraser and Rosalie Craig were doing this back in February, I immediately booked for the chance to see them in a show together. When the additional casting (Louis Maskell, Gabrielle Brooks, Trevor Dion Nicholas) was announced, I was so pleased that I already had a ticket to see this amazing cast. However, I found myself falling in love with this beautiful, unconventional, feminist fairytale itself by a few numbers in.

The show is based on a fairytale written by George MacDonald in 1867. The original production was at the National Theatre back in 2013 and developed a near cult following, even extending past their original run. It was directed by Marianne Elliot, whose work I admire and whose revival of Company I'm so sad to be missing. A cast album was released in 2015 that I really need to listen to!

The tale is about two kingdoms that are at odds, called Lagobel and Sealand. Both countries have suffered the loss of their queens and both kings have become cold and hard in response. However, the royal children have reacted very differently. Princess Althea of Lagobel rejects the sadness that plagues the kingdom after her mother's death and as a result, gravity loses its effect on her and she floats in the air. Her father locks her in a tower with the orphan Piper to focus on his eldest son and heir. 

Meanwhile, the kingdom suspects that the King of Sealand may have killed his wife and thus do not risk publicly mourning for her. Her eldest son Prince Digby becomes morose and never smiles and is known as the "Solemn Prince of Sealand". When the two meet, they find themselves feeling for the first time in years but can they make it work when their kingdoms are at war and they both have unfeeling fathers to stand up to?

Cadogan Hall is a beautiful venue, so any concert staged there is going to be a wonderful experience. I also appreciate anything that Alex Parker conducts as he's a joy to watch. The concert staging did make the plot a bit difficult to follow at times, but luckily there's a fairly comprehensive summary on Wikipedia! 

The music for the show features a wide range of sounds, some of it very traditional musical theatre, some more poppy, and some that almost seem to have alternative influences. A lot of the numbers are very narrative and company driven; there are actually few proper solos in the show. My personal favorites included "Gravity", "Darkest Hour", and "The Whistleblower". "Nothing More Than This" brilliantly showed off Rosalie and Hadley's voices and "Bitter Fate", which is largely a duet between Prince Digby and his younger brother Llewelyn, is my favorite number of the entire show. 

Rosalie Craig reprised her role as Princess Althea and was absolutely astounding. I'd seen Rosalie before in The Ferryman, but had never seen her in a musical and she blew me away. From her stunning vocals to her compelling acting, it was a flawless performance. I loved that she gave Althea real character. She was even perhaps a bit bratty at times, not at all your typical princess. I also enjoyed seeing Rosalie applaud for all her co-stars from the stage; you could feel her love for the show!

Hadley Fraser has been one of my favorite actors for many years, so I jumped at the chance to get to see him in a show with his wife. The two of them are also alums of the Donmar Warehouse, where they've both done numerous shows so it was exciting to see them in something together. Hadley's voice was so well suited for this music; it sounded like the feeling of being wrapped up in a warm blanket. (Does that even make sense?) Hadley brings an intelligence and a dignity to all of his roles that I thought was so well suited to Prince Digby. 

I recently saw Gabrielle Brooks in the Donmar's The Way of the World, but had no idea that she could sing so gorgeously. I felt that she stole every scene she was in as Piper, Althea's best friend. Her song with King Darius was a highlight of the whole show.

You might know Louis Maskell from The Grinning Man, but it was great to see him as Digby's younger brother Llewelyn. His vocals were beautiful as always and his voice blended particularly well with Hadley's. It was a small role, but a rather nice one, and he definitely made the most of it.

Another small role, the Falconer, was played by Laura Pitt Pulford, a name I've often heard but I'd never seen her in anything before. Her parts were another highlight of the show as she has a beautiful voice and, I have to say, her dress was gorgeous.

Trevor Dion Nicholas, best known for playing the Genie, played King Darius, Althea's father. I was so impressed with how wonderful his acting was, especially for a concert staging, and his voice was of course astounding. I loved seeing King Darius's character arc over the course of the show.

Seeing the concert at Cadogan Hall made me wish I'd been in the UK to see the full staging of The Light Princess at the National Theatre as the photos I've seen make it look incredible. However, it was a wonderful night out that reminded me that this gorgeous fairytale deserves a further life.

You can check out my video review of The Light Princess in Concert below:

Shows I Saw in June

I saw a tremendous fourteen shows this month. Sometimes I think about the fact that I'm not sure I saw 14 shows in all of my last year at university and now I can see that amount in one month. Isn't it funny how life can change like that? In any case, June was a great month for theatre for me as I saw so many shows that blew me away.

The Prime of Miss Jean Brodie
As part of my internship at the Donmar Warehouse, I get to see the first preview of every show with the rest of the staff. I've never read the Muriel Sparks novel this is based on, but I absolutely loved this play. Lia Williams is fantastic as Jean Brodie and the whole cast are really splendid.

Les Miserables
I ended up seeing Les Mis on Barricade Day (the anniversary of the June Rebellion of 1832 that the barricade bits of Les Mis are based on) with Rhiannon and Bee and we had the best time. Unfortunately, Killian Donnelly was out but this past company was absolutely incredible. I think I may write an entire post soon about how my love for Les Mis has evolved as I've grown older.

Journey's End (RADA) - Review
Because Rhiannon goes to RADA, I tend to go along to see their shows and I was blown away by Journey's End. It's a classic WWI play (my fave!), but they set it in the modern era which made the casting of women in traditionally male roles feel more natural. It was honestly within the top 3 things I saw this month, easily.

My Name is Lucy Barton - BWW UK Review
I've wanted to see Laura Linney in something for years as she's basically a Broadway legend, so it was amazing to see her in this moving one-woman piece at the Bridge Theatre. The play, while emotionally exhausting, was a great showcase for Linney's talent.

Julie - Review
Despite the clumsiness of the modernisation, I loved Julie at the National Theatre. Vanessa Kirby is an incredibly talented actress and she commands complete attention the entire time she's on the stage while giving real depth to the spoiled rich girl she's portraying. The design of the show by Tom Scutt makes it worth seeing as well.

3 Winters (RADA) - Review
I wasn't as impressed with 3 Winters as I was with the other two RADA shows that I saw in their early summer season, but it was an interesting tale of three generations in Croatia. I certainly learned a lot about the politics of a country I previously knew nothing about.

Machinal - BWW UK Review
I wasn't a fan of Machinal at the Almeida despite how fascinating the true events its based on are. I felt that in making the period ambiguous, they lost a lot of the punchiness of the show and somehow lost its relevance as well.

It's Only Life - Review
I had never seen a song cycle show before and this charming one about love, loss, and hope completely warmed my heart. The cast were so talented and I loved the design. It was also a bit exciting for me because it was the first thing I was given a press ticket to for my own blog! 

Heathers - Review, Video
If you follow me on social media, you may already know that I've fallen completely head over heels for this darkly funny show which is full of absolute bops. The entire cast (from my ultimate fave Carrie Hope Fletcher to Jamie Muscato to the whole ensemble) are absolutely incredible. Can we get a cast album soon, please?

Kinky Boots
I returned to Kinky Boots for my seventh (!!!) time to see the latest cast as I'd interviewed all three of the leads for BroadwayWorld UK. Kinky Boots never gets less exciting for me. Every time I see it, I leave feeling so upbeat and renewed. 

The Rink
I got to see the last performance of The Rink at Southwark Playhouse with my friend Julie and we were both so impressed. Caroline O'Connor is surely one of the most impressive actresses out there and I was shocked by how much I adored this show about a mother and daughter and a skating rink. The dancing was particularly amazing. I'm really hoping they bring this show back to Broadway because I would love to see it have a longer life.

The Tempest - BWW UK Review
This production of The Tempest is a promenade production at St Paul's Church in Covent Garden going between three outdoor locations and the church itself. However, it's otherwise fairly bland particularly after having watched the filmed version of the Donmar's The Tempest, set inside a women's prison.

Fun Home - Review Coming Soon
I'm actually seeing this today, so review pending! But I've heard fantastic things about this production and I was sad to have missed the show on Broadway, so I can't wait.

For King and Country - Review Coming Soon
I actually haven't seen this yet at the time of posting either, but I'm seeing it on the last day of June. It's a World War I court room drama at the Southwark Playhouse so I'm sure I'm going to love it. Keep an eye out for my review coming soon!

Review: Heathers the Musical, The Other Palace

RATING: ★★★★★

How very! Heathers the Musical, currently playing at The Other Palace, is a fantastic high school story full of dark humour and lots of heart. It's based on the 1988 cult classic film starring Winona Ryder and Christian Slater and the musical adaptation previously gained its own cult following during its off-Broadway run. Under Andy Fickman's brilliant direction, this new and improved version is better than ever.

It tells the story of teenager Veronica Sawyer who befriends the Heathers, a clique of popular girls, in hopes of making it through senior year socially unscathed. Throw in a boyfriend with a penchant for murder, a couple of existential crises, and some big musical theatre numbers and you've got a great show. The musical features classic lines from the movie (like "Say hi to God for me") and amazing songs by Kevin Murphy and Laurence O'Keefe. Chances are you might have already heard of "Dead Girl Walking", "Candy Store", and "Freeze Your Brain".

As I mentioned this production features some changes to the show by its original creative team, including new dialogue and two new songs. "You're Welcome" replaces "Blue" which used to be my least favourite song in the show. The new song deals with the delicate subject matter a lot better and also gives Veronica much more agency in the situation. There's also a new song called "Never Shut Up Again" for Heather Duke, who previously didn't have her own solo, and it's an absolute bop.

I love the design for Heathers and how they made it feel like a big show despite being in a fairly small venue. The moving set pieces are amazing; my favourite is the window which plays into several scenes. Having the actual object to use makes such a difference! I also absolutely love the costumes...I think I may need to find some friends to dress up as the Heathers with for next Halloween.

I also thought Gary Lloyd's choreography was fantastic and well suited to the tone of the show. I particularly loved the blocking of party number, "Big Fun". I also adore that they play 1980's music before the show and during the interval to get you into the mood. It was so fun to see everyone jamming out in the theatre!

The entire ensemble of this show is so strong, with each member making the student they play feel very distinct and fleshed out. Rebecca Lock is fantastic as teacher Ms Fleming; I used to not like her song "Shine a Light" but Rebecca certainly changed my mind. I love the bit where you picks a guy in the audience to address a line to and then ad libs a bit. It was so funny and every time a friend goes to see the show, I ask what she said in that part.

The Heathers are the ultimate mean girl clique and I couldn't imagine a better trio than this cast. Jodie Steele is appropriately kind of terrifying as Heather Chandler, with that cool girl air and an incredible voice. Her dancing around in "Me Inside of Me" was one of my favourite bits of the show. T'Shan Williams has some powerhouse vocals as Heather Duke and is wonderfully cool and calculating. Sophie Isaacs is adorable as Heather McNamara and her "Lifeboat" is absolutely heart-wrenching. (Seriously, she's like Galinda in a yellow blazer.)

Christopher Chung and Dominic Anderson are hilarious as football stars Kurt and Ram. They manage to play up the comedy of the roles without ever losing the fact that their behavior is pretty horrible. However, they bring a certain charm to their parts that makes it easy to believe that they're the popular guys at school.

Jamie Muscato is incredible in the role of JD, Veronica's boyfriend who turns out to be bad news. His voice is gorgeous in songs like "Freeze Your Brain" and "Our Love is God", but it's his acting that really blew me away (pun intended). I loved the way he portrayed JD's trajectory leading up to "Meant to Be Yours" when it becomes clear that JD has bigger problems than we realized before. (I also was cracked up by the way he did dance numbers like "Shine a Light" and "I Love My Dead Gay Son" with a smirk on his face that was so in character.)

I've been a fan of Carrie Hope Fletcher for years and I was ecstatic when she was cast as Veronica, but I was not prepared for how amazing she is in the role. Carrie has managed to pull out the vulnerable, optimistic, naive side of the character in a way that makes so much sense looking at the book. Her Veronica is the kind of girl that I can see being easily manipulated by the Heathers and JD because as she says in the opening song, "Beautiful", she honestly believes that people are good. Her "Fight For Me" broke my heart a bit in its earnestness, but her strength in the later half of the show was inspiring.

I've nothing against Barrett Wilbert Weed who originally played Veronica off-Broadway, but seeing Carrie in the role was the first time that I could truly relate to the character. I loved that she seemed a bit geeky and that she was totally under JD's sway despite her strong morals...because he is dangerously charming and I was completely won over too.

I will also admit that I cried at one point during the show because it means so much to see a girl of my size (and I know that Carrie and I are similar sizes because she mentioned what size clothes she bought in a recent Primark haul on her YouTube channel) playing an 'average' girl who is at times portrayed as sexy in the show. Often, what we are shown as 'average size' onstage and onscreen is actually much smaller than the actual average woman's size. It's amazing to see representation for women of all shapes and sizes. I've actually felt much better about my body than usual since seeing Heathers last weekend.

If there's one issue with this production, it's simply that their American accents are occasionally a bit dodgy across the board. However, I'm not sure someone who isn't actually American would even be able to tell and it's certainly no worse than the British accents you hear in Kinky Boots on Broadway.

Heathers is the kind of story that I think the theatre world needs right now: it has a dark humour that I think appeals to a generation who spends most of their time on the Internet, big fun numbers that will get stuck in your head, characters that you'll recognize from your own life, and a beautiful message about acceptance and forgiveness. While Heathers is currently sold out, you can try your luck in their weekly lottery or in the returns queue. I know I'm trying my best to see it a second time! My fingers are certainly crossed for a cast recording...or a Broadway production in the near future?

Be sure to check out my video review of Heathers as well:

Photo Credit: Pamela Raith