Tag Archive: Theatre


Right, it occurred to me that this year I have seen a lorra lorra theatre and, ridiculously, have only written about a few shows. So to catch up, this week I’m giving you four fast reviews for the productions I missed, but really did deserve to be talked about…..

Wonderland, Venue Cymru, LlandudnoImage result for Wonderland the musical

I’ll start with Wonderland because it’s got a bit of a tragic story.  I saw this in Llandudno in June and it was spectacular. Wonderland is the familiar story of Alice given a modern twist. Alice is a 40-something divorcee with a teenage daughter who enters Wonderland via a dodgy lift in her apartment block. She doesn’t take the trip alone as she’s joined by daughter Ellie and awkward love-interest Jack. Whilst in Wonderland they’re encouraged to go through the looking glass, a magical archway that exposes the other side of their personalities (cue Alice becoming stern and sensible and Jack transforming into a confident charmer.)

Wonderland boasted many memorably songs, particularly ‘Through the Looking Glass’ and ‘Finding Wonderland’, sung with passion and energy by a very talented cast. Rachael Wooding was a powerhouse as Alice, revealing Alice’s faults and insecurities poignantly. Bree Smith gave a cracking performance as the sassy Queen of Hearts, slaying with her performance of ‘Off with their heads’. Ben Kerr and Francesca Lara Gordon were also brilliant as the March Hare and Mad Hatter, giving us refreshing twists on the classic characters. The set pieces were gorgeous, fully immersing into the crazy world of Wonderland where anything is possible. Most striking was the way the famous tale of  Alice was re-worked into a modern setting, giving the characters (particularly Alice) a bit more depth along the way. Wonderland was a work of art and must-see, modern musical.

However, just a couple of weeks after seeing Wonderland, the tour was cancelled due to problems behind the scenes. There’s plenty of speculation online, but, whatever the reason, it’s a great shame that the hard work, commitment and talent of the cast and crew will go unseen.

Les Miserables, Queen’s Theatre, London

Image result for les miserablesThis was a bucket-list show that lived up to all of my expectations, and beyond. The star of the show is its musical score and I was not disappointed to hear Claude-Michel Schönberg’s music played by a live orchestra. ‘At the end of day’ saw the full cast launch into action with breath-taking harmonies whilst ‘Do you hear the people sing?’ gave the audience goosebumps you could strike a match on. Simon Gleeson was made for the role of Jean Valjean, whist Hollie O’Donoghue was perfect as Eponine, giving a beautiful performance of ‘On My Own’. Katy Secombe and David Langham stole every scene as the dastardly Thenardiers, providing much needed comedy amongst all the tragedy! The revolving set works really well, seamlessly taking the story across France and through the ages. The battle sequence in the second act is particularly stunning, with tense performances (and gun fire!) keeping the audience well on the edge of their seats. At one point it took all my will not to cover my eyes. The deaths during this battle scene are especially heart breaking (no spoilers), and many gasps were heard as the barricade revolved to reveal the true carnage. Les Miserables remains packed with emotion throughout and it ends in spectacular fashion with the beautiful finale. There’s no question as to why this show has been around for so long. It’s a must-see and a show that I’m sure I’ll revisit.

Don Juan in Soho, Wyndham’s Theatre, LondonImage result for don juan in soho

Sex, drugs and David Tennant – what’s not to love? Though, admittedly, the main pull to this production was, initially, that is starred a certain former Time Lord, I was pleasantly surprised to find a sparkling script and stellar performances waiting for me at Wyndham’s Theatre. Updated to 2017 and relocated to Soho, Don Juan tells the story of a privileged, hedonistic party-goer as he sleeps his way around London, picking up plenty of hookers and cocaine along the way. David Tennant was, of course, fantastic as the titular bastard, unleashing his inner-Russel Brand and being fantastically horrid to every other character, including his loyal aid, Stan, played excellently by Adrian Scarborough. The relationship between Stan and DJ is surprisingly endearing, though Stan, on the edge of a breakdown, is desperate for DJ to pay him so he can retire, he can’t help but stay by DJ’s side. Don Juan in Soho is strikingly contemporary, with references to the ‘strong and stable’ government we find ourselves trapped under today as well as several witty remarks about American politics. DJ deliciously berates the world we live in, stating social media, fake news and lying politicians as factors of a crumbling society in one passionately performed monologue that had the audience on the verge of shouting ‘Amen!’. DJ tries to explain to Stan that life is all about pleasure – shamelessly seducing the chavtastic Lottie (a brilliant comic performance from Dominique Moore) in a hospital whilst simultaneously trying it on with grieving bride Mattie in one ridiculously outrageous scene. Don Juan in Soho was theatre at its best as it forced the audience to think before they left their seats. It was engaging from the first moment, topical and surreal, and definitely one of the best plays I’ve ever seen.

The Curious Incident of the Dog in the Night-time, Venue Cymru, Llandudno

Image result for the curious incident of the dog in the night-timeA really touching story told in a refreshing, and visually brilliant, way. Christopher finds his neighbour’s dog has been killed and takes it upon himself to solve the mystery. His mission sees him uncover a family secret, which in turn takes him to the terrifying world of Central London. Scott Reid was phenomenal as Christopher, giving a truly powerful performance, particularly as Christopher’s condition begins to take control. The modern and tech-heavy set pieces drew us in to the story using clever effects (a green box giving the effect of a football match on TV, a remote control train bringing London to life before our eyes) to add an extra fizz to the already sparkling performances. Surprisingly, Christopher has uncovered the culprit by the interval, leaving the second act to explore the secrets of Christopher’s family and the effects his ‘behavioural problems’ have on his loved ones. Anyone who doesn’t feel prickly-eyed throughout Act 2 is incapable of emotion. The emotional energy of the performances is sometimes borderline unbearable, and the sequences in London are also quite overwhelming, as we experiences flashing lights, loud noises and almost nightmarish scenes, we’re forced to view the world from Christopher’s point of view. This is a play that will stay with you long after you’ve left the theatre.

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‘Darkness, grief and unspeakable sorrow.’

Well…not quite. Darkness, yes, but there were plenty of laughs at the WMC in Cardiff on Friday night. I’ve been reading a lot on twitter about The Addams Family musical so I was really excited when, by pure luck, I bagged two tickets for last Friday.

As the orchestra struck up the familiar theme tune, what was initially clear was just how well cast this show was. Samantha Womack is a perfect Morticia – cool and sultry throughout – whilst Cameron Blakely makes a terrific Gomez. Both actors have sizzling chemistry together (proven with a sexy tango) and match each other with each witty punchline. They both resurrect these iconic characters perfectly. Perhaps surprisingly, ‘Love’ is a key theme of this production, most prominently the love between a family, and Blakley shows Gomez’s love for his daughter,Wednesday, beautifully, particularly during the song ‘Happy/Sad’, where he reflects on the memories he has of his young daughter, such as the first time she set fire to the Jehovah’s witness, evoking the dark humour we associate with the family.  (Another example, when Alice asks if the Addams’ have a little girls’ room, Gomez responds with ‘We did, but we had to let them go.’)

At first, Wednesday’s (Carrie Hope Fletcher) change of character is a bit awkward, but all becomes clear when Wednesday belts her showstopper number ‘PRelated imageulled’, explaining that her change is a result of her love for Lucas. As the show progresses, it becomes clear Wednesday’s sadistic side is still lurking as she tortures her brother and gets very excited about potentially shooting Lucas in the head with her crossbow (all in the name of love, of course).

Valda Aviks was also fantastic as Granny, particularly during her ‘Full Disclosure’ speech. It was a smart move to address the ambiguity around Granny’s connection to the family from the cartoons and movies, by having Morticia refer to her as Gomez’s mother before Gomez retorts with ‘My mother? I thought she was your mother?’.

 

Les Dennis gave a great performance as Fester and his story thread of being in love with the moon was typically ‘Addams’ and, at the end, quite sweet. Dickon Gough also deserves a mention for his scene-stealing performance as Lurch. Lurch doesn’t speak but became a clear audience favourite thanks to Gough’s comic timing and surprising hip action in the finale number. (One complaint – where was Cousin itt?!). The main cast are supported by an excellent cast of ancestors, complete with choreography reminiscent of Thriller.

As well as the familiar quirky characters, the show boasts a catchy score. Andrew Lippa nails the new music and each number feels very natural to the characters. In particular, the opening number ‘When you’re an Addams’ is a definite ear worm and the final number, ‘Move towards the darkness’, will haunt you after you leave your seat.

What’s also impressive is the way the gothic Addams mansion is brought to life on stage via moving staircases and hidden entrances. The suspended moon above the Addams family home creates an eery and dramatic scene.

Overall, The Addams Family is a treat for theatre fans with a gorgeous score, fantastic visuals and a stellar cast.

Watch the opening number here

Watch the trailer here

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Image result for 42nd street londonI had an unexpected and very last minute trip to London last week.  Amongst the walking, talking and dining, I found myself at the Theatre Royal for a surprise tap-dance down 42nd Street.

I had very few preconceptions about the show, and I didn’t really have time to consider it too much, but I knew I was in for an old-fashioned, high-kicking performance. Four rows from the front, I had perfect seats (courtesy of TodayTix rush tickets) which gave a great close-up view of the stage.

The shows standout quality is its sheer spectacle. The sets and costumes are absolutely dazzling and during several musical numbers it’s hard to be anything but totally absorbed. The lights, moving set pieces, harmonies….It really is mesmerising. During one sequence a huge mirror is lowered to firstly, reflect the audience, and then tilted to show the dancers lying on the stage floor carrying out a very intricate synchronised sequenced. It was so impressive even the mirror got a round applause!

Tom Lister and Gabrielle Lewis-Dodson gave great performances as theatre producer Julien Marsh and clumsy chorus girl Peggy Sawyer. Sheena Easton was also brilliantly bitchy as the acerbic actress Dorothy Brock. I really enjoyed Jasna Ivir’s performance of Maggie Jones, delivering her witty one-liners with perfect comic timing (On musicians ‘Let’s just say they’re in a pit… and there’s a reason we keep them there!’)Image result for 42nd street london

Musically, the show boasts lots of catchy numbers, many of which I wasn’t familiar with until I’d seen the show, but caught myself humming many times since. ‘Go into your dance’ and ‘42nd Street’ are big tap numbers that get the audience going, but it’s ‘The Lullaby of Broadway’ that really steals the show. Ear worms a-plenty in this show!

The overall plot, a chorus girl getting her big break in a huge Broadway show, is a bit flimsy in parts, particularly some of the songs in the ‘Pretty Lady’ musical (What is the plot of that show?!), but that doesn’t distract from the energy and passionate performances of the cast.  42nd Street is a spectacular night out of good old fashioned West-End magic.

Watch the trailer here

I used to have a bit of a fear. I didn’t like doing things on my own. I’ve got friends who would happily go to the cinema alone or eat in a restaurant by themselves but I never felt comfortable doing any of those things. I’d feel like all eyes were on me and I just the thought was enough to make me cringe.

As we get older, we do start to lose that horrible feeling of self-consciousness and realise that the world is not looking directly at us. If anything, we’re pretty invisible. Last year, I started going to the gym. At the first, it was with a friend, so any awkwardness could be laughed off, but when my friend could no longer find the time to gym, I was faced with the option of ‘go alone or stay at home’. I was tempted to jack it all in and vegetate in front of the television but the desire for a healthier lifestyle made me choose the first option. Initially, I was self-conscious but after a couple of solo visits I realised everyone else was too busy focusing on their own work-out to be scrutinising my sweat sessions. Hitting the gym became my ‘me time’, a chance to work out and spend quality time with myself.

I started to realise that I could do things on my own….

I’ve been desperate for a break away for years. I wasn’t fussed on where – abroad or closer to home – but I needed a trip away. When it became clear that going with someone wasn’t going to be possible, I decided not to wallow in self-pity at home but to bite the bullet and go solo!

So, I spent three days of the half term in London. It might not seem like a big deal to some people, the kind of people who travel alone all the time, but for me it was huge. I can be quite an anxious person, so the thought of being away from home, where so many things could go wrong, worried me for a short time after I’d booked the trip, but the possible adventures my trip could produce soon dawned on me. Being a huge theatre fan, I was determined to see a show or two whilst in the West End and I realised that I could see whatever I wanted! I didn’t have to compromise with anyone because this was my trip! I made all the decisions. So, on my first night I saw Les Miserables, a show I’d wanted to see for a years, and I was not disappointed. On the second night I saw David Tennant in Don Juan in Soho which was hilarious and extremely topical. Not once did I feel odd for being a solo audience member. In my time in London, I visited all the places I’d always wanted to see. I went to see Van Gogh’s painting in the National Gallery, spent a few hours in the British Museum, had a coffee at the Theatre Café and shopped in Covent Garden. I literally did not stop walking (just ask my poor feet!). I didn’t have to consult with anyone because each decision was my own to make – and it was very liberating!

So, if you’re the kind of person who would turn down the chance to do something great because it would mean doing it alone, take the plunge and be brave. This half term break has been the best for a long time because I didn’t let anything restrict my fun – I grabbed it and made the most of it! Not only did I have an awesome time but I learnt a bit about myself.  Travelling solo reminded me that I have strength, I can be brave and I can relax, and I can be comfortable in my own company. So my advice: Do it for yourself, go solo and enjoy!

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Warning: Spoilers within as well as references to explicit material.

Hello. My name is RebelliousG. And I would like to share with you the most amazing show.

In principle, The Book of Mormon sounds like it should be a pretty dull show. A musical about Mormons? Really? You’d be forgiven for guessing this show is an elaborate plot to promote the religion but, for those uninterested in changing faith, have no fear. This show is anything but an advertisement. And it’s certainly not dull. With tongue placed firmly in cheek, The Book of Mormon tells the story of smarmy, self-absorbed Elder Price and his loveable, clueless fellow missionary, Elder Cunningham, as they are deployed to Uganda on a hopeless mission to convert a village of agnostic Africans.

The opening Image result for book of mormon londonnumber welcomes us to the pristine and innocent world of Mormon friends as they practise their perky greetings. It’s a full on cheese-fest that’ll win anyone round immediately. It all goes a bit pear-shaped when, after dreaming of being sent to Orlando, Elder Price is packed off to Uganda and saddled with Elder Cunningham to dampen his mood further.

This is where things get a bit….explicit. The Mormons arrive in Uganda and meet a bunch of hapless missionaries who have yet to recruit anyone to the church, but stay positive by ‘turning it off’ – a useful technique of switching off all negative feelings, told wonderfully though a big tap number. Turn it off is the definition of a showstopper. Tap-dancing Mormons singing cheerfully about turning off their guilt, grief and suppresse
d sexuality. What more could you want? It’s topped off with the quickest costume change I’ve ever seen.

Another stand out number is the ‘Hakuna Matata’-esque, Hasa Diga Eebowai, sang by the Ugandan villagers on the Elders arrival. Don’t be fooled though, the writers knew exactly what they were doing with this one. At first it sounds like the Ugandans are singing a message of jolly perseverance to an INCREDIBLY catchy tune, but the true translation of Hasa Diga Eebowai is soon revealed to the horrified Mormons as a great big eff-you to God. It then descends into a barrage of explicit insults at the ‘heavenly father’ which, annoyingly (well…OK…not really), is a bit of an ear worm. (You’re really gonna have to try hard to get this tune out of your head!) The lyrics might be enough to force even the most open-minded person to cringe but the message of Hasa Diga Eebowai is actually a powerful one. The villagers have to deal with genital mutilation, awful living conditions, the threat of a war lord and the AIDS outbreak. A powerful line from the song sums it up

‘If you don’t like what we say,

Try living here a couple days.

Watch all your friends and family die,

Hasa Diga Eebowai!’

Some people might judge this musical number as offensive and I imaginRelated imagee this is the point where people might walk out (two people did in our performance) but if you put yourself in their shoes, you can see where their lack of faith has come from. The song actually does
what theatre is supposed to – it makes the audience challenge their ideas and empathise. I loved it!

From a show that tackles topics such as rape, FGM, violence and intercourse with amphibians, it has a really warm heart. The show never cruelly mocks Mormons or their beliefs, nor does it preach to the audience. Elder Price collapses under the strain of his new environment, and even endures having his book inserted somewhere very painful in another darkly comic moment, and it’s Elder Cunningham who emerges the hero. Although he lies to the villagers and spices up the Book of Mormon by ‘taking the holy word and adding fiction’, such as threats of the fiery depths of Mordor and being struck down by Boba Fett, he gives them something to believe in which gives them strength. Whilst Elder Price might lose his faith, he, as well as the other missionaries and villagers, are given a new one. The Book of Mormon promotes the power of Belief and how, whatever you choose to believe in, it can help you through the toughest situation.  We’re also given the message to ‘take one day at a time’ and not worry about life after death.Image result for book of mormon london hasa

KJ Hippensteel was delightfully cheesy as the ‘all American prophet with the Donny Osmond flare’. It must be hard to find the balance between face-punching arrogance and endearing naivety but Hippensteel treads that fine line perfectly as Elder Price. David O’Reilly gave us some side-aching moments of comedy as Elder Cunningham and you could tell he was enjoying every minute of being on stage. Another reason the show is such is a hit is that its main characters are poignantly human and flawed. They both make mistakes, whether that’s lying or, in the words of Jesus, just being a dick. There are moments when you know you shouldn’t like them….but you still do! Alexandra Ncube is a power house as Nabulungi (or is that….Neutrogena? Or Nutella? Or Nigel Farage?), giving us some sweet moments with Elder Cunningham and tingles as she sings her heart out in Sal Tlay Ka Siti. I’ve also got to mention Stephen Webb who gave an excellent performance as the secretly gay Elder McKinley, with subtle comic timing, never over-doing it.

The show is held together tightly by an excellent supportive cast. The Mormon missionaries are a joy to watch, whether they’re tapping in Turn it Off, high-kicking in hell during Spooky Mormon Hell Dream or breaking our hearts as they prepare to leave the village after a disastrous mission. The actors playing them gave a masterclass in being a dazzling ensemble with eye popping footwork and super-quick costume changes.

So, The Book of Mormon comes with the highest recommendation. Put any preconceptions aside, they’re not needed. This is a refreshing piece of theatre that pulls out all the stops and shocks in all the right places, for the right reasons. You’ll be tittering at the dark comedy for a long time afterwards, just as you’ll find yourself singing about the most inappropriate things at the photocopier at work the next day. But it stays with you for other reasons too. Beneath all the grimness and cynicism is a very warm heart and an important message. Plus it’s got a kick-ass soundtrack.  The worst thing about seeing this show is the desperate urge to see it again!

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Last year I was totally won over by NBC’s live broadcast of The Wiz. In fact, I’m pretty sure I sang Brand New Day all over Christmas (complete with dance moves). So I was pretty excited when they announced this year’s live production was Hairspray – especially as I spent some time as a teenager obsessed with the show. Just to make me even more eager, Queen Kristen Chenoweth (of Wicked fame) was cast in the role of Velma.

So Friday night arrived, I’d resisted watching any clips on youtube so I could get the full first-viewing experience and the verdict was: pretty good.

There were a few problems with this production but nothing to stop it being an enjoyable bit of fun with a very important message. Firstly, some of the new dialogue seemed a bit forced and cheesy. Hairspray is a naturally funny show, but some of the new ideas made it appear like the production team were trying too hard. I also don’t think Kristen was given enough to do.  I know I’m biased (because I really do bloody love her) but she has a lot of talent and I was waiting for her to be really showcased. (Don’t even get my started on how angry I am that they cut her bow). I felt like Ariana Grande was used as the star vehicle. I’m not saying Ariana was terrible, I’m just not sure the production company realised just how much talent they had in the ensemble cast. However, the main issue with Hairspray live was the ad breaks. I honestly felt like I was watching ad breaks interspersed with bits of Hairspray. I don’t know if NBC or ITV2 were to blame but it really was ridiculous and it killed any momentum.  Image result for hairspray live

Casting Harvey Fierstein as Edna, reprising his role from Broadway, was a nice touch and I loved the little references to the Hairspray canon. (Ricki Lake making a cameo, a plumbing company named after John Waters). The final number, You Can’t Stop the Beat, is meant to have audiences dancing in the aisles (or in this case, their living rooms) and, thankfully, it did. It was definitely a high point of the show, along with anything Jennifer Hudson sang and Welcome to the 60’s.

What is most striking about Hairspray is its relevance. It’s been almost 30 years since the original movie and its themes and messages about diversity and segregation are still important. Hairspray reminds that we are all equal – regardless of race, size, gender, interests etc. – and any one of us is capable of achieving any goal. It was a much needed tonic for 2016 and, after the dreadful few months our World has had, I can’t think of a more perfect show to end the year with.

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Rent is twenty. Still brutally relevant, it’s hard to believe it was written over twenty years ago.Lucky enough to see the opening night of this anniversary performance, I wasn’t prepared for what was about to happen, having only seen the film version previously. However, what I saw was possibly the best theatrical experience in a long time.

To say the cast and crew have worked hard on this production would be an understatement. It’s clear a lot of love has gone into this show and their commitment and talent oozes out of every corner – from the intricate staging and choreography to the harrowing performances from the cast.

From the opening song we are immersed into the harsh environment of the characters in a way that is almost overwhelming. The aggression of the first song gives a clear message that this is not going to be a fluffy musical. Part of the beauty of Rent is its grit and rawness. With regular references to time running out and death, it’s hard not to be moved by Jonathon Larson’s lyrics. The pain in Collins’ words during the reprise of I’ll Cover You, sung powerfully by Ryan O’Gormon, is almost too much to bear. Anyone who doesn’t feel his anguish as he belts ‘when your heart has expired’ is made of stone.

Perfectly cast, each ensemble member shone, but a special mention has to go to Layton Williams who was absolutely kick-ass as Angel. Reinventing Angel’s song Today 4 U, he slayed with sheer sass, a killer strut and phenomenal high kicks and splits. Williams turned this song into a showstopper.

Other highlights include the Tango Maureen (sharp, slick choreography), a whirlwind La Vie Boheme  and a poignant performance from Philippa Stefani as Mimi during Goodbye, Love.

In the film, Over the Moon strikes as odd and a bit jarring, but Lucie Jones totally made it work in the stage show, complete with puppets which went down very well with the audience. Amongst the tears, there are some genuinely funny moments, subtly played by the cast. (‘Hey, Mark, remember this?’ as his ex-girlfriend Maureen mimes sucking from a cows udder. A natural moment that proves just how well the ensemble work together.)

This production is special. It has stayed with me since I left the theatre in a way that not many productions can achieve. The memorable performances beautifully depicted how, yes, life is bloody hard but, somewhere, there is hope. Considering this was an early performance, the quality was close to perfection, with only a few minor glitches with sound and lighting which will no doubt be ironed out during the next performances. Rent is beautiful, harrowing and joyful all at the same time, with stellar performances from a talented cast. It fittingly celebrates the show’s legacy and that of its creator Jonathon Larsen, and is a testament to just how important Rent is twenty years on.

Forget regret, or life is yours to miss.

November 2005

15 year old G is taking part in a compilation show with the town’s theatre society. I am compering and introduce two of my friends singing a song from ‘the prequel to the Wizard of Oz.’  It’s the first time I’ve ever heard Defying Gravity and those opening bars certainly grab my attention.

‘I didn’t even know there was a prequel…’, I say to my co-host after the show. One of my friends plays a couple of songs from the soundtrack at the after party and I start to feel nauseated. ‘Oh, no, I don’t like it. They all sound like they’re on helium.’ Poor Kristin Chenoweth.

January 2006

I am obsessed. Caught in a twister of witches, flying monkeys and dramatic riffs. I have my own copy of the soundtrack and it is permanently in my portable CD player. I’m working in the evenings at my Grandad’s shop and, during quiet periods, I sneak into the back room, pinch a can of vimto and listen to more Wicked. The build-up of Defying Gravity sends tingles down my arms and I can’t get my head around how magical it sounds. I am actually in love with a song.

May 2006

I’m getting ready to leave high school and in between revisingImage result for Glinda and Elphaba catfight for exams, my close friends and I are listening to Wicked at whatever chance we can get. In the art room at lunch time. On the steps to the main hall at break. We weren’t very popular (‘-lar’) and at one point a particularly gobby girl accused us of listening to ‘goth music’.  If only she knew. (and if only I took a GSCE in Wicked)

October 2006

Wicked is coming to the UK and after months of failed pestering to family members (I even told my mum I would never expect a birthday present again.  It didn’t go down well), one of my grandparents caves and reveals she has bought tickets for me and my cousin. I have to wait 2 weeks which feels like two years. We travel down to London and I am almost sick with excitement when the cab turns the corner and the Apollo Victoria is revealed, all lit up in green. The show is amazing and, aside from a man who most definitely wasn’t Munchkin-height sitting in front of me, it’s everything I hoped it would be. Plus, I saw Idina Menzel. Bonus awesome points. A week later, I am still so hyped that I write to the cast and they reply with personalised, signed autographs.

October 2009

3 years after my first viewing, I see Wicked again, this time taking my Grandma. When the stage lights up during Dancing Through Life she looks at me with big eyes and says ‘Oh, it’s beautiful.’ Defying Gravity continues to give me chills.

October 2012

I take my mum to see the Wicked tour in Manchester. She is a life-long fan of Oz, and spots Nessarose’s stripey socks before I do. Wicked is the show that keeps on giving – there is always something new to see.

Image result for galinda gifA few weeks later, I go again with my friends from the theatre group. They’re fellow fanatics and some of them are seeing the show for the first time. We rock up wearing witches hats and sing Defying Gravity on the street outside the theatre.

October 2016

So, it’s been ten years since I first saw Wicked live. I don’t know where the time has gone, but Wicked still has the power to make me laugh, cry and send tingles down my arms
. The music is the closest I have ever heard to perfection. It can sound magically whimsical one minute, poignantly moving the next, and end up dark and bleak. It bounces from joyful to devastating in minutes and you’ll never watch that famous melting scene in the same way again. There is always another nugget of awesomeness to spot in the stage show or the soundtrack. (This weekend I noticed the opening bars of No One Mourns the Wicked and As Long As You’re Mine are almost identical! It’s taken me 11 years to spot that.)

I was never really a big fan of The Wizard of Oz but Wicked sparked my interest in a darker, twisted Oz. It was from here that I became familiar with Wicked’s source material, Gregory Maguire’s book, which I have read and written about countless times. I love the way the story links with its predecessor – from subtle nods (‘lemons and Image result for elphaba gifsmelons and pears’ ‘Oh my!’) to more obvious references, like plonking a big old farmhouse in the middle of the stage. It’s a masterclass in storytelling. One of my favourite moments is when Elphaba, wearing her pointed hat from the Ozdust Ballroom, picks up the broom she has used to barricade a door and is shielded from the cold in a black cloak by Glinda. Suddenly, in the middle of the show, everything has come together and Elphaba is the Wicked Witch of the West. My favourite scene though has to be just before ‘No Good Deed’, where Elphaba and Glinda square-off following Nessarose’s death. (‘Well, we can’t all come and go by bubble!’. Bitchy! Elphie is fierce!)

In many aspects Wicked is beautiful but visually it’s stunning. The set design is genius, with everything from the grandeur and greenery of the Emerald City to the shadowy corridors of Kiamo Ko being strikingly atmospheric. Any show that has both its leading ladies flying (via broomstick or bubble) plus a giant mechanical dragon looming over the audience is alright by me.

Wicked is not just a wonderful production, but it’s a reminder of my teenage years. It reminds me of friends near and far, and the many nights of singing around the piano. Every October, as pumpkins are being carved and witches hats appear in shops, I get the urge to belt out those riffs and melodies. It’s become synonymous with autumn.

Ten years, countless drunken renditions of Defying Gravity, dozens of re-reads of the books, thousands of soundtrack-filled car journeys and 4 official viewings and I can’t get enough. Wicked has a reference for every occasion (does anyone else blast No Good Deed when they’re angry?). Defying Gravity has to be one of the most empowering songs ever. It packs enough punch to energise you in a second.

For me, Wicked is definitely a show that will stay with me forever. It’s part of my life and it was most prevalent during the time that shaped who I am today. Ten years ago, I might have been Team Glinda (I was inconsiderate and obsessed with what people thought). In 2016, I like to think I’m Team Elphaba and I have been changed for good.

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I solemnly swear that you won’t find any spoilers in this review.

I have devoured Cursed Child, barely putting it down in the 24 hours since it arrived. Initial responses were mixed. It made me feel a lot of emotions. I felt excited on opening the beautiful golden cover. I relived that childhood delight at a fresh Hogwarts story. I felt nostalgic at the initial references to the HP world. And then I felt just a tiny bit sad.

Cursed Child is everything a HP fan could have wanted from the very first page. A fresh new story combines old with new in remarkable fashion (…….and that’s all I’ll say on that matter.)

Revisiting the much loved characters of the series could have easily been a disaster but Cursed Child succeeds on every level. It doesn’t feel forced or gimmicky. We see some familiar characters, we hear of others, some don’t appear at all. It’s all very natural and never gratuitous.

The shift in format also works very well. Though some have argued that the absence of prose diminishes the magic of the story, I think it strengthens the drama. After all, this is a story that is meant to be viewed, not read. The dialogue is powerful and true to the characters. Ginny Weasley in particular sparkles through the page with her fiery wit. The struggle between Harry and Albus is beautifully written, as is the friendship between Albus and Scorpius. The pressure these boys are under, living in their parents’ shadow, is intricately explored with plenty of thought provoking discussions.

What’s remarkable about Cursed Child is that so much has been kept secret. It’s a testament not only to the creative team but to the fan base that nothing has been revealed. The best way to read/see this story is by being completely spoiler-free, something that’s very tricky nowadays.

On closing the book, I was a bit sad. Sad that this probably is the last time we’ll see these characters, though I was so grateful to be given one last visit, and overjoyed that it was a successful one. (Though I’ve said before Rowling has the upmost respect for her characters and her work – it was never going to be a flop, she wouldn’t allow that.) Mainly, I was sad that I hadn’t waited and watched the play first. Yes, I’ve loved reading the story, but seeing it would have been spectacular. The many twists, turns and reveals that happen would, I imagine, create a truly epic performance. There were moments in this story were I had to close book and take a minute to think ‘how on earth do they pull that off on stage?’. Experiencing this live must be very special (and that’s all I can say because I promised not to spoil).

So Cursed Child is a treat for fans but my advice would be to wait it out for tickets and resist reading (but if you are impatient, like me, you are forgiven). It’s a must read, but even more than that, it’s a must see, and I’ll definitely be getting tickets.

Mischief managed.

I don’t often get to go away, so when I do I like to squeeze as many things into my break as possible and I certainly did that this weekend in London. Z and I had excitedly booked the break a few weeks ago and the countdown has been on ever since.  So, apart from the selfies, giggling, bus-singing, celebrity impressions and a near death experience at the hands of a waitress, here’s a quick run-down of what we got up to…

A Midsummer Night’s Dream at the Southwark Playhouse

Our journey started with spotting Joe Woolford (from Eurovision..? We only mix with the A-listers, you know) at Chester Station. It was the start of many spots. Both of us get uselessly star-struck. I become mute and frozen with fear and Z develops this faux-suave swagger and becomes a bit over familiar.

This didn’t bode well for the main event of our trip – A Midsummer Night’s Dream at the Southwark Playhouse. There were two main appeals to this production which made us book our tickets a few months ago. The first was that it was a MSND, which is my favourite Shakespeare play, and secondly, it starred Freddie Fox and Maddy Hill. Well, my obsession with EastEnders obviously explains why I was interested to see Maddy but not a lot of people know about Freddie. Last year, during the run of Cucumber on Chanel 4, I had a bit of a mid-mid-life crisis. Mad busy with teacher training, I had a bit of an identity crisis when suddenly, on my TV screen, was this character that I recognised. I’ve never connected with a character so much and it made me a bit fraught to be confronted with someone I saw so much of myself in. It was bizarre and, even though I’ve bought the box set, I’m still not ready to re-watch Cucumber.  Cray-cray, right? .Anyway, mental-TV-melt-downs aside, I’d been a Freddie Fox fan ever since and I was really looking forward to the performance. The play was fantastic, possibly the best production of MSND I have ever seen. We were sat in the front row and the actors performed literally right in front of us (I had to lean back at one point to avoid being hit!). It was wonderfully intimate and a production which really grabbed the audience. There was no set, no costumes, and no lighting effects. Just seven actors and a bare stage.  Scenes were vividly described meaning the audience had to do a lot of work but it was SO effective. All the actors were incredible. I’ve got so much to say about this production I could easily write another post about it. If you’re in London this week – go and see it. To top our night off, we got to have a chat with Freddie afterwards. (Cue star-struck gawping and mumbling whilst Z takes charge of the conversation. Why didn’t I ask for a picture?!). He was very appreciative of our praise and very lovely. In the bar, we told the Director, Simon Evans, just how brilliant the play was and he humbly advised us to tell the cast. However, I wished I’d assured him that it wasn’t just the cast that was brilliant – his passion and hard work shone through so he was just as worthy of our high praise.

London Pride

The Saturday didn’t quite start as planned. I was very brave at the start of our trip. I absolutely hate the idea of the tube – being stuck underground in a crammed tin can is not my cup of tea – but I tried it for the sake of my friend. However, Saturday morning my worst fear happened. Our train stopped in a tunnel. Cue panic-stricken-G. Thankfully our stop only lasted 4 (very long, sweat-inducing) minutes but I vowed never to tube again! *shudders*

We visited King’s Cross, the Harry Potter shop and platform 9 ¾ , where we spotted our next famous face – Harriet Thorpe.

We stumbled on Pride by accident, only finding out the week before that it was even on. I’d never been to a festival like this before but I had such a great day. The atmosphere was incredible – nothing but love and enjoyment. Just what we needed. Everyone was happy! My town is no stranger to closed-mindedness, so it was fantastic to be in a place where everyone was accepted. We had an amazing view of the parade, which was so overwhelming, I cried. (Sensitive Stanley got emosh over the Orlando tribute bus – a lovely tribute.) The highlight was of course the Ab Fab float featuring many Patsy’s and Edina’s. It was lovely to see all kinds of people lining the streets – whatever religion, whatever race, whatever sexuality. We even spotted a little old (straight) couple with pride flags painted on their cheeks. Aww.

After the parade, I got to visit the Theatre Café, a place I’ve wanted to go to for years. We were lucky enough to be there during a visit from the cast of a new musical, Exposure. Neither of us were brave enough to tackle the open mic but I do highly recommend the brownies!

Our Saturday ended soggily. We’d traipsed around London – visiting all the usual landmarks (armed with selfie stick) like Big Ben, the Eye, Leicester Square, Parliament Square etc – but eventually the heavens opened and we got absolutely drenched. I’ve wanted to see Book of Mormon for a long time so we entered the ticket draw (fab idea) but that’s where our luck ran out. We left ticketless and soaked. (Also, I hate to say it, but I do feel a bit annoyed theatres can get away with charging so much for their tickets. I’m a total theatre supporter but there was no way I was paying £150 for a ticket for Book of Mormon. It’s a shame these awesome shows can’t do a bit more for their fans by lowering the price.) So, anyway, we ended up getting totally lost. The buses back to Hammersmith were diverted due to Pride so the quest to find the bus stop led us all around London (and mostly in the opposite direction to where we should have been. But we did see Kitt Harrington so all was well).  By the time we got back, we were desperate for a drink.

Shopping Sunday

After a hectic Saturday, I was in need of chilled day. We visited Holland Park (home of Edina Monsoon, darling) and the Kyoto Garden which was absolutely beautiful.  A real island of peace and tranquillity in a hectic city. We then bus hopped to Harvey Nic’s and Harrod’s where I got totally carried away collecting London-themed treats for my new classroom. Back in Hammersmith, we had dinner at Villagio (amazing carbonara) before hitting the town for a few drinks. That was the plan anyway, but we spent so much time wandering round that we got too knackered to drink and went to bed. (26, I promise. Not 66. 26.)

Monday was a rush to Euston, but we did have time to spot Matt Baker and have breakfast at Patisserie Valerie. Fabulous.

Anyway anyway anyway, a fab time was had by both. Now, back to reality….*sigh*