REVIEW: 42nd Street at Upstairs at the Gatehouse

Following their 21st anniversary last year, Ovation Theatres latest production sees them tackle the tap extravaganza musical favourite, 42nd Street; currently playing its UK fringe theatre premiere at Upstairs at the Gatehouse in Highgate. 

Vastly downsizing to a cast made up of 13 compared to the recent West End production at Theatre Royal Drury Lane, which consisted of an impressive cast of 58 members, Ovations adaptation can be nothing short of applauded for the mammoth challenge they have taken on; in particular within the effective use of limited space. 

Staged in a promenade setting with entrances at either end, the production was directed thoughtfully to ensure all audience members had an excellent view of each scene and number. This was particularly apparent whenever choreography was introduced throughout.

REVIEW: Little Baby Bum Live! at the Troubadour White City Theatre

Ever wonder what happened to Incy Wincy Spider or the Muffin Man? Well now you can find out, as they take to the stage in a brand new adventure with Little Baby Bum Live! 

Based on the smash hit world’s largest educational YouTube channel, the recently opened Troubadour White City Theatre are inviting families across London as part of their inaugural summer season ‘Troubakids Festival’ to step into the magical and colourful world of Little Baby Bum. 

Hosting four family productions throughout the summer season, Troubakids Festival has been created to delight and inspire the next generation of young theatregoers in their inviting, spacious and modern new space. It must be noted at this point that Alistair Shaw, Managing Director of White City Projects, along with Troubadour Theatres and Stanhope, Mitsui Fudosan and AIMCo have clearly invested immense amounts of careful planning and budget into this new theatre, having created two truly state of the art, versatile theatres under one roof to satisfy and entertain an extensive and diverse demographic. Their vision to transform the local area and create a new and accessible cultural experience is clearly paying off. 

REVIEW: Jean Paul Gaultier: Fashion Freak Show at The Southbank Centre

This summer the Southbank Centre is getting a fashion make over with a twist. Imagine Queer Eye, the runways of 1970s Paris and an endless array of fabrics have a love child, and you have the foundations of Jean Paul Gaultiers new spectacular revue show, making its U.K. debut for thirteen performances only. Direct from its triumphant run at the Folies Bergere in Paris, Fashion Freak Show allows London audiences a chance to encounter a level of quirkiness, sexiness and genius fashion that is unforeseen. 

Eccentric, eclectic and erotic, Jean Paul Gaultier is shaking up London with his scandalous new creation, Fashion Freak Show. The production is an explosive celebration of 50 years of pop culture, all delivered through the eyes of fashion’s infant terror.

We delve into a technicolour live autobiography of Gaultier’s life; from his childhood to his early career. From his greatest works, to his long term, iconic influencers, collaborations and supporters (a lot of whom make a shameless cameo throughout!). Each page of the story contrasting to the last and yet complimenting each other in the grand scale of this bold and stimulating re-enactment unfolding before our eyes. 

REVIEW: Games for Lovers at The Vaults

You’ve got a match! Wait, did they just swipe left?!

It is estimated that there are some 850 million swipes taking place around the world each day. Now, I’m no mathematician, nor am I a millionaire matchmaker to the stars, but I think it’s safe to say that the population worldwide have one thing in common; finding love

And love is certainly in the air down at The Vaults in Waterloo in the world premiere production of ‘Games for Lovers’; a new comedy play written by Ryan Craig, and directed by Anthony Banks.

We are introduced to smitten kittens Logan (Calum Callaghan) and Jenny (Tessie Orange-Turner), alongside hopeless singletons Martha (Evanna Lynch) and Darren (Billy Postlethwaite); each longing to find the one via their own uniquely designed algorithm. Martha, one of the worst flirters in history is desperate to pluck up the courage to ask out ‘Doctor Boner’ at her work. Enlisting the help of life long best friend Logan, and self-proclaimed master of all things swag and chat related Darren, Martha weighs up her options and attempts to partake in flirting school 101. But when jealous girlfriend Jenny gets envious of how much time Logan is spending with Martha, there is bound to be trouble in paradise, with a diagnosis of a broken heart. 

REVIEW: Holy Land at The Lion and Unicorn Theatre

These days it seems people will post pretty much anything on social media for a reaction. From retweets on Twitter, to emojis on Facebook, and of course double taps on Instagram, the modern day generation seems to have forgotten about the origin purpose and flip side to the World Wide Web. Enter ‘Holyland’; a place where all the darkest sides of the internet are made into reality. A place where you go to view content you know you shouldn’t, and yet can’t resist a sneak peek at, the dark mirror to YouTube, if you will.

Written by newcomer Matthew Gouldesbrough, ELEGY’s latest project of ‘Holyland’ is about to complete its run at The Lion and Unicorn Theatre in Kentish Town before embarking on a full UK tour, including a spot at The Edinburgh Fringe Festival. The show explores the prevalent and haunting matter of the darker side of both life, and the internet. 

Presented as a three hand cast, we follow three separate stories of Jon (Rick Romero), Tim (Matthew Gouldesbrough) and Kate (Hannah Marrison), all of which in turn lead us to one question; how little control do we have of human nature? Containing themes of sexual abuse, violence and disturbing footage and images, this production certainly has a highly intense and important topic at the centre of its core; a topic that as an audience member I was eager to hear more about. 

REVIEW: Vulvarine at the King's Head Theatre

Now that nationwide comic book connoisseurs have just about recovered from the epic saga final that was ‘Avengers Endgame’, it appears the world is in need of a brand new super hero. Where she resides? Smack bang in the centre of Angel at The Kings Head Theatre in Fat Rascal Theatre’s latest production of ‘Vulvarine: A New Musical’. 

Following their rave success and reviews across the U.K., Fat Rascals sixth and latest instalment follows Bryony Buckle; an astoundingly average woman living in the extremely ordinary town of High Wycombe. Her days are consumed with endless office work, and falling hopelessly for Orson Bloom from IT. However, after an unusual and highly suspicious dose of hormones and a surprisingly convenient bolt of lightning, the world is given Vulvarine, a feminist superhero for the modern day; saviour of womankind. 

Anyone who has paid a trip to The Kings Head Theatre will tell you that the space is nothing mind blowing. Its stripped back, relies solely on public donations to remain open, and is plain and simply, a blank canvas. The perfect location for any artist to bring their latest masterpiece to life. Which is undoubtedly what Fat Rascal Theatre are doing. Upon entering the space the public are greeted by three pieces and handmade and painted set on stage, nothing more, nothing less. There was no gimmicks, no mind blowing technology, just a minimalistic design to aid the genius that was due to entail.

REVIEW: Shit-faced Shakespeare: The Taming of the Shrew at the Leicester Square Theatre

One bottle of Cherry Lambrini. One bottle of London’s finest Port. And three old fashioned beers for good measure, all consumed by one unlucky actor before the curtain had even opened. Founded in 2012 by Magnificent Bastard Productions, this completely ridiculous and unpredictable production combines the entirely serious works of Shakespeare with an entirely shit-faced cast member. Having already entertained over 350,000 audience members throughout the UK, US and Australia, including multiple sell out seasons at both the Brighton and Edinburgh fringe festivals, Shitfaced Shakespeare is now currently playing the long awaited UK premiere of ‘Taming of the Shrew’ in London’s Leicester Square Theatre. 

Based on his original works, the story follows wealthy siblings Katherina and Bianca, each of whom find themselves pitched against multiple suspicious suitors and each other. However, until the eldest daughter Katherina has found a suitable suitor, sought after Bianca is left in a husbandless limbo. The question is, will Katherina ever find her love? Featuring gender bending, cross dressing, general tomfoolery, and a booze soaked thespian thrown in for good luck, and you have the perfect premise for a hilarious and certainly unique adaptation. 

REVIEW: Witness for the Prosecution at London's County Hall

We seem to be going back in time. Well, that’s certainly how I felt after leaving Agatha Christie’s Witness for the Prosecution last night, which is currently being revived for the first time in London’s West End since 1953. Director Lucy Bailey is now summoning a new generation of audiences for jury service in the unique courtroom chamber setting of London’s County Hall in an immersive, and wildly imaginative adaptation of Christie’s play.

Based on a 1925 short story and screen adaptations, Christie’s play is arguably one of her most ingenious and timeless works. With the evidence stacked completely against him, Leonard Vole faces the hangman’s noose after being accused of murdering a widow to inherit her wealth. But will he be able to defend himself and prove his innocence against shocking witness testimony’s and his own wife?

REVIEW: Rip it Up at the Garrick Theatre

Following the hit success of ‘Rip It Up Dancing Through The 50’s’ back in 2017, this year Strictly Come Dancing heart throbs and favourites Harry Judd, Jay McGuiness, Aston Merrygold and Louis Smith MBE delve into the swinging sixties with their brand new production ‘Rip It Up the 60s!’, currently playing at The Garrick Theatre. 

Being a huge strictly fan myself, I was eager to experience the decade of revolutionary change through the sound and soul of the souring sixties, headlined by our four leading gentlemen. Backed by the exceptional Rip It Up live band, and undeniably talented troupe of backing dancers and vocalists, the four Strictly champions dance and sing to songs from British legends such as The Beatles, The Who and the Bee Gees. Throw in a mix of American superstars such as The Beach Boys, and vocal phenomenon’s Elvis Presley, Bob Dylan, Aretha Franklin, and Motown icons Marvin Gaye and Stevie Wonder, and you have the soundtrack to this show. A soundtrack that provided an unforgettable and everlasting decade of hits that changed the face of music and world forever.

REVIEW: Thriller! Live 10th Anniversary at the Lyric Theatre

Now celebrating its 10th year in London’s bustling West End, Thriller Live is the longest running production to ever hit the Lyric Theatre in its 125 years of history, having now completed over 4000 performances. In works since 1991, Creator and Executive Director Adrian Grant has been on an undeniably successful journey with his initial vision to bring the story and music of Michael to people around the globe, including countless audience members at the 15thlongest running musical in the West End. 

With hundreds of cast, crew and creatives working both within the West End and with the UK touring production both on and off stage, last night’s anniversary performance was nothing short of a family affair. With an audience full to the brim of ex company members and die hard Michael Jackson fans, the vibe, spirit and love of Jackson himself was unmissable throughout the auditorium. Which was only sky rocketed when the 23 strong member cast burst onto stage, delivering everyone’s favourite classic MJ hits. 

REVIEW: Open at the Vaults Festival

Hidden away down a graffiti filled tunnel minutes away from Waterloo station lies The Vaults, a cracking space for fringe theatre events and fresh pieces of artistry and performance. Within this year’s line-up is Full Disclosure Theatres latest project: Open, a two hander show written and performed by a real-life couple, exploring the tale of two husbands, one hundred lovers and modern day romance. 

I attended their opening night of the production on Wednesday 23rd January, which just so happened to be the debut day of the festival itself, now entering its seventh successful year in Waterloo. Naturally there was an infectious buzz throughout the venue, and everyone was ready to delve into the lives of Christopher Adams and Timothy Allsop. 

Being a gay man myself, I was very intrigued to learn more about a first-hand experience being in a modern day open gay relationship; something that I have personally never come into contact with. And through a mix of verbatim, storytelling and real-life comedy drama, that is exactly what we received. The play began at the couple’s first meeting and continued chronologically throughout their relationship to the current day. They explained when and why they first agreed to go “open”, and invited us into an exploration of their love, jealousy and desire for one another, and the 130+ other men they have encountered along the way. 

REVIEW: Nice Work If You Can Get It at the Upstairs at the Gatehouse

Rapidly approaching their 21st anniversary at “Upstairs at the Gatehouse”, there is no denying that Katie and John Plews have created something simply unique and welcoming at this brilliant North London fringe theatre venue. Their latest production with Ovation Theatres Limited sees them debut the UK premiere production of the hit Broadway show “Nice Work If You Can Get It”. 

Headed by Alistair So and Jessica-Elizabeth Nelson, this stellar cast have delve head first into creating an extremely charming and delightful adaptation for this debut. Set in the 1920s, Nice Work If You Can Get It follows dapper playboy Jimmy Winter (Alistair So), a wealthy gentleman who meets rough and ready female bootlegger Billie Bendix (Jessica-Elizabeth Nelson) on the weekend of his wedding. Jimmy, who has previously been married three times before, is preparing to marry Eileen Evergreen (Charlotte Scally), “the world’s greatest interpreter of modern dance”. Assuming Jimmy and Eileen will be out of town, Billie and her gang of bootleggers hide cases of alcohol in the basement of Jimmy’s Long Island mansion. But when Jimmy, his wife in waiting and her protesting family show up at the door for the wedding, Billie and her fellow bootleggers are forced to hide out as servants, causing a whole load of tomfoolery and nonsense.