REVIEW: Pippin at the Southwark Playhouse

Pippin, written by WICKED composer Stephen Schwartz, originally ran on Broadway in 1972 with later revivals in 2013 with Patina Miller and most recently in London in 2011 at the Menier Chocolate Factory. In August 2017 the Hope Mill Theatre in Manchester staged a new production of the show which has transferred to London’s Southwark Playhouse and runs until the 24th March. 

The story is more relevant than ever, in a time where the people are standing up to their leaders this becomes very poignant in the production. With the recent student protests in America about gun laws, when the characters stand up to their dictator we suddenly realise the harsh reality of how we must control our world for the next generation. 

The great thing about this this production in particular is that everyone can take something different away from the show, the messages mean different things to different people. What Jonathan O’Boyle does with this production is very special, it’s not throwing any kind of concept or ideas into your face, it allows you to really make up your own mind on what’s going on.

REVIEW: Eugenius! at the Other Palace

Eugenius follows the story of classic Geek Eugene who has written a comic book that gets turned into a Hollywood blockbuster. But things don’t necessarily go to plan when the Evil Villain in the story turns out to be real and has headed to earth to get his revenge on the lead super hero. 

Yes, it sound cringe as hell! And that's true, it is. But the story isn’t really the most important part here, the feeling you leave with is the important thing. Think Loserville mixed with Flashdance, then you sort of get this! The music (by Ben Adams and Chris Wilkins) is uplifting and catchy, not ground breaking but its a fun score. It would be great to listen to on Spotify. 

The show is a little full on, there's no easing you into it and you're thrown into the deep end but its a lot of fun. This must be remembered when watching the show, its not the next Evita but it most certainly is an enjoyable night.

REVIEW: Slava's Snowshow at the Royal Festival Hall

Returning back by popular demand, Slavas Snow Show runs until the 6th January at the Royal Festival Hall. It has delighted audiences all around the world for almost 30 years now, however it may not have left the same affect on me. 

The show has no narrative and is made up of sketches. I failed to see the links to the theme of the show, none of which were anything to do with snow or the festive season so why this is a Christmas must see is a mystery to me. The characters didn’t have enough for us to make a connection with; anytime we were close to, the sketch was over and it was time to see something else. 

Clowning is such an impressive skill to master and its safe to say this set of performers have it down to perfection but I think what let them down was the scale of the theatre. It swallowed them up. 

REVIEW: Top Hat at Upstairs at the Gatehouse

Top Hat hit the screens in 1935 with legend Fred Astaire in the lead role with Ginger Rogers playing his love interest, Dale Tremont. The film was the 4th most popular film at the British Box office in its year of release and it hit the West End stage in a new version starring Tom Chambers and Summer Strallen in the leading roles after a UK tour. It ran through 2012 and closed the following year before hitting the road again in another tour of the UK. 

The show is being revived Upstairs at the Gatehouse in a new version directed by John Plus and choreographed by Chris Whittaker with Strictly Come Dancing star Joanne Cliffton and West End performer Joshua Lay taking on the leading roles.

Firstly, the organisation skills of the theatre need to be reassessed. Being asked to constantly move and being told where we should sit isn't really necessary, if its a problem then they should be printing seat numbers.

REVIEW: The Woman in White at the Charing Cross Theatre

The Woman in White opened on the West End at the Palace over 10 years ago in 2004, with a star cast that included Maria Friedman and Michael Crawford. The story is based on the 1859 Victorian novel by Wilkie Collins, “A tempestuous tale of love, betrayal and greed, adapted from Wilkie Collins’ haunting Victorian thriller, this is the premiere of Andrew Lloyd Webber and David Zippel’s revised score.” The Charing Cross Theatre has its flaws as a building, where I was sat I felt very out of the action and the chance to really immerse yourself was sort of lost by tunnel vision from my seat. 

The story itself is lacking in content, the show moves very fast but nothing really happens most of the time. Even though the content may be a little empty, the performances and direction knew exactly what they were trying to achieve and this is where the heart and success of the production lies. 

Thom Southerland directs this production, the ups and the downs were portrayed beautifully and this innovative production, with Morgan Large’s set design, gives us drama and heart all in one. 

REVIEW: The Tailor-Made Man at the White Bear Theatre

This play tells the true story of William Haines, a movie star in the 1930s who was fired for being gay. In the story we are shown the ups and downs of his long term relationship with partner Jimmie Shields and their close friends who help put their life back together when they come under attack from local homophobes. 

In a time of Weinstein and Spacey, we have been enlightened with some of the disgusting goings on behind the camera in the entertainment industry. This play speaks out about that and even though its this production marks the 25th Anniversary of the play, it still has a relevant and prominent message. And with the wonderful Mr Trump in power, the homosexual themes are very close to home. 

Bryan Hodgson brings a new life to this play, his clean and simplistic style cuts together like a movie. Transitions were slick and innovative with focused and precise acting.

REVIEW: Flashdance at the New Wimbledon Theatre

Based on the 1983 film, Flashdance first made its way onto our local stages back in 2008 with a UK tour of the show, starring musical theatre legend Victoria Hamilton-Barritt and the late Bernie Nolan. It transferred into London’s West End in 2010, again featuring Ms Hamilton-Barritt, at the Shaftesbury Theatre before closing after 16 weeks. Since then we have seen a US tour production and many international ones, this time Sell-a-Door production have brought it back to the UK. I wish they hadn't. 

This show lacked any style or vision, nothing was interesting or different. A boring concept which I’m sure anyone with the amateur rights to the show will do exactly the same. Possibly to a higher standard. 

The choreography of the show, which is meant to be the highlight, was instead predictable and uninspiring. Just because you add in lots of girls doing splits in different positions, doesn’t mean I’m going to be interested. In fact, it means the total opposite. 

REVIEW: The Toxic Avenger at the Arts Theatre

Premiering in London at the Southwark Playhouse last year, Toxic Avenger returns to London after a hugely successful run at the Edinburgh Fringe. Now playing at the Arts Theatre through to December 3rd. 

Based on the 1984 cult classic, The Toxic Avenger follows the story of a small town hero who gets dunked in toxic waste after trying to clean up the problem. Add in a corrupt Mayor, a New Jersey mother and a blind love interest and you get this. 

The story is completely bizarre and silly but its perfect escapism. With whats going on in the world at the moment, shows like The Book of Mormon are what we need and this follows in their footsteps. 

REVIEW: 9 to 5 at Upstairs at the Gatehouse

Eight years since the original Broadway production, 9 to 5 makes its UK Fringe premiere with a new production directed by Joseph Hodges. 

The story highlights the problems with equality in the work place, something we still are battling now. Perhaps not in the same way but it is still prominent in our society today. 

Patricia Resnicks book is hilarious, filled with dry humour and fluidity within the story it is a perfect match for the brilliant and fun score by Dolly Parton. I forgot how good this show actually is but by revisiting the material in this new production, it brought back all those memories of when I used to listen to the soundtrack on repeat!

Unfortunately this production fails to deliver any kind of interesting or new take on the show.

REVIEW: An American in Paris at the Dominion Theatre

An American in Paris is over 65 years old but this piece has never felt fresher. This Gene Kelly and Leslie Caron classic finally has reached the stage and after a production in Paris in 2014 and a Broadway production in 2015 it has come over to the Dominion Theatre which, after its beautiful refurbishment, is the perfect theatre for this piece.

Ashley Day and Leanne Cope lead the cast in this production and what a magical pair they are. They float around the stage like they’re on a magic carpet and they just excel in every number. Ashley Day is a wonderful leading man and embraced everything a leading man in a Gene Kelly classic is meant to be. Leanne Cope is an incredible dancer and played the role fantastically, although not a strong singer, this can be forgiven for the rest of her performance.

The supporting leads are also the crème de la crème of the West end; Jane Asher and Julian Forsyth show us why they are both true theatre legends in this show and Hayden Oakley and David Seadon-Young are both fantastic additions to this cast.

REVIEW: Horrible Histories | Barmy Britain at the Garrick Theatre

Horribble Histories is brought to The Garrick Theatre by the Birmingham Stage company who are playing the show alongside David Walliams’ Gangsta Granny.

 The structure of the piece was perfect, as we moved through history nothing lingered for too long or too little. Lots of fun facts were thrown around which kept the audience interested and provoked lots of reactions from everyone in the theatre.

The two actors, Ashley Bowden and Laura Dalgleish, were huge balls of energy the whole way through and provided jokes for not only the children but the adults too. They managed to sustain every child’s attention for the entire hour and did not dip once.

REVIEW: Aladdin at the Prince Edward Theatre

I am a huge Disney fan, so what more could I ask for than a night at a Disney musical?! Although Aladdin isn't one of my top Disney films, its still a classic and I grew up with the film and the music. This story, originally from the collection of folktales ‘One Thousand and One Nights’ (Or as we know it, Arabian Nights), was made into a hit animated musical in 1992 by Disney and has since become a classic and a must have in everyones Disney collections. 

Opening a year ago in London’s West End, we welcome the new cast which includes new leading man Matthew Croke. 

Matthew Croke is the perfect leading man and plays the Disney Prince extremely well. He is so natural to watch on stage and has a smile (and abs) to melt anyones heart. Along with Jade Ewan, who truly is everything a Disney Princess needs to be, they are the perfect coupling and we are behind them both through out. 

REVIEW: Half a Sixpence at the Noël Coward Theatre

Transferring from the Chichester Festival Theatre with Cameron Mackintosh behind it, Half a Sixpence plays at the Noël Coward Theatre.

The production, as a whole, could have been simpler. As much as we were treated to an expensive and glorious production value one does wonder wether some expense could be spared and some parts could be slightly stripped back. Too much was going on most of the time.

The piece is out dated but has been salvaged by Stiles and Drewe who add a fresh take on the music. Keeping the classic feel to the show but also adding their stamp onto it. 

REVIEW: Miss Saigon at the Prince Edward Theatre

There is a huge hype around this show (which is closing in February 2016) and we here at Pocket Size Theatre hadn’t gotten the chance to see it yet, until we were invited by the new theatre ticketing app TodayTix. Click here for a £10 voucher for the app!

The show is stunning, I wasn’t expecting to be so impressed with it but it had so much heart and passion within it. A modern adaptation of the Opera Madame Butterfly, the story is epic. It pulls you in a doesn’t let go until the curtain falls at the end.